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Workflows with Lightroom 5

Lesson 17 of 21

11:30 am - Preparing Images for Print Pt 2

 

Workflows with Lightroom 5

Lesson 17 of 21

11:30 am - Preparing Images for Print Pt 2

 

Lesson Info

11:30 am - Preparing Images for Print Pt 2

What I want to do is I just want to print one image like what is? This is 17 by 22 paper, So let's print 15 by 15. So let's go to the layout, and I will say, I want my images to be a specific cell size. I only want one row in one column, and I want them to be 15 by 15. So that's great. That gives me a 15 by inch window. Now we're seeing a lot of different margins on there, and you can choose whether or not you want to see those. Those air. Just my guides right here so we could turn off the guides, Turn on the guides. You can be selective. You can say, You know what? I just I don't want to see the rulers. I just want to see everything else, whatever you want. But under the layout area here, what's happening is because I'm going to be printing to a printer. Printers have member At the beginning, I said I wasn't going to a full bleed, so the the option that I selected that printer has a margin area where I can't print outside of it. with the options that I selected, and each printer is g...

onna be different. But you'll notice, even if I go all the way to the left and right, the top in the bottom. I've got some values here that I can't go beyond, which is fine, because I'm not doing the full bleed. If I was, I would have picked a different option in my print settings. So at this point, I would say, All right, we'll give me, like, a one inch margin on the left and the right, and that's perfect, cause it's a 17 inch paper. I want a 15 inch print, so I've got my two margins now. I've got a lot of information, though, on the top and the bottom. So if I want to offset these, what I could do is I can either just start dragging. You can drag the margins up and down. Or you could say, you know, what I really want is I kind of want this to be two inches from the top. So you set your top margin two inches and then you say All right, well, I want that to be two inches from the top. But then I've got 15 16 17 on them on 22. Then I should probably enter five inches for the bottom, right? And then I go. You know, that doesn't look very good. So let's do three inches and let's do four inches. So now I've got it center the way I want it on the paper because that is important. Like if I sell my fine artwork, I want to make sure that I've got a nice border around it on each side so that I've got area Teoh. Sign it and you always want it. If you're if it's not smack dab in the middle, then you want to make sure that you added a little bit more space on the bottom than on the top, because that just optically will make the image look balance. And I never know if the person's gonna over Matt it or if they're gonna frame it just like this very specific question about Julian. So this might be a good opportunity to just dive in. Stephan Daniel Schwartz is joining us from Germany, saying his lab always cuts off about 3% of the borders, so he takes the images to photo shop to increase the canvas size by about 3%. But the question is, how could I do the same with the light room print module? We stopped? Uh uh, let me see if this would work. So if he's having this color lab, print it, that means that he's making a He's making a J pig file. He's probably printing is not put into a printer. He's printing to a document. So he's gonna print to a J. Peg so he could, um, best thing for him to do would be to work with his printer, because what you do is you can, either. Well, obviously his solution and Photoshopped works. Thats one that would working. There's a few that would work, but you could, he could. He could see if he could fool the printer. So what the printer might have is the printer might have just a box, right, and the final last to fit in the bombs so we could do in light room is make his file a little bit larger so that when the printer said, you know, puts it in their template, it shrinks down a little bit, therefore it doesn't get cut off, but that's kind of using trickery to override trickery. We're not sure if we want to do that thing. Other thing he could do is he could just set up a J Peg file and set some margin. So his files a little bit smaller within the JPEG file. So if his J pig pile was eight by eight inches, he would say, Well, I want to place my photograph in here But I want the margins to have a 0.3 or whatever it is 0. centimeter would whatever unit of measurement all the way around. And then the image would just come in a little bit smaller. Yeah, interesting. Maybe there's some other solutions in the chat room that could help out with Stephan. But thank you, Judy. And we almost threw you there. Oh, that's not hard to dio past. May I never, ever go away from the demo? No, that's terrible. You never do. That is why I like taking real questions and real time. No, as like print those out. I'll answer those tomorrow. All right, so let's see, What else would I need here? This is it. I've kind of got this all set up. We talked a little bit about guides. If you want to turn on the dimensions, that's kind of nice. Why is it nice? Because sometimes I don't know. I get a guide moved a little bit or something. That'll said, it's just one more flag for me to go. It's not 15. My 15. Yes, it is. All right. We're good to go. All right. In the page. Area will come back to this when we dio are contact sheet in just a minute. Because I don't think when I'm printing something like this, I don't really want anything else printed on it. I don't want an identity plate. I don't want martyr watermarks or anything like that. All right, so let's go down the print Dumb s o in the print job. Here's where you decide whether you're gonna print to your J peg file or to your printer. So once I've selected printer here, actually, once you select printer, the theme the guides the Sorry, the minimum margins might have actually changed, so you might want to be a little bit careful about that. If you are printing to a J. Peg, you don't need guides. You mean you don't? You could print to the very end of your JPEG file. All right, so let's go with the print job. Draft mode printing. I wouldn't recommend it. It'll be faster, but I wouldn't do it print resolution so I would turn this off unless you have a very specific reason. Like if you've taken your image to photo shop and you have sharpened it in photo, shopped to the exact specifications you wanted, the exact size you want and then you're bringing that back in the light room and you don't want light room to alter it or or do anything to it. Then you can leave this on. But if you're just printing from might room, uncheck that because you want light room to send down the information and and have the printer convert the pixels that it has into the little dot pattern that it's going to create. And if you specify a number in there, it's going to pay attention to that number, and it's not going to just do the optimal settings for that printer, so just turn that off for print. Sharp name. You've got low standard or high. So again, this is kind of the season. The taste again. We do know how big the original images we know, how large your either scaling it up or scaling it down based on your print settings in this template that you're craving, so we'll apply a different amount of sharpening. And if you've got like when we make the picture package and you've got some big images and some small images, even though you put the standard amount of sharpening or the high amount of the low amount of sharpening for the larger images will apply a different amount of sharpening than we do for the smaller images, because it does matter all right, and then your media types. So I would pick Matt because I'm going to the velvet Fine Art paper. If you're operating system in your printer, allow a 16 bit output. That's great if your files in 16 bits and it all that extra data and then under color management, see where it says manage my printer. New New new I want control of it. I want light room to convert the profile. Remember a minute to go in the printer profile? I turned off as a printer. Just take this information. It's already in the right color space. Don't do anything to it. Well, in order to get it in the right color space, I better tell it what profile light room should use to take it from light rooms color space into the printer color space. So I'm gonna come over to the Pro 4800 thinking that's an awfully small list. Yes, I love this. If you want your other profiles to show up, go ahead and click other. But look how many profiles, like so many profiles installed by default, and you might have multiple printers so you might have multiple profiles. There are very few profiles that I actually use. I only use to paper types. I'm either doing the velvet fine art or I'm doing a What is it? It's a semi gloss. They just renamed it. It's Ah, premium. It was Premium Lester. Now it's premiums in my luster. Photo paper, something like Yes, OK, so I stopped doing that. So that's the premium Lester photo paper, and I print that with my 28 80 because it's got the black, the black ink, and it has opposed the matte black ink. So just check the ones you need. That's the short story. Click. OK, that becomes your short list right here that you can choose from. And then you can pick your intent again. Pick one, print it. If you like it, You're good. If you don't like it, try the other one, see if it's better, all right. It has to do with the way that the colors come in from a larger space to a smaller space. And to oversimplify it, um, I'm not even gonna try. It just does. It does. But we all know how difficult it is. Like if I gave all of you sleeping bags and I told you to take the sleeping bags out of the containers and then put them back in, none of you could do it the same way, right? They would all be different. So these are two different ways of pushing a big, giant sleeping bag into a smaller bag, right? Because that's what color space is all about. You got a lot of colors. There's a kazillion colors in the world. Your camera captures that many. Your monitor can show you that many, which isn't a direct subset. And then your printer can print this many, and that printer can print that many. So it's very we're trying and light room to make it a simple is possible. So I would say Click perceptual. If that doesn't work, click relative. All right, and then this is that print adjustment. We talked a little bit about what we're doing. The soft proofing. If just you gotta Siris of images into a specific printer. They all just happen to print a little darker, a little light. You can turn on the print adjustment and change the brightness. Or the contrast here because those were the two biggest that the two biggest tech support questions we get with printing with light room is that's great, except that everything prints a little bit too flat or everything. Prints will. That's kind of like, yeah, look at your monitor. I mean, that white of your monitors, like glowing in your face and the black, deep black of the monitor because it's a different kind of device, right? This is This is So what else can you do here? Okay, so I love this template. I want to use this template all the time. So in my template browser, we're gonna click the plus icon, and we're going to call this my We're gonna be smart about this. We're gonna, um, actually name it something that we that would be helpful. So it would be the Epson 4800. And it would be the velvet fine art paper. And it would be 15 inches on, let's say 17 by 22 inch paper. Right. So whatever makes sense to you, remember also that these we're all gonna be alphabetical. Of course, you can create your own new folders in order to put these into click, create, and then create that template is there. Which means I can go to the library module. Or we could just pick a different folder here. We can go back to New Mexico. I can select a different image. We can pick this template. Okay. So temples air great. When you know tomorrow you're gonna come back. You want to print a different set of images with that template, But let's go back to our print collection. If I want to save this specific set of images with this template, that's when I click to create a safe print. When I do this, I don't Digital illustrations. 15. No. Ah, yeah. 15 inches. 22 by Thank you. 17 by 22. Can you just company? It's so helps. Can you just come and live with me? And we'll just remember it together cause by myself, I never can. All right, So we've got this, and I can either include Onley used photos. No, no, no. I want to include all of them. I'm gonna put this. What is it saying? I'm gonna put it somewhere. Yes. This is like a collection. Okay, It's gonna show up in my collection panel. So wherever you want to say that, you could go and say no. You know what? Not inside the creativelive, which I've misspelled, but that's all right. Not inside of I'm glad no one has mentioned that I'm so bad at spelling. If I was good is following, I would be an English teacher, right? I don't. I teach photography. We teach images. I know on my handouts, I have misspelled. I'm not gonna worry about it. Okay, so I'm just gonna say this here, but you could have a whole folder, a whole collection set for just print projects. Sometimes people like that or they make they just add the collection set with the images. So that's what we'll do. We'll say Okay, inside my little print collection here, I'm going to save this saved print. So let's let's go ahead and do this. We click. OK, now, if we look in our collections, see, I have this collection of images. In fact, let's go back to the library module and there it is. So in my print collection, I have all of these photographs. But if I want to say, Oh, I need to print those again Hey, someone bought my whole addition Fantastic. Then I have that all saved right here. And in fact, see, this little arrow just says, Hey, take me right to the print module and show me those images with that template. See it just automatically, even if I If I had gone to other photo like, we'll go Teoh, let's go to another folder. Oh, that's the folder I'm in will go to Sorry, keep clicking the wrong spot. We'll get a Portland, and when we decide oh, well, I want to do and work on some small books. And so we do that, Then we go back to the library module. So I'm doing all this stuff and stuff and working, working, working. Then I come back here down to the nice little print save print collection. Come over here. It's like, Oh, I'm gonna go ahead and switch the photos that you were working with because you save those photos is part of this collection. So it's the photo and the template together. Make up your print collection. You have Web collections, you can book collections. You could have saved slideshow collections, all of them. It's really it's really quite nice. It's when you want to go back and you know that you're gonna print the same things. All right, let's go back up here in the layout style for a minute, and this will stay with a single image. But we'll do a contact sheet so we will go to the layout, and in this case, let's get rid of all of our margins, right? And then we'll come here and will say, Hey, I want more than one row and more than one column, and if you want to you can keep square If you wanted to, Um, or you could say no, Let's go ahead and, well, all my images or square so that be kind of silly, But you should know that you can come back and you could say, You know, here's your zoom to fill that select all, there's resume to fill. There's rotate to fit, but again minor all square, so that doesn't make much sense. You could say Repeat one photo. Let's not assume to fill. So there's repeat one photo per page. So now if you need a lot of images, same size, you go ahead and do that. You struck the border like we mentioned. Um, if that's too many, let's go ahead and back off a little bit now. So when you're when you're changing all of these settings and stuff, because I'm changing the rows and columns the cells facing doesn't necessarily change, so we can go ahead and we can change that manually as well, so that just changes. You know how much of a border you want between each image, and that just depends on whether or not you want a border. And if you don't want a border. Don't leave any space right. Otherwise, you'll have to make to cuts for every you have to cut them apart. And you have to move to the next image and cut it again. But the two images up next to each other, so you only have to make one cut down the middle of them. All right, all right. So that's how you would do that. Um, that that's pretty easy. As faras a contact sheet, go here to guides weaken, turn off dimensions. If you want Teoh, we can actually turn off all the guides just to make sure that what you see, that's what that's what you would get printed. All right. Um okay, so but now we might want something like we might want to change the background color. We might want to add an identity plate or something. In which case, background color. Just check it on. We can go ahead and click on the color swatch so we could print this on blood. So this is fine if, like you're sending this to your your color lab. But probably if you've got your little absent inkjet printer, you're not gonna let him print out all that extra black cause if you dio, you could just burn money, right, cause all that black ink All right, so let's leave that white for now. But know that you can change the page color. You can also add an identity plate. Now, we haven't talked about identity plates. Let's scale it up to make sure that we can see it. So this is my identity plate, and you might have noticed it's also in my upper left hand corner right here. This is my main identity plate here. So if I want to change my main identity plate, I can come here to my identity plate set up, and you can either have text or graphic. So this is the text right here, so we could highlight that, and you can type in anything you want, but it's a great way if you use light room in the sales room. This is a great way to brand. You know, your own version of light room so you would put either your name up here, or you can click here where it says use a graphical identity plate, and then you just have to click toe, locate the file and then we have to go to demo files. Then we have to go to image vault. Then we have to go to additional content. Then we have to go to identity plates. Then we have to go to main identity plate with my logo. And then here it is, right here. So here would be a flat identity plate. PNG files have transparency. So if you're going to save your gonna create, like a nice graphic like your logo, you do that in Photoshopped. You want to say that as a PNG file, if you want transparency. Otherwise, you could just do it on a black background if you're gonna leave because that's black up there. But that's fine for your main identity plate. But when you're overlaying an identity plate on top of a photograph, you probably want just your signature and everything else Transparent, Right? So here's a transparent PNG file that's just a different file format. Instead of saving this a j peg, because Jay Peak doesn't understand transparency would say there's a dot PNG PNG understands transparency. Why not? Okay, cause it's way too big. All right. Never mind. That's why not. See it was trying to help was trying to help me Help me, and I didn't let it. All right? And now it's gonna take a minute before I could do this. All right, so let's get a smaller one. So why would I have something that's so big? Well, I might have something so big because I might want to use that on my print. And I need a higher rez file of my signature for my print, but I don't need it to show up up here, so I'm just showing you this is the identity plate. You can either do stylized text or graphical identity plate. And it's really the same concept when we're over here printing. So in order to change the identity plate, I would just click down here, and then we could go ahead and say, I want to edit my identity plate. I could either use the graphical or stylized text just like we just saw. But here, if I used the graphical identity plate, we probably want to locate the file. And I think this was the big one. Yep. So I would choose that one here. Yeah, I know, but I'm gonna use it cause I want it. Click. OK, and now I've got a high rez identity plate, and I can move this around wherever I want, so you can either put it on top of your images. Or let's go up here to my layout and say, Hey, you know what? On the bottom, let's just add a little bit more space. In fact, let's add maybe that much space and then on the top, let's add a little bit more space. Actually, let's add even a little. Let's add some more on the right. So let's add, like maybe one and one and then two, and maybe, can I fit for their Yeah, there we go So that I might like that a little bit better, So that would be my identity plate. You could be the way, a way that your branding like your contact sheets that you're sending to your client. If you like that again, you would just say that as a template if instead you actually want something on every single image. Or maybe in addition to you want something on every single image. Now we can go here. We can add our watermark well Is that true? That is true. I could actually render my identity plate on every single image to, but I don't typically do that because I use the watermark to do that. And then I just render the identity plate larger. So you think of the identity plate is identity. I'm Brandon. I can change the opacity. I can change the scale. And then I use the watermark in order to actually play something on top of an image. So here you can see it says none, but we can go in and we can edit our watermarks again. We can either use a text watermark, orographic watermark, these air, all the options for them. If you're going to use a graphic, see it says PNG or JPEG, depending on if you want transparency. If you want, transparency has to be a PNG file, all right, so we could go ahead and choose that. Let's see if I have something for print. Do I have? Ah, something better know where is the one of my logo and of missing that and it worries me, but that's okay. We'll use this one instead. Make that a little bit larger. So this is going to appear on every single image. Oh, in fact, let's not use an identity. Let's not use a graphic. Let's use text. Let's type in the word proof, right? Yes, that's right. We'll make it a little larger. Now, down here. What we can add. We can change the font if you want to. You can change the color. You can change the alignment. You could change the opacity so we could make this. Uh oh. Sorry. This is a shadow. Sorry. We add a shadow here, then down below. We can change the opacity right here so we could make it semi transparent. And, you know, you could put the copyright symbol and put your name put whatever you want, we can make a proportional weaken inside it. So let's go ahead and just mean to do that. Let's go up a little. Maybe are actually let's just center. It is a center right there and then we'll click Save. Call it proof. Ah, let's do test. So I know that this isn't the real one, and now it's on every single image. So that's kind of a way that people have gotten around in the past that they're handing out their proofs, but they don't want them. Just scan the proof and then print it. That's gonna be a little bit more difficult. Toe clone out photo shop. You're gonna need some skills for that. So that's up to you. And that's up to your client Because people always ask me, Why don't you always include a watermark? Because some of my clients, it's just not gonna work to include a watermark on them, and I trust them, and they're not going to take out the name and do this. So it just depends on you know how the image is gonna be used in who's buying it. So the different layout style. So in the layout style we've we've done the single image in the contact sheet, the the picture package. I don't think I need to spend a lot of time with a soon as you select picture package. You actually get this cell area here. So this is a new panel that comes up and you can then go ahead and say, Oh, yeah, I want to add a four by six and I want out of five by seven. In fact, let's add a few five by sevens, and let's add an eight by 10. And if you add enough of, um, and it can't find any more space, it will actually keep creating more and more pages for you. That's too many. We can go ahead and eliminate some of those. You can click and drag them around if you want. Teoh. I think at one point you can click auto layout, in which case it'll go on re calculate so you don't have to sit there and go, OK, well, first, I should add my two by threes and then my find by sevens. No, just add whatever you want and say auto layout, and it will actually lay it out for the least number of cuts and the most number of photos per page. So auto layouts quite nice. All the other settings pretty much are the same as faras, you know. Do you want this to zoom or not? Zoom. Do you want to rotate it photo? Oh, there is 11 additional one here. Instead of just having a stroke around your image, you can actually put a photo border and an inner strokes. You can put two strokes. I don't know why. That just seem to be real popular with people who like to do the picture package they actually wanted. Well, just just to make sure you see what I'm saying, See, there's the photo border, cause a lot of times remember getting like, you know, eight wallet size images. I believe that that was the extent of my high senior portrait was like, I got some wallet size and a few eight, maybe an eight by 10 for Grandma, and that was it. So the border is gonna be that whip. See how it's shrinking in the image because those those picture packages always had a white border around them. Right? So that's what the borders for. And then, if you want to, you can add another stroke around the outside of your image, so just know that's possible. They're all right, and then and then it will always print just a single image per page. But the nice thing is, once you've selected more than one page sorry, I forgot to point this out. It's automatically going to create all of the rest of the pages. Were you? So when you hit print And by the way, that's important to there's print and printer. See the little dot, dot dot That always means you're gonna get a dialog box. It doesn't matter if you're in light room or Photoshopped the little dot dot dot says I'm bringing up a dialog box. I don't want to see that dialogue box again. I already went to my page set up in my print settings. I've got it set up. Don't make me look at it again and question myself. I did it. It worked before. So what I would do is just say, print and in light room for this used to say print one. But that was confusing because it was like, we'll print one. Yeah, well, we're gonna print one of every picture. Therefore, we're gonna print multiple pages. So now it just says print, it just takes you in. Prince. It it doesn't give you that dialogue box to confuse you again. All right, so the last one will go ahead and we'll change this to custom package. But what I want to do is I want to change the print job instead of printing to a printer we're gonna print to a J peg file. All right, so here, where do I find this useful? I actually print like all the images that I put on my blogger that have more than one photograph. I print them through light room. I set up a little template. I just change this to pixels per inch. And then I think the smallest I can go is 44 by four inches. Yeah, so I've got 400 pixels by 400 pixels. So for my my blawg post, that's plenty of size. In fact, usually what I do, they're usually six inches by four inches, which really the inches don't matter. I'm using the inches to calculate. So the the area that I can in wordpress that I used to bloggers 600 pixels wide. So all I have to do is make sure that I had 100 pixels per inch. The math is easy. I make the six inches I've got my 600 pixels for my block. The great thing about this is now I can go and I can either use this custom. So let's go ahead and delete that. Maybe I cant delete all of them maybe I have to have at least one, but I could go in here and we could create. I typically don't do this. I typically have to tell you I just go to my layout style and I usually put, like, three up for something. But I want to show you that this also has the cell area so we could add, Yes. We're not gonna be able to add that kind of cell. Not that big. How about a smaller sell? All right. So I could add this and the reason that I want to show you this is because if I take a single image, we drag it here, Then I take another image, and I drag it here. This is the only place where you can get things toe overlap on top of each other. All right. The other layouts don't let you overlap photographs. But here you can. And you can make these is larger. Small as you want, if you decide. Oh, I want this one to be in back of it. You send it to the bank. So that's how you determine what kind of layer and you want. Um, what else can we do here to move those around. Um, I think you get the idea. You can lock to the photo aspect ratio as well. So now it's kind of nice. Now they'll automatically take on the same aspect ratio as the photograph. So we could make this one pretty small and we could put it over here. They don't have to overlap, Right? Let's do this. Let's some I wonder if I can hold down the option key and drag up who? All right, so now I can duplicate that. So now if I wanted to images over here, we could do that. And they're very different size than the picture. The picture package, because picture package could only have one photo, same photo, multiple times layout style for contact sheet is gonna be different images, but they're always on the grid. So this is a great way to do something a little bit more free form. And at this point, since I have already designated it as a JPEG file here, you'll notice that it doesn't say print. It says print to file. And you just have to tell it where you want to print this file, all right, and You can also tell it what profile. Sorry. I should have mentioned that the profile that you want. So if I'm gonna print to J. Peg, I'm gonna post this on the website. I probably want to print this to s RGB. Okay. All right. So let's take a look way. We talked about saving templates already, and we talked about saving a print template. Let's also just talk about just a little bit. I'm gonna go to I just had some demo examples here, so let's select more than one image here. So this is just an example of two images up will come up here to the layout style. So single image contact sheet, right's contact sheet. I'm saying put two images up. And what is this? An identity plate right down here for my blawg. I usually do nine up, so that just gives me kind of a nice grid of nine images here. I've got to up. But I've changed the background color to black here. I've got instead of ah, signature, I just have a little graphic logo. So, again, that's using a watermark three. Panos. Well, these images aren't gonna look very good with Panorama is. But that's OK. I'm going Teoh de select them all. And then I just want to drag this one there. But I think you can see any time you're printing specific sizes over and over again. You'll just make your templates. What is this? Nine by a grid? That's a lot of the same image. Three by 30 so this one's I forgot to mention this. So here we've got some additional data. So let's look at that. Now we're using the contact sheet layout style, but when we go down here to Page, not only do I have the identity plate on the watermark, I've also got some page options. So, first of all, if we've got multiple pages, Aiken DuPage numbers, we can also do page info super handy. If you guys are doing test prints, what it does is right down there, which you can hardly see in the bottom. Left is it actually tells you how much sharpening was applied, what what, basically what all your printer settings were, So do you have sharpening? What's your resolution? What was the printer profile that you used? So that's really handy. And then crop marks could be really handy if you are going to cut these up yourself. And then right down here, you can actually pull information from the metadata in the file. So let's go up here to lay out for one second. And I'm just going to get rid of some of these rows and some of these columns so we can see it now. We still can't see it any larger than that. Um, Page set up. Let's go the other direction a little bit bigger. No, not really. Not that much bigger. How about with that? With that? I'm just trying to get a little bit. There we go. So now we can see Scharping, the profile and the printer that you printed too. So that was controlled by this page area here. All right. By the page info that toggles that on and off we can maybe see the page number right there. Maybe not by the time it gets compressed, but then right here under custom settings. This is where we're pulling the information from the file. So if I wanted to add the file name underneath each one of my images, if I wanted Teoh, add something about maybe the exit data. Right. So I want to say, All right, what are the dimensions of this file? We can insert that because it already did. We can delete that. Um, what else? Tons of information. You want to add your copyright underneath. We can insert that if you've written captions. Weaken. Do that. You want to do your your address, your keywords will do keywords. I don't think I have that many here. All right, and we'll click. Done. We could save that if you want to. But what I just wanted to show you was that it will actually add all of that information underneath every single document. So it's going to be different information if you put like the camera. I s So it goes out and reads the meditated for each one of the files and reads the I s O for that file. So there's a ton of stuff that you could do with the print module. And not only I think unfortunately, a lot of people go. Yeah, well, I don't print my own stuff. I'm printing them to a lab or something. Yeah, but you could go in and you could create your own templates where you have overlapping images and stuff and not rely on your lab to do things like that. So because you can always print stuff to Ajay Pig. And like I said, I print all my stuff to my blocked this way. So So what are we gonna do when we return from break? We turned right. We're actually going to go into the book module, and I have a lot of reasons that I really like the book module. I brought some some books that I printed, but again, it's one of those things where people were like, Oh, I'm not gonna print a book. I don't want a printed book to blurb. Or maybe their international on their way. Don't have access to blurb, but you can also print from the book module to individual J Pink Files so you could do an entire wedding layout and actually print that out. Or you can print to pdf so I will show you. You know, enough Super easy printer pdf in you throw that on your your IPad and you've got your portfolio, or it's a little value. Add that you add to your client when you're done, you design your book, you print them the album, but you also give them a PdF, and they can take it with them wherever they go. So we'll learn all about that. Great. Okay, well, we have some quotes here before we go to break Abby Lynn says. Julian has been a great teacher. Gusts Pontarelli on Twitter says, learning so much. Watching Julian on Creativelive talking about light room and workflow, Jones says, I think I'm going to buy the scores just for the masking lesson alone. JK is great, is really giving it her all. Eddie the Teddy says Creativelive should release a best of Julianne cost video with the scrolling screech sound from yesterday the photo shop Hairball Congress and the Alphabet song. From Today, the alphabet song almost broke our chat room. People were just all over that I Sometimes I forget that we're recording it, and that's a little bit of an issue. No, no people. People loved it. Stefan Daniel Schwartz in Germany says I already purchased the course. Can I request the full Adobe ABC song sung by Julian Way Cugini and let's Go with the Alphabet way Well, we'll see if we can persuade you to do it later on. Actually have a crazy bunch of people here created by you know. So maybe we'll do it for you. We don't need not at the Oasis last week. Maybe the alphabet will be this week.

Class Description

Ready to drastically reduce your post-production workflow? In this 2-day workshop, Julieanne Kost, the Principal Digital Imaging Evangelist for Adobe Photoshop and Adobe Lightroom at Adobe Systems, will show you how to save time every step of the way, from importing raw images to exporting expertly enhanced photographs — and everything in between.

Julieanne will teach you how to streamline the import process, create a simple organizational structure, and edit a shoot efficiently and seamlessly. You will learn the key tools to enhance your photographs, correct color and tonal values, customize your color to black and white conversion, and even add special effects such as selective coloring, split toning, and vintage looks.

Julieanne will also demonstrate how and when to move images from Lightroom into Photoshop for further enhancements, and outline how to easily create slideshows, photo books, and templates for printing. By the end of this class you’ll understand key tools and strategies for streamlining your workflow while creating stunning images.


Software Used: Adobe Lightroom 5

Reviews

Valerie Pinsent
 

Julieanne Kost has an amazing way of sharing her knowledge on photoshop Lightroom, with humour and simplicity that keeps you wanting more. The 2 days that this workshop lasted could have seemed long but was in fact very, very short. This course gives you all the ropes to use this amazing program, with all its shortcuts and techniques that probably aren't in manuals with a few extras from photoshop which are just as amazing. She is so contagious that you want to pull an 'all-nighter' just to put in practice all the wonderfull things one has learned. Thank you very much Julieanne!!!

a Creativelive Student
 

I follow Julieanne on FB and on her blog, and looked forward to this event. It did not disappoint, and in fact offered a few surprises. The exactitude of her content is always there. But the free-form, informal nature of this course kept it engaging over the many hours. I admire her style of speaking seamlessly to all skill and experience levels at once. Quite a trick -- I've had the good fortune to learn from the best, and I count Julieanne among them.

Jonathan
 

She is the one of the best instructors I've seen on creativeLive. Bright, describes the steps clearly and very funny. A really entertaining and informative course.