The Professional Photographer’s Digital Workflow

Lesson 37 of 47

Printing From Photoshop®

 

The Professional Photographer’s Digital Workflow

Lesson 37 of 47

Printing From Photoshop®

 

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

  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.

Angelita Sanchez
 

A fantastic course to give you a complete view of the full process of photography. Michael is an awesome instructor, very organized! A clear mind, and an approachable instructor always willing to answer your questions! A must for all photographers!