Photographing Panoramas for Large Prints

Lesson 18 of 30

Saving Images for Print

 

Photographing Panoramas for Large Prints

Lesson 18 of 30

Saving Images for Print

 

Lesson Info

Saving Images for Print

Saving the image for printing. Cuz really that's what today is about the end point is printing. I'm going to talk about it from the Lightroom perspective and then I'll quickly talk about it from the Photoshop perspective. So I'm gonna go back to one of the images that we shot back here at Creative Live in Seattle. I'll go back to that folder, and I'm gonna use my filter again my green filter and pull up my favorite image of the day, here we go, there we go so there's that image. Alright so what do we got. We've got this image in Lightroom and let's go look at how big it is I'm gonna type the I key. This image is 17,000 pixels wide, alright. This is the exact image that we showed earlier in the workshop when it was standing on the wall over there so that photo over on the wall is six feet long so 17,000 pixels easily makes a six foot long print. But how did I do that or you know, where did this print get created? Well I actually made this print at Costco using their Epson printer, Costc...

o, where I live has this really big Epson printer, so I had to export this out for the laboratory. If you're working on your own inkjet printer in your own office or at home, then all you have to do is you go print. So I'm in Lightroom, I just go over here to the upper right and I go print, and Lightroom manages it. But if you have to go else where with that image, then we have to export it and that's what I wanna show you right here. So if I'm gonna export this I right click or down here on the lower left, I can actually click the Export button, both of 'em work and both of 'em do the same thing. So let's do the right click, and then export, and then you can see down below in this little contextual menu I've got all these preset exports. So I actually make them so I don't have to go into this, this menu here and redo it every single time. So for this example though, I will walk you through it. So I have to Export out an image for my laboratory, maybe your lab's Costco, maybe it's something like Impix or Audorama Pix, whatever it is, you're gonna kind of do the same thing. So where do you wanna export it to, do you wanna put it in the same folder's original, that's great, that sounds good to me, do you wanna add it to this catalog, yes, but down here is the most important thing. File settings. So you can export a JPEG, a PSD, which is a Photoshop document, a tiff or a DNG, I can tell you this, your laboratory is not gonna be able to use, anything other than a tiff or a JPEG. They will not be able to use a PSD file or a DNG file. So, I typically actually export out JPEGs that image on the wall over there, that six foot long image, that's a JPEG, and as long as you've done your work well and your screen is calibrated, JPEGs are gonna be just fine. So JPEG, quality 100, color space, well now you need to figure out what your lab is printing. I know my local lab, I actually talk to the people there I know them by name and I work with them so when I send the photo over the internet I don't know why I'm holding up a phone but when I send it over the internet, hello, can you print my photo. I know that I need to send them Adobe RGB. Because that's the color space their Epson printer works in. Cool so I set that. If not, if you ever have questions, use SRGB. Do you wanna resize this image? Yeah I probably should resize it. I don't think they need 17,000 pixels. So I can resize it to fit the long edge at in inches, and if I know that's gonna be six feet long, six times 12 is 72, so 72 inches and my resolution, for big prints, I typically use 200 pixels per inch. Anywhere between 200 and 300 is a good bet. So for this one I'll use 200. And then the last one here is sharpening. How should I sharpen this image for output, but I typically do what's called output sharpening for the type of paper I have, matte, and then low. And then I click export. And I'm not gonna do it just because it takes a little bit of time but the key with saving your image for print is understanding what's going to be printing that image. So in this case I use the example of Costco, they're gonna be printing my image, if I'm printing out of light room from my inkjet printer here in the room I don't have to save it any special way and then same thing would go for Photoshop. If I print from Photoshop, I don't even need to really save it a certain way it's really when you're saving the image for someone else to do the print job for you that's when you have to be cognizant of the size , and the resolution and the format so. Alright so audience participitate, audience participation point here which print do you guys want to see so, we've got this one, we've got any of these city scenes. We've got an industrial scene, what do you guys think. Industrial? Alright, let's try this one, that is funky looking image and let's see how it turns out.

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!