Workflows with Lightroom 5

Lesson 19 of 25

Preparing Images for Print

 

Workflows with Lightroom 5

Lesson 19 of 25

Preparing Images for Print

 

Lesson Info

Preparing Images for Print

I had some excellent questions during the break. I want to answer just two of them very quickly. One of them had to do with exporting. So I've got this one image selected. I'm just gonna go ahead and just click export to point this out. So sometimes a client, my ask or you might be wanting to post something to the web that is under a specific file size. You just know that you don't really care what j peg compressions setting you use. You just mean to know that? Like, ok, all my images individually should be into three hundred k or something, or whatever your client says. So I just wanted to point out, if you come down here to your file settings in the export dialog box, as soon as you select j peg, you'll notice that there is a limit file size. So in this case, we were saying, well, let's, limit it to four. It was under form eggs, right? Yeah. So we went ahead and put that in. But if you most of time on online, it would be a lot smaller than this, right? So you would say, ok, well, let...

's say that I want each image on my website to be under four hundred k, all you have to do is is inter in well okay, I guess technically you would in turn three ninety nine if you wanted to be under four hundred k but I think you get the idea what it does is it says hey light room you figure out what quality setting you have to set this up in order to get this under that size just don't forget we probably don't want to be exported to file this big if we need to limit our file size with three hundred two under four hundred k so we would just say let's change that long edge maybe two pixels and let's go ahead and bring that down to maybe eight hundred pixels all right and that way it won't have to decrease the quality so much you'll get a better looking image it'll just be a little bit smaller and we'll talk about water marks in just a minute when we go to the to the print module but before we do that I'm gonna go back to the development jewel for one more minute I can't remember if I put these under the develop module or special effects no okay, so the question wass what if you have multiple images like I do in this case where I want to batch process them with the upright command hey because we were talking about hdr images a minute ago and I didn't actually go in and change the lens correction but you can do that so if you go in and you enable a lens correction profile on each of your individual exposures and then you say I want to take those two photo shop and merged hdr light room will read those and correct for any lens distortion before those files go over. So so the question came up was like well, what about upright? How does upright work? Well, if I have this image and we go over to the development angel and we select multiple images and I flip on auto sink when I come down here to a lens correction to the basic area, obviously, if I enable the profile correction and I enable to remove chromatic aberration that's being applied to each image and if I come down here and say, choose auto, then light room will go and it will add an auto correction to each image and it will look at the first image and say ok, what should your auto correction? B? And then it looks at the second image and it says, ok, what should yours be? And then it looks on the third one says, ok, what should yours be? So don't fear that it would apply the same numeric transformation if you select more than one and you click on auto sink now if you're the type of person that doesn't want to do auto sink let's go ahead and just all reset all of those files and we'll flip off auto sink if I have this first image selected and auto sink is off and I said ok, we'll enable that will remove it and I want to click auto I can then synchronize these right so when I click the sync button what's important to know is that what you want to synchronize is the upright mode so if you think about all of these buttons here as being different modes I'm saying go ahead and synchronize the auto mode on each one so look at the first image, analyze it, apply auto look at the second image, analyze it, apply auto look at the third image do the same thing so that's upright mode now I'm gonna cancel that and we're going to move to the next siri's of images so here you can see I've taken a siri's of exposures that I want to apply the exact same numeric transformations too because I want to hand these off to photo shop to build my hdr file so I'll go ahead and have this one selected it doesn't really matter which one you selected just not that's kind of the best exposed one there so they're all selected I'll go ahead and let's say we enabled and we remove the chromatic aberration and then I clicked auto or vertical or whatever option you select whatever mode you select but this time when I hit synchronise I want to make sure that I'm not just synchronizing the mode but the actual upright transformations right here. So now when I click synchronise each one of those images will have the exact same numeric change made and you're thinking, well, wait a minute they were on a tripod like why would light room have a different transformation applied to each one wouldn't just do the same one because of the robustness of thie algorithms used the answer would be no all right, so for safety sake, if you want the exact numeric transformations, click on one adjusted go in and sink and tell it you want those numeric transformations because it could be off just a pixel or two and just a pixel or two would be different math and then when you take that different math and in photoshopped photo shop has to say, oh, well, now I've got to run an auto a line so now I'm going to realign something that's just been aligned and you're going to just lose just a smidgen of quality every time you realized something. Okay, so then the one other exporting that we didn't really talk about if we go back to the great view and I change over here to export the one other export option we don't really talk about was the smart object and I just think they're so important that I really hope a lot of the folks that are watching are also using photo shopped because this this is just a great way to work in photo shop, so I'm going to select these first three images and we're gonna just bring him over to photo shop, but I'm going to go ahead and choose to edit in, but I'm going to open them a smart objects, and the reason I'm gonna open imus smart objects is because a lot of times when I'm editing in photo shop, especially these composite files, I have no idea really how big I want each one of the components, each one of the elements in my file, so instead of just opening them instead of just saying at it in because edit in just creates a pixel based document. When I say at it as a smart object and we go over the photos shot, you can see that I have added their I've opened all three of these it doesn't come over as a background, it comes over as a smart object. So what does that mean? It means that light room's taken that wrong file, applied any effects to it, and then it said here's, the raw file photo shop it didn't say here's your pixel based file, said here's, the raw file. In bed this raw file into your photo shop file so if you think of photo shop or the psd file format is like a candy wrapper I'm just stuck a raw file in there because candy wrappers can hold candy and they could hold chocolate and vanilla and any kind of butterscotch candy you want and the same with the psd file format it can actually hold an entire raw file inside of it and what's really cool about this is that if you do get to photo shop here like you know I probably should've added a little bit more contrast if I double click on the thumbnail for this raw file or if I go up here to the layer menu and come down to smart objects and I say at the contents it's actually going to open up that raw file inside the camera ron technology inside a photo shop so I have all the same technology over here so I can say oh yeah, I wanted to add a little bit of contrast you add your contrast and you click okay, so here's where it gets confusing people think ok, well you've added contrast to that rough out so then when they go back to light room they're surprised that light rooms file doesn't have the contrast added remember light room always hands off a file like room keeps its violence is yeah, I've got my file my raw file he's made changes in light room. Now I'm gonna hand that off. Anything you hand off and you say it is a psd file. I'll take all that information back, but I just want you to know there's. No link between what you change if I come in here and they double click on this and we change the temperature like this that wasn't very obvious. Was it? Let's? Go ahead and commedia will add a split tone. We'll add a bunch of color. Okay, when I click ok right now and I prepare this. This is my smart object. This is my raw file inside my psd file. Even if I save this file when I go back to light room, those changes have not been made because this is a separate file. This is your original file with their light room adjustment when we go to photo shop member light room said here's the raw file. Go put that in your candy wrapper. You could make changes to that if you want tio, but I don't see those changes as faras the original raw file. So there's, no link back to that. Okay, so I don't like that so I'm gonna do a command z and I'm just undo that and what I typically do when I'm compositing my files I will just start with like a blank page so I'll do a command in or control in and photo shop and this just opens up photoshopping and we'll go ahead and we'll just say all right, well, what do I want? I want inches I want for the sake of the demo we'll do maybe six by six inches and three other pixels prince, if this is something you do all the time you want to save this is a preset course photoshopped can have many kinds of presets as well. Once you say it is a preset, it would then appear on the list right here. All right, so I'll just say, ok, let's, do this in a bit click ok, so now I just have a blank piece of paper and I know some of you guys don't like these tabs appear across the top, but you should know that you can use the control key and the tab key and that takes you from one open documents than executing quickly cycle through them that's the same keyboard shortcut on windows I know it's a little weird it's a weird shortcut actually on mac the control key plus the tab but if I want to see all of my images really quickly so I can drag and drop them all together, what I want to do is I want to go here underneath the view no, sorry underneath the window menu and go to arrange and you'll notice that I have two shortcuts here that I've already associate id consolidate two tabs and tile all right? And the reason, like added those two shortcuts, is because then it allows me to quickly go and tile all my images so that I see all of them, I think click on an image to activate it command shift are, well, let me then return to single image or tile across a tab across the top. So for me, when I'm working on multiple images like this and I'm trying to do a composite, I want to make sure that I can go back and forth to see these images so let's just grab the move tool the move tool is just the wiki, and I'm just going to drag and drop these into a single document and close that, and then we'll grab this one and we'll drag it over and we'll close that and one more will grab this and we'll drag it over and then we'll just close this all right? So if we want tio if we want to, for example, delete the background layer you guys know that you don't have to have a background there in like in photo shop, right? So we can just count the delete key and that just gets rid of it that's nice I think that wasn't until like photoshopped ten, you know, like sometimes thanks for your input herself is like, well, you can't just hit the delete can delete it, people will just be deleting things and they won't even realize that I'm like ok let's take off the training wheels we could just tap a billion key where no, what we're doing, we're professionals so now we use the icon in order to toggle on the visibility of the layer, right? It is an icon is not an eyeball icon just in case you're wondering we've had a meeting it's been decided, so we reference that as the ei icon, not the eyeball like all right and we need to transform it so one of the things nice is we can do command tear control tito free transform this now this is the great part about the smart object and that's why I brought this file over as a smart object if I'm not sure what size I want it I could make this file this big and then go oh, I could even save the file and come back to it tomorrow oh that's too small command t again. And then I can stretch it out as long as I don't go back over one hundred percent. The original file size photoshopped gives me the same quality because remember, photoshopped the psd file format is just the candy wrapper. I've stuff the whole raw file in here. Then I say, hey, you're a smart object, display yourself smaller, ok, here it is, but under the hood, that whole raw file still here so I can change my mind a million times with a smart object. I can work this, I can do all sorts of things to it, and I can always come back and with no loss of quality, we could go ahead and make that larger. I can't even use command t I can bring this in. I am not holding down the shifty. I'm squishing my image. Sometimes I run with scissors. I know it's crazy, huh? All right, so we'll bring that over. Maybe a little more to the left there. Okay. All right. So that will just add this and we'll do a quick little commander control t now when things and photo shop and we're only gonna spend, like ten minutes and photo shop, so hopefully that's ok with people I just want to shrink this down but when I use command t which by the way is the shortcut for going here to edit to free transform right sometimes the transformation handles are so far off the window like you can't even see the transformation handles so what you can do is you can use this shortcut right here it's under the view menu and when you're not in free transform command zero r control zero will fit on screen if you are in free transform it fits the transformation handles on the screen so it's really nice you don't have to sit there go command minus command minus commune mind zoom out, zoom out the amounts email it'll just do it in one shot all right? So we'll just bring this over here and we'll skate this over and tap return or enter and now if I want to make a duplicate of this well we could decide if I want a mascot first I want to make a duplicate basically thie image that was up yesterday, so this is the image that we're making if we go back to light room, we'll just scared down in case I forgot to show that that's the image that we're making so you can see we need that kind of steam coming off both sides again because it's a smart object it doesn't matter how many times I transform it right so if I've made a mistake and I need to transform in a little bit more and maybe I decide now I know it's a little small I knew a little bit larger I'm not losing inequality so that's why they're called smart objects because we have a lot of things and photoshopped called smart stuff we have like smart filters mart objects smart sharpen what if the next version will have like mensa I gotta be and then sell air the brilliant layer and every time you click on it'll be like more okay right okay focus all right so I want to make a duplicate command j well let's mask this one first we might as well well at our layer mascot the bottom layers panel will tap the the bee key right the beaky gives us our brush and you guys probably know like control option you can drag left or right that gives you a bigger smaller brush or you can go up and down and that actually gives you a harder edged or a softer edge brush and we can go ahead and just start painting that but helps to know what color your painting with if you guys don't understand layer mounds are you guys ok with your mouse okay I can teach you later masking like thirty seconds you had just have to answer two questions okay so the first question is what color is the mask? White right? It's white is not transparent a lot of people think it's transparent remember in photoshopped transparency is always represented by the checkerboard right? So we don't see a checkerboard here so it means it's white you are halfway there to understanding masking okay second question when the mask is white can you see the information that's associated with the mask? So this mask is always associated with that layer that's why they're next to each other is not above it is not below its next to it when the mask is white can you see the contents of the layer in the image area over here? Yeah yes you can't look they wing look the wing mask is white well it's not ok it's not a wing sorry it just looks it's what is it? Wait misty staff right spray whatever okay so when it's white we can see that this could be a type player there could be typing there there could be an adjustment in there you could be an investment layer it could be a shape player I don't care what kind of layer it is this mask controls the visibility of what's in the layer in this case it's a pixel baby it's well it's a raw file so it's a photograph so if I know that the mask is white and when the mask is white I can see over here the layer the content then all I have to do is paint with black and I will hide it so the ex key exchanges your black and white right so you tap the ex key that exchange is black with white now I'm painting with black I paid over here and I started hiding it paint over here I paint over here uh wherever the mask is blank timing it or the mask is why it I can see it boobs what if I paint too far? Well tap the ex key now I'm painting with white paint it back in painting too much tapped the ex key a little bit smaller brush paint it out you learn your keyboard shortcuts to when you're in photo shot just so you know really really helpful if you know your keyboard trickett and your you know the alphabet this is what you do when you work for a dare me for twenty years is for directs like bees for the brush will seal give you cropping and these are your default colors for the race after goto poultry movies where the radiant nature for the hand tool all eyes for the eyedropper ok forget it I do not have a career I do not have a career and singing trust me all right so we have this and I'm going to duplicate it so command j duplicates right? So we've got one layer now we've got two layers command t we're going free transform it we love the right mouse click so we right mouse click and we say yeah I just want to flip that horizontally we scoop that over now we've got the same thing on the other side we might not want it exactly the same sort of low command team may be rotated a little bit because we don't want to take exactly exactly the same doesn't matter how many times they rotate it I can resize it doesn't matter it's a smart object I don't lose inequality whatsoever now at this point I'm kind of losing the ocean down there at the bottom so what I would like to do is I would like to mask the bottom of both of these but again because I am lazy and I do raise my hand when people ask me that question I'm gonna put both of these layers into a group command g that puts him into a group cool thing about a group is you can mask multiple layers in a group so if you're ever in photo shop and you've got this intricate mask around something and like the art director who we met yesterday says, you know I need to change that mask I wanted to fade in and out like no, please don't make me ruin this mask just put the layer into a group and then adam asked to the group because now I can grab like my great aunt tool we go from black to white look at blacks going to hide so I go click there and drag up and even if you get it wrong it doesn't matter because there's a property's panel and you can go here and the properties panel in just say oh, could you invert that mass because I drew it the wrong way? So don't be afraid of masking and photoshopped really, really easy so now I have everything that I need except for I need one more file the reason that I didn't open this file as a smart object this is the png file this is the this is my original file how'd I know it was a d n g so quickly I looked right down here in my little selector path placed on top of the film strip I saw it was a d n g what I'm looking for is the psd file and the reason I'm looking for the psd file is because I don't want to sit here for an hour and draw to separate the cactus from the background so what I'm gonna do is this time when I say edit in I'm not going to open a smart object this is a little safety tip you should know when you go back and forth between light room and photoshopped if you've got a path in your image you've gotta open it as the original so I'm just going to say edit and photo shop and I'm going to say please and at the original otherwise light room will strip the path out I'm not saying it's a feature I'm just saying beware because that's what will happen so what is the path a path is what you create with a pen tool and photo shop if you're not familiar with it and the way you draw path as you go click click click click click click click and that draws straight lines or you go click and drag and click and drag and that drags curvy lines all right and it's a great way to make a selection because I've seen you people make selections yes you will start with the tragic one tool and I'll be like oh oh that's close oh that's almost it wait no okay no I have to hold down the shift key when I do this give me it now a little more little more little more a little more a little more in their little more and they're in here in here and then finally you know it'll go into your imagery and the like uh so no it'll look like it's snowing don't use the tragic one unless you just have a blue sky with a nice even horizon so then what you'll do is you'll go to like the lasso tool good luck yeah I'll be like we'll be like twenty minutes thirty minutes one in forty five minutes at you on a night like selected the wrong area you go crazy the phone rings or something all right so we don't do that so then you think that julian's got this magic solution for you know you're going to use the pendel and what you're going to end up with is you're going to end up with a path that looks something like this so if we select all the points on the path and if you can see those yeah, uh ok now give me a little bit of credit here because when I drew the path it was a higher resolution file, right? So you always want to try your path to make your selection on the biggest file possible because then you are more accurate because there's more pixels that make up the cactus versus the background same would like if you're trying to extract hair or something you want to use is higher resolution file as you can because if your hair is only like one pixel wide it's going to be much harder to select and if you've got two or three pixels that hair so yes, I know I did I went but I enjoy doing this like I love photo I use light room to get like light room does all this stuff that I don't really like to do like it preps each image individually and it makes me really good at key wording and occasionally tiny organized but this is when it gets fun like when you can create stuff that doesn't exist in the real world you see compositing to me is like like I know photography is like the decisive moment sometimes and people are trying to capture like that one moment and then make it stretch to eternity right because that is what what photography does you get this iconic moment and then everyone over the ages can relate to it cinematography I can I think is the opposite where you're you're taking like an entire it could be an entire civilization our entire life span and you're compressing it down into this tiny tiny little little area so that you're doing kind of the opposite of this this iconic stretch of time so what I like with composite is kind of this mix where you take both where I'm taking little snippets like decisive moment from different pieces of time and putting together to form a scene that we could never exist in reality but I digress probably yes how many months did it take to draw that oh that only take me like it might have taken an hour at the most oh yes so once you get with the mental you'll never go back to any of the other selection tools for hard edged objects and it's very zen I can't thank you just click and you go in you follow any like a I can tell only conquer you and it's such a control thing like oh yeah this is exactly yet on that spot to get oh no no we don't want that we want that we don't want that that's great that's fabulous so you'll love the mental but that's a different class all right, so what do we do? We turn the path into a selection how do I do that? I used command return or I'm sure we could use the past panel to make it work matthew all right so that just turns it or we could use this little icon right here about that would have done it all right, so then we just add our mask because the nice thing is once you have a selection if you just click to add a mask, why won't it let me? Because I don't have the layer selected to have to click on the layer and then click the masked by the way if something and photo shop is not working the way you expect it to stop doing it, I love watching people thought because if something doesn't work like especially like painted in a mask or something they'll paint and it won't work and I'll paint again no no paint and paint the painting like, well, well well before you run out of history it's not going to change it so you may like photo shots like you know you painted with white like ten times if you really want to be paying with black I think I'll switch to black for you know it won't do that so you know, doing the same thing over and over multiple times and expecting a different result is like insanity, right? Ok, so we don't do that, we just look and we go, oh, we look in three places we say hey, do it in the right tool selected because a lot of tools look alike like we've got the lasso and we've got the magnetic last so all these so they look alike, so just make sure you have the right tool, then make sure the options are set right for the tool if you don't know what those are and you know what the default is just right mouse click on the icon for the tool up in the options bar and you can reset the tool and that resets it to the default. So someone's been evil on their on their computer and they've sent all your blend modes funny for your tools or something. Just come up here and reset your tools all right? And then if that still doesn't work, look at your layers palette has ninety percent of the issues happen on the layers pale right, like you're on the wrong layer or you're on the layer, not the mask or you don't have any layer selected, so make sure you're on the right later. So that was my problem. I didn't have any layer selected, so I just click that now I can add my layer mask. Ok, great. Now that I can add my later massey and use that little handy shortcut, but I mean, it was a custom shortcut. You wouldn't have that set up, you'd have to go to the edit menu and you have to come down here to your keyboard shortcuts because somebody probably asked that online because I forgot to explain it. You go to a window and you'd come to arrange and you would put in your own keyboard shortcuts here. So all the keyboard shortcuts are completely edit a bull just very different from edible, their edit, a bowl in photo shop. All right, so now I just grab my move tool, and we skipped that over, and we take that and we close it, and we don't say that because we don't need it, and we screwed that up and then it's just too saturated for the rest of it and it's the rest oh, I know why. You know I have this little highlighter on I keep going cash why is it like a little ray of light over there? All right, so we could either dark and down the rest of it or we can lighten that up I'm on my machine it actually looks like I need to lighten it up a little bit so just like two more quick things and photos show if I add an adjustment layer right now so this whole icon right here like if I wanted to lighten up the cactus if I come here to let's say curves and we just raised the curve a little sorry I'm running out of space here on my for my panel, so we'll put this up over here, so if I raise the curve up, you can see that everything not only the cactus but everything below the cactus and the layers panels being changed. So what we're going to do is we're going to make the change that we like the cactus and then what we'll do is we'll clip this we're going to create what's called a clipping group we do that by just clicking on this icon right here and now watch now this adjustment layer on ly effects, the cactus and nothing underneath it because we've clipped it is the same is going to the layer and creating the clipping mass sorry it's a mask clipping nasa on a clipping group, I try to think because the keyboard shortcut his command ship g for group that's how I remember it, but it's actually called a clipping mask, all right? And then we could just darken or lighten or do whatever, but I just wanted to show you so I know this isn't a photo shop class, and I want to spend more time in here, but when you're handing off files from my arm to photo shop, you do have to pay attention to what you're handing off. So in this case, you know you've got to decide whether you're handing off in what color space as faras, rgb, srg, be pro photo, you've got to know whether or not you want this in eight bit or sixteen, but you got to know if you were going to change the size of your image, you're probably one of the hand them off is a smart object, and you have to know that if you've got a layered, photoshopped document, you always have to hand it off as the original. Otherwise it would flatten it, and it wouldn't give you those layers, so and I needed it's not that the cactus I didn't need the layers for the cat. Just what I needed for the cactus was the path because a lot I got a lot of questions on email that say you know hey what what's going on light rooms stripping the path from my psd files you have to open as the original layer document not as a copy with light room adjustments all right, so we're almost there to the a to the image yesterday I would probably still just d saturate the cactus I've got a little pink on the outside lines and then uh darkened down that background a little bit because appear it's way too light but that's for another time all right so let's talk about printing well screwed to printing unless there was there was ah yes okay so then there was a question yesterday somebody asking they e mailed me and asked me if uh where I got my textures so that's really easy I just photograph him but I will but I wanted to give a little hint about photographing textures so if we go up here sorry to my catalog area and we go to all photographs and I do a find so command f defying my images I want to look for paper textures so paper textures work really well but I just want to run through a few of these like I've never used this paper texture in any of my composites because the stuff in it is too big I should've backed way off like that if I put that on top of one of my composites, all you would see is that because I have used a lot of textures which what was I thinking? I didn't show you that part, okay, that files so open so let me show you what happens when you add a nice texture like here's a texture that has a lot smaller texture to it it's not as obvious it's it's not a repeating pattern, but this one actually has a little bit too much contrast for me let's see if we can't find something else I think that's the same one maybe a texture like this would look good on top of that photoshopped documents, so we'll do command e we can open this up now since this is just a texture and I don't mean like just a texture, but because I'm pretty sure that I'm not going to resize this like ten times what I'll dio is I'll just drag this on top of all of those other layers we can close that now what just happened? This is unexpected behavior, ok, I was on this adjustment layer, so when I dragged and dropped, what happened is it dropped it right inside the group and that's why it's being masked because look that's a good example of showing you when you mask a group all the contents of the group become mass so that's why you can't see the texture of the bottom of the of the image but all I have to do is drag that outside oh that texture was already in there all right I guess I just forgot to do it delete all right? So here's the texture and it's a smart object all I have to do if I want that kind of texture toothy gritty overlay is just changed the blend mode and if you don't know what blend mode as long as you have the move to a selected you can use the keyboard shortcut you can do shift plus and that just takes you down through the different blend modes so just shift plus shift plus and we goto color dodge and lighter color and overlay so usually it's either over layer soft light that's going to show on this screen appear that we're looking at I think I need to do the overlay just so you can see it but on mine even on soft light if we zoom in here you'll start to see the texture on top of the image so let's go back to um let's see shift minus that's overlay just so we get a little more texture so that's the kind of texture that I'm talking about so I just photograph my own texture but there's tons of people who also sell textures you combine textures from people just know that if you're gonna photograph your own you want to stand back away from it like I buy a ton of sheets of paper and then I just stand back and photograph where you could scan him one of my textures that's one of my favorite is actually a tea bag that I opened up, you know, and then scan that and it works beautifully it's like this nice little ghazi texture and it's kind of stain this brown color. Okay, all right, so let's, get back to light room let's get back to printing. So I'm here in the library module let's close up my navigator bless you and we'll come down here to my goodness, I have a lot of a lot of folders. Okay? We come down to print and why isn't anything showing nothing showing? Because I have a filter and I've locked my filters so let's delete that and we'll say no filter and will unlock that. All right? We're going to take these images over to print and the easiest way to do that is probably use command pierre control p right that takes us over to our print module now let's go to a layout style here, single image and I'm just going to reset some of this stuff so we can start off here, okay, all right so where do we want to start when we're printing our images now some of you might be thinking like I don't print my images I have my color lab print my images so I'm not gonna listen to what julian says, but you can print to j peg as well from here, so if you if you don't print your own stuff like if you send all your stuff to the color lab or wherever you get your stuff printed if you're sending them jpeg files anyway, if you want like multiple images per page if you want to make a contact sheet, if you want to make a picture package, you can do that in light room and then just print too a j peg instead of printing to a file, I'm sorry instead of printing to a printer and they just hand that off, so we'll go through both ways of how to print. So with my ad digital illustrations, I actually print all of my own work. I've got an absent printer that I print too, and the first thing that you want to do when you come in here into the print module let's just collapse a bunch of this stuff so it doesn't look so crazy all right? The first thing you probably want to do is you want to come over and you want to look at your page set up and your prints settings now if you're on windows, this was going to look a little bit different because they only have one button over here but they can access all of the same settings so the first thing I would do is I would tell it all right, what what page do I want? Well, I'm going to go ahead and form at this for a specific printer, so this is my forty, eight hundred that I'm gonna print teo and what paper size am I going to use? Well, let's go ahead and use seventeen by twenty two and I'm going to use she paper so I don't want any of these roll papers and honestly I never print full bleed, so I never print all the way to the edges, so I'm ok just saying like, seventeen by twenty two I don't need the maximum size I don't need borderless or any of the cast off so seventeen my twenty two that is my page set up if you have a different printer, obviously you're going to different options here, then I need to click to go into my prints settings because remember, if you don't do this first and then like you set up everything, you don't know what page signs you're working with or anything and I have to go, we set it up again, I'm too lazy to do that all right, so now these are my prints settings and again I mean I wish I could just say oh, you click a b and c but I'm actually accessing the printer driver right now through the operating system so the options that I get here are a combination of light room and the printer driver so you will see different options depending on the printer that you have but we can come down here and what's important is to go to the prince settings and then your prints heading cesaire all of the different options that you want to use so for example it knows that I'm printing sheets so I'm gonna go ahead and manually feed each of these so why am I manually feeding my printer because I've got big sheets of paper and because it's I mean it was a really thick paper I'm gonna use the velvet fine art paper and so that doesn't curl around the printer I actually need to put it in the back of the printer so it just goes through with the least amount of bend because it is a thick paper all right? So my media type is going to be fine art paper then and we're gonna have to pick that paper so I like the velvet fine art paper so you would just pick all of the attributes for your printer and your paper that you're printing too then for color here all right, I'm gonna leave it set to color, but for the color settings, I want it off. So what does that dio? Welcome to the world of color management so you can choose but don't use both. You can either choose to have light room, convert your image from the color space into the colors that the printer can print or you can have the printer convert the colors. I have light room do it, but if you're having good luck with your printer, you know, fine. If it's not broken, I'm not telling you that you have to fix just don't do both. You don't want to say hey, light room, take my image and convert it using the printer profile into the printer space and then, hey printer, take this file and use your profile and converted again that's double profiling and you're going to get results that air probably not what you want, so here I'm selecting to turn off the color settings and you're thinking, but you're in light room. No, I was in light room, I clicked the print settings that took me to the operating system, and I'm now in the printer driver that was created by the printer manufacturer that's why my printer driver will look different, probably from your printer driver, so now that I've got this set to off that tells me well later on, when I'm over here in the print job arian light room that's when I'm going to be setting up into selecting the profile for my printer because remember, my printer probably can't handle all of the colors that my camera could capture that's why we have that soft proving to give us kind of a preview of what the color space or what? The amount of colors, the number of colors, the color ranges of my printer. So I'm going to turn that off, then it's up to you, whatever quality one if we want super photo, we can bring that up and we can turn off high speed. It will take longer but be a little bit more accurate, so once I'm done, you'll notice that it doesn't say, like, click ok and actually says save it's like all right, you've set this up, we're going to save this. These are your current settings, so we're going to save it now. It didn't really save it. I don't wanna I don't want to give you the wrong impression because we have to save there's two other things you can save in all of the different output modules you khun save template, and you can create saved prince. So once we're done setting up a template, like once we're done setting up our image and we've done our page set up, we've done our print settings and we've come out over here toe to our layout style, and we do all this I'll probably want to save a template if tomorrow I'll want to print a different image with that same set up, you create a saved print when you have a cool collection of images and you want to save the collection of images with the template and say, hey, every time I print this collection of images, I want you to use that template so the temple it just says, yeah, today I want to put with it, and you know what? In a month, I might want to print other images with that same template a saved, print like project is actually going to save a collection, and we'll walk through that, so all right, so we've set this up, but I'm let's take a look at our layout style so we can either to a single image or contact sheet or we have something called picture package or custom package, so picture packages, nice picture pictures always prints multiple copies of the same image, so when you need to four by six is one eight by ten something like that you would use picture package a custom package you can put as many photos on here is you want as many sizes you want you can overlap the photos, you can change the background of the photos so I've seen wedding photographers layout entire templates of multiple pages and then all we have to do is just grab an image and drag and drop it in there go to the next page drag and drop it print to ajay pink sandal there j pegs off to their service bureau sorry, we don't call them service bureaus anymore we call them our color labs stuck in time all right? But we're going to start with a single image contact sheet so we need to go down to our image settings and let's just let's just stretch this so it's a little bit bigger there so I just grabbed one of those guys I clicked on it and just drive today so we have the option to zoom to fill or not. So if this let's take a look at my layout, I have it set to keep square right now I'm going to turn that off to show you zoom to fill because you might have an opening like that and you might choose not to zoom to fill you might not want to crop your image so zoomed to fill we'll just do that it zooms it up to fill all right rotate to fit well let's take a look at that instance again rotates if it actually becomes useful if you've got like twenty images and you're making a contact sheet summer horizontal summer vertical you might actually be able to get a larger print if you rotate some of them so if you had a bunch of landscape images and you had one vertical instead of making the the box square you could just say rotate that vertical to be landscape so I can see each one of me image is larger we'll take a look at it in a minute all right, then repeat one photo per page if you have if you have multiple images you could do that how would you do that and lay out? You'd say oh, I want more than one row and more than one column all right? And we can move these around if you want tio so image settings here rotate to fit repeat one image now I've only seen one image if we select multiple images it will go ahead and fill those in in fact, it's made multiple pages for me automatically so huge benefit as far as I'm concerned printing out of light room versus printing out of photos show because pretty on a light room I can select all the images and just hit print once in photo shop every image that you have open you have to go through the print dialogue bunks so this is super handy for me. I mean, I still have to sit there and manually feed the paper, but at least I don't have to sit there and set up every single image individually. Okay, you, khun stroke the border, which will take a look at it, and I've got a bunch of templates that I'll show you later. That kind of might give you a better idea of the diversity of all the these settings here, but you can stroke the border, and you can change the width of the stroke of the border. And then you can also change the color by just clicking in the color swatch so we could make it dark. We could use a little elevator here to get more saturated images. I don't know why you'd want to do that, but you could have it. Yellow, let's, make it white let's, actually, just turn that off.

Class Description

Ready to drastically reduce your post-production workflow? In this 2-day workshop, Julieanne Kost, the Principal Digital Imaging Evangelist for Photoshop and 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

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