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The next controls are the Layout options and the Margins options, as shown in Figure 7.6. These options control how your image is placed onto the page. Switch the orientation from Portrait to Landscape to change how the page is displayed in the preview area. Image Size lets you set your image to be a specific size, or choose Maximum to Fit to make the image take as much of the paper as possible (taking your margin settings into account). If you select an image size that s smaller than the paper size, Aperture automatically increases the number of photos per page when possible. For now, set this number back to 1 (we cover the settings related to rows, columns, and number of photos per page when we discuss contact sheets). If you mouse over the preview, guidelines appear around your image. Move your mouse over one of these guides, and when the cursor turns into a double-arrow, click and drag to adjust the margin sizes interactively, controlling where on the page Aperture prints your image. Alternatively, if you know the exact margin that you want to use, type its size into the Margins options area. Although you won t typically use this next feature, it s good to have it in your bag of printing tricks just in case. If you selected an image size smaller than the page size, when you click on your image in the preview area, Aperture will display a heads-up display (HUD) that lets you scale up your
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7.6 The Layout and Margins print options let you adjust where the image is on the page.
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7: What Options Do I Have to Create a Physical Copy of My Photos
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image. Then you can click and drag your image to control which specific part Aperture prints. We recommend cropping your image beforehand when you have more control, and printing your full image rather than using the Print dialog to crop into an image. Pay close attention to the Crop Image to Fill check box. Deselect this option. If this is selected, Aperture will crop your image to match the printable area s aspect ratio. For example, if you try to print a panorama onto a square sheet of paper, it will crop the panorama into a square image. While this is great for maximizing paper use, it s typically not what you want when printing an image.
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Aperture has three groups of options to control your image and color. They are the Rendering, Image Adjustments, and Image Options groups, as shown in Figure 7.7. Rendering options The Rendering options control the color profiles and conversions that Aperture uses for your print, and these settings are crucial for having color-accurate prints. The first pop-up menu is to select whether you want Aperture or your printer to handle the color management. If you want your printer to manage color, choose Printer Managed. Aperture also displays a tip, reminding you to enable printer color management in the System Print dialog that appears when you click Print. If you choose to let Aperture manage color, which we recommend, select your printer and paper combination s profile from the list. In this case, Aperture displays a tip reminding you to disable color management in the next System Print dialog so that you don t accidentally double-convert your print s color.
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7.7 The Rendering, Image Adjustments, and Image Options groups let you adjust your image s color.
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When you choose to have Aperture handle color, you ll also see a Render Intent pop-up menu and a Black Point Compensation check box. As discussed earlier in the chapter, your printer, monitor, and image file all have different gamuts. To help your computer move between color spaces and to deal with these gamuts, it s helpful to give it a hint as to what part of the color space conversion is most important to you. Picking a rendering intent (see Figure 7.8) is how you provide this hint. Perceptual Rendering. This method takes all the colors in one device s space and scales them to fit within another device s space. This is useful for printing because it preserves the relationships between colors so that a color that appears more saturated on your monitor than a neighboring tone also appears more saturated on your print. However, perceptual rendering will cause all your colors to shift slightly a specific shade of red on the printed page will not be the exact same color as what s displayed on your monitor. Relative Colorimetric. This intent maps each color from the source (your displayed image) into the closest color that the destination (your printer) can reproduce. This means that a specific shade of red will match almost, if not perfectly, between a print and the display. However, if you have a lot of colors in the source that are outside of the destination s gamut, they might appear different on the screen yet the same in the print. For example, two different shades of very saturated orange could appear identical in a print because relative colorimetric rendering decided that the closest very saturated orange that the printer could create happened to be the same value. In general, both methods will do a very good job, and you might not be able to tell the difference. However, if you have an image with a lot of very saturated colors or with very subtle color gradients, we recommend using perceptual rendering. Regardless of which rendering intent you use, make sure to select Black Point Compensation. This option ensures that your shadows aren t clipped in your print by
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