Printing From Photoshop®

 

The Professional Photographer’s Digital Workflow

 

Lesson Info

Printing From Photoshop®

Let's make an image or print an image, I'm gonna print out of Photoshop first. Let's print this wave image real quick. I'm gonna flatten the layer here. Flatten image and I'm gonna resize it. Since we have 13 by 19 paper and for the speed of the printer, I'm gonna do 15 inches, 10 by 15, so that one was exactly on there. We'll just resize that and let's go to 100%. I'll just quickly add. Let me duplicate this layer. Do the sharpening here, I'll just leave it as, whoops. Sharpening. And I'm gonna do, basically for this one I'm not gonna do the unsharp mask, I'll just do smart sharpen, again we could use high pass sharpening. We could do it a couple different ways. Wow, that really sharpened it a lot, that's over the top. And I'm gonna back it down to 50% in my view, just so I can see what it's looking like. And I'm printing on the Ilford Gold Fiber Silk, which is like a glossy paper, but not so glossy. So, I don't need to add as much sharpening. If I'm sharpening for a matte paper, it's...

gonna look ugly here to make it look sharp on the paper. So, we're gonna have to add a lot more sharpening. Somewhere in there and then I might even back this off once I get in close here. This image has a lot of stuff going on, so it's not somewhere in there. Sharp, but not overly sharp. So, since we got a Canon printer, typically what you'd do in terms of printing an image, is we'd go down here to file, print. And on my Epson printers that's what I use, this dialogue box that comes up, you see it even shows my Epson 3880 printer, which is not plugged in, and here you would select your printer, right off the bat. So, I've got three of these Pro 1000's connected, but only one's actually on so print settings, you would come in you'd choose the printer. And then you would choose the size of the paper, which in this case would be 13 by 19. And that would be, I think that's A4, I always get confused. It'll tell me, nope it's not A4. Might be A3. Nope, it's maybe it's A2. Where is it, it usually has 13 by 19 in here, but because we have a Canon printer, it's not quite the same as my Epson. Oh and if you mouse over, I might have to create a custom size paper, which you would do that down here. And I'd just hit plus, 13 here, 19 there, click okay. And then there's your 13 by 19 inch paper. Now if I hit save there, I haven't rotated the image, in this case either, because the Canon printer module will actually do that for me. Okay, forget this, this is just talking about here, so don't worry about the way it's on this paper, 'cause I'm not gonna use this to print on the Canon paper. But here's the tricky part is that you want Photoshop managing your color, you do not want your printer managing your color. And here's where you would come in and you would pick your profile, and you can see I've got an insane number of profiles because I've printed on, a bunch of different papers. And then I would come down, if we're printing on Ilford Gold Fiber Silk on a Canon Pro 100, I'd pick that profile. If I have the image still in 16 bit mode I can choose to print in 16 bit mode, which is great 'cause it means the transitions from really light to dark places in the image will be smoother. Normal printing, there's usually two, well there's four options here, but the two you would be using are perceptual or relative color metric. I won't go into how that works, 'cause we just don't have time for that. But 99.9% of the time for glossy luster, semi-gloss, or baryta style papers I'm in relative color metric. Every once in a while, I'll be in perceptual for matte papers. So, I pretty much always have black point compensation checks, that's pretty much all you need to deal with. Your basically telling the printer what you're doing, what paper you're using, how to manage the color from your monitor and computer to the printer. And then you just hit print. I'm gonna cancel out of this because one of the great things about the Canon printers is they have their own print module that's separate from Photoshop, so I hit this Canon Print Studio Pro. And it's gonna come up with whatever dialogue there. Here it is and it's taking a little bit to load. Do, do, do. Alright, and do not show that again, okay. And I don't know why it pulled up Safari, but. Here we go. So there's our print and it's automatically turned it so that it's gonna print how we want it to out of that printer. And basically we have this same stuff I just showed you in the Photoshop print dialogue here. I'm telling it which printer, this is the media type, so that's what type of paper do I have. And this is the weird little twist, is let me actually see, I think it's on my desktop. Let's go to the desktop. I downloaded this README file from Ilford, that has all this information in it, as you can see. Let me make it full page and it talks about what type of computer, installation guidelines for the profile, tells you how they name their profiles, and what that actually means, and it tells you all the dialogue things you need to set in Photoshop. And this is a really old Photoshop print dialogue box that I got there, but you get the gist of it. And then it goes in at the end here, and it starts talking about those media codes, so how do I know which paper setting I need to use for this paper that's not a Canon paper. They tell me in this README document. So that's what I'm trying to show you there. I'm gonna quit that. So, right here, photo paper plus semi-gloss is the closest paper setting for this Canon printer for my Ilford paper. So I understand this is getting super confusing really fast, but once you start printing this isn't the end of the world it's pretty easy to figure out. This is also why I say find two or three papers you like, keep your life simple. You can create default settings, so all of these are saved and all you have to do is click one button to do this, after you've done it a couple times. So I'm just running through all the options for you. So, here I have the paper size, 13 by 19 inches. The paper source is coming from the rear tray. Print quality is standard, I think there's some other ones, highest, you can choose. I haven't played around with this Canon printer so I don't know. On Epson you can choose 1440 or 2880 dots per inch. And on the Epson printers if it's 1440, it's applying a certain amount of ink to the paper. If you choose the 2880, it's applying even more ink to the paper. And I could even clog up the print a little bit, it may look a little bit better in some instances, there such tiny, small differences in the print quality that often choosing the highest quality is just using more ink and not necessarily making your print look better. You'll have to experiment with those settings on your printer to see what's going on. So, down here in color management, use ICC profile, we're not letting the printer do it. You see there's also black and white photo, which I have not used this Canon printer before so I don't know if that's a better option for black and white images or not, we can try it out. Ilford Canon Pro 1000 Gold Fiber Silk, that's the profile that I downloaded, relative color metric. That's pretty much it. So I'm just gonna hit print, we got the paper in there. Okay, sure, print. And we'll start making it print. This printer is actually remarkably quiet, so we're not too worried about sound. My Epson's are quite a bit louder than this printer. So, we'll just let that keep going. I think the next thing we're gonna do is printing out of Lightroom. So, we'll just move on and I'll show you while this is printing, how that dialogue looks in Lightroom, so you can get kind of used to that.

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

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