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Print Through Lightroom

Lesson 30 from: From Capture to Print

Rocco Ancora

Print Through Lightroom

Lesson 30 from: From Capture to Print

Rocco Ancora

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Lesson Info

30. Print Through 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

Print Through Lightroom

Because that's very simple as well, and very, very easy. Minimize that. Let's launch Lightroom again, which was down here somewhere. That's the image we've imported into Lightroom from what we've just done. That's our PSD. We're going to print. There's a couple of things first we need to do. First thing we need to set up the page. So we go into page setup, the printer, and 13 by 19 is the paper that we're using. That's the one, we hit OK. We don't want to rotate to fit. Then we come down here. Print resolution, we want to stick to 360. Now here in Lightroom we can actually apply sharpening. We can apply low, standard, or high amounts of sharpening. I would always leave that low. And then the media type, matte. So it knows how much that low level of sharpening needs to be. Obviously, the matte papers, because of the absorption of the ink, will allow you to increase the sharpening a little bit more to give you definition. 16 bit output, which is what we're doing. Profile, there's our pro...

file that we load into it. Perceptual is the rendering intent. And once we've done that we are ready to print. We would hit print. (mumbles) would come up exactly like it did in Photoshop. But we'll put all those parameters back in and we would print. So printing out of Lightroom is very easy. It does give you some pretty cool options as well. That is that. Lightroom is very, very easy to print out of Lightroom. Now let's look at what I was talking about earlier and Yanik was talking about the gamut thing. I'm gonna open up this image. So here we've got your classic examples of this particular image. We've got a lot of saturated color, would you agree? We're gonna go into view, proof setup, custom. And something like this I'm gonna print on, let's have a look. Pick up a nice paper with a wider gamut like a platine for something big. Just finding the right profile. Bare with me for a second. We'll just stick with this one, the platine settings for that one. Perceptual, black point compensation. I will hit OK. Them I'm gonna go into view, gamut warning. Everything that's red, it's gonna be out of gamut, and it's not gonna print. So we come in here, hue/saturation. We look at most likely the reds, and we bring the saturations of those back down into gamut. And we would print it. And that's how we would do it. So different papers. So to have that much out of gamut is probably a lot, but if you're getting stuff like this I wouldn't worry about that because the printer would be able to handle that through the rendering intent, so that's all good. But that would be out of control. And once again, bright, vibrant colors, you're limited by the gamut of the paper and what it can handle. I know we love bright, vibrant colors, even though when we print them they'll still look bright and vibrant, they will still have that vibrancy about them, but at the same time, we've got to limit where those colors fit on the piece of paper. If I was printing through a RIP like Mirage, which is a pretty cool program. What Mirage does, if you're printing high-volume stuff, especially and also if you wanna bypass Photoshop and Lightroom and have a really clean interface between your print and your printer, and your operating system. Let's go into finder here. Minimize that. Minimize that. We have our tif on our desktop. I'm gonna launch Mirage. Mirage Print by Dinax. There's a discount code for this software as well. I take the tif and I drop it in there. At the moment there's a mask on it so don't worry about the way that that looks. Actually, I'll fix that because I should have done that. I'm gonna just open that up into Photoshop and get rid of the masks, because it doesn't like masks that have been left over. Let's go into channels. We would get rid of this mask here, because that's the mask that it would see. Save. Let's go back here. Bring it back into, there it is. I've already put in my paper size. I've got the P800 in there. I can center the image on the paper any which way I want. I could upsize, I could downsize, I could do all sorts of things with this. If I wanted to do multiple copies of it, I could. I could tile it, I could do picture package stuff. So there's lots of really wonderful things that you can do in programs like this. The way it works, I go into settings, custom media. At the moment I've created on for the canson platine, for the P800. I open that up, you double click onto the paper, load in your profile, and you basically forget about it. That's it, it's in there. All I need to do is call up what I'm actually printing on, which is the SC800 platine. The profile is already attached to it, and I print away. It's a really, really cool program. I can add borders to the actual image itself. I can also alter the number of copies, as I said earlier. At the moment we're printing one copy. I could do two copies. Hit enter, so all of a sudden now I've got two sheets. Ready to go. If you're doing lots of printing, Mirage is really cool. The other thing also that I like to print through Mirage because it bypasses once again the operating system and the Epson driver, is writing profiles with it, because I can go into profile creation and it switches off all the color management, and I'll get the most purest translation of information from the file to where it's got to go.

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