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Color Management Policies in Lightroom

Lesson 12 from: From Capture to Print

Rocco Ancora

Color Management Policies in Lightroom

Lesson 12 from: From Capture to Print

Rocco Ancora

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Lesson Info

12. Color Management Policies in Lightroom


Class Trailer

Class Introduction


Advantages & Pitfalls of Printing


Demystifying Color Management


Understanding Bit Depth


Best Color Space to Work In


Importance of Image Capture


Live Shoot: Natural Light


Live Shoot: Studio Lights


Lesson Info

Color Management Policies in Lightroom

Okay, so here are the images from, from earlier today, let me go through them. Let's go back to adjusting the colour themes, okay, and we'll, we're gonna see this in a little bit more detail, now. So, as I said earlier today, this was the this was a target that we shot, and by going into the develop modules. So, when you're shooting these, you gotta make sure that you're seeing enough, of the face as well, and I know that like, some of the changes that you're gonna, we're gonna do here are gonna be very subtle, and by the time you, you view this, ya know through the streaming, and of course, through the capabilities of, of modern technology, you might not see the subtle changes, but trust me, they're there, okay. So, let's have a look at this, so, watch what happens, I mean as I click onto the midpoint, okay, you see how the face just got warmer, mmkay, as I click, on the warmer tones, here okay, the face gets cooler, and if I go down here, to the real warm tones, okay, even cooler aga...

in, so, you're not stuck with these clinical mid grey, which is down here, once you click it, it's kind of ya know, that's all you got, ya know, you can click on, ya know, slightly cooler colors, slightly, cooler mid tones, here, to give you a warmer skin, mmkay, which is what we can do there, or, we can, keep it as neutral as we, as we possibly can, okay, so, once I've got that, once you, once you take a photo of this, as I've said today, earlier, in the course, make sure you do include some part of the face, then just photogrpah that, cause that isn't gonna tell you much, as you start to to do the adjustments, mmkay, so, as you move across, you know, we adjust every other, every other file accordingly, so, let's go to the, daylight one, that we did. So, I'm gonna go back into library, so, these were the daylight shots, and then get's go into fit, so, that's what we shot with with the daylight, okay, so let's correct this one first, sort of around there, okay, histogram is looking good, okay, and then I'll go to the next one, and I'm just gonna hit previous down here, and that'll copy the colours that I've just seen. Now, one of the things here, remember, we talked about in an earlier session, what we talked about, keeping everything switched off in your camera, right, in other words, Are we shooting in Faithful, Are we shooting in Camera Standard, ya know, everything is turned off, and there's a reason for that. If I come down here, at the moment, the image is being rendered using the Adobe Standard profile, okay. Now, the minute I change from Adobe Standard to Camera Neutral, watch what happens to the image, okay, the contrast comes in, and it's a lot closer to what not Camera Neutral, Camera Standard, we hit the wrong one, Camera Standard, there it is, Camera Standard, ya see the contrast comes in, okay, so, that's the before, that's after. So, you're starting to get that natural contrast, that was captured originally, and we're not getting this sort of flat image, where we have to start from ya know, from scratch, and applying contrast. Usually, I don't touch my contrast at all, a lot of the times in my images, because just by changing ya know, from Adobe Standard to Camera Standard I get all of the contrast and color adjustments I need, okay, so, from before and after. So, the minute, the minute I do that, the minute I do that, ya know, the adjustments I apply in Lightroom, I extended on image range a little bit. So, what do I do is I open up the shadows a little bit more, okay, which we're doing so here, okay, we're bringing down some of the highlights, and we're just increasing that, that exposure. So now, I've got more information, to to play with, okay, so, the role of Lightroom for me is to get good colour and good tonal range, and then once we go into Photoshop, then ya know, we can start to, to do other things with it, mmkay, now, previous, mmkay, that's it, off it comes, next one, previous again, so, you can see how quickly, okay, I'll probably push the shadows here a bit too much, around there looks good, and exposure, we'll bring that up a little bit, okay, kay, about there, so, we'll go to the next file, and that's how simple it is to correct your colour. Ya know, you just copy from previous, ya know, and you'll have a job corrected in no time, and ya know that the colour is good, instead of playing around with sliders trying to guess roughly, where the correct colour is going to be. So, let's have a look at the, the Tungsten section of the day, so, here we go, so, there it is, the almost happy model that we had, and that she was amazing. She was so good to work with. So, it's going to develop, bring this down a little bit, and we'll click on our center, there it is, okay, and we've totally cleaned that out, yeah, it's all gone, and let's warm this up a little bit, so, about there, or possibly, right about there, and just a little bit more, cause I wanna keep it a little bit warmer, it's pretty cool, there it is, and then once again, we go with previous, okay, there it is, and then we make our adjustments, proper adjustments, highlights, do shadow detail, mmkay, I can probably afford to, ya know, warm this up even more, okay, so, I would then adjust colour temperature manually, just to give me more of a warm feel, probably about there, kay, I'm not sure if you can see the subtle changes here, but on this monitor here, you can certainly see it one this one. So, subtle changes, and then, I could be as brutal as shift clicking all of these, okay, and sync, and we'll sync everything, okay, and all of those images will change accordingly, okay, so, we now move into each one of those, by the time it catches up, it's not catching up, okay, so we can, we can do a large batch, large batch at a time, mmkay. So, we click onto that one, click on the rest in the series, we'll sync. Alright, so these now that I've, that I've played a batch adjustment to are all gonna be the same, and they're all gonna have the same sort of colour look, kay, including these ones here. Which are a lot of fun to actually do, and these are the flash ones of the same thing, we could, ya know, go back, let's find our reference one. Where are we? so, let's get into library, and we'll have a look at em, so, it's about trying to make things as simple as possible for yourself, as far as, as far as colour is concerned, there it is, there's our flash one, use this one, go into develop, click onto that one there to get the colour, and then increase exposure, liven up shadows to get the tonality that we want, going to the next shots and then, it's gone a bit bright, bring it back, and we do, ya know, batch corrections, ya know, very, very quickly, okay, so, it's amazing how quickly you can work, once you can manage colour that way in your camera, okay, and even if you're doing, especially, if you're doing colour critical work, where you're shooting something that the colour is important, like a lot of fashion photographers use this technique, because the reproduction of garment has to be, ya know, pretty close to what the designer intends, and especailly for, ya know, look books, and all that sort of stuff, where, ya know, the garment and the buyer wants to see the garment for what it is, this is definitely the best possible technique to use. Rocco, so, you adjusted the exposure, when you were post processing a little to the, to the right. Yep. Would you, would you expose this image differently, so that you wouldn't have to. Yeah. Adjust the exposure, or is it. Yeah, I would have given it more exposure, okay, so yeah, normally, if this was a real shoot, that's what we would do. We would have given it a lot more exposure. Mmmhmm. Before we're shooting it, and seen the histogram, at the back of my camera, rather than shooting tethered, that's what we definitely would have done, but certainly, a little bit of exposure change like this, it's not a lot. Yeah Ya know, and it's quite fine. Yep. To be able to, yeah. Okay. Okay, so, let's have a look at first, Lightroom, and the way Lightroom deals with colour. As I said to you, when you import new images into Lightroom, Lightroom, ya know, maps those images into a ProPhoto RGB colour space, but there is a, there's a couple of things, that we need to address in Lightroom. So, when we export out of here, okay, cause, we Lightroom like, it's just dealing with Proxies basically, images proxies, it's not actually ya know, doing anything to the file itself. So, we have to look at the image settings for, ya know, the output and the destination, okay. So, ya know, image format, whether it's jpeg, psd, tiff, okay, if I'm working in tiff, and then the colour space I want to output to, whether it's gonna be a ProPhoto RGB colour space, or an Adobe RGB colour space, most of them are wedding work. I will just output to an Adobe RGB colour space, where it's a lot easier to handle, and I don't have to do multiple conversions, because then from Adobe, I will go straight to print, okay, from, either it's gonna be commercially printed, by an external source, or whether I'm doing stuff in house, in the studio. Okay, I can choose eight bit or sixteen bit, obviously as a tiff or a psd, and of course, if it's a jpeg, ya know, jpeg is is gonna be an sRGB jpeg, which is gonna be, for the client's computer, and the reason why we do sRGB, cause if we're uploading content on the web, mmkay, that's, that's basically, the viewing conditions for, for any web by stuff, it's gonna eliminate a lot of the problems of colours, and colours are gonna be closer to what you see than, the client. So, basically that's the way that's done. So, then we go into Lightroom. We go into preferences. Now, the only thing you have to do here is the external editing, right, and how we deal with external editing. So, if we take files one file at a time, into something like Photoshop, ya know, we have to choose the file format, and the colour space that we're working in, whether it's gonna be Adobe RGB or ProPhoto, and the bit depth and the resolution. Now, the reason why I've set my resolution to 316, there's a reason for that, because the 90, resolution, and we'll speak about 90 resolutions of printers, in sessions to come still, of the Epson Printers, and we're running big Epson printers at Capture to Print is 360, right, the Canon printers is 300, so they're different, and it's the, it's the 90 resolution of the printer, and that's what I wanna send, ya know, that's the resolution I wanna send files to the printer. So, for Epson printers, 300 for Canon printers, it's just the way that they like to receive the the information that's being converted. So, they do a better job at 360 than the Epsons, and 300 for Canons, than if you would give em another resolution, and so, if I send a file to this at 200 dpi, right, it would, the printer would convert it to 300 dpi, to make it work within that environment, and I'd rather do the conversion, and give it to a 360, than allow the printer to make the decision of interpolation. Okay, so that's very, very important. Canon's no different. Canon's just 300, it's just the way, that the engineering's on the printers work.

Class Materials

Bonus Materials with Purchase

Rocco's Photoshop Actions
Rocco's Printer Evaluation Files
Color & Luminosity Seperation Action

Ratings and Reviews

Roberto Valenzuela

I honestly consider many courses to be great, but optional. However, this course by Rocco Ancora is a MUST! It helps the photographer complete the circle of being a photographic artist. Our job doesn't end at the edit, it ends with the print. When your clients can hold and enjoy your creative vision physically, that is when the magic of being a photographer happens. I have been so fortunate to travel the world teaching and meeting some of the best photographers in the world. That being said, I can say with confidence that nobody can teach this combination of Photoshop retouching / fine-art printing better than Rocco Ancora. I believe in this class so much, I traveled to Seattle to attend this course to be part of the live studio audience. I have never done that before. But that's how important I consider this material to be. I am so happy I took the time to go and learn from the man himself. Now, I will get this course to watch it, dissect it, study it, and practice it. Very excited to see how the knowledge in this course will propel my career further. --Roberto Valenzuela

a Creativelive Student

I was fortunate enough to attend this class in person and got to experience Rocco's prints in person. The quality is absolutely breathtaking and a game changer, Learning these skills will really help my business in a number of ways. In the past, I have had a difficult time convincing clients to purchase typical lab prints through my studio, as opposed to buying them through Walmart or Costco where the quality was "close enough." Rocco's method that he shared in this class creates three dimensional images of unmatched quality and images that just jump off the page. The knowledge from this course will empower me to help run a sustainable business and thrive as a photographer. You would be foolish to not learn these methods and incorporate them into your business. Highly Recommend!!

April S.

I have invested time into learning Lightroom and Photoshop, my own gear, and my particular photographic style, but the one thing I am really lacking is a solid understanding about preparing an image for print, and the various print options (e.g., paper types). When I saw this course come up on the CL schedule it caught my eye immediately so I RSVP'd for the live broadcast. I was at work when it started and couldn't watch at that time. I do listen in from work sometimes, but after 2 minutes of listening to this course I realized it was one I really needed to watch closely and focus on. So, I stopped the stream after a couple minutes and bought the course. I have never done that before. I always wait and watch as much as I can in the initial broadcast (or rebroadcast) to decide if a course is one that I really should spend for. I knew right away though that Rocco was presenting the very information I was lacking and needed, and I wanted it! In addition, it was clear to me after looking him up online that he's a consummate professional with lots of experience and his delivery style even in just the couple of minutes that I listened reflected that. I already have X-rite ColorMunki Display and Colorchecker, a good monitor, and I have a photo printer (Canon Pixma Pro-100) but I'm lacking that technical understanding of color and know I'm not using my resources to their fullest. I use my Canon Pixma to test-print images before uploading to the print service I use. My method isn't ideal since the service uses different printers and ink, and paper depending on what I choose, but at least I have a much better idea of what my image file will give me in print form. After Rocco's course I believe I will be much better equipped to prepare my images and choose the options best suited to each image. I'll still test print if only because it's fun to see something on paper, but I expect the results I get from the print service to be much better once I really know how to put this knowledge to work for me.

Student Work