Photographing Panoramas for Large Prints

Lesson 26 of 30

Printing with Photoshop

 

Photographing Panoramas for Large Prints

Lesson 26 of 30

Printing with Photoshop

 

Lesson Info

Printing with Photoshop

Alright, so we're gonna send this sunset photo off to Photoshop, so we'll go to Edit in and we're gonna edit in Adobe Photoshop CC. It's now gonna take it from here in this color space as a DNG file. It's gonna send it off to Photoshop as a TIFF. And again, it's probably a big file so it's taking a little bit of time. That's alright. So one thing is about printing at home you know, it's part of the class, this stuff takes time. These are big files and you just have to be patient, which brings up a point that I wanted to make earlier. Your computer matters. If you're trying to do panoramas, buy an expensive computer with a lot of RAM and a fast processor. You know, sometimes eight gigabytes of RAM is not enough so I recommend 16 or 32, and then get the fastest processor that you can buy, cause this stuff churns-- It just takes a lot of time in processing power. So here we are, we're in Photoshop. I'm gonna say convert to the working space which is Adobe RGB. And there we go. So let's ru...

n through the process of Photoshop printing. Head over to Keynote real quick, I'm gonna show that checklist and then I'm gonna go through it rapidly in Photoshop. Okay, so in Photoshop, you get the photo looking the way you want it, then we're gonna go File, Print. We choose the printer, we choose the print settings, like the feed, and the paper type and the quality. We gotta pick the orientation, and I'll show you where that's located, and then Photoshop has a lot more around color management. Color handling, printer profile, and rendering intent. So I'll talk through that. Okay, let's head back to the software. So in Photoshop we'll go File, Print. Okay, so what do we see well something weird is going on right? It's the orientation maybe one of these is not set up properly so we click on that for layout and it's still giving me a funky look, so let's just start troubleshooting, figure out what's going on. Okay, so the printer is the Epson, Epson SC-P600, great. Print settings. So paper size is 13 by Yes. Main roll best quality and we hit save. We save that there. Next Who should handle the colors? Should the printer manage it or should Photoshop manages it? Photoshop manage it-- And really what that means is, do you know what your printer profile is and you got your paper, and are you all ready to go with that. If not, then just say printer manages color. Yes, send 16-bit data, that's cool. Position. Let's see, is position the issue, no. How about scale to fit media, there we go. So we have to click scale to fit media. You know a lot of times when you open up the print job, you're like, "What is going on? "It's not matching with my expectations." You just really have to go through each of these line items and figure out why is it not formatted the way I wanted it to. Well now what I have to do I have to go back to the top and say we'll print in the right format, there we go. Okay, so I said scale to fit media and the media's set. It's kinda grayed out here but it's 12. which is 13 inches by 39 inches, great. This other stuff down here below. Printing marks and other functions and postscript options I'm not gonna worry about any of that stuff. It doesn't really impact us. Okay, I know I skipped around a little bit here, but the last one is rendering intent. There's four rendering intents and again this is the conversion, this is the process from this color space to that color space. And this tells Photoshop how to manage that color shift. I recommend only two rendering intents. Either relative colorimetric, or perceptual. And there's never an easy answer here. I've got a slide here and I'll show it at the end of this, but sometimes relative looks better and sometimes perceptual looks better. They just both have to do with-- If you got colors that are out of gamut, how does it move them all in gamut for the Epson printer? So for this one I'm gonna pick relative because I've done that before on this print and I know it's gonna look good. And the actual difference between the two is sometimes very subtle. So it won't make a lot of difference for most of you watching today. Alright, here we go. File, Print. And it pulls up the printer driver again. It gives me one more chance to look through. It's not a black and white. It's 13 by 39. Main roll, photo map Voila! And off it goes. Hopefully it's on its (laughs) way. Alright! And I know the one that we just printed from Lightroom it's spitting out over there right now as well. Okay, so that's Printing from Photoshop and you see the interface was a little bit different, but we still have to make a lot of the same decisions.

Class Description


Being surrounded by and immersed in a beautiful vista is part of the joy of being a photographer. Capturing that feeling of wonder, and representing in the limited form of a two-dimensional print, is one of a photographer’s greatest and most satisfying challenges.

You can take the experience of seeing a magnificent vista home with you. Join Mike Hagen, director of the Nikonians Academy, and learn his techniques for mastering the art of the panorama. In this class, he will teach you:

  • How to shoot a variety of panoramas (skylines, landscapes, vertical and horizontal) with the final print in mind
  • How to stitch your images together to create a panorama with Photoshop® and Lightroom®
  • How to print large images to sell or display in your home

In this class, you will learn everything you need to make a breathtaking panorama from start to finish. Shoot dynamic panoramas in the field that fit together easily when stitched in post-processing. Stitch them together with an eye for printing. Get your color toning right to minimize your reprints, and learn how printing can help you notice things that you may miss when the image is in digital format. 

Reviews

Fred Morton
 

Get it, get it and get it. I bought Mike's Speedlight course and this is on the list after watching it on line. The course design by Mike with the Creative Live staff is a successful blend of content and presentation. I absolutely loved how Mike took us on location for several shoots, where we could see the setup and problems that he had to resolve. This is a must have course for photographers interested in landscape work. Another powerful part of this class is Mike's willingness to demonstrate and show us what didn't work. The practical experience in his course was just like being in the field with Mike.

user a5f3c6
 

Mike combines two characteristics of a great teacher: he's obviously knowledgable and competent about his subject matter and he's relaxed and confident in how he presents his ideas. This class covers everything I need to know about photographing and printing panoramas. But, it is much more. It is a class that shows the essential skills involved in shooting, post-processing, and printing photographs and how to apply them to a specific application: panoramas. I learned a lot! Thanks, Mike.

Sue Sirius
 

This workshop was terrific! I learned so much about taking, processing and printing panoramas (and photos in general). I found the presentation very easy to follow with great examples and instructions. Highly recommend this!