Cropping for Print

 

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

Lessons

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 100Gradients 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

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