From Capture to Print

 

From Capture to Print

 

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 Description

"If you have questions or concerns about the printing process, you'll find your answers here."
- CreativeLive Student

To be able to see and hold a photograph you’ve taken can be a powerful experience, especially if the image looks exactly as you envisioned when clicking the shutter. International photographer and master printer Rocco Ancora joins CreativeLive to show how to capture and edit your image so that it translates perfectly to print. Whether printing on your own or using a third party printing service, Rocco will have you confident in everything from calibrating your monitor to choosing the right paper for your product.

In this class you’ll learn how to: 

  • Pre-visualize your print before you capture the image 
  • Learn how to keep the print in mind during a live photo shoot
  • Techniques for calibrating your monitor 
  • Color management policies in Adobe® Lightroom® CC 
  • Manipulate your image in Adobe® Photoshop® CC 
  • Choose the right paper for your print 
  • Print through Adobe® Lightroom® CC, Adobe® Photoshop® CC or a lab
  • Print for an album 

Knowing how to understand color and how that translates from a digital file to a print is essential to selling your prints, albums or creating art for your home. Join Rocco Ancora and CreativeLive to simplify your print workflow while enhancing your end product.

"Once in awhile, there is a class that just blows you away and increases your photographic knowledge by orders of magnitude."
- Bob Wheaton, CreativeLive Student

"I wish I had found Rocco before I spent hours and hours googling, reading, (crying!) and wasting so much time and ink"
- CreativeLive Student