Landscape Printing Q&A
Any questions back to a few of the techniques you showed earlier in the day you had some check marks for cia and for lens correction and then there were a few others that you mentioned here is there any reason to not have those checked off? Do you lose something by keeping them on as a kind of backup from forgetting? No, not at all. It's it's a pre set that I pretty much will run through and go through each time uh some people will actually if you go to your develop module and you turn those check boxes on um you can save yourself a preset called auto adjustments whatever you know, just go to your presets panel click well plus button save it and then when you do your import there's a place to apply a preset so if you've got a preset that does that which I have one of my work full of precincts doesn't so I could just pop down here and turn that on and that way it's on gets checkmark for all the photos but yet there's no there's no downside to it it's not going to hurt the photo way dio ...
is there a particular crop ratio? You tend to lean towards your crop in your photos? Uh the only time I first crop for appearance more just straightening so generally won't really crap blisters just ah horrible distraction in the photo like as always taken and I'm like I'm gonna have to crop this out so unless there's a horrible distraction I just crop for appearance for straightening things at that point I won't crop the photo to any ratio until I print and so I'll just go to whatever ratio happens to be that I'm gonna be printing for so I print a lot of I spent a lot of twenty by thirties so that's gonna be a lot of the crop ratio sixteen by twenty twenty by thirty is really you know one of my favorite my favorite larger print sizes and truth be told I go to uh you gotta have a nike around here right? So I go to I kia and go to their frame section have awesome frames and they're like fifteen big mean their frames this big nice black frames nice white mats inside of them they're like fifteen or twenty bucks just depending on it like if you go super big they're like twenty if you like really big they're like fifteen I buy the frame and then uh and then it comes in and tells you you know what size to print out at about a quarter of an inch too that I print out I goto nations photo lab dot com and pick dotcom whatever it is go there I send a couple of prints in and I put him into the er into the frames so but the back to the print ratio to the aspect ratio that's determined by whatever my output is gonna be so awesome guys seriously hit like a get some frame because, you know, what's cool about that let's say you print trying to think of generally the size it's not going to be any more than like a sixteen by twenty? No, they're like six or seven dollars to print, so print like four or five of them and then change amount throughout the year, you kind of get bored of seeing the same photo over and over again, and if you spent four hundred dollars on getting it framed and matted, you're really less likely to change it out, so I changed it out a few times over the air all cost you thirty forty dollars yeah, many comments on black and whites I'm going to do that comments on black and white all I can say is what what draws me to landscape is the color, so I know it's like sacrilege. Yeah, I mean, if you look at some of the founders of landscape photog so I know it's like sacrilege, but it just doesn't do anything for me every photo I see in black and white that's a landscape, no matter how great of a photo is, I wish it was in color I could look at it I can appreciate it I would say that's great I love to see the color and is it just for me personally that's what mother nature has given so many beautiful colors for me that's what draws me to a scene is I look at the sky and I looked at all the colors that are out there and that's what gets me excited about going to shoot and so to take that color away personally for me is not something I just I can do but of the conversions out there is that kind of where you're leaning toward like, order some of the best conversions I definitely go with the plug in I think they're all good. So you've got on one's got a black and white plug in mac fun has their tonality plugin nick has there there they're black and white plug and so they're all good they all I'll do the same thing and there I'll give you a really good black and white yes a bunch more questions franken from the internet marine picks wants to know how do you ensure that the lab is going to print what you see on the screen? How do you make sure there's gonna be true toa um to make sure the lab's gonna print with you see on screen the best thing you can do is calibrate get one of those calibration devices like spider or color monkey or something like that they're usually about a hundred hundred fifty bucks, but by calibration device so spider s p y d e r that's a good one the color monkeys they're going to think they're a little bit more money, but the spiders are really good ones from data color and they like a little device that hangs over your screen and calibrate your monitor and essentially what it's doing is it's making sure that what your screen is displaying as red is really read what your screen is displaying as blue is really blew that could change over time. So that's really one of the key things teo to get past um after that a lot of labs, you know, if you're not happy with it, a lot of them we'll reprint it for you, so you know, maybe the first time you're going to use the lab don't send in a huge order send in ascending to test printer, too just to see that it's getting reproduced the way thatyou thought, but a lot of that mean, goddammit, they want you to get a good print, they want you, they want you to get a good print because they want you to come back, so if you get a print and you're not happy with it and there's something give him a call contact I every lab I've ever worked with has been more than helpful so I would definitely go down that route um are the presets additive in light room? I know you touched on this earlier the additive in light room or does each one replace the previous? Okay, so I'll look at him really quick here so the grad filter so my grad filter presets are they will each replace the previous one um the one click presets that come with the creative live course they will they are additive in that if one has a setting that goes on top of another one it'll replace whatever it was before so if it didn't, it won't it won't but if one has a sitting that goes on top of the other one it will replace it and then my work flow presets that's one setting on lee so it won't replace anything awesome. Matt, can you talk briefly about your backup workflow for your photos? My backup work? My backup workflow is by an external hard drive and when I buy one, I buy two. So and so when I put my photos onto whatever hard drive that they're going to go on to have another one that I plug in and make sure they get copied over onto it um I know that I could tell you the way that I use a cloud backup and that is you know there's a ton of cloud services out there the way that I use it I'm not putting everything on there I am putting all my iphone photos on there because this is pretty much my family memories like this is what I take most family outings and get togethers and stuff with so I do I do back this up to the cloud so that way all that's thus always covered but when it comes to my my photography the way that I used the cloud is when I'm done editing a photo I save a full resolution file of that photo and I've got a folder upon the clouds and I put that up there so at the end of the day if everything I own explodes I know that I have a final finished version of my photo safe somewhere off my favorite photos I save some so that's how I use the cloud I don't put yeah because you here I mean what google come out with unlimited storage forever and ever of everything but are you gonna upload two terabytes you know are you gonna upload ten years of photos how long is it going to take you the upload a terabyte or two terabytes of photos so to me that's not realistic so I'm not putting all my originals up there just one finished while um so hey matt I assume you're working in fourteen bit or more information, but do you save an eight bit before printing and doesn't make a quality difference when printing to a large format printer, um, many, many printers will print in sixteen. If they do that, I would do that so well, it make a quality difference. If you print a bit, I would challenge you to look on the wall and tell me that that was eight first of sixteen, there might be somebody out there. I'm sure there's somebody out there that can do it, but I don't think I can.
Outdoor photography is about capturing the feeling you have when you are actually out in nature. Learn how to make photos that reflect the beauty and mood of the landscape you see with your naked eye in Photoshop and Lightroom for Landscape Photographers with Matt Kloskowski.
In this class, Matt will show you his personal workflow for enhancing outdoor images, so they reflect the world as it truly looks and feels. You'll learn how to:
- Create the best looking skies you've ever seen
- Manage the entire landscape workflow – from start to finish
- Implement the "go-to" adjustments Matt uses on every photo
Matt will even offer insights on preparing and printing the final image. You’ll learn the latest techniques for giving photographs of beautiful places the same color, atmosphere, detail, and feeling they had when you took the photo.
Whether it's images of the sun, water, snow, trees, or that magical light that you are always looking for, Photoshop and Lightroom for Landscape Photographers with Matt Kloskowski will help you bring your landscape photographs to life.
This course is part of the Lightroom tutorials series.
Software Used: Adobe Photoshop CC 2015, Adobe Lightroom CC