Adobe® Photoshop® CC® Bootcamp



Lesson Info

Cropping for Print

So the other thing that we're gonna talk about is cropping for, specifically for what happens in camera. And in talking about that, we're also gonna be talking about what happens in post, or in printing, I should say. So we'll close this down. So when we're cropping for print, there's a couple things that we need to consider. And one of the things that I want us to consider, here, when we open these up, just gonna open up these images. They're all DNG files. Is the difference between a Micro Four Thirds camera and a full-frame camera. So, you see this right here. This is taken, this shot right here, by itself, was taken with a full-frame camera. The same exact shot on the same exact tripod with the same exact millimeter lens was shot with a Four Thirds camera. So, in our cameras, we are doing some form of cropping. Because this is a Four Thirds sensor, we have to understand that that sensor is smaller than a full-frame sensor. So what it does is it, they say they there's a doubling fac...

tor on your lenses, that your lens, that it was 24 millimeter, is it now 48? Well, it's not necessarily 48 millimeters. It's still a 24-millimeter lens, but the sensor, because it's smaller, is doubling the size of what it's seeing. It's zooming in a little bit farther into that, into what the lens is showing it. So, here's the full-frame version, which would be the closest that we can get to a negative, a 35-millimeter negative. And here's Micro Four Thirds. How this plays in is that every one of these cameras, and all these sensors, have a different aspect ratio for the size of the image that they shoot. Some of those aspect ratios are very helpful and conducive for print, and some of them are not. So here's a good example. This is a Micro Four Thirds image. This is an APS-C image. And this is a full-frame image. One of the biggest questions I get when it comes to cropping or when it comes to saving for print is, I get an email that says, hey, I just, I shot this image, I absolutely love it, I just uploaded it to my favorite place to print, and guess what, it's cropping all this stuff off. Why is that happening? What I see is what I want. Well, what you see and what you want are two different things. We can't always have that. So what we have to consider here is that when we crop specifically for print in mind, we can still use the crop tool that's in Photoshop to help us out with that. Because we're using things with a ratio. Now, these ratios here are four by five, five by seven, two by three, sixteen by nine. We can change this to whatever we want, though. So if you're about to print and your print is a 20 by 24, we didn't see 20 by 24 there, did we? No. So if we click here and go 24, tab, 20, that would be what would happen if I was to print this image this image as a 20 by 24. I'm going to lose something. I have to lose something. Now, you would say, well, why wouldn't you just go ahead and then just print it as a 24 by and maybe make that aspect ratio fit a little bit better? And I very well could. But let's say I'm doing a gallery exhibit and I want all of my images to be 20 by so that it looks like they're all part of the same portfolio where there's no differences and everything's perfect and level on that wall. 24 by 36 might throw off that 20 by 24. So now what happens, we don't throw it out and say, let's pick another image, we just see what can work for us with an 24 by 20 photograph. What crop can work for us? Where would it work and where can we still get a compelling image at 20 by 24? Now, that's with a full-frame image. If I were to look at this full-frame image in say, 8 by 10, okay? That's an 8 by 10 on a full frame. I'm losing some on both sides. My hardest transition actually came when I went from working with a full-frame camera or working with a Micro Four Thirds, I used to be an Olympus shooter, to going to a full-frame camera. I skipped the whole APS-C in between, I skipped that whole crop, and I went right to a full-frame camera. So if we look at this, this is an APS-C. And this is a Micro Four Thirds. Look at the difference here. Look at how much less is being cropped off at an 8 by 10 with a Micro Four Thirds. Look at how much more is being cropped off with a full-frame camera or even an APS-C, like we would see here. So, any time we're working with this, and this is not, I don't want you to think that this is now going to be an 8 by 10 image. It's not, okay? So we need to look at this. Let's look at this photograph. If we press command or control on our rulers, and we look at the crop here, we've got this set to an 8 by 10. You would think that when we are done with this, it would be an 8 by 10, right? Well, look at the rulers on the top. It's going from zero to just over 26, meaning that this is a little bit over 26 inches wide. And it's a little bit over, almost 17 inches tall. So if I were to commit to this and say, this is the 8 by 10 that I want, and press enter, it is an 8-by-10 aspect ratio image, but it is not an 8-by-10-inch photograph. So when you send it to your printers, this, you could still send this to your printers, and it would print just fine on an 8 by 10 photograph. How we know that this is not an 8 by 10, other than looking at the rulers, is if we go to Image, and we go to Image Size. This image size is telling me how many pixels wide my image is, but I can change that at any moment and change that to inches. So this is still a 22 by 17 image. It's still a very large image, it's still 300 resolution, it has not been changed to 8 by 10. The only thing that has changed in this photograph is that we are now able to print this in a good, comfortable 8 by 10 aspect ratio with this size image. If you were to physically still see this photograph, it would still physically be 22 inches wide and we know that by using the image size pane. So if we went, if we just press Okay on this and commit to this, we're not changing anything, okay? The same thing is true with any of the images that we do. If we do something like a four by six. This is a perfect four by six because an APS-C camera and a full-frame camera are both a two-to-three ratio, which is the same thing as a four by six. So this four by six would be perfect. But does that mean that we have a four-by-six image? Absolutely not. Because if we press command or control R, and look at our rulers on this, it's almost 20 inches by almost 13 inches. So that's one of the hardest things to wrap your head around when it comes to cropping, especially when it comes to cropping for print. Because what I do is, I don't leave my images up to the printer to crop my photograph. I crop it here in Photoshop first. So when I want a four by six, I come into Photoshop, I ensure that I have four by six selected, so that I know that this is the four by six that I'm gonna receive. Or the 8 by 10, or the 20 by 24, or whatever image size that might be. Because when you send it to the printers, they might give you a thing that you can use to move the crop around, but it's not nearly as effective as what you can do here in Photoshop. Especially when you can change the size of things. And also, it doesn't give you the grid lines there. If you were to go to your favorite printer, upload your image, it's gonna say, it's gonna crop in like this, well what are you losing? You're losing a lot of the ability to see the golden ratio or the triangles, or the rule of thirds. They don't necessarily have those on those printing websites or whoever you might be printing through. So the thing to take away here is that this is not a direct correlation to image size. This is just changing the aspect ratio of the current image that you're working on.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018


1Bootcamp Introduction
2The Bridge Interface
3Setting up Bridge
4Overview of Bridge
5Practical Application of Bridge
6Introduction to Raw Editing
7Setting up ACR Preferences & Interface
8Global Tools Part 1
9Global Tools Part 2
10Local Tools
11Introduction to the Photoshop Interface
12Toolbars, Menus and Windows
13Setup and Interface
14Adobe Libraries
15Saving Files
16Introduction to Cropping
17Cropping for Composition in ACR
18Cropping for Composition in Photoshop
19Cropping for the Subject in Post
20Cropping for Print
21Perspective Cropping in Photoshop
22Introduction to Layers
23Vector & Raster Layers Basics
24Adjustment Layers in Photoshop
25Organizing and Managing Layers
26Introduction to Layer Tools and Blend Modes
27Screen and Multiply and Overlay
28Soft Light Blend Mode
29Color and Luminosity Blend Modes
30Color Burn and Color Dodge Blend Modes
31Introduction to Layer Styles
32Practical Application: Layer Tools
33Introduction to Masks and Brushes
34Brush Basics
35Custom Brushes
36Brush Mask: Vignettes
37Brush Mask: Curves Dodge & Burn
38Brush Mask: Hue & Saturation
39Mask Groups
40Clipping Masks
41Masking in Adobe Camera Raw
42Practical Applications: Masks
43Introduction to Selections
44Basic Selection Tools
45The Pen Tool
46Masks from Selections
47Selecting Subjects and Masking
48Color Range Mask
49Luminosity Masks Basics
50Introduction to Cleanup Tools
51Adobe Camera Raw
52Healing and Spot Healing Brush
53The Clone Stamp Tool
54The Patch Tool
55Content Aware Move Tool
56Content Aware Fill
57Custom Cleanup Selections
58Introduction to Shapes and Text
59Text Basics
60Shape Basics
61Adding Text to Pictures
62Custom Water Marks
63Introduction to Smart Objects
64Smart Object Basics
65Smart Objects and Filters
66Smart Objects and Image Transformation
67Smart Objects and Album Layouts
68Smart Objects and Composites
69Introduction to Image Transforming
70ACR and Lens Correction
71Photoshop and Lens Correction
72The Warp Tool
73Perspective Transformations
74Introduction to Actions in Photoshop
75Introduction to the Actions Panel Interface
76Making Your First Action
77Modifying Actions After You Record Them
78Adding Stops to Actions
79Conditional Actions
80Actions that Communicate
81Introduction to Filters
82ACR as a Filter
83Helpful Artistic Filters
84Helpful Practical Filters
85Sharpening with Filters
86Rendering Trees
87The Oil Paint and Add Noise Filters
88Introduction to Editing Video
89Timeline for Video
90Cropping Video
91Adjustment Layers and Video
92Building Lookup Tables
93Layers, Masking Video & Working with Type
94ACR to Edit Video
95Animated Gifs
96Introduction to Creative Effects
97Black, White, and Monochrome
98Matte and Cinematic Effects
99Gradient Maps and Solid Color Grades
101Glow and Haze
102Introduction to Natural Retouching
103Brightening Teeth
104Clean Up with the Clone Stamp Tool
105Cleaning and Brightening Eyes
106Advanced Clean Up Techniques
107Introduction to Portrait Workflow & Bridge Organization
108ACR for Portraits Pre-Edits
109Portrait Workflow Techniques
110Introduction to Landscape Workflow & Bridge Organization
111Landscape Workflow Techniques
112Introduction to Compositing & Bridge
113Composite Workflow Techniques
114Landscape Composite Projects
115Bonus: Rothko and Workspace
116Bonus: Adding Textures to Photos
117Bonus: The Mask (Extras)
118Bonus: The Color Range Mask in ACR