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This is excellent; thank you Les!

Excellent video! Very exciting! Some thoughts: 1. How about some face masks? Not for health, but to protect the backing & print from any possible bits of spittle. It's overkill (from experience spotting b&w), but a fair consideration unless you can consistently never lean over the print while speaking. 2. The air blower process might be improved. Presuming it lofts bits of debris or dust into the air, where are they going but back down? A long wand with ultra soft dust-attracting bristles is a consideration, rather than just the blower. Collect rather than distribute, thus perhaps a vacuum wand, or some combo. That huge exposed sheet of adhesive is scary for dust. Maybe some electrostatic help, charge or ground the table. Just a consideration, you walk side to side to check the sheen at the end for micro bits in the layer, but if they were there, they're there for good. 3. Love how your man tends the print next door so it lies flat, he could solve that, the accepting surface isn't steep enough or isn't slick enough.

Thank you! Excellent video!

I'm sorry but I dont get it. I need the PRINCIPLES to be layd out first, such as by chapter titels, but clearly to first be understood as the principles, before "going into details". I do understand what softproofing is. -this way : It consists of fine tuning a copy of a file that I already extensively edited so as to become my Master (master-file). That master I should make as many copies/derivatives adjusted (=the softproofing process) for each different paper I want to print it to. (Make copies because : "Even if", or becaus of" the preview - that is in order to give me the option to tweek-to my liking (subjectivally!) without messing up my master still ready for other papers..) (Right?) But to do my Masters, in the first place, I need to resort to alway the same "neutral" (my standard) calibration stage of my monitor (right?). I would have thought that Eizo's self calibration equipment should be described as to do just that, and only that. : Ensuring that the monitor is consistently showing a given type of red that way and never differently. (Right?) BUT : For such ouer (personal or iso-normed) "default" view (for editing our master files, regardless of final output intent), we have to decide first (right?) : The overall brightness The contrast The color temperature +Other ? +Other ? (or just chose an iso that sums up (all?) the above ?) that we decide to opt for (artisan's own chiice) - right? The above is based on what possible priorities ? A list would be good (to grasp the concepts to choose/orient ouer "Default target for editing our master files", right? ..and then we need to REMEMBER, once and for all what our decisions where based upon (right?) (and thus whe should perhaps write it on the monitors (sticker) frame itself...) all what we chose the auto-calibration to target and ensure to provide us with to, by consistently over time merely just compensating the aging of the monitor or the temperature of its components etc, just to providing our (iso or not) standart/default view. Right?. Then, we need an aditional (physical, external) calibrator, able to read the outputs of such master files once printed on a given paper in order to establish a (compensating!) profile .. but, establish a : new viewing-profile (on top of our default-profile?) or to establish a printer-profile ? And, what printer profile is used in this initial step ("none", is that an option? - with multiple sub-titels...) when we are doing this ? (presuming we do not contempt downloading paper/printer manufacturers profiles - not even to tweek them - right?) All these above are the kind of prerequisits I never find nowhere graphically displayd (organigramms and flow-charts) and that I get mad of never come across. Because then, matching the color of the paper itself, lighting our viewing-wall, or how to jump to profiles (of what categories ? ) for either web pages, for PDF layouts (for ..whom?), etc. (and each time the master file should be copied and we should adjust fine-edit a new file for specific output -right?) these to me only seem to be details, but not situated in the context ! Is it just me who is stupid ? Why can I not find organigramms and flowcharts that lay out each domains into groups, then details only (how-to) as numbered sub-paragraphs) ? Is it only me? (collaborative) mindmapping is going to be my only way to truly empower myself, to brake away once for all from these otherwise ever recuring paralizing mess of confusing otherwise remeing volatile knowledge..

I am looking forward to the Workshop Les.

Fascinating insights Les, especially on Auto Contrast and Preserve Luminosity. Thank you.

What a great video

Excellent!

Thanks Les, great insight. Thank you for sharing your knowledge.

Thank you Les, this is immensely useful, as are all your carefully considered insights into the image making process!

I always smile with you Les, your passion is infectious, your knowledge on another planet. Great to see these videos on TH-cam!

Hi Les when you photographed your 24 patch test card in order to compare the image with the actual card, did you photograpgh the card under the d50light ? Regards. Walter Moore. Sydney

Straight and to the point. Thank you.

Thanks Les.

Wonderful to see a fellow autistic that has found his place in this world.

Nerds make the world go around. Only the dunning Kruger soap box heroes think otherwise. I wish you the best too, old boy. Your curiosity and fastidious nature are what the world requires. Like most people with exceptional skills, you will always be out of the limelight. It's a compliment. Keep up the astonishing work.

Nerds make the world go around. Only the dunning Kruger soap box heroes think otherwise. I wish you the best too old boy.

Wow. This is awesome. Thank you

My goodness I wish I had seen this video years ago, thanks for the effort.

I was surprised that you did not mention the light source for viewing your printer paper. I may be a little dated, but I've been using an Ott-Light for viewing to compare to my soft proofing. Are the Ott lights passé now?

How do you sort the offset bit out?

Thank you!

Interesting. But what about the light in the room? How do you set it? What kind of light is used? Does it have the same influence in the monitor and the paper?

Well done.

Wow man! great. How I wish that monitor! But 2000 euros for the 1440p, although it's worth every penny, it is really a lot! Gorgeous! Thank you.

Dear Dr. Walkling, thank you very much for your videos. I really appreciate all of them! I have a question about this one: how did you print the colour chart? i mean did you print it applying the colour profile of the paper you used? Thank you very much!

I deliver photographs to magazines who print on coated paper. I would like to be able to predict and optimize how these turn out. I would love to know more about how to obtain this level of control. Do you know any resources to read/watch?

Good onya Les I always have that "Ah see I just learned something" feeling after listening to you! thanks a stack ..regards Joe

Les, thanks. Just wat i needed

Many thanks

Extremely impressive!

Dear mr Walkling, Thank you very much this very clear and understandable tutorial. This is an approach I have not seen before and in my opinion a very good one. Kind regards Arnoud Kos, Netherlands

Great paper. Just as good as my fiber based baryta papers I use in the darkroom

Where would a test paper like that be available for different kinds of paper?

Most informative and so easy to understand why the various papers can make such a remarkable difference in the finished print. Thank you.

Do you need CG series to run this? Will CS work?

Many thanks for this great video! One of the best - if not the best - explanation about paper types I’ve seen so far. Excellent presentation and blend of facts about the paper types and the subjective / artistic effects they can be used for!

Fantastic explanation and tutorial

Can you clarify iso3664 white point values.?

Merci pour cette video :-)

"AY-ZO" yes you said it correctly! As heard from EIZO's own corporate video.

"AY-ZO" yes you said it correctly! As heard from EIZO's own corporate video.

I just started printing with a Canon Pro 2100, in a properly set up environment and with a profiled Eizo monitor. I'm still discovering the different kinds of (Canson) papers, and so far, I've made prints using the general profiles Canson provide. I've tried the Baryta Prestige, Platine Fiber Rag, Printmaking Rag and Rag Photographique and the colors match the screen pretty well. As I get more used to printing, I'm sure I'll move over to custom profiles once I settled on the papers I like best. As far as the Baryta Photographique II Matt goes: I thought the Rag Photographique was smooth, but the Baryta Photographique Matt is even smoother. I really like the results I'm getting (although I prefer the soft feel on the non-printable side of the rag paper), if not for the green cast I'm noticing compared to the other 4 papers I tried, obviously while using the same image. Are there known issues with the Canson profile that could explain the issue? I've watched one of your other videos on the paper classification (M1 measurements), and if I understand correctly, while the Rag Photographique paper is indeed more magenta than the matt Baryta (which I can see under D50 lighting), the difference in the a* channel between Rag Photographique en Baryta Prestige is even bigger. And between these, I don't see a color difference in print. So, at the moment, I'm a bit at a loss.

Fantastic video much appreciated Les , this has helped me a lot to start to understand soft proofing for printing.

Fantastic video & great to see you Les

The only Canson paper I've used to date (1/22) is the Baryta Photographique semi gloss paper.. It has fantasticf gray scale holout and colors, too. I do want to look at some of the others and compare them to the Hahnemuhle papers I use. My paper testing has cost a small forture so far, and now I have two more to try!

Hi Les. Thanks. There is little in term of learning material with concrete examples about 3D Lut Creator on the Internet apart from the official videos. Thanks god, there is a Howard Grill Photography who does put tutorials online. Otherwise we have to rely on our personal experience. That's fine, but it takes somewhat longer. It looks like a lot of people who start showing 3D Lut learning videos, stop doing so after two or three videos only, although they promise they would publish more stuff online. I wonder why. Is it because it's too difficult to learn even for them (it definitely has a steep learning curve), or is it because they want to keep the software a well guarded secret? ;)...

Great presentation Les on paper choices and characteristics. Amazing to see how far digital papers have come - especially the Canson range. A lot to absorb I will need to watch this again!

Wow ,Love it !!

Wow how amazing ,love that alternative look ... So much to explore in those ranges hey ! Thanks Les I hope you're keeping well. Kim Tonelli