LA1980: I Build A Book

LA1980: book cover.

This post is about  “LA1980: a photo memoir”. Yes, a naked, blatant plug. Bear with me, I’m going to talk about the technical aspects of making this project happen.

Self-publishing a decent proof-quality book has come of age. For any derision about ‘vanity publishing’ I’ll say “demo”. As in musician. How good it looks and reads is up to you. It’s your baby. Treat it with respect, but work it.

Introduction to Self-Publishing

I’d stumbled on Blurb.com in December 2007. The idea was seductive. A closer examination revealed some serious issues.

Blurb uses Booksmart, a proprietary software, as a gating/formatting choke-point. Booksmart  is not easy in the same way a complex program like InDesign is easy. Its a bucket with pre-fab templates you can drag photos into. You have little control over type kerning, formatting, stylesheets, etc. Which are all the tools I need to work with. More study was required. All told,I studied the whole Booksmart/IDCS stuff for about 6 months, read all the posts, FAQs, whining. I got to post some of my own later.

In LA, There’s Always A Backstory

“LA1980″ surfaced during an interminable studio-traffic meeting last summer. I’d gotten wise to the ways of the massive organization I worked for, and used the dwell-time to sketch ideas in a notebook. I wanted to do a photo book using images I’d shot between 1979-1982.

I’d shot 100+ sleeved rolls of Kodak 5297 cinema neg stock; which was cheap in those days, and I was broke. The neg would be contact-exposed to the pos stock, and slides happened.

Periodically I would look at the slides, and go “Yipes!” because the color had gone seriously magenta. The prints I made back then were on a particularly putrid Kodak stock—soft, more magenta, muddy. The images went back in the boxes, and slept.

Scannermania

First sign of new life was 2003, when I got a used Nikon LS2000 film scanner. The scans from the slides were awful. The negs offered more hope. It was a toss-up between OK and awful. But it wasn’t good enough yet.

In 2008 I bit the bullet and bought the Nikon LS9000 scanner in order to scan my medium format negs. The Nikon scanning software worked fine with the Mac OS X 10.4. All well and good, until my elderly G4 died, and I had to get into a MacPro.

Now I discovered that I had two scanning software choices: Hamrick VueScan or SilverFastAI. The difference was about $600. Since the Lotto Fairy hadn’t swung by recently, I went with the Hamrick VueScan. HVS has a blunt, unfriendly interface. I also looked at SFAI, and its interface was blunt, and ugly  as well. I spent several weeks steaming in circles getting the hang of HVS. Finally it began to make sense, and I was up and rolling on that.

Building the Beast: One Image At A Time

The only coherent way to find out what I had besides what I remembered, was to literally start at the beginning, and scan every roll. I’d put it off long enough, and it was time to man-up.

• Using a cast-off lightbox, I’d loupe the roll.
• Pull an FPO scan of the roll, typically 1400dpi at 4×6″ for starters.
• Implementing a workable naming convention. Now that I was scanning in bulk, and going back to pull high-rez images, I needed to find them again.
• color profiles were set to sRGB, the default Booksmart colorspace.

When You Name It, You Can Find It

I’m done naming images, its alphanumeric for me. Names, descriptions, tags etc can all be handled in Adobe Bridge using Command-Shift-I, which brings up the dialog box for naming, tagging, copyrights, etc.

Here’s a peek:

Image browsing in Bridge

Image 790700_08_06 is frame 06, from roll 08, from July 1979. Variations are indicated as -1, -2, etc. This will make my life easier every step of the way down the line, especially when I’m preflighting the InDesign doc, and swapping out missed lo-rez images.

All images start as jpegs. After the curves are applied, the psd is saved, jpeg is tossed.

Color-Balancing

Here is a typical image, in the before and after mode:

The raw scan and the recurved edit.

I scanned close to 1000 images, and had to work fast, smart, and non-destructive. Sometimes I’d recurve an image 4-5 times over the life of the project. I’d see something I’d overlooked the first time.

The Design/Production Workflow

The book was designed using InDesign. This gives me dynamic updates, unique page formatting, typographic specificity, PDF exports; everything lacking in the Booksmart interface.

Pay very close attention to the Blurb specs. They aren’t joking. The following is contingent on your layout being the exact right size, with standard 1/8″ bleed 4 sides.

• layout all hi-rez images in IDCS
• page export pages as singles, w/ bleeds, to PDF-x1a
• open up PDFs as Photoshop PSD (300dpi)
• save PSDs as Hi rez PNG (300dpi at 100% image size)
• import PNGs into BookSmart layout
• upload to site

First proof came back 6 days after sending it. Examined it,

• looked at binding [OK]
• color [OK]
• trims [aggressive to outside margins].

Readjusted live so it was 1/2″ from trim, fixed pages that needed it, re-uploaded it.

Conclusions

I worked on this book 6 days a week, 8hrs a day from Dec 29 to January 21. It was my job when there was no immediately visible work. I decided I needed to get a project up and running that might have a wide/wider reach that would kickstart other opportunities.

The color is OK as a proof. Nothing matches ink hitting paper. However the advantage of creating crossovers with impunity is big fun.

I’m looking forward to my next book.

Every Pixel Tells A Story, Don’t It?

Quality halftone image reproduction is central to the print process. I’ll set aside vector art for the moment, as those are generated under a different protocol. And yes, numbers help, but they don’t tell the whole story.

Digitally-created images are unlikely to ever see the bright light of a scanner. But they are bound by the same rules as scanned files.

Scans are made from either flat art, or negatives and chromes. Flat art is scanned on flatbed scanners of varying horsepower, or drum-scanners. Film files can be scanned on a variety of scanners ranging from insanely excellent down to consumer-borderline competent. All scanners have their own proprietary anomalies.

For the purposes of higher-end print production, placed image is typically 350dpi at 100% in the layout. This is true across the board: Photoshop, Quark, InDesign and Adobe Illustrator.

(Note: In Quark and InDesign it is far easier to verify an image’s enlargement/resolution ratio than in Illustrator, where you have to dig. Read why Illustrator is unqualified as a page-layout application).

Scenario 1: High and Low

If you import an image which is 350dpi at its native 100% into a page layout scenario like Quark or InDesign at 100%, the ratio is 1:1, and everything is golden. However, if I import the same file and then enlarge it 125%, the image inversely decreases to 280 lpi.

350 / 1.25 = 280dpi

When I’ve encountered this numeric, I’ll flag it as a potential problem. When I’ve called advertisers about this problem, reactions vary, ranging from “uh-oh” to “it worked when I sent this identical file to Rolling Stone/NY Times Sunday Magazine” etc. This is when I tell them that the difference between art-book publishing and web-offset periodical printing is considerable. Images go soft, banding starts to appear, and image degradation becomes more evident. Oh.

However I’ve seen rare scenarios where images fell short numerically, and were saved by accidental or intentional bold contrasts, even halftones, and overall image quality as evidenced by the customer’s target proofs. The layout was given a pass and off it went to be wet-proofed.

But that is the exception. Like the drunk driver going over a canyon rail and walking away from the wreck.

The opposite doesn’t play out the same way. I’ve seen layouts where the original image is 350dpi, but is imported into a layout at 125%, equalling 437.5dpi.

350 x 1.25 = 437.5dpi

This is excessive, as current printing typically doesn’t require this.

On the higher end of grotesque, I’ve looked at layouts where a placed image is 15% of original, and the customer’s target proofs are 13×19. And printed out on warm toothy art paper, which typically will add 5% yellow and warm things up quite nicely. Which is fine—until the wet-proofs come back.

SOLUTIONS:

• Under-resolution images need to be replaced by higher quality files
• Over-rez files get reduced in either pixel dimensions (Quark) or percentage of import (InDesign)

My G5 Is A Beast, Why Bother?

An eternal production question. Because the monstrous spool file you are generating every time you print files that are massive is costing you time and money. Every additional calculation you make with an image (rotation, skew, horizontal/vertical flips) is an additional burden on the document and a clear sign to the pre-press guy or gal that You Are Ignorant.

Scenario 2: Real and Junk Pixels

For example: I open a customer file which is an 8-1/2 x 11″ page document that has the following image in it, complete with bleed. The placed image bleeds 4 sides in the layout.

Its starting to look like a good day. The file’s native dimensions are identical to the layout requirements.

Now look at the Image Size palette for this document:

Numerically the file is good to go.

Junk Pixels

So what happens when you get a file that numerically checks out, but just looks plain weird?

Imagine an 11 x 17 spread, and an extreme closeup of a young toddler. The child’s face looked like it had been put through a Photoshop Mosaic Tile filter. This is what the previous image would look like if it had been treated the same way;

My first reaction was “Yipes!”

Was this…

• a stylistic statement (I’d been to a lot of galleries lately)
• an inadvertent mistake by a designer (ie, low-rez jpeg not swapped out)
• a basic technical error.

The advertiser was contacted. We found out that the designer had put the original 2 x 2-1/4″ neg on a mid-level flatbed transparency scanner, and then enlarged it to fill the space available.

The pixel dimensions are identical, but the outcome is considerably different. Seems pretty obvious, but this is a continual travelling partner in the World of Pre-Press.

The Advertiser resent their file with a high-resolution scan and the results were considerably improved.

Summary

Image management is a combination of metrics and alchemy. The guidelines I’ve mentioned will go a long way in getting an image to print to the best of its original capacity. It has nothing to do with aesthetics—I’ve looked at many files containing images with proper numerics and zero content. The alert designer, pre-press operator, and whoever else that comes into contact with the file are all obliged to do their homework and make sure nothing falls between the cracks.

Design and Production: Two Agendas That Eventually Meet

So…Whaddya Know?

A prominent senior designer once asked me what I knew about Quark. There was amusement in his query. He was designing the 1998 Pac Bell annual report. I was an unknown freelancer. What did I know?

I asked to sit down in front of his keyboard, and began to analyze his comp by asking questions in a walk-through manner as I looked through each part of the layout

It went something like this:

“Page layout? It looks like a spread, with a cluster of pulled guides, and what looks like a 2 column grid. Let’s go to page masters. Create master page A, set up a 2-column grid, apply said Master page to spread. Nudge and tug the master page columns a bit. Now the text starts looking a little more secure.”

“Common text box tops? Go to baseline grid. Set first line to strike at 1.5” (18p). Now all the text boxes can be moved and parked accordingly if that’s the plan. We’ll adjust the line leading later, but we’ll leave it at the default 12pt.”

“Well lookie-here. All the text boxes have a default inset of 1 point. Eliminate that, then the text boxes can slam up against the guides without fuss.”

“Formatting type? Hmmm…no evident style for anything. Body text looks like Centaur Book, 10/12.5. There was a gummed in initial cap in its own box with whack runaround. Not good. Let’s set up a style sheet for the main body text, and pull a dupe style sheet to accommodate the init cap (3 down, 1 over) paragraph, and use a character style sheet for color, etc. Now define a style sheet for alternate first, middle and last paragraphs. And forget the part about hitting returns on the end of the ‘graph. Specify the space after each paragraph. Ditto subheads, pull quotes and sidebar info”

“Colors? How many is this project going to use? 4+3 spots and a varnish? Nice. Go to color palette. Lose or convert all RGB colors to CMYK, unless the RGB green is being used as a die-line FPO indicator. Otherwise kill it.”

“The folios in the bottom look improvised. Go back to master spread. Create folios using automated page characters. I can think of more fun things to be doing rather than chasing improperly formatted folios and where they are placed.”

“Text rules? Inline text ital/bold/? Character styles!”

“And that is what I know about Quark”.

His grin had frozen in place. Which leads to the next idea.

Style Sheets Are Your Best Friend

Design and production have two separate agendas: The designer is creating multiple variants to sell one. The print-production expert has to take that one idea and make it jump multiple times. This is where a solid command of style sheets will make your waking working life considerably happier.

In 2002 I was contracted to produce the 355-page Hancock & Moore catalog through Dan Lennon’s design office.

On arrival, I was handed a sample spread containing text blocks with grouped AI eps files. It looked a lot like this:

Behold the famed Quark “Duct-Tape Xtension! The delightful things one sees when you turn on Invisibles and Guides. Whoa!

I then asked the designer if this was it. He said it was. I told him that I would use this design to set up typographic solutions for this set up. He was skeptical.

This highlights the difference between a one-off idea and a production-line execution. If I used this exact setup I would be in deep trouble. Why?

• it was a collage, subject to unintentional ungrouping
• the rule combination was a different enlargement for each text box
• it was unmodifiable on a production set up.
• Hard returns after every line, tabbed everywhere (indicated by arrows), spacing (indicated by dots). All of these can (and eventually will be altered by unwary edits)

Clients will change their minds. Count on it.

This is an example of what the finished style sheet looked like for a main copy block. Everything is handled through the style sheets. The rule combo, distance from main head to descriptor body. The subsidiary listing is described by another style sheet.

(top line is highlighted, showing relevant style sheet, with Invisibles turned on)

Remember what I said about the Client changing their mind?

Three chapters into the book they decided they didn’t like the look. I was idled for a long weekend while the designers went back to the boards. What you see here was the final-final round. Converting the previous style sheets only took several hours. Imagine what it might have been like had I not set up the original style sheets in the first place. Not a pretty picture.

One final note: While I was putting this project together I thought the type was a bit fussy and small given that the target audience was likely to be 50+ and a bit farsighted. Secondly, furniture galleries have subdued lighting, unlike Ikea or Target. The following year the catalog had an insert that used chunky 12pt bold type…