Painting With Adobe® Photoshop®

Lesson 40 of 40

Final Q & A

 

Painting With Adobe® Photoshop®

Lesson 40 of 40

Final Q & A

 

Lesson Info

Final Q & A

Had a few people asking about presets so this is jim and virginia cora sena and david g as well they're asking about can you load light room presets into a cr you can't very good question um even though the the parameters themselves air completely compatible the file format for the actual preset is not um but there's a work around um as an example if I come up into the bridge will did they ask what they want they want a light woman day cr the one take a star in the light room can you load light room presets into a cr what you would have to do as it the reason why asking why it's um important is that's an example if I've got an app a image here on dean the bridge and I've done some enhancing to it like this image this sandy foster the shot that we already looked at this is a d n g file adobe dmg files that file actually has all the settings all the tweaking the tone, the dodging burning inside of it adobe bridge does not use a catalogue scenario for storing its images or for using organ...

ization on it, and so what it does is if it can it writes the information into the file if it's a j peg tiff or adobes dmg it actually puts it into the file there's there's no other place that it goes if it's something like a nikon f or canon c r to it, writes what's, known as the sidecar file, but it puts it in the same folder, right with the images light room does not like room has a default takes all these luscious settings that you've done to an image and stores it in its central catalog as a default setting, but you can ask it if you're really nice and polite when you go into the light room, you can select a range of images that you have tweaked and you can do what's known as a command s or control s and do what you normally think of is a save, and what that does is it's asking light room. Okay, would you like to save the metadata into the file? If it all possible for proprietary camera files, meditated will be saved to a sidecar file next to the original photo, not only in the central catalog, which is usually in your system folder, or who knows where it is that's up to you. Most people don't know where their catalog is, but that's another whole issue it's actually going to take it as a sign for may I teach this as a safety net for you because of your catalog gets separated from your images. You're not a happy camper, so nice list safe safety net when you're done with the project, select all the images in the project to a command s and writes that metadata into with the images if it can't inside of it or if not as a sidecar file, and now all that luscious goodness that you've done is in two separate places. Great, simple, easy little safety net, but the reason why bring that up is let's say that you do your luscious goodness to an image like one of our images here and would come over here. We'll see if we've got some, um, snapshots for it. So here is so we've got really cool version lets say, I'm doing some, you know, retro effects on this old car hood ornament that I shot so here is a before and here is after I'm just kind of exaggerating it if I come up here and do a command s for that file, especially since that happens to be a d e n g file if I come over here and right, click on this file and say, um, show and finder, there it is, everything that I did to that file is in here, including all the snapshots, so your question is, is there one you have a way of taking those presets? What you do is you save them as snapshots. I got this affect this affect this fact? I love all these effects. You put it into an image, you then take it into something like the bridge and there's our image, we open it up, it looks exactly the same as it did in light room because I actually put the maid of data into it could care less if the meditate is in the catalog, which is where normally lives. I come over here to my snapshots and there's all the exact same snapshots. So then you'd say I like this as antique shadow resuscitation preset number one and you click the button and you save the parameters that you'd like huge hassle, pain in the butt that's what I did for all my presets by the way, you'll if you go to that my facebook page, I believe that you will find and you can actually go on one for a long time distributed my presets as part of their perfect presets package. And so you if you go to freebies at onward onward software dot com slash free, I believe, is where it still is you're going to find a bunch of light room presets and adobe camera presets, and most of those are all mine and but you also confine him right here. Let him for a while presets as part of that same page where you found the painting presets these are all light room presets. If you are strictly an adobe camera user and you want all those same presense, then going teo on one software and going down to their perfect preset stand at the bottom of their freebies page his dough became a raw presets, and again, most of those are mine, if not all of those. So I did that, so I did. I handed each one eye, I would save it, and then moved them from one to the other while I'm at it has speaking of these light room presets, because we've talked about presets before and here when you go into presets, and here you khun select a group of presets, and then right, click on it and say important that's how you could bring in presets once you've downloaded. So if you download my light room presets, this is how excuse me, you can, um, bring them into light room is using this import command. If you wanted to export them and share with someone else, you'll just find the word you'd name something like antique, too. And then you do a search on your desktop for antique to and you're going to find the folder it's kind of hidden you'll find the folder to where those pre sets are good question thanks quick question that came up do you ever after your painting and photoshopped ever take anything back in the light room or a cr for any reason? Well actually, um probably less so now one if it started in light room and goes in is a painting on I just close it down it's going to go right back in the light room automatically automatically as a default setting when you do anything, whether it's painting or retouching or whatever from light room into photo shop you closed the file it wont ask you where do you want to put it? What do you want to call it? It will immediately come back down into light room as a separate file it won't right overwrite your original will come in as a separate file and you'll find it you should as a default especially if you have your sorting off by file name rather than date created but I fell name you're going to see it right next to your original so it automatically will go up and come back as the default workflow the question is then would you continue to edit it in light room? Um you certainly could because when you bring it into footer shop, you may have all these layers and stuff like that. Now you want to take advantage of the cool stuff that light room khun do like it's special sharpening, maybe the targeted adjustments you now want to do some more dodging and burning of color work. You might do that a lot less now than you've done in the past, because adobe camera raw is built into light room for any file structure, so you may do that instead, so that's one main edit rather than edit light room, footer, shop, tweak paint back and re edit. You could do it all in photo shop if you didn't have photo shop see see that's the only one that has a camera built into it in terms of in the application itself, as opposed to that little side application. Yes, then there's no reason in the world why you couldn't go light room. Do all your color and tone and enhancing for a painting take it into photo shop. Do all your painting and jiggery pokery if you don't have access to adobe kamerad, close it down and continue to do whatever color and tone or final sharpening work since there's a print module into I'm light room that would be a great way even if you didn't edit it. Taking advantage of the print module on light room would be an excellent thing to do and of course, that final sharpening would be a great place to do it in there rather than photoshopped great questions. Okay, yeah, I think the last thing we wanted to touch on was we had some questions on printing. I know we touched a little bit on it. We have a follow up question from annette de from palm beach, she says I know that jack went over resolution for printing yesterday, but is it recommended to output for print at three hundred peopie I, regardless of the size of the canvas or other substrate? No, it is not because and waded touched on it briefly yesterday, but let me give you a little a little overview on it's really pertinent just because there is this urban legend. This myth that you need three hundred pixels pearly inch and pixels per inch means you're going to take three hundred pixels and squished them together when you go out to a printed page and that's overkill for the vast majority of uncoated stocks like a watercolor paper or a textured paper or something like a gallery where have canvas because those services either one if it's a watercolor paper has a dot game that spreads those pixels and hides the pixels what you're trying to do the whole goal of printing a digital images to hide the pixels right keep it as sharp as possible but hide the pixels canvas hides it because of thie irregular texture on it that light is diffused because of the texture and you don't see pixels because there are all these little tiny dots and textures on the paper. So a three hundred peopie I file let's say is ten makes for a small image a two hundred twenty five d p I, which is the recommended kind of medium rare as I mentioned, is almost half that size so it's going to be five megs and we'll still have plenty of resolution for any watercolor paper or gallery rap half the file size, which of course means you can work twice as fast if you're doing something like a painting where your horse power is important if you've got a supercomputer and you know space is no issue and time is no issue, then there's no downside toe having more pixels than you need. The thing is is that if you go from two twenty five to three hundred you almost half the file size again because if you think about it one fifty to get to a three hundred dp I file you've got one fifty you double it and then you it's one fourth the size of one fifty pp I file is actually one fourth the size of a three hundred people I file which means it's one fourth the file size and most galley wraps if you now in a pinch you've got a low resolution file and you go I want to print this is biggest possible you can go as low as one fifty p p I and still get a beautiful print there bill any people who are pretty iphone shots two giant posters with some good sharpening you could get a lot done so the default setting of three hundred d p I I would only use for when you're printing to a glossy coded stock or one of the metal prince those because that that dot's going to ride right on top of this very hard surface to hide the pixels you just need a lot of pixels and that's where the three hundred peopie I comes in the dp I'll just mention even though that's not the question there's some people use those terms independently. D p I is the dots per inch of a device a monitor has d p I a printer has the dots print check and print at those things have dp I p p ay relates to printing and how many pixels prints were put together on the printed page two totally separate ideals even though sometimes we use them interchangeably good to know all right jack let's do one final question before we end today and that is a question from catan, who is from new jersey and they ask, is your book on digital art due out soon and what is it called it's not and it won't because I'm not doing books anymore oh, I'm not doing that maybe said something like that the very beginning of the but no, I think what I said is that I don't do books that I have ever done any but I know I've got probably somewhere between a million and two million books and friend that's what I thought of one every major printing award into including best computer book and blah blah blah twelve languages around the world I'll tell you all my books in portuguese mandarin, cantonese but um I stopped doing it because one, as I mentioned, what I didn't mention is that it takes me so long I'm so aylin getting things perfect and kneel down and miniaturized and the least number of steps that it would take me to do a complete book it would take me as long as the entire life of that product and people would just you know, people already get pissed off enough it may hit some delays you all know who you are and deservedly are pissed off, but as an example the light room five class that we did here a creative life that was done within two three weeks of the shipping of the product. There's no way I could have a product ship. Be sure that it's locked in concrete create an entire book on that and then publish it in any time that's relevant? Actually, you know it being useful for anybody else or profitable for may. So that's, why these movies? I just love because we come in, we do it there in depth. They're way more in depth in a book. What we covered here in this week would actually be a lot of information in the book and in a book format. It actually a lot of it would be very dry in this case. Hopefully it's actually, you've seen the application not only the information, but the application of that and hopefully a little inspiration thrown in as well. Because that's what I love about the live training it's a very different way of learning. And as I mentioned before, you learn a huge amount by tone. Voice inflection. Um, I can emphasize things even whether the cameras on me or not, I can emphasize things in ways that I could never do in the printed page. So no, I don't have any books planned. I think I was under the impression they just wanted to see your artwork in a book. Oh, instructional, but, you know, and again, that's a silly thing. I have sold my artwork, my photography and even digital printing in san diego, there was a beautiful gallery right by where I lived, but it closed down and I just have been too busy to to shut myself. A smart person would be selling their work, but I am not said smart person, but because I'm not smart, I get to dive with whales in tonga and the caribbean and served my brains out, so he kind of bounce get out. I don't do social media, I don't sell my own products, but I do I think have this balance to life as I can try and make it great. Great. Well, the fact that you're not writing book I think, makes this content even more valuable. So another reason to look into this it's never been anywhere. I've never done this extensive of a painting title I've never covered in any title the mixer brush so for me, it's very, very exciting it's been a long time coming on, so I'm very glad to get it out there.

Class Description


Learn how to reshape your photographs into expressive original art quickly and easily with Adobe® Photoshop® Hall-of-Famer Jack "Wow" Davis. Clients love artistic expressions of their family and pets, especially as large (profitable) gallery wraps or watercolor prints. Join Jack as he shows you simple step-by-step techniques for transforming your photos into gorgeous oils, pastels, watercolors and sketches – all by cloning and filtering your original photographs.


Software Used: Adobe Photoshop CC 14.0

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