The Professional Photographer’s Digital Workflow

Lesson 38 of 47

Printing From Lightroom®

 

The Professional Photographer’s Digital Workflow

Lesson 38 of 47

Printing From Lightroom®

 

Lesson Info

Printing From Lightroom®

So let's go over to Lightroom real quick. We've already been in there, so you've seen this before. Let's go to a color image here and it's a little different where these things are at, but they're all the same dialogues. So go to Page Setup. You know, we're choosing the printer. Here, let's just say we're choosing 17x22 inch paper, which is what we have back here for this Canon paper. We had some massive 17x22 inch sheets. So I'm going to click okay. And Print Settings. This is the same dialogue that we had in Photoshop and the one we just went through in the Canon print module, but here it's a little simplified for the Canon printer. It's Media & Quality. You know, this is very simplified. It automatically feeds, figures out where the paper's coming from. It automatically figures out what type of paper it uses, which all sounds great, but it's not gonna produce a good print. So this is a very simplified version of the print module for Canon that's too simplified. Honestly, we trie...

d printing out of this and it did not work very well. If I'm on an Epson, it's a little bit different and it's more like the Canon print module we're using for this print. Okay, something happened. (click) Okay, sorry. I was just noticing that it wasn't making the print, so I thought, "We should get that going." And now it's making the print, so it's good. But coming back, you know, for Epson, it's a little different layouts. Color matching up here, you'll notice, it's grayed out so that the Epson printer would not be controlling the color. I'm gonna do that within here in the dialogue farther down, but you can go to Printer Settings and here's where you would choose whatever paper you're using, like premium photo semi-gloss paper is what Ilford tells me to use for the Ilford Gold Fibre Silk. And then you'd choose whether it's 16 bit and here's where you'd choose 2880 dpi or 1440. I usually stick at 1440. I usually don't do high speed printing because that lowers the quality and then finest detail does make a difference here for Epsons. And then you'd click save and then this whole right panel over here is where you actually set up how big your image is gonna be on this sheet of 17x22 inch paper. And they have guides and stuff. All this stuff. So I can choose to have one inch for all of these. If I want to make the image bigger on that piece of paper and something's restricting it, okay, so we need to make this height is 22. Okay. And that's 17. So there we go. Now it's a little bit bigger and you can actually just move the sliders to change how big your print is on that piece of paper. So it's very intuitive here in Lightroom. There's a lot of sliders and stuff. The reality is, all this stuff you don't really need unless you're gonna start overlaying your logo on the print or you can set up templates for your prints if you print 8 1/2 x 11s at a certain size. If you do printing often of certain sizes, you can just set it up in a template over there and that way you just click one button and it's all done for you and it remembers everything, all the way down here to what rendering intent, what color space, sharpening, everything. So, continuing down here. So i just skipped over a whole bunch of this stuff in the middle. For most people, it's not gonna matter. That's like extra add-ons to your print. You can do draft mode printing, but you probably don't want to do that with an image because it's not going to look very good at all. File resolution, you choose whatever you want here. And then you choose your sharpening. JPEG quality, I think that's if you're outputting the image. And then here, we're definitely not doing sRGB. We've gotta go in and choose our color profile for this paper, this printer, that ink. And again, we can choose our Ilford Canon Pro- and I would choose relative here instead of perceptual. The one thing I will bring up here, this print adjustment. So if you need to touch that print adjustment, that tells me your color management is off. So this is a fudge factor at the bottom here. This is a massive fudge factor. Like, that's telling me: A, Your monitor is not calibrated or profiled. Tells me, B, you're not looking at your prints in calibrated light that's the right brightness.

Class Description

Setting up a practical and efficient workflow with your photography feels like a daunting part of your business. Internationally recognized photographer Michael Clark introduces you to techniques to allow you more time to shoot the images you want. His workflow philosophy is that you must first know how you are going to edit the image in post production to know how you need to shoot it.

In this class Michael teaches:

  • Best practices for a shooting workflow from setting up your camera to histograms and exposure
  • How to clean the sensor on your DSLR camera
  • Color management workflow including your work environment and monitor calibration
  • An overview of Lightroom® and multiple ways to speed up your workflow including file folder and batch naming as well as metadata and archival processes
  • Techniques to finalizing your images in Photoshop® with basic adjustments and retouching
  • Making fine art prints, choosing your printer, paper, understanding ICC profiles, and much more!

Michael covers everything you need to know in order to streamline your post production workflow in Lightroom® and Photoshop® and best practices for printing your art at home. Digital photography is far more complicated than shooting film ever was. Knowing the best practices for a digital workflow will make you a better photographer.

Lessons

  1. Class Introduction
  2. Shooting Workflow: Set-up The Camera
  3. Shooting Workflow: Histograms and Exposure
  4. Shooting Workflow: Sensor Cleaning
  5. Overview of Color Management
  6. Color Management: Monitor
  7. Color Management: Workspace
  8. Color Management: Monitor Calibration
  9. Color Management: Do I Need This?
  10. Introduction to Lightroom®
  11. Download & Import Images With Lightroom®
  12. Lightroom® Preferences
  13. Six Ways to Speed-up Lightroom®
  14. To DNG or Not to DNG?
  15. A Logical Editing Process in Lightroom®
  16. File & Folder Naming in Lightroom®
  17. Batch Renaming in Lightroom®
  18. Entering Metadata in Lightroom®
  19. Managing Images in Lightroom®
  20. Introduction to the Develop Module in Lightroom®
  21. Lightroom® Develop Module
  22. Sharpening, Chromatic Aberration & Vignetting in Lightroom®
  23. Graduated Filters & Spot Tool in Lightroom®
  24. Converting images to Black & White in Lightroom®
  25. Creating Panoramas in Lightroom
  26. Creating HDR Images in Lightroom®
  27. Lightroom® to Photoshop® Workflow
  28. Export Images to Photoshop®
  29. Finalizing Images in Photoshop®: Basic Adjustments
  30. Finalizing Images in Photoshop®: Retouching
  31. Finalizing Images in Photoshop®: Saving Master Files
  32. Make Fine Art Prints: The Cost
  33. Make Fine Art Prints: Ink Jet Printers
  34. Make Fine Art Prints: Ink Jet Papers
  35. Make Fine Art Prints: Understand ICC Profiles
  36. Make Fine Art Prints: Sharpen Image
  37. Printing From Photoshop®
  38. Printing From Lightroom®
  39. Compare Monitor to Physical Prints
  40. Printing Black & White Image
  41. Extended Workflow: Back Up Images
  42. Extended Workflow: Storage Options
  43. Extended Workflow: Archiving Images
  44. Submitting images to Clients
  45. Prepping Images for Social Media
  46. Alternative Workflows
  47. Final Q&A

Reviews

a Creativelive Student
 

Michael is a true professional and readily explains all of the nitty gritty issues of a photographer's digital workflow, including important things like Color Management, Lightroom workflows, Printing, and more. He is eager to answer your questions and has a thorough knowledge (after all, he worked with the original engineers at Adobe and wrote a book on it) and passion that he loves to share. He can get way deep into the subject, which I found fascinating. You can tell Michael has great experience in teaching and also likes to learn from his students. He is very authentic, honest, and direct. I highly recommend this class, and look forward to another one of Michael's courses in the future!

a Creativelive Student
 

This is an excellent course. It reinforced what I already knew and enhanced my spotty skills with new knowledge. I really like Michael's explanation of saving the document for print and web and the importance of doing these differently. Using the histogram to show this was terrific. Each session there is some valuable gem.

Chris van der Colff
 

Michael covers the postproduction workflow in a simple and easy to understand manner. He includes some wonderful tips while explaining his methods. It’s nice to learn from an experienced photographer who breaks things down for both the professional as well as a novice. I have watched this course several times and get something each time. Michael is a great instructor.