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Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 46 of 115

Making Prints

 

Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 46 of 115

Making Prints

 

Lesson Info

Making Prints

another way to share your images in a physical product is through printing. Now the first way to print. Uh, probably the easiest and most reliable way to print is to actually get a J. Peg, export it and send it to a reliable professional printer because they know what they're doing and they know how to color, manage and as long as you export your images. So if I wanted to print this image, I would do an export shift. Command E and I would go in, and I would set up a preset toe export J pegs to my printer, so I'm going to go in and say, OK, digital deliveries. I want a full, high resolution J peg, and then it just sends it on to my desktop. And as a J peg 100%. Never send anything but 100% quality J peg to your printer and make sure it's an S rgb as long as you do that if your printer is any good, if they're professional printer, they will do a fantastic job printing it minus White House custom color, and they do a fantastic job printing anything and everything. And so when I want to pr...

int something. Generally, I'll send it to a White House and have them print it, and then they ship it back to me and I sell it to my client. So that's the first way that you would send something to print and it's easy. You don't have to buy any equipment, and you just have to pay for the print when you get it. But I particularly love having an actual physical printer in my studio and the reason that I like a physical printer in my studio and minus a can and pro printer. But here we're actually using a Cannon Pro 10 printer, but they're all good printers. But the reason I like having a really great printer in my studio is that if I need to make a print right now, if I have a client that needs a print for a special engagement or a special event, or I just want to make some gift prints really quickly and hand them to the client because they're coming over, those types of things are things that I don't wanna have to send it away and wait for a day or plan ahead or wait two days for shipping to get back. So if I want something now, um, it's really good to have a printer. Plus, there are some papers out there that are so fantastic they're just they're fun to hold their fund to touch their their amazing to look at. So the right printer and the right printer paper is a really wonderful thing to look at, so I I just enjoy printing in my studio a lot. It has a personal touch to it, and clients love when they get something that physical. So I never print on like glossy paper at home. I never print on a pearl paper at home. I print on the thick rag type papers that just aren't unique because I want my clients to have a unique product. If I'm gonna be printing it so that its special it's something special, I sign it. I put some notes on it like I make it really special for them, and they love it. Plus, when I'm just printing random art pieces that I've done, it's really fun to just hang them on my wall or give them to friends is prints or gifts I love it. So, uh, we're gonna show you how to print straight from light room. And it's really, really simple. And and the great thing is, your printing from a raw image. So you have a full 16 bit printable files, so that's like the 16 bit printers, especially like my pro 1000 is amazing printer. When it gets those files out, most of the canon printers now will print at 16 bit, so we're gonna show you how to do that. So what we're gonna do is we're gonna take an image, and I just have a collection of images that I wanted to print. So I'm in the library module, I'm in the grid. I've got a bunch of images that I want to print out and show to my clients or give to friends. And so I'm going to go over to the print module. And when I'm in the print module, you'll see that I have a paper. So this is my canvas. And then this is what the photo is gonna look like on that piece of paper. And I've specifically set up by printer for a specific size paper. So when you go to your printers set up dialogue box. It's a matter of choosing a specific size print to paper, so in a three plus paper size is very specific, and you also have to choose your specific printer. So in this case, we're printing to a Canon Pro 10 Siri's piece of paper. We're still going to use an A three plus, which is 13 by 19 and then hit. OK, so that's setting up the printer itself. And the great thing is is doing it straight from light room, so we have the ability to access all these tools straight from light room. Then we can go to the print settings, which is another dialog box inside of your operating system. And when we go to that, we're still again going to choose the correct printer, which is the pro 10 Siri's um, and then we're going to choose the quality of the paper, and then we're going to choose what kind of paper were using. Now it's important for you to know what kind of paper you're supposed to use. And to that end, um, I'm gonna show you how to figure out and how to calibrate for the paper you're using because that's critical in getting a good print. You're not going to let the printer manage the color. You're gonna have light room, managed the color, but in order to do that light room needs some information. So I have a box of paper And this is this cancer on paper, which is amazing paper. And this one is called B f K Rives paper. It's a really toothy, beautiful paper, 13 by 19. But in order to have a good print off of this paper, I need to know what Kant's on the paper itself suggests that I use in all these printer settings. So what I'm gonna do is I'm gonna go to their website and on their website. Well, there it is. There it is. Oops. On their website, there is going to be a list of their papers and you're going to choose the printer you have, which printers of which maker in which printer you have. And once you've chosen that, it's going to give you all of their papers and all of the settings that you would use. So in this case, we're using this B f k rag paper and it's telling us that you should use other fine paper. One other fine art paper. One. That's the kind of paper we would use, um, in this dialog box here. So now I need to go in and click media, and I need to go to fine art papers, other fine art paper one. And remember, every printer is different. So when I'm at home with my Canon Pro 1000 and I choose that on the cans on website, it actually gives me a completely different paper choice to use because the Pro has mawr paper types to choose from. So make sure that you put your specific printer in and then you choose, and then here in the dialogue box, follow their instructions. Um, and then you're going to choose whether you're manually feeding or the rear tray, and you're going to choose the quality and hit save. Okay, so now that you've set up those options, then it's just a matter of going over to the right hand side and choosing how the printer paper is going to look. And in my case, what I've done is I've said I want this to be a 10 by 15 print on a 13 by 19 piece of paper, so it's basically full frame, normal sized photo by 15. Um, and But I could also change that and say, I want it to be huge like that. And so it's going to say, Oh, I'm gonna make it as big as I can possibly make it on this piece of paper. But I like to have a nice wide piece of paper around it makes it look special. I like it s Oh, I'm gonna leave it at that setting. I also have come in here and told it to stroke the border with a 0.3 just a very, very small point line. So it's very tiny line, and it's gray. So I like that cause it kind of separates out if there happens to be any lightness to it, and it it makes it feel like it's a little three dimensional, like I like it, but it's gotta be subtle. I don't like a really thick black line in or anything like that, Um, and then I'm going to come down to the next side. If I show the guides. It shows all of the guidelines that show like where your printer can't print stuff like that. But I don't need to see that. I just want to see what the paper's gonna look like. I can add a background color and choose. You know that, and it'll print it. But I'll be wasting a lot of ink and it will look weird. Um, and then I can choose an identity plate. And this is interesting, because if you are in a position where you don't want to sign it yourself, but you want it signed so you don't want to actually physically sign it, it'll look signed if you just go on to your walking tablet or take a picture of your signature. And then what you need to do is make a P N G file type, so that's like a J peg. That's clear aan den. If you do that when you click here, you can actually edit your signature, and all you do is you use a graphic identity plate. You can see the signature in there and locate the file. Choose that P and G, and it will put it here and just make the file, you know, signature about this big, so that then it consigns it down to the right size. Just make sure it's 300 dp I it this size, um, and then hit. Okay, so I'm using that and you can see that I've got this signature that I could drag anywhere around. And right now it's being rotated at 90 degrees. If I say no rotation, it's ready to go. And then I can put it right here, and it will actually go into into the print. So if I hover over the print somewhere, see, it's going into the print so I can just put it right here, and it will actually look like I just went right into the print, which is fine. Um, so that's the identity plate. If I want it signed, I'm gonna sign it myself. So no big deal. I like to be able to, you know, Skip Kit Chicken. Scratch it. I just kind of do chicken scratch. That's hard to say. Chicken scratch, anyway, so I I just chicken scratch a bunch of information below it. Um, a lot of times, though, if I want to do some text below, I'll actually use this option photo info and I'll click on photo info. And then here is the photo info. And instead of file name, I'll just use GPS and boom. It puts a GPS locator right there, and I love doing that. That's my favorite thing to do is put GPS locations as the information on the photo. I think that's really fun. And so I can do that if I like. Anyway, that's that's a fun option as well.

Class Description

All lessons are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Efficiently cull and retouch photographs
  • Manage your files to enable seamless and immediate recall
  • Get your computer and software to run faster
  • Create impressive photo books and slideshows
  • Take advantage of global adjustments
  • Improve your mobile workflow with both your iPhone and iPad
  • Deliver and share your images directly from Lightroom

ABOUT JARED’S CLASS:

Adobe® Lightroom® is the industry standard for post-production workflow and in Adobe Lightroom: The Ultimate Guide, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.

Jared will show the ins and outs of Lightroom Classic, Lightroom Mobile, and Lightroom Desktop. He’ll demystify the difference between each and demonstrate when to use each one for maximum output.

Jared will share tips on improving every phase of your workflow – from shooting to archiving. You’ll learn how to take advantage of the latest Lightroom tools and features and become faster and more skilled at adjusting your images.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Lightroom
  • Those who want to gain confidence in Adobe Lightroom and learn new features to help edit photos
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Lightroom fixes

SOFTWARE USED:

Adobe Lightroom Classic 9.2
Adobe Lightroom Desktop 3.2
Adobe Lightroom Mobile 5.2

ABOUT YOUR INSTRUCTOR:

Jared Platt is a professional wedding and lifestyle photographer from Phoenix, Arizona. Jared holds a Masters of Fine Arts in the Photographic Studies and a Bachelors of Fine Arts in Photography from Arizona State University and has been a professional photographer and college educator for the past 12 years and has been a speaking, debating and lecturing for the past 17 years. His attention to detail and craft make him a demanding photography instructor. Jared has lectured at major trade shows and photo conferences as well as at universities around the world on the subject of photography as well as workflow. Currently, Jared is traveling the United States and Canada teaching and lecturing on photography and post production workflow. Join him online for monthly "Office Hours" at www.jaredplattworkshops.com.

Lessons

  1. Differences Between Lightroom Mobile and Lightroom Desktop
  2. Hard Drives
  3. File Organization
  4. 30,000 Foot View of Workflow
  5. Importing into Lightroom
  6. Building Previews
  7. Collections and Publish Services
  8. Keywords
  9. Hardware for Lightroom
  10. Searching for Images
  11. Selecting Images
  12. Organizing Images
  13. Collecting Images for Use
  14. Develop Module Overview
  15. Profiles
  16. Basic Adjustments
  17. Basics Panel: Texture, Clarity, and Dehaze
  18. Basics Panel: Saturation and Vibrance
  19. Tone Curve
  20. HSL
  21. Split Tone
  22. Lens Corrections
  23. Details
  24. Transform Tool
  25. Effects Panel
  26. Synchronizing for Faster Editing
  27. Spot Tool
  28. Skin Softening and Brush Work
  29. Range Masking
  30. Dodge and Burn
  31. Working with Specific Colors
  32. Edit Quickly with Gradient Filters
  33. Making Presets
  34. Preparing Image in Lightroom
  35. Content Aware Fill
  36. Skin Repair
  37. Skin Smoothing
  38. Expanding a Canvas
  39. Liquify
  40. Layers and Composite Images
  41. Sharing via Web
  42. Exporting Files
  43. Sharing with Slideshows
  44. Archiving Photos and Catalogs
  45. Designing
  46. Making Prints
  47. Color Management and Profiles
  48. Archiving Photos and Catalogs
  49. Using Cloud Storage
  50. Adding Images to your Portfolio
  51. Collecting for Your Portfolio
  52. Publishing Unique Websites Per Project
  53. Sharing to Instagram
  54. HDR
  55. Panorama
  56. HDR Panorama
  57. Making Presets
  58. Creating Profiles
  59. Maps
  60. Setup for Tethered Shooting
  61. Sharing with the Client
  62. Watched Folder Process
  63. Second Monitor and iPad
  64. Backup at the Camera
  65. Gnar Box Disk Backup
  66. iPhone and iPad Review
  67. Importing to Lightroom on iPad
  68. Cloud Backup
  69. Adjust, Edit, and Organize
  70. Using Lightroom Between Devices
  71. Lightroom Desktop
  72. Removing Images from the Cloud
  73. Profiles
  74. Light
  75. Color
  76. Effects
  77. Details
  78. Optics
  79. Geometry
  80. Crop
  81. Adding and Using Presets and Profiles
  82. Local Adjustments
  83. Healing Tool
  84. Synchronizing Edits
  85. Editing in Photoshop
  86. Finding Images
  87. Sharing and Exporting Albums on the Web
  88. Posting Images to Social Media
  89. Overview of Lightroom Desktop
  90. The Workflow Overview
  91. Organizing Images
  92. Albums and Shared Albums
  93. Lightroom Desktop Workspace Overview
  94. HDR and Panoramics
  95. Light
  96. Profiles
  97. Tone Curves
  98. Color
  99. Effects
  100. Details
  101. Optics
  102. Geometry and Crop Tool
  103. Sync Settings
  104. Making and Adding Presets
  105. Healing Brush
  106. Brush Tool
  107. Gradient Tool
  108. Edit in Photoshop
  109. Finding Images with Sensei
  110. Sharing Albums on the Web
  111. Print through Photoshop
  112. Exporting Images to Files or Web Services
  113. Connecting with Lightroom Classic and Mobile Devices
  114. Archiving Images for Storage
  115. Review of the Workflow

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