IntroductionWelcome| 00:06 | Hey, welcome! My name is Chris Orwig.
I'm going to be your host and guide on
| | 00:10 | this training adventure. What we're
going to do is in this training title we
| | 00:13 | are going to talk about printing.
A lot of times when you begin to talk about
| | 00:16 | printing you realize that you have
been out in the field, or you have been in
| | 00:19 | the studio and you have been
shooting and now it's time to head into your
| | 00:21 | studio and to create that final print.
So let's go ahead and head into my office
| | 00:25 | and we will talk a little bit more
about printing. Come on in. Now,
| | 00:28 | one of the things that we want to think
about in regards to printing is that when
| | 00:31 | you are creating the final print
really what you are interested in doing is
| | 00:35 | completing that entire photographic
process, from capture on your camera
| | 00:39 | all the way to output on your printer.
So what's printing all about? Is it just
| | 00:43 | about using your printer? Well, no, not
at all. What we are going to do in this
| | 00:47 | training title is for starters we're
going to get into color management.
| | 00:50 | And color management is all about
clarifying the communication between the color
| | 00:54 | you are seeing on your monitor and the color
you are getting out of that final print, right?
| | 00:58 | So we need to figure out how
we can clarify the communication
| | 01:01 | between those two devices. We will
also talk about color correcting our
| | 01:04 | photographs. How can we get good
neutral color correct images. How can we also
| | 01:08 | color correct the skin, because skin is
really tricky, especially with digital
| | 01:12 | capture, right? We will also talk
about the topic of sharpening, because when
| | 01:16 | you think about sharpening, really you
are sharpening for output. Because if
| | 01:20 | I'm going to print say an image on a
velvet piece of paper, well, there is
| | 01:23 | going to be a different amount of
sharpening compared to if I print on a
| | 01:26 | premium glossy sheet of paper. So we
are going to talk about how can we sharpen
| | 01:29 | this image with that final print in
mind. We will also talk about some
| | 01:33 | different ways that we will print
our material; let's say promo cards or
| | 01:36 | creating different print layouts. We are
going to get into some other topics as well,
| | 01:39 | like what type of papers we
can use or printers we can use.
| | 01:43 | We'll discuss the topic of soft proofing.
What soft proofing is all about is it's about
| | 01:47 | ensuring that what you are seeing on
your monitor is close to what you will get
| | 01:51 | out of your printer. We will go through
an overall desktop workflow from start
| | 01:55 | to finish so that you can see how
you can create a really stunning and
| | 01:59 | compelling and engaging print. Now,
most of this training title is going to be
| | 02:03 | about desktop printing, yet I decided
to include a little bonus chapter near
| | 02:07 | the end of this training title, and
that one is all about going to press.
| | 02:10 | So let's say you are really good at
desktop printing and then you need to go to press;
| | 02:13 | maybe your images will be in a
magazine or maybe you just want to go to
| | 02:17 | press to create a promo card. Well, we
will briefly talk about how you can do that.
| | 02:20 | All right. Well, throughout this
training title my hope is that it will
| | 02:24 | provide you with some information.
It will provide you with the technical knowhow,
| | 02:28 | so that you will know how to
use Photoshop in order to create the most
| | 02:32 | compelling and engaging final print.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library or if you
| | 00:05 | are watching this training title on a
disk, you have access to the good old
| | 00:09 | exercise files. In order to take
advantage of the exercise files you can see
| | 00:12 | that I have the folder selected here.
I have double clicked to open up that
| | 00:16 | folder, and here you can see that
the exercise files for this particular
| | 00:19 | training title are divided up
into the different chapters.
| | 00:23 | Now, the best way to use and to take
advantage of these exercise files is to
| | 00:26 | open up this folder inside of the Adobe
Bridge. I'll go ahead and navigate over
| | 00:30 | to the Adobe Bridge here and pull
that up. Here you can see I have the main
| | 00:34 | exercise files folder.
| | 00:36 | So let's say you are watching a movie
in Chapter 2 on color correction.
| | 00:39 | What you would want to do is navigate to
that particular chapter folder, and here
| | 00:43 | you can see all the images and all
the files that we'll be using in that chapter.
| | 00:48 | Now, if you don't have access to
these exercise files, no big deal. You can
| | 00:51 | always follow along from scratch or of
course you can use your own photographs.
| | 00:55 | All right. Well, let's begin.
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1. Color ManagementIntroducing color management| 00:00 | As you may or may not know, in order to
create compelling prints you just have
| | 00:05 | to have a color managed workflow. Now,
I'm assuming that some of you know a
| | 00:08 | thing or two about color management,
and if you are in that group feel free to
| | 00:11 | skip these movies and jump ahead to
the next chapter. Yet if you are a little
| | 00:15 | bit uncertain about color management
or if you would just like to learn a
| | 00:18 | little bit more, feel free to
watch this and the next few movies.
| | 00:21 | All right. Well, what exactly is
color management and why is it such a big deal?
| | 00:25 | Well, in sum or in short,
color management is all about clarifying
| | 00:30 | communication between
multiple devices. Let me explain.
| | 00:33 | Let's say that we see these beautiful
vivid colors on our monitor, like we can
| | 00:36 | see in that image in the background.
While we are seeing those colors on the
| | 00:40 | monitor and there the colors are
created via light, but then we have to send
| | 00:44 | that color information, those colors
to our printer, which is then going to
| | 00:48 | create those colors with ink. It's a
very different type of color. We can
| | 00:53 | create certain colors on our monitors
that just can't be reproduced on our printers.
| | 00:57 | So how then do we clarify this
communication? Well, what I want to do here is
| | 01:01 | just begin to talk about this a little
bit analogously in order to deconstruct
| | 01:06 | what exactly color management is.
| | 01:07 | Now, let's say for example that we are
in this Adobe RGB color space, and just
| | 01:13 | for the fun of it let's just say
there is a color in this color space.
| | 01:16 | This color space over here, which is
red, and we will call it Red Number 3.
| | 01:20 | Again, there is really no such thing,
but by way of analogy we will say in the
| | 01:25 | Adobe RGB color space there
is a red which is Red Number 3.
| | 01:29 | We decide to then print this particular
red. Well, this color then needs to be
| | 01:34 | translated into this Lab color space,
and that Red 3 becomes a Lab Red 1.
| | 01:40 | The Lab color space is a much wider
gamut. So now we have this Red 1.
| | 01:45 | Then this Lab color is then
converted to the CMYK color space and that 1
| | 01:50 | becomes a 6, and over here our printer
is then printing the Red 6. So as you
| | 01:55 | can see here there is quite a bit of
translation. There is quite a bit of a
| | 01:58 | process of translation that's happening.
| | 02:00 | Now, what would happen if we simply
sent Red 3 to the printer? Well, it would
| | 02:05 | print number 3 Red but it wouldn't look
very good. Are you with me on that? So
| | 02:10 | what's happening here is there is a
translation of the colors that we are
| | 02:13 | seeing created via light, to the colors
that are then being reproduced via ink.
| | 02:18 | So color management is all about
clarifying the communication between these two
| | 02:22 | devices in order to increase our
color accuracy and ultimately in order to
| | 02:26 | create more compelling and
engaging and enlivening photographs.
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| Creating a neutral work environment| 00:00 | So far we are beginning to discover
that color management and that having a
| | 00:04 | color managed workflow is actually
quite important. So where do we actually begin?
| | 00:09 | Well, for starters, one of things that
we need to keep in mind is that color
| | 00:12 | management isn't something that we
have to be afraid of. I want to talk about
| | 00:16 | this in regards to a quick story.
| | 00:18 | When I'm traveling I love taking
photographs of signs. I love this particular
| | 00:22 | sign because it's quite scary. DANGER
OF DEATH. I'm definitely going to stay
| | 00:26 | away from that particular location.
| | 00:29 | Now, a lot of times what happens in
regards to color management is because it
| | 00:32 | sounds so complicated, people are
scared of it. They don't even know what to do
| | 00:36 | so they don't do anything.
| | 00:38 | What I want to try to convince you to
do is say, you know what? Yeah, color
| | 00:41 | management is a little bit tricky, but
I can take a few simple steps in order
| | 00:45 | to create a really good color managed
workflow in order to create really good
| | 00:50 | color correct photographs.
| | 00:52 | So what then is the first step? Well,
the first step is to consider your
| | 00:56 | workspace, your studio, your office,
wherever you are working on your
| | 00:59 | photographs, and one of the most
important things to consider is the light source.
| | 01:03 | Now, let's say that you are working on
an image and it's a bit of a gray image,
| | 01:07 | yet you have a yellow light source.
Will that gray actually look gray? No,
| | 01:11 | it will look yellow, because of the
yellow light coming out of the light source.
| | 01:15 | So what you need to do is to try to
neutralize your studio or your office or
| | 01:19 | your workspace. Now, you can do this
in a number of different ways. The most
| | 01:22 | simple way to do this is to first
purchase daylight-balanced light bulbs.
| | 01:25 | Now, these are relatively inexpensive and
you can purchase them at any of your local
| | 01:30 | hardware stores or any of the
other stores where you live.
| | 01:32 | I am just going to go ahead and
navigate over to the web browser and navigate
| | 01:35 | to homedepot.com. Now, here I did a
quick search for daylight-balanced bulb and
| | 01:40 | that gives me a number of different
options and I'll go ahead and click on one
| | 01:43 | of these options.
| | 01:44 | What we are looking for here is a light
bulb that's daylight-balanced. So let's
| | 01:47 | go ahead and click on the
specifications and see what we have. Well, one of the
| | 01:50 | things that I'm noticing that I have
here is that my Color Temperature is 6500 Kelvin.
| | 01:56 | Now, when it says 6500 Kelvin, it's
something a little bit closer to probably
| | 02:00 | 5700 Kelvin. Ideally we want 5000 Kelvin,
but this light will work really well for us.
| | 02:05 | So I'll go ahead and navigate back to
my slide for a moment. Now, why will this
| | 02:09 | light work really well? Because
it will be a neutral light source.
| | 02:12 | Now, when you first start using neutral
lights you will feel like the light is
| | 02:15 | a little bit sterile, because you are
really used to having this yellow glow or
| | 02:18 | this warm glow coming from your lights.
Yet, eventually what's going to happen
| | 02:23 | is once you get used to this neutral
light source, it's going to feel real
| | 02:26 | pure, real clean, real vibrant. You are
going to start to see color in a whole new way.
| | 02:31 | Another thing to keep in mind is that
while you are working on your photographs
| | 02:33 | you don't want to wear bright colored
clothes or have a bright colored wall
| | 02:37 | next to your monitor, because the
light is going to hit that bright color and
| | 02:41 | then bounce onto your monitor.
| | 02:42 | So again, step one is simply to begin to
create a more neutral work environment.
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| Calibrating your monitor| 00:00 | Step two to creating a color managed
workflow is to keep in mind that color
| | 00:04 | management is all about reproducing
beautiful colors that we see on our
| | 00:08 | monitor. Like we see in this
particular field of sunflowers.
| | 00:11 | Well, how then do we reproduce those
colors? Well, one of things that I have
| | 00:15 | already mentioned is that color
management is all about clarifying
| | 00:17 | communication between our monitor and
our printer. We want the color that we
| | 00:22 | see on our monitor to equal the color
that we see in our printer. So this is a
| | 00:27 | little bit of a two-way street. What I
mean by this is we then need to create a
| | 00:31 | profile for our monitor as
well as a profile for our printer.
| | 00:35 | What exactly is a profile and how does
a profile work in regards to clarifying
| | 00:40 | communication between monitors and
printers? Well, I like to think of profiles
| | 00:44 | as kind of like tags on garments.
| | 00:46 | Let's say that I'm going to go down to
the local shirt shop and buy a t-shirt
| | 00:49 | for my brother-in-law. I say hey, you
know what? I really like this t-shirt,
| | 00:53 | and I know that my brother-in-law is
size medium so I pick out the t-shirt and
| | 00:57 | I look at the tag. The t-
shirt is tag size medium.
| | 01:00 | Now, my brother-in-law can't try on
the t-shirt because he is not there and
| | 01:04 | it's a gift for him, so I trust
that tag for that particular t-shirt.
| | 01:08 | Now, what would happen if garments
like t-shirts didn't have tags? Well,
| | 01:13 | it would be impossible to buy things.
You would have to try every single size on
| | 01:17 | in order to determine what was best
for you, and it would just be a big mess.
| | 01:22 | So what we have is we have these
little tags that say you know what?
| | 01:24 | This t-shirt is size medium. Perfect. I'm
then able to then take that shirt and give
| | 01:29 | it to my brother who also knows his size.
| | 01:32 | Now, this analogy falls apart a little
bit, but hopefully it begins to clarify
| | 01:36 | how this works. What we are going to
do is tag or create a profile for a
| | 01:39 | monitor, which says hey, this is how
this particular color looks and how it's
| | 01:43 | represented here.
| | 01:45 | We are also going to create particular
tag or profile for our printer, with a
| | 01:49 | specific paper type. It's that tag or
it's that profile that ensures that we
| | 01:54 | get the best fit. It ensures the best
process from monitor all the way over to our printer.
| | 01:59 | Well, how then do we create these
profiles? If we actually want to have true
| | 02:03 | correct colors what you need to do is
you need to invest in a color calibrator.
| | 02:08 | Here you can see I have a color
calibrator that was put out by X-Rite.
| | 02:11 | It's called the Eye-One calibrator.
You can see that little device there,
| | 02:14 | it's a spectrophotometer, and that little
device is simply something that measures the
| | 02:19 | color and the brightness of
the color that's on the monitor.
| | 02:23 | So what you can do is purchase a
system like this and then measure the color
| | 02:26 | that's actually coming off your monitor.
Now in this particular case, this is
| | 02:30 | an older photograph and the actual
device that I'm using now is called the
| | 02:33 | ColorMunki. This device is also
created by the same company, X-Rite.
| | 02:38 | The device is actually quite fascinating,
because again you can see there is a
| | 02:41 | spectrophotometer. You can see that
that's on the monitor there. You can use
| | 02:45 | that to create a profile or to "tag"
the color that you are seeing on your monitor.
| | 02:50 | You can also create a test print on a
particular paper type from a particular
| | 02:54 | monitor. You can then use the
ColorMunki or the spectrophotometer and you can
| | 02:59 | then hover over the different color swatches.
| | 03:01 | You can see the little icon there on
the right hand side. It will then measure
| | 03:04 | those different colors. It will
measure the way that that color was created.
| | 03:08 | It will then create a profile so
that your monitor will be tagged with a
| | 03:11 | profile and your print
will be tagged with a profile.
| | 03:15 | Then finally, when you get to creating
a print, you can use those two profiles
| | 03:19 | or those "tags" in order to create a
high level of color accuracy. So if you
| | 03:25 | are serious about color, or even more,
if you just love color, if you love
| | 03:28 | vivid and accurate color, well, you probably
want to begin to invest in a device like this.
| | 03:34 | Now, there are other devices out there
that do the same exact thing, yet these
| | 03:37 | are the two devices that I
have had incredible success with.
| | 03:41 | Now, if you are listening to this movie
and thinking, hey, this is really kind
| | 03:43 | of interesting. Well, you are probably
going to want to watch the next movie
| | 03:47 | where I dig dipper into these topics
about color calibration and about creating
| | 03:51 | a color-managed workflow.
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| Calibration demo| 00:00 | All right, you know we use different devices in
order to clarify our vision, like binoculars, and
| | 00:05 | we have used binoculars for a long time
in order to be able to see things more
| | 00:09 | clearly. In regards to printing, what
we need to do is have a color-managed
| | 00:13 | workflow and we have
talked a little bit about this.
| | 00:15 | What we are trying to do in color
management is clarify the communication
| | 00:19 | between our monitor and also our printer.
If we really want to step things up a notch,
| | 00:23 | let's say we really want to get
into the fine details of color, if we
| | 00:27 | really want to have true accurate
color, what we need to do is get a
| | 00:30 | colorimeter or a spectrophotometer
in order to measure the color that's
| | 00:33 | coming off of our monitor
and then to create a profile.
| | 00:37 | So what that means is we can get a
device, like this particular colorimeter.
| | 00:40 | We could then hang that on our monitor.
That would then measure the color that's
| | 00:43 | coming off of it.
| | 00:45 | Now, a device that I like to use is
actually the one that's called ColorMunki,
| | 00:48 | put out by the guys at X-
Rite. It's a phenomenal tool.
| | 00:51 | What you can do with this is you can
again hang this on your monitor. You need
| | 00:55 | software program, and it comes with
a little software program, it's very
| | 00:57 | simple. It goes through this process
of sending colors to your monitor. Those
| | 01:02 | colors are measured and
you have a monitor profile.
| | 01:04 | Now, you can also use this device,
which is called the spectrophotometer, not
| | 01:08 | just to measure the color on our
monitor, but to also measure the color that
| | 01:12 | comes out in the final print. So with
this particular device what you do is you
| | 01:15 | make a couple of these test prints.
This is all part of the process of using
| | 01:19 | their software. It creates these really
simple test prints and you can see that
| | 01:22 | there are arrows on these.
| | 01:23 | You then take this device and you walk
it along these different color chips,
| | 01:28 | and as you do that it measures those
colors and it creates a profile for that
| | 01:32 | particular type of paper.
| | 01:34 | So what you can do with these profiles
is then you have a profile which says
| | 01:38 | hey, my printer with my type of paper
is going to print or render this color
| | 01:42 | this particular way. Now that I have a
profile for my monitor and also for my
| | 01:47 | printer and paper, it's going
to ensure more color accuracy.
| | 01:51 | So if you are really interested in
stepping things up a bit, what you want to
| | 01:55 | do is look into using one of these systems.
| | 01:57 | Now, I know a lot of you may be
thinking, okay, I just don't have the extra
| | 02:00 | cash to buy one of those right now.
Well, put it on your wishlist. Begin to
| | 02:04 | save for it, because if you are
serious about photography and if you are
| | 02:07 | serious about the fun of creating
amazing prints, you really are going to need
| | 02:11 | to use one of these systems.
| | 02:12 | Now, there are a wide range of systems
out there. The one that's my favorite is
| | 02:16 | this one called the ColorMunki. It's
really easy to use, it's simple, there is
| | 02:20 | not a lot to it, and as you can see,
this is the only device that you need to use,
| | 02:24 | and so that cuts down on storage
as well. So I love the thing and it has
| | 02:28 | given me great results
in regards to my printing.
| | 02:31 | So most importantly, what I want to do
here is just simply demo this process as
| | 02:34 | we have done, to say hey, this is one
of those things that's important. And if
| | 02:38 | you want to start to get good results
when you are creating your own prints,
| | 02:41 | begin to think about what type of
colorimeter or spectrophotometer you want to
| | 02:44 | use in your own color managed workflow.
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2. Color CorrectionCorrecting color pt. 1: Determining the white and black points| 00:01 |
Well, now that we know a little bit
about color management and now that you
| | 00:04 |
have hopefully begun to create a
little bit more of a color managed workflow,
| | 00:08 |
we are ready to color correct our photographs.
| | 00:11 |
Now, it's kind of fitting that we are
working on this photograph of one of my
| | 00:14 |
friends and colleagues, Nick Dekker.
Nick Dekker is an amazing photographer and
| | 00:18 |
an amazing traditional printer.
| | 00:20 |
Now, one of the things that impresses
me about traditional printing is there is
| | 00:23 |
so much process, and as we begin to
work on our photographs, in order to create
| | 00:27 |
a good print digitally, we need to tap
into this history of photography which
| | 00:31 |
involves process, and think
about this as a way to process.
| | 00:35 |
Well, here we are going to begin with
color correcting our photograph. Now,
| | 00:38 |
with this particular photograph, one
of the things that I'm noticing is that
| | 00:41 |
there is a bit of a color shift. Now,
how can we begin to see these color
| | 00:45 |
shifts? What you can do is go to your
Window pulldown menu and choose Info to
| | 00:49 |
open up the Info palette. You can then
hover over the image. When I hover the
| | 00:53 |
image I'm looking at these RGB values.
| | 00:55 |
Now when I do that, one of the things
that I'm noticing is that the B value is
| | 00:59 |
really high compared to the Red and
Green, especially when I go over the shirt.
| | 01:03 |
Now, I know that shirt is black. I
also know that this beard doesn't have any
| | 01:06 |
blue in it. But if you look at that B
value, the Blue value there, it is a high
| | 01:09 |
number, so I have a problem.
So how can we then correct this?
| | 01:13 |
There are a number of different ways
that we can color correct our photographs.
| | 01:16 |
One technique that I like to use is to
navigate over to the Adjustments panel
| | 01:20 |
and click on the icon to open
up the Threshold Adjustment.
| | 01:22 |
Now, we are just going to use this
Threshold Adjustment in order to find our
| | 01:26 |
White Point and our Black Point. So
let's go ahead and scrub to the left here
| | 01:31 |
and there we can see our darkest tones.
| | 01:33 |
When I do that I can see, you know what?
These are some of the dark tones.
| | 01:36 |
I could have guessed that, because there
are some trap shadows in there. So I'll
| | 01:39 |
press the I key. That will select the
Eyedropper tool, or of course you can
| | 01:43 |
click on it in the toolbox, and then we
are going to Shift-click on this area.
| | 01:46 |
We are just setting a little sample
point. There you can see the values for
| | 01:49 |
that point. Great!
| | 01:51 |
Now, I'll click and drag this to the
right, and what we are doing is looking to
| | 01:54 |
find the brightest points. We can
see that the reflective surface of this
| | 01:58 |
button is one of the brightest points,
so I'll go ahead and Shift-click on that
| | 02:01 |
little reflective surface there. We can
see the values for that point as well.
| | 02:05 |
All right. Well, now this layer has
done what we have needed it to do. We can
| | 02:08 |
delete it; press the Delete key. So
again, all that we were doing was using
| | 02:13 |
that Threshold adjustment layer in
order to find our White Point and our Black Points.
| | 02:17 |
Well, now that we have found those two
points, we are going to use those points
| | 02:20 |
in order to color correct this image
and in order to improve this image, so
| | 02:23 |
that it will be able to
be reproduced even better.
| | 02:27 |
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| Correcting color pt. 2: Using curves | 00:00 | Now that we have defined our black
point and our white point, we are ready to
| | 00:04 | color correct this photo. So here is
what we are going to do. Let me go ahead
| | 00:07 | and click on the icon to
open up the Curves adjustment.
| | 00:09 | Now, here you can see we have three
eyedroppers. Now, these three eyedroppers
| | 00:13 | work pretty well. If I go ahead and
hover over one of these eyedroppers, we are
| | 00:17 | going to see a little bit of a Help
menu here, which says Sample in image to
| | 00:20 | set the gray point.
| | 00:21 | Now, we can use this Midtone
eyedropper in order to color correct our photos.
| | 00:25 | So I'll go ahead and select that
eyedropper. Then I'm going to hover over the
| | 00:28 | image and I'm just going to look to
click on something that I think should be
| | 00:31 | neutral. I'll go ahead and
click on the shirt there.
| | 00:34 | Now when I do that, it removes the
colorcast in a pretty good way. Well, let's
| | 00:37 | undo that. Command+Z on a Mac, Ctrl+Z on a PC.
| | 00:40 | Well, what if I click on the cheek?
When I do that I then have quite a bit of a
| | 00:44 | problem. I have more of a
color problem than I had before.
| | 00:47 | So when you are using these eyedroppers,
one of the things to keep in mind is
| | 00:50 | that we are looking to click on
something that should be neutral. Let's go
| | 00:53 | ahead and undo that.
| | 00:54 | Now, we are not always going to use our
Midtone eyedropper. Sometimes we will.
| | 00:58 | But what I want to do now is actually go
into my White and my Black Point eyedroppers.
| | 01:02 | So I'll go ahead and double click on my
Black eyedropper. This will open up the
| | 01:06 | Color Picker window, except this one
has a little bit different, and here is
| | 01:09 | how it's different. At the top it says
Select target shadow color. It's giving
| | 01:14 | me a little bit of a help here saying,
hey, use this dialog in order to select
| | 01:17 | the color for your deepest shadow.
| | 01:20 | In my case, I'm going to give that
a percentage point right here at the
| | 01:23 | Brightness value. We have a Hue and
Saturation of 0 and 0. The Brightness for
| | 01:28 | our Black is going to be 5%. Now, this
is a default number. Black is at 5% and
| | 01:32 | then our White will be at 95%. Later in
this training, we are going to look how
| | 01:37 | we can create a more specific
percentage point for this in order to create more
| | 01:41 | accurate detail in our shadows and our
highlights, but for now we are going to
| | 01:44 | start off with this default number.
| | 01:46 | So go ahead and click OK to choose
that number. Do I want to set that as a
| | 01:49 | default? Yeah, sure. I'll then go with
the Black eyedropper and I'll click on
| | 01:53 | this dark shadow area.
| | 01:55 | Now when I do that, I'm going to see
that all of a sudden my image is lifted up
| | 01:58 | a little bit and in addition, there is
a little bit of an effect on the color.
| | 02:02 | Okay. Well, next, I'll double click on
the White eyedropper. Now, my Brightness
| | 02:06 | value for the White is going to be 95%.
I'll go ahead and click OK. I want to
| | 02:10 | set that as my target color as well.
| | 02:12 | I am going to go over here to this
button, and this is going to be a little bit
| | 02:15 | tricky, because this button is
reflective. Now did that click work for me?
| | 02:18 | No, not at all.
| | 02:19 | So I'll zoom in on the button. Command+
Plus on the Mac, Ctrl+Plus on a PC. Now,
| | 02:23 | I don't want to select one of the deep
areas, but I want to select one of the
| | 02:26 | areas that's a little bit of a bit
bright white. So I have gone and selected that.
| | 02:31 | Okay, let's zoom out, Command+Minus on a
Mac, Ctrl+Minus on a PC, and look at our
| | 02:35 | before and after. Here is before and
then after. So now we have more detail in
| | 02:39 | those shadows. We have also
color corrected this photograph.
| | 02:43 | Now, we can of course go back to that
Midtone eyedropper and click on the image
| | 02:46 | as well to remove any further color
shift that we are seeing. So one of the
| | 02:50 | things that you are discovering here
is that you can use these eyedroppers in
| | 02:53 | unison with each other in order
to color correct our photos.
| | 02:56 | Let's check our numbers.
| | 02:57 | Well, go ahead and open up the Info
palette and here you can see our two
| | 03:00 | points. Here is the before. We had no
detail in these shadows at all, now we
| | 03:05 | have quite a bit of detail.
That's going to print just fine.
| | 03:08 | Now, with our highlights, we have
pretty high numbers, yet we are seeing quite
| | 03:11 | a bit of a blue shift. There is a
bit more of a blue shift that was
| | 03:13 | recognizable there.
| | 03:15 | Now the after, these numbers are much,
much closer. Now, there is still a
| | 03:18 | little bit of blue in that, but that's
most likely due to the fact that there
| | 03:21 | is a little bit of a reflective
nature on that particular button.
| | 03:25 | Let's go ahead and set one more point.
How about on the shirt? We will grab the
| | 03:28 | Eyedropper tool by pressing the I key,
if you don't have it already, and then
| | 03:32 | we will hold down the Shift key and we
will click on the shirt. And there we
| | 03:35 | have yet one more point.
| | 03:36 | In order to have neutral color these
three points need to be pretty similar.
| | 03:40 | I can also hold down the Shift key and
click and drag this around and open up the
| | 03:44 | Eyedropper again and we can see
what another point looks like.
| | 03:47 | Again, we are pretty close in our
numbers. There still is a little bit of a
| | 03:50 | blue shift here. So let's look at our
before and after. Here is before, and
| | 03:53 | let's also open up the Info palette so
it stays; I'll drag it out for a moment,
| | 03:57 | and then here is our after. Again, we
can see how those numbers are changing.
| | 04:02 | What's happening here is that these
numbers are much closer together. Now, the
| | 04:06 | closer together these numbers are, the
more accurate or neutral the color is,
| | 04:10 | because if we have equal amounts of red,
green, and blue, then we have neutral color.
| | Collapse this transcript |
| Correcting color pt. 3: Fine-tuning | 00:00 |
So now that we have this image pretty
close to neutral, how do we then finish
| | 00:04 |
it off? Because one of the things that
you may have noticed is that our numbers
| | 00:07 |
aren't quite right.
| | 00:08 |
Now, our number 2 point here on the
button, I'm not going to really worry
| | 00:11 |
about, again, because its reflective,
we are seeing quite a bit of color in
| | 00:14 |
there, but I'm going to worry about
these two numbers: number 1 and number 3.
| | 00:18 |
Now, number 3, there is still quite a
bit of blue in this area or these tones
| | 00:21 |
of the shirt. How can I then fix that?
I want to create yet another Curves adjustment.
| | 00:26 |
So I'll click on the Adjustment Layer
icon, I'll navigate up to Curves.
| | 00:29 |
Now that I'm up in Curves what I'm
going to do is I'm going to navigate to the
| | 00:32 |
Blue-Yellow Channel. I'll then grab the
Target Adjustment tool. I'll hover over
| | 00:37 |
this area of the image, and I'm going
to click and drag it down, because I want
| | 00:40 |
to bring this number down.
| | 00:42 |
Now, these numbers are a little bit
closer here. We can see that I'm bringing
| | 00:45 |
these numbers down a bit. Now, I don't
like how it affected the brighter tones.
| | 00:49 |
So I'm going go ahead and click and
drag the top part of the curve back up, so
| | 00:52 |
it's a little bit more normal.
| | 00:54 |
Well, so far so good, except we now see
that the blue is a little bit low down
| | 00:58 |
here. So let's go ahead and grab the
Target Adjustment tool, hover over this
| | 01:02 |
area, and here we are going to go ahead
and click and drag up. So we are going
| | 01:04 |
to bring back some of that color.
| | 01:06 |
So what we did is we were able to
localize a correction to a real specific area
| | 01:11 |
in this photograph. Here is our
before and if we zoom in on the shirt, we
| | 01:15 |
should see the shift here, our before
and then our after. Well, that's looking
| | 01:19 |
a little bit better.
| | 01:20 |
Then we have this red to deal with
up top. Well, let's go to our Red Cyan
| | 01:24 |
Channel. So in our Red Cyan Channel we
will continue to use this tool, where we
| | 01:28 |
can click on the image and change the
values, and here what we are going to do
| | 01:31 |
is click and drag up.
| | 01:32 |
Now when I do that, I have a little bit
better color in the shirt. These are a
| | 01:36 |
little bit closer to neutral. I want
to hold down the Shift key and move this
| | 01:39 |
around to see how this is looking.
| | 01:41 |
Now when I do that, I realize I went a
little bit too far. So I'm going to go
| | 01:45 |
ahead and click on that point and drag
down just a touch, and again, I don't
| | 01:48 |
need to have these perfect, but I do
want them to be a little bit closer.
| | 01:52 |
Now, at the top we have a little bit
of a higher number up there in my darker
| | 01:55 |
shadow, so again, I can use this
particular tool and click and drag down, and
| | 02:00 |
just look to try to equalize
those numbers just a touch there.
| | 02:03 |
Now, do they have to be exactly the same?
Do they have to be all 13 or all 40?
| | 02:08 |
Well, no, not at all.
| | 02:09 |
We will go ahead and zoom out for a
moment though and take a look at our
| | 02:12 |
correction. So here is
our before and then after.
| | 02:16 |
Now, well, I think that correction
is a little bit better. We want to
| | 02:19 |
Shift-click and move these points
around and just see how the colors are doing.
| | 02:22 |
One of things that I'm noticing is
that my red is just a little bit too high
| | 02:25 |
there. So I'll go ahead and click on
this point and drag that down a bit.
| | 02:28 |
I'm going to go ahead and be a little bit
satisfied with the touch lower red there.
| | 02:33 |
So part of color correcting is going
to be quite a bit of give and take. It's
| | 02:37 |
going to be sampling a point, moving
it, modifying your curves, and so on.
| | 02:41 |
I think the color in this image is
looking a ton better. Let's take a look at
| | 02:44 |
our before and after. Here is before
and then here is our after. Now, that
| | 02:48 |
final little adjustment there that
we made in this movie so far wasn't
| | 02:51 |
significant touch.
| | 02:53 |
Now, at this juncture though one of
the things that I'm noticing is now that
| | 02:56 |
this image is color correct, we have a
little bit too much in the red, in the
| | 02:59 |
face, and I want to neutralize the
tones in the face a bit. I want to enhance
| | 03:03 |
this image. I want to make a subjective
adjustment. Right now we have just been
| | 03:07 |
working objectively to try to get
correct color. Well, what about getting
| | 03:11 |
interesting color? Well, we will
talk about that in the next movie.
| | 03:15 |
| | Collapse this transcript |
| Correcting color pt. 4: Adding finishing touches | 00:00 | Now that we have color corrected this
photograph, one of the things that I'm
| | 00:03 | interested in doing is enhancing this
even a little bit further. Now these
| | 00:06 | enhancements can be subtle or
dramatic. But let's start with some subtle
| | 00:10 | enhancements. So we are going to go
ahead and click on the Adjustment Layer
| | 00:12 | icon and choose Hue/Saturation.
| | 00:14 | Now what I'm going to do is grab the
Target Adjustment tool and I'm going to
| | 00:17 | simply click on one of the areas of the
skin that I think is pretty red. So go
| | 00:21 | ahead and try to find a red point there
and I'll sample that. That will give me
| | 00:24 | a good selection of those reds. I then
want to decrease the transition area in
| | 00:29 | this dialog so that I
just have those reds there.
| | 00:32 | Okay, great. Now if I change the
Saturation it is going to affect the overall
| | 00:35 | image. So I'm going to do that so we
can see that it's mostly targeting the
| | 00:38 | area of the skin but it's more focused
on the areas that are red. Well, I don't
| | 00:42 | want to shift the Saturation that far
but what I do want to do is desaturate
| | 00:46 | just a little bit and I want to
change that red just a little bit towards
| | 00:49 | yellow there.
| | 00:50 | Now by doing this what I can do is
begin to equalize the color or the tone of
| | 00:55 | the skin. Now I'm going to go too
far for a moment, so you can see what's
| | 00:58 | happening. This is too far but stick
with me for a minute. So here we can see
| | 01:02 | our before and then our after. Again,
get in that little bit more of an even tone.
| | 01:06 | Now that doesn't look very good and in
particular I can see that I don't have
| | 01:09 | quite all the red that I need. So I'll
grab the eyedropper with the plus icon
| | 01:13 | and I'll grab a few more areas here,
this will then expand the reach of that red.
| | 01:17 | I'm just going to go ahead
and click through these areas
| | 01:19 | to make sure I have those.
| | 01:20 | Okay, great. Well, now that I do, I'm
going to bring this back to 0. I have a
| | 01:25 | little bit of a desaturation here, so
we will go back to 0. And we are going to
| | 01:29 | click-and-drag to the right just a
few points. Desaturate just a few points
| | 01:33 | there and again just looking to
equalize the tone. Now I'll zoom in a bit so
| | 01:37 | you can see what's happening
here in regards to this photo.
| | 01:40 | Now here is our before and then after.
Zoom in even further perhaps on the skin
| | 01:44 | area here and you can see before and
then after. I'm just pulling out some of
| | 01:48 | those brighter reds on the skin.
| | 01:49 | Now, of course, I can desaturate that a
bit more. I can shift those a bit more
| | 01:54 | towards yellow. Here is my before and
after. Okay, well now I'll zoom out.
| | 01:57 | Again, a little bit too exaggerated
there but let's say I want to have a little
| | 02:01 | bit stronger effect here, we are just
removing some of those reds in order to
| | 02:04 | illustrate what I'm doing.
| | 02:06 | I am in the Mask, I'll grab the
Brush tool and make my brush a little bit
| | 02:09 | bigger by pressing the right bracket
key and then press the X key to paint with
| | 02:13 | black and I want to paint away the
loss of color on the lips. I want those to
| | 02:17 | be nice and red.
| | 02:18 | I also want to bring back some red
into the cheeks. So currently I'm painting
| | 02:22 | at 60% Opacity. That will be just fine,
just a little bit of red there on the
| | 02:26 | cheeks. Press 0 to go to 100% and bring
back even more color on the lips there.
| | 02:32 | And now here is our before and after
and again just removing some of the reds
| | 02:35 | from up in the forehead and on the nose.
| | 02:37 | Now a lot of times when you remove color,
you then need to add color on top of
| | 02:42 | what you have done. So that's what
I'm going to do here. I'll click on the
| | 02:45 | Adjustment Layer icon, navigate to
Curves. Now when Curves are going to
| | 02:48 | navigate to my Red channel and I'm
going to increase the red. So I'm going to
| | 02:51 | go ahead and click on my midpoint
right there and just drag just a bit up.
| | 02:55 | Now I'm adding some reds. This is
subjective color. And the nice thing about
| | 02:59 | this is I can add a bit of red because
I have already decreased the red variety
| | 03:03 | in the skin. Now let's look at our
before and after. Before and then after. So
| | 03:07 | I can get away with that little bit of
extra warmth, because I already pulled
| | 03:10 | some out with Hue/Saturation.
| | 03:12 | Next, we will go to the Blue, Yellow
channel and we are just going to add just
| | 03:15 | a touch of yellow there. Now when you
add yellow, you need to be careful that
| | 03:18 | you also add a little bit of magenta or
red to offset that. I have already done
| | 03:23 | that, so that looks pretty good. Well,
let's press the F key to go Full Screen
| | 03:26 | View mode. Then the F7 key to open up
our Layers palette and let's see how we have done.
| | 03:31 | Well, here is the original image. We
started to color correct the image so that
| | 03:35 | we could reproduce it much better. We
then worked on the shirt and we pulled
| | 03:39 | out some of the blue down here on the
shirt and again. That looks a little bit
| | 03:42 | better. Subtle, yet significant.
| | 03:44 | And then we started to work on the skin
a little bit. Now when we did that our
| | 03:47 | adjustment made the skin a little bit
too pale, although it did equalize the
| | 03:51 | color that we had there. Well, we did
that knowing that at the end we would add a
| | 03:55 | bit of the Curves adjustment on top
of that which then makes for a pretty
| | 03:58 | interesting and pretty compelling photograph.
| | 04:00 | Let's take a look at the before and
after. Here is the before and then here is
| | 04:04 | the after. Now in closing, I just want
to remind you that a lot of times what
| | 04:08 | we are going to do is get our image so
that it is color correct. And then later
| | 04:12 | we are going to add some subjective edits.
| | 04:14 | Now if you are more interested in
these subjective types of edits, I have a
| | 04:17 | couple of other training titles on
the lynda.com training library. One is
| | 04:21 | called Creative Effects and other one
is called Creative Color. If you are
| | 04:25 | interested in the subjective side of
modifying your images, take a look at
| | 04:28 | those titles where you can dig deeper
into a wide range of topics where you can
| | 04:32 | learn how to further enhance your photographs.
| | Collapse this transcript |
| Color-correcting an outdoor portrait with curves| 00:00 | So far we have taken a look at how we
can identify our white point and our
| | 00:03 | black point in order to color correct
our photos. What about those situations
| | 00:07 | where you are simply going to use
Curves to color correct an image? Well,
| | 00:10 | that's what we are going to look at
here. Let's press the I key to select the
| | 00:13 | Eyedropper tool.
| | 00:14 | Now when you are using Eyedropper
tool, you want to have your sample size
| | 00:17 | something other than Point Sample.
Because Point Sample will select the actual
| | 00:22 | pixel that you click on. Now if you
zoom in on an image. I'll go ahead and grab
| | 00:25 | my Zoom tool and zoom in on the image,
so let's zoom in on the shoe down here.
| | 00:29 | Here we can see that while this shoe
is black, there are areas of blue. So if
| | 00:32 | it were to select one of these pixels
that wouldn't be accurate. Rather 5x5
| | 00:36 | would select a 5x5 grid and average
those tones. So with the Eyedropper tool,
| | 00:41 | we want to have something above Point Sample.
| | 00:43 | Now you want a higher number for
higher res images. This is a pretty low-res
| | 00:47 | file. So 5x5 will be fine. Okay, well
let's double-click the Zoom tool to take
| | 00:51 | it back to 100%. Next step that I
want to take is I'm going to go ahead and
| | 00:55 | grab my Eyedropper, press the I key
and I'm going to set a few points.
| | 00:59 | Hold down the Shift key, I'll set one
point on the shoe because I know that
| | 01:02 | shoe is black. Shift-click on the
border here between these two stones because
| | 01:06 | I know that's gray. I also have a
feeling that this concrete should be pretty
| | 01:09 | close to white, so I'll go
ahead and set a sample point there.
| | 01:12 | Now we are going to then evaluate our
RGB values. Now one of the things that
| | 01:16 | I'm noticing is that while these
values are pretty close, we do have quite a
| | 01:19 | bit of shift and again we are seeing
that this image is too cool. So we will go
| | 01:23 | ahead and click on our Curves
adjustment layer icon and open up Curves.
| | 01:26 | Now that we have Curves open, we need
to have our Info palette open. So let's
| | 01:29 | pull that out of that group there,
close that group so we can really focus in
| | 01:33 | on our numbers. Now first things first,
let's navigate to that Blue channel,
| | 01:38 | grab the Target Adjustment tool. I'm
going to go ahead and hover over this area
| | 01:41 | and click-and-drag and I'm just looking
to try to bring my numbers a little bit
| | 01:45 | closer together.
| | 01:46 | Now as I do that, I see that my one
and my two points are looking quite a bit
| | 01:50 | better. They are getting closer to
being neutral. We will look at our before
| | 01:53 | and after, here is before and after.
Well what about this area? When I hover
| | 01:57 | over this area, I notice that's
a much higher part on this curve.
| | 02:00 | So I'll click on that point and drag
down. I'm looking to bring that down quite
| | 02:04 | a bit. It's going to be a pretty
strong adjustment here, and it's going to
| | 02:07 | affect the rest of the image as well.
Now here we can see the nature of the
| | 02:10 | color shift. Here is our
before and then here is our after.
| | 02:14 | So our numbers are now in pretty good
shape. The only thing we may want to do
| | 02:17 | is click on one of these points and
drag it one way or another, in order to
| | 02:20 | just fine-tune this. Again, here is our
before and then after. So in this case,
| | 02:26 | we have successfully color corrected
this photograph without even setting our
| | 02:29 | white point and our black point.
Rather what we did is we set a few points,
| | 02:33 | looked at our RGB numbers, went to the
particular channel in our Curves dialog
| | 02:38 | in order to color correct this photograph.
| | Collapse this transcript |
| Color-correcting skin tone by the numbers| 00:00 | In the next couple of movies, I want
to talk about how we can begin to color
| | 00:03 | correct photographs of people so we
can get their skin tone to look good.
| | 00:07 | One of the problems with digital
captures is that their red channel is really
| | 00:10 | sensitive to light. And that's where a
lot of the information for the skin is
| | 00:14 | and so as a result sometimes skin tones
don't look very good in digital capture.
| | 00:18 | Well, we want to correct that and in
addition we want to make out images look
| | 00:22 | better overall. Now one of the things
that you can see is that this will give
| | 00:25 | us the ability to correct our skin tone
by the numbers. Now I want you to think
| | 00:29 | of this a little bit like a recipe.
I'm going to walk through these different
| | 00:33 | steps here with this handout and then apply
what we have learned in the next few movies.
| | 00:36 | Well for starters, you want to try to
find a diffused highlight on the skin.
| | 00:41 | You want to be sure not to sample the
cheeks or the chin if it's a male because
| | 00:45 | there will be stubble there, the cheeks
a lot of times will have makeup on them
| | 00:48 | or they will be a little bit more
red. I'm going to Shift-click to set a
| | 00:51 | little sample point and then in your
Info palette, you will change your reading
| | 00:53 | to CMYK.
| | 00:54 | You can do that by clicking on the
little eyedropper in the Info palette.
| | 00:58 | I'll show you that later. Next, you are
going to evaluate your numbers.
| | 01:01 | For Caucasian skin tones, the recipe is
that your magenta and your yellow should
| | 01:06 | approximately be the same with the
yellow a little bit higher. Now your Cyan is
| | 01:10 | 1/3 to 1/5 of your yellow or your magenta.
| | 01:13 | Now you may be thinking at this
juncture, I have no idea what this guy is
| | 01:17 | talking about. Well, it's actually not
that complicated and let me explain.
| | 01:21 | So for starters, this would be a good
reading on skin. We have a Cyan amount of 8,
| | 01:26 | Magenta and Yellow are just about
equal with Yellow a little bit higher.
| | 01:30 | It's 32.
| | 01:31 | Now how do we know Cyan is good? Well,
we multiply by Cyan by 3 or by 5. So,
| | 01:35 | when I multiply this by 3, that's 24
and when I multiply it by 5, that's 40.
| | 01:41 | So are these numbers between 24 and 40?
Yes, so this Cyan number is good.
| | 01:45 | Now of course you have to keep in mind,
all skin is completely different.
| | 01:49 | The darker the skin, the higher the
numbers are overall and the ratio of Cyan to
| | 01:53 | the rest of the numbers may be closer
to one-half. And also some people have
| | 01:57 | more red in the skin, or more
yellow in the skin. This recipe is only a
| | 02:01 | starting point as you learn how to
color correct your images this way.
| | 02:04 | Once you look at your numbers, you
then go into the different channels and
| | 02:07 | curves, your Red, your Green, and
your Blue channels and you make some
| | 02:10 | modifications in order to make
those numbers follow this recipe.
| | 02:14 | All right, well you still may be
thinking, I have no idea what this guy is
| | 02:18 | taking about. Well, that's okay. All I
want to do in this movie is introduce
| | 02:22 | the topic and if nothing else, at this
point you should know that what you can
| | 02:25 | do is use CMYK numbers to
try to color correct skin tone.
| | 02:29 | Okay, well, if you know that, you are
already ahead of the game and we will
| | 02:32 | take a look at how this
actually works in the next few movies.
| | Collapse this transcript |
| Applying skin tone color correction by the numbers| 00:00 |
Now that we know a little bit about
color correcting skin tones by the numbers,
| | 00:03 |
we are going to apply what we know to
this particular photograph. Now this
| | 00:07 |
particular photograph was captured by
a good friend of mine Greg. Greg, thanks
| | 00:10 |
for the use of this photo. Now what we
are going to do is we are going to begin
| | 00:13 |
to identify the color shift. Now just
looking at this image, one of the things
| | 00:16 |
we are noticing is that it looks a
little bit Cyan, right. You can start to see
| | 00:20 |
that especially in some of the shadow areas.
You see some of the Cyan and Blue in there.
| | 00:24 |
We also notice there is a little bit of
blue cast in the hair. Now this particular
| | 00:27 |
photograph was taken near a swimming
pool, so there is some reflected light
| | 00:31 |
bouncing around here. Well, how then
can we correct this particular image?
| | 00:35 |
We will grab our Eyedropper tool by
pressing the I key. Now what we want to do is
| | 00:38 |
sample a good clean patch of skin.
Somewhere next to a highlight. So the
| | 00:42 |
highlight is right about here, it's
already pretty diffused, so we could almost
| | 00:45 |
just click right on that
highlight to set our Sample Point.
| | 00:48 |
All right, well now that we have set
that eyedropper at our sample size,
| | 00:51 |
something other than Point Sample, in
this case 5x5 for a low-res image. If it's a
| | 00:55 |
little bit higher-res image I might
go up to 11x11. Okay, well let's take a
| | 00:59 |
look at our numbers. Well, our numbers
are in RGB. We need to change those to
| | 01:03 |
CMYK. So we will click on the
eyedropper and choose CMYK Color.
| | 01:07 |
This then shows me my CMYK Ratio. Now
what I'm looking for is the Magenta and
| | 01:12 |
Yellow, it's pretty close. Well those
numbers are pretty close. Okay, that's
| | 01:14 |
not a big deal, all right. The Cyan
channel, oh, my Gosh that Cyan channel is
| | 01:18 |
huge. If I multiply that by 3, 3 times
30 is 90%, I have so much more Cyan than
| | 01:24 |
I actually need. So I need to
start to work on that channel.
| | 01:27 |
Let's pull the Info panel out for a
moment, close the other panels there. Click
| | 01:31 |
on the icon for Curves and we are
going to our Red-Cyan channel. We will grab
| | 01:35 |
the Target Adjustment tool and then we
will hover over this point and what we
| | 01:38 |
are going to do is we need to add a
little bit of red here, right? So we are
| | 01:41 |
going to click and drag up. As we do
that, we will notice that we are shifting
| | 01:44 |
the other numbers.
| | 01:46 |
So I'll click and drag up and the
image is now too Red or perhaps too Magenta
| | 01:49 |
because we can see that the Magenta
amount is now too high. We will then go
| | 01:53 |
into the Green-Magenta channel, we will
click in this same area, if the tool is
| | 01:58 |
still selected and in this case we want
to add a little bit of green so we are
| | 02:01 |
going to click and drag up as well.
| | 02:03 |
Now our numbers are looking pretty
good here. Or they are looking better I
| | 02:06 |
should say. Let's take a look at our
before and after. Here is before and then
| | 02:10 |
after. Our skin tone and the overall
image is looking much better. Now if we
| | 02:14 |
multiply 3 times 16, we are going to
get approximately what is that 48%. So I
| | 02:19 |
still have a little bit of a
problem in that particular area.
| | 02:22 |
So I go up to the Red channel, and my
Target Adjustment tool and here I'm going
| | 02:25 |
to take out even more Cyan. And when
multiply this by 3, it's still a little
| | 02:30 |
bit high, I'm going to increase this
even more. Now that's right about in the
| | 02:33 |
range. Now I want my yellow to be a
touch higher, so I go to the Blue-Yellow
| | 02:38 |
channel and in this case, I'm going to
click and drag down just to add just one
| | 02:41 |
or two percentage points of yellow.
| | 02:43 |
One of the things that you are
discovering here is there is quite a bit of give
| | 02:46 |
and take in this overall process.
And let's take a look at our before and
| | 02:50 |
after. Here is before and then here is
after. Our image looks so much better.
| | 02:54 |
All right, well let's press Tab to get
rid of everything. Press F to go to Full
| | 02:58 |
Screen View Mode and then press the F7
key to bring up our Layers palette, so
| | 03:02 |
we can really view the before and after.
| | 03:04 |
Before and then after, color correct
and color correct skin tone. Now the last
| | 03:09 |
thing that we may want to do is press
Tab to bring back our Info palette and
| | 03:12 |
the rest of the Photoshop interface.
We want to move this point around, hold
| | 03:16 |
down the Shift key and click and drag
it around. We want to look to make sure
| | 03:20 |
that our numbers are still in the
ballpark range of where they need to be.
| | 03:24 |
And as I move this around, I'm
noticing I still have a little bit more Yellow
| | 03:27 |
than magenta. This is approximately
about a third right there, so between 1/3
| | 03:32 |
and 1/5 of the Magenta or the yellow,
so I'm in pretty good shape. This color
| | 03:36 |
correction is really nice. Now the last
thing I want to look at with this image
| | 03:40 |
is this reflected light I'm
seeing here, the blue on the hair.
| | 03:43 |
So while I have corrected the overall
image and the skin tone, I still need to
| | 03:47 |
make a final correction up here on
the hair and we will do that in the next movie.
| | 03:52 |
| | Collapse this transcript |
| Correcting reflected color| 00:00 |
Now that we have color corrected this
image and color corrected the image based
| | 00:03 |
on the numbers in the skin tone, we
need to work with this little situation up
| | 00:07 |
here in the hair where we have some
reflected color. So let's close the Info
| | 00:11 |
palette and next what we are going to
do is click on the Adjustment Layer icon
| | 00:14 |
and choose Hue/Saturation.
| | 00:16 |
We'll then grab the tool which allows
us to click on the image and we are going
| | 00:19 |
to click on this area of the hair and
drag it to the left. And we are simply
| | 00:22 |
going to desaturate or remove that color.
Now that looks really good. Now a lot
| | 00:27 |
of times what happens is when you
correct an image, you focus in on the
| | 00:30 |
problematic area as we have done here.
Yet when we turn the eye icon and on and
| | 00:34 |
off, we realize we also lost so many of
the other blues throughout the rest of
| | 00:38 |
the image.
| | 00:39 |
So here is what we need to do. We need
to go to the Masks panel and in the Mask
| | 00:42 |
panel, invert that mask. So go ahead
and click Invert. So now the Mask is
| | 00:46 |
filled with black, concealing all of
that desaturation or all of the removal of
| | 00:50 |
those blues.
| | 00:51 |
Next, grab our Brush tool by pressing
the B key and then we are going to go
| | 00:55 |
ahead and paint with white. Make sure
you have white in your foreground color
| | 00:58 |
here. Paint at 100% Opacity in and then
we will just click and paint over this
| | 01:03 |
area to remove that subtle color shift
from this particular photograph and then
| | 01:07 |
here we have our before and after.
| | 01:10 |
All right, so far so good. Now the
last little thing that we might want to do
| | 01:13 |
here is make any kind of a subjective
color adjustment. So I'll click on the
| | 01:17 |
Adjustment Layer icon, choose Curves
and here I'm just going to brighten this
| | 01:21 |
image up just a touch, just so that
prints a little bit better and then I'm
| | 01:24 |
going to go on to my Red channel and
I'm going to bring in just a little bit of
| | 01:28 |
red and then my Blue, Yellow channel,
bring in just a little bit of yellow and
| | 01:32 |
just a small little increment of color.
Here is my before and after with that adjustment.
| | 01:37 |
Again, a brightening and a little bit
of warmth and a little bit of red. Now
| | 01:40 |
let's double-check those numbers. You
can press the F8 key to open up your Info
| | 01:44 |
palette. Now those numbers are still
pretty good. They still fall in the range.
| | 01:48 |
So again this final adjustment, with just a
bit of a subjective warming of that photograph.
| | 01:53 |
Now do you have to do that? No, not at
all. But again I just want to get you to
| | 01:56 |
begin to think about how you color
correct the photos and get them perfect and
| | 02:00 |
then make other modifications.
| | 02:02 |
Now sometimes what will happen is
I'll make another modification like this
| | 02:05 |
layer and I'll be really excited about
it. But then when I print the image, it
| | 02:08 |
just looks too warm or too yellow or
too red. So I'll need to turn that final
| | 02:12 |
layer off and the one that's a little
bit more "accurate" will actually look better.
| | 02:17 |
Yet, it's always fun to have a little
bit of extra flexibility in your workflow
| | 02:20 |
so that you can see what different color
effects will look like with your photographs.
| | 02:25 |
| | Collapse this transcript |
| Color-correcting a studio fashion portrait| 00:00 | In this movie, we are going to apply
what we know about color correction to
| | 00:03 | another photograph, in this case, to
photograph that was captured in the
| | 00:06 | studio. Now this particular
photograph comes from one of my other training
| | 00:10 | titles on Photoshop retouching. Well,
we are not going to be talking about
| | 00:13 | retouching here; we are going to
be talking about color correction.
| | 00:17 | So let's press the F8 key to open up
the Info palette, then press the I key to
| | 00:20 | grab your Eyedropper, hover over the
image. We want to select an area that has
| | 00:24 | a nice diffused quality to it.
Somewhere in the forehead will work well.
| | 00:27 | Hold down the Shift key and
click to add a sample point.
| | 00:30 | Next, we are going to change our values
to CMYK by clicking on that eyedropper
| | 00:34 | and choosing CMYK Color. Now when we
look at our CMYK numbers for the most
| | 00:38 | part, we are doing okay. Yellow is
higher than Magenta, yet Cyan is really low
| | 00:43 | because if we multiply this by 3,
that would be 12. By 5, that would be 20.
| | 00:47 | That's where we have to go first.
| | 00:49 | So we will click on the icon for Curves.
Next, we will press Option+3 on a Mac,
| | 00:54 | Alt+3 on a PC to navigate to the Red
channel. Then we will grab the Target
| | 00:57 | Adjustment tool there and we are
going to click-and-drag. We want to add a
| | 01:02 | little bit of cyan to this image. I'm
just looking at that number saying, 7x3
| | 01:07 | is 21, that's not enough. 8x3 is 24.
Okay, I'm getting in the range. Although,
| | 01:12 | I'm going to bring that up even,
perhaps, a little bit more.
| | 01:15 | Okay, so far so good. Now our Blue-
yellow also need a little bit of work.
| | 01:18 | We are going to press Option+5 on a Mac,
Alt+5 on a PC to go to the Blue-yellow
| | 01:22 | channel, grab our eyedropper. Here
what I want to do is I just want to bring
| | 01:25 | down some of those yellows here. I'm
trying to get these numbers a little bit
| | 01:28 | closer. Yellow needs to be, of course,
higher than the Magenta. All right, 3x9
| | 01:33 | is 27, 5x9 is 45.
| | 01:35 | We need to work on that cyan. Let's go
back there. We go to that Red channel.
| | 01:38 | We are just going to remove some of
the adjustments that we made and try to
| | 01:43 | find a nice spot for this. It's going
to be subjective. I'm going to have a
| | 01:47 | little bit less cyan here because this
skin tone here is a little bit lighter.
| | 01:50 | Again, I'm just moving this around. I'm
looking at the subjective quality of it
| | 01:53 | as well. Now here is our before and
there is our after. That image looks so
| | 01:58 | much better. Before, there is a lot
of problems with those reds and those
| | 02:01 | yellows. Then finally,
after. That's color corrected.
| | 02:04 | Now again, I can fine-tune this by
clicking on the curve point there and using
| | 02:08 | my Arrow keys. Sometimes that's a
helpful way to do that. I'll then go back to
| | 02:12 | that Blue-yellow channel, click on
that point there just to make sure I have
| | 02:15 | it. Then use my Arrow keys, I just
want to add a little bit more yellow into
| | 02:18 | the mix and have a nice, warm skin tone
there but not too warm. So here is our
| | 02:23 | before and after. This studio
photograph is now color correct.
| | 02:28 | The last thing that I want to do is
hold down the Shift key, I'm going to drag
| | 02:31 | around this point. Look at my numbers
and look at different areas of the skin
| | 02:35 | and just see how we are doing. I'm
going to compare across the board. Now
| | 02:38 | different areas of skin will respond
differently, but again I'm just trying to
| | 02:42 | get a feel for some of the numbers
that I have here and see if I'm going in a
| | 02:45 | good direction because you can
have a point that's a little bit off.
| | 02:49 | As I move this around, I just see a few
things. One is that I'm just wishing I
| | 02:53 | had a little bit more yellow in the
mix. So I'll go ahead and make sure I'm
| | 02:56 | clicked on my point there, I'm just
going to add, just a touch of yellow there.
| | 03:00 | Okay, that looks nice. Then I'm going
to go back to my Red-cyan channel, make
| | 03:04 | sure that little point is clicked on.
Then I'm going to add, again just a
| | 03:08 | little bit more cyan to the mix. Look
at our before and after. Here is our
| | 03:12 | before and after, subtle yet
significant color correction.
| | Collapse this transcript |
| Color-correcting skin in a natural light portrait| 00:00 | Because color correcting skin by the
numbers is a little bit tricky, we are
| | 00:04 | going to apply what we know about
color correction to yet another photograph.
| | 00:07 | Let's press the F8 key to open up the
Info palette, press the I key to select
| | 00:11 | your Eyedropper, make sure your
Sample Size is something other than Point
| | 00:14 | Sample, a higher number for higher
resolution files; 5 by 5 Average will work
| | 00:18 | for this one. We will go ahead and
Shift-click on an area of the skin up here
| | 00:22 | and then we are also going to Shift-
click on the background. Now why is that?
| | 00:25 | Well, I'm guessing that background
might be close to neutral. It's probably not
| | 00:30 | perfectly neutral but maybe it's a
little bit close to neutral. It could have a
| | 00:34 | little bit of yellow hue to it, but
I'm going to see what those numbers are.
| | 00:37 | Next, we will change our first point
by clicking on the eyedropper to CMYK color.
| | 00:41 | Now one of the things I see here
is the Magenta is way off. I also notice
| | 00:45 | my background isn't anywhere close
to neutral. There is a quite a bit of
| | 00:48 | variety here. Let's go ahead and
neutralize the background first.
| | 00:51 | We will click on our Curves adjustment
layer icon, grab the midtone eyedropper
| | 00:55 | and click on the background. Let's look
at our before and after. Here is before
| | 00:58 | and after. Well, already the
image is looking a ton better.
| | 01:01 | Well, now that we have done that,
let's take a look at our numbers. Well, our
| | 01:04 | numbers look pretty good except our
cyan amount, we may want to change a bit.
| | 01:08 | So go ahead and click on the
Adjustment Layer icon and choose Curves. I'll
| | 01:11 | navigate to the Red-cyan channel,
grab the Target Adjustment tool. I'm just
| | 01:16 | going to click-and-drag to remove a
little bit of the cyan here. I'm going to
| | 01:20 | try to lower the cyan amount. There
will always be variety with this number,
| | 01:24 | based on the actual skin tone.
| | 01:26 | We also want to Shift-click and drag
this around a little bit, just to see what
| | 01:30 | our numbers are doing. One of the
things that I'm seeing is that in certain
| | 01:33 | places the yellow is a little bit too
low. So I'll go into that Blue-yellow
| | 01:36 | channel and with this tool, I'm going
to click-and-drag to add a little bit
| | 01:41 | yellow. It's a subjective edit based
on this recipe for skin tone. Go back to
| | 01:47 | that Red-cyan and one of the things
that's interesting to do here is to
| | 01:50 | click-and-drag real extreme up and
then click-and-drag real extreme down.
| | 01:55 | Now what actually is correct? Well,
again that's quite a bit of a subjective
| | 01:59 | decision. We don't know exactly what
the skin looks like. Although, we can make
| | 02:03 | some guesses. Now how is our
background doing? Well, those numbers are much
| | 02:06 | closer. So again, it is close to
neutral color back there. Here is our overall
| | 02:10 | before and then after. That
image is looking a ton better.
| | Collapse this transcript |
|
|
3. Image SharpeningCamera Raw input sharpening| 00:00 | In this chapter, we are going to be
talking about image sharpening for output.
| | 00:04 | How can we sharpen our images so that
we can create good prints? Well, in this
| | 00:08 | initial movie what we are going to
talk about is input sharpening or
| | 00:11 | pre-sharpening. What that has to do with is
| | 00:14 | how typically in most photographic
workflows, we start with Camera Raw. We want
| | 00:18 | to do a little bit of sharpening there,
which we can think of as pre-sharpening
| | 00:21 | or as input sharpening. We are just
sharpening the actual image. Now we don't
| | 00:25 | know what kind of paper we are going to
use, we don't know what size this image
| | 00:28 | is going to be, yet what we do want to
do is just boost the sharpness of this
| | 00:32 | raw file just a little bit.
| | 00:34 | Now that being said, there are those
who don't like to sharpen at all in Camera Raw.
| | 00:37 | They do all of their sharpening
later, all of the output sharpening once
| | 00:41 | they know the final size, the dimensions,
the paper type, etcetera. Yet for us
| | 00:46 | or for my own workflow for that matter,
I would like to sharpen a little bit in
| | 00:49 | Camera Raw. So let's see how that works.
| | 00:51 | Well, one of the things that we need
to do is zoom in to 100%. Now one of the
| | 00:55 | ways that you can do that is by
shortcut, on a Mac, Command+Option+0, on a PC
| | 01:00 | Ctrl+Alt+0. That takes you to this 100%
view mode. Now to zoom back to fit in view,
| | 01:05 | that's Command+0 on a Mac, Ctrl+0 on a PC.
| | 01:08 | All right, Command+Option+0 or Ctrl+Alt+0,
we are at 100%. Next thing that we
| | 01:13 | want to do is navigate to the Detail
panel. Now we can do this by a way of
| | 01:16 | shortcut as well or by clicking on the
tab. The shortcut, this is a handy one,
| | 01:20 | it's Command+Option+3 if you are on a
Mac, Ctrl+Alt+3 if you are on a PC. So we
| | 01:26 | have zoomed in, we have
navigated to the Detail panel.
| | 01:29 | Now we have our controls for Sharpening
and Noise Reduction. Why are these two
| | 01:33 | side by side? What happens is when we
reduce the noise of in an the image, we
| | 01:37 | need to raise a little bit of the
Luminance noise, the images goes a little bit
| | 01:41 | soft. So we are going to
use these controls together.
| | 01:44 | So now that I have done a little bit of
Noise Reduction, I need to work on the
| | 01:47 | Sharpening. Well, we are zoomed in
to 100%, so that we can see the actual
| | 01:52 | detail in this particular photograph.
All right, great. Well, how much
| | 01:55 | sharpening do we need to apply? Well,
here is a great trick that will help you
| | 01:59 | get more out of Camera Raw sharpening.
On a Mac hold down the Option key, on a
| | 02:04 | PC hold down the Alt key, then click-and
-drag the Sharpening Amount control. As
| | 02:09 | I do that, I can see this gray scale
view. There is the image, really soft.
| | 02:12 | There is the image, lots of detail.
| | 02:14 | Now that's too sharp, yet I'm
going to over sharpen this in order to
| | 02:18 | de-construct how these controls work.
Then we will go back and perform a
| | 02:22 | sharpening that's a little bit better.
The Amount control is the overall
| | 02:25 | sharpening intensity. Well, what then
is Radius? If we decrease Radius and then
| | 02:29 | increase Radius, what we are going
to do is we are going to see that this
| | 02:32 | contrast edge almost grows out. It's
like the radius of that edge extends
| | 02:36 | beyond where it currently is.
| | 02:38 | Well, that's how Radius works. We
can kind of see how that end grows or
| | 02:44 | decreases. Well, what about Detail?
Well, this slider is actually not quite
| | 02:47 | intuitive in my experience. If we
have a low amount, that means the details
| | 02:50 | aren't very sharp. We can see the wood.
There is not a lot of texture. When I
| | 02:53 | crank this up, all of a sudden, I have
all of these little tiny details that
| | 02:56 | are really sharp. So now that we know
how the Detail slider works, what about
| | 03:00 | the Masking slider?
| | 03:01 | Well, when we increase the Masking
amount, what we are going to do is limit the
| | 03:05 | areas that are sharp. So in this case,
the wood doesn't have texture but the
| | 03:09 | edge of this hand painted sign is
really sharp. Even more, we can hold down the
| | 03:14 | Option key on a Mac, Alt key on a PC,
we can go to the gray scale view for the
| | 03:17 | Radius. We can go to the gray scale
view for the Detail, seeing what types of
| | 03:21 | details are being sharpened. Then
finally, we can hold down that key, Option on
| | 03:25 | a Mac, Alt on a PC and click-
and-drag the Masking slider.
| | 03:28 | Now when it's all the way down, we see
white. That means everything is sharp.
| | 03:32 | When we drag this to the right, all of
a sudden there is a little bit of black.
| | 03:35 | That's saying conceal. Black is conceal,
white is reveal. So wherever there is
| | 03:40 | black, there is no sharpening. So in
this case, the sharpening is just on the
| | 03:44 | edge right there. We can see it just
there on the edge. Press the P key to look
| | 03:48 | at your before and after, there is
before and there is your after. I'm going to
| | 03:51 | zoom in even further, press the P key,
here is our before. Press the P key
| | 03:56 | again, there is our after.
| | 03:59 | Well, this sharpening isn't very good
at all, but at least now we know a little
| | 04:02 | bit about these sharpening controls.
Well, now that we know a little bit about
| | 04:05 | input sharpening inside of Camera Raw,
let's go ahead and apply what we know in
| | 04:10 | order to create a well sharpened image
and we will do that in the next movie.
| | Collapse this transcript |
| Sharpening with Camera Raw| 00:00 | Now that we know a little bit about
pre-sharpening or input sharpening with
| | 00:03 | Camera Raw, we are going to go
ahead and sharpen this image here.
| | 00:06 | Let's zoom in to 100%, Command+Option+
Zero on a Mac, Ctrl+Alt+Zero on a PC.
| | 00:11 | And we will click and drag
around the image. What we want to
| | 00:13 | do is just look at the different
details in this photograph, see where the
| | 00:16 | image is soft. It's a little bit
more soft or out of focus up top, it's a
| | 00:20 | little bit more sharp right here and
then as we travel down the image, that's
| | 00:25 | nice and sharp, nice and sharp, nice
and sharp down here, a little bit less but
| | 00:29 | we are seeing that it's primarily in
focus in this range. So I want to pull up
| | 00:33 | that area because I don't
want to over-sharpen this area.
| | 00:36 | Okay, well we obviously want to reduce
the noise a little bit, almost all of
| | 00:40 | our images need a little bit of
luminance and color noise reduction.
| | 00:43 | Next, we're going to go ahead and increase
the Amount. And my Radius slider, I'm going
| | 00:47 | to bring down. Detail, I'm going to
bring up. I'm going to hold down the Option
| | 00:51 | key or the Alt key as I move these
sliders and just watch the overall amount,
| | 00:55 | so this will help me really
focus in on the task at hand.
| | 00:59 | Now the Masking amount, I'm going to
bring up just a bit. I want to limit
| | 01:02 | perhaps a little bit of the
sharpening but I do want to have lots of nice
| | 01:05 | texture in the background. So I'll go
ahead and bring my Detail slider up,
| | 01:08 | Masking down. I'll press the P
key, there is my before and after.
| | 01:12 | Now on your monitor, you may not be
even seeing any difference. Now that's
| | 01:17 | probably the goal. We want to have
real subtle sharpening. In order to
| | 01:20 | illustrate this, I'll grab the Zoom
tool and I'll zoom in way in on an area of
| | 01:24 | the image. Now press the P key, there
is my before and after. Again that may
| | 01:29 | even be difficult to see, before and then after.
| | 01:33 | So I'm looking to try to create a
subtle yet significant sharpening amount.
| | 01:37 | I don't want to go over the top here
because I can always further sharpen the
| | 01:41 | image later. Now I'll double-click the
Zoom tool to go back to 100%. I'm just
| | 01:45 | going to press the Spacebar key and
then click and drag to pan around the
| | 01:49 | image, look at my preview before and
after by clicking on the Preview button
| | 01:52 | here or by pressing the P key.
| | 01:54 | I just want to make sure I'm not
overdoing anything and as I move through this
| | 01:58 | image I say, you know what? Hey! That
looks pretty good. Let's go ahead and
| | 02:01 | look at the top of the image where
things get a little bit soft and look at our
| | 02:04 | before and after. Okay, yeah
that looks much better up there.
| | 02:07 | All right, one final check here. I'm
going to hit the P key, look at my before
| | 02:11 | and after. Now the only thing that
I'm noticing here is that this edge is
| | 02:15 | glowing just a bit too much so I'm
going to take the Amount and the Radius down
| | 02:18 | just a little bit there. I'm also
going to pull off some of the masking so I
| | 02:22 | get a little bit more texture in the background.
| | 02:24 | All right, we have now successfully
sharpened this image in Camera Raw.
| | Collapse this transcript |
| Introducing Smart Sharpen| 00:00 | There are a number of different
techniques that you can use in order to sharpen
| | 00:03 | your photographs. In this movie, I want
to begin to introduce and de-construct
| | 00:07 | how you can use the Smart Sharpen
filter when sharpening your photographs.
| | 00:11 | Now why do I have this image up of
these train tracks? Well, I like to think of
| | 00:15 | traveling as a way of sharpening
your senses. There is something about
| | 00:18 | traveling or getting out on that train,
getting out in the big wide open, that
| | 00:21 | your senses become alert to different
things. That's what happens a lot of
| | 00:25 | times when you sharpen your photos.
You notice things that you wouldn't have
| | 00:27 | otherwise noticed. You are bringing
the photo to life in a whole new way.
| | 00:31 | Well, I'm going to turn on this topmost
layer here. It's called sharpening and
| | 00:35 | I'll click on that layer in order to
target it. Now one of the things that you
| | 00:37 | can do in Photoshop is create a gray
scale or in this case, a gray scale where
| | 00:41 | I have chopped a couple of lines in it.
You can then modify that gray scale and
| | 00:45 | you can basically teach
yourself how Photoshop really works.
| | 00:48 | In this case, we are going to use this
gray scale to teach ourselves how that
| | 00:51 | Filter > Smart Sharpen works. So I'll
navigate to our Filter pulldown menu. Now
| | 00:55 | we could choose Convert for Smart
Filters. That's a nice way to do this, but in
| | 00:58 | order to keep things simple, I'm
going to skip that and go directly to the
| | 01:01 | sharpening. I'm going to choose Sharpen
and then Smart Sharpen. As a side note,
| | 01:06 | I'll talk about converting for
smart filters in a few moments.
| | 01:09 | Well, let's go ahead and select Smart
Sharpen. This will then open up the Smart
| | 01:12 | Sharpen dialog. Here we are going to
see we have a preview of our image.
| | 01:16 | The amount of sharpening being applied and we
have the background image over there. Okay, great.
| | 01:20 | Well, I'm going to go ahead and
increase the Amount because what you want to do
| | 01:23 | is when you are teaching yourself how
to do something, you need to exaggerate
| | 01:26 | what you are doing. I'll then
increase the Radius as well, so that we can
| | 01:29 | really see the different sharpening amounts.
| | 01:31 | Now we have a couple of options. We can
choose Basic where we just have Amount
| | 01:35 | and Radius. Then we can sharpen our
image in three different ways. Gaussian
| | 01:38 | Blur works a lot like Unsharpen Mask.
Now when I do that, one of the things
| | 01:42 | that we are going to see is we have a
halo that extends pretty far out from our
| | 01:45 | edges. When I go from Gaussian to
Lens Blur, we are going to see that those
| | 01:49 | edges are reeled in, they are much
tighter. What that means is less haloing.
| | 01:54 | Now haloing is one of the worst things
that can happen when you sharpen your
| | 01:57 | image, because it's a dead giveaway
that you have over-sharpened the file.
| | 02:00 | So as you can see, the Lens Blur option,
it works really well. Now what about the
| | 02:04 | next option, Motion Blur?
| | 02:06 | Well, this is pretty tricky. Here you
can see I'm sharpening the left and the
| | 02:09 | right edges. Well, what if I change
the angle? Now I'm sharpening top to
| | 02:13 | bottom. Well, what if I go side to
side? Well, now it's a little bit of one
| | 02:16 | side and a little bit of another. So
one of the things that's tricky in regards
| | 02:19 | to Motion Blur is you really have to
know how the Camera Raw is panning, how
| | 02:23 | the motion was happening in
order to use that successfully.
| | 02:26 | So for the most part, you are going to
be using Lens Blur. More Accurate, this
| | 02:30 | is pretty interesting. Now if we
check this off, we are going to see less
| | 02:33 | amount of sharpening. Now if we check
this on, we are going to see more. Now
| | 02:36 | this creates a more accurate sharpening
effect. A lot of times you will want to
| | 02:40 | use this when you have little small
details in your photograph. Although for
| | 02:43 | the most part I typically leave this
off. I find that I'm able to dial in an
| | 02:47 | appropriate amount of
sharpening without that option turned on.
| | 02:50 | Next, I'm going to go ahead and click
on the Advanced tab. Now when I do that,
| | 02:54 | I all of a sudden have these Shadow and
Highlight tabs beneath my Sharpen tab.
| | 02:57 | Now when I go to the Shadow tab, I'm
going to go ahead and increase my Amount,
| | 03:00 | Tonal Width and Radius. We can see that
I'm diminishing the sharpening. When I
| | 03:05 | go to the Highlight tab and increase
this as well. Again, we can see that I'm
| | 03:09 | decreasing the sharpening so much so
that now it's completely gone. So I have
| | 03:13 | completely removed the
sharpening from this image.
| | 03:16 | Now when I bring this back, we can
see that I can bring back some of the
| | 03:19 | highlight edge. I'll go ahead in the
Shadow, and here we can see I'm bringing
| | 03:22 | back some of that as well. Keep in
mind that I'm completely over-exaggerating
| | 03:27 | the sharpening amount but I'm doing
that so that we can learn how this
| | 03:30 | actually works.
| | 03:31 | Well, let's zoom out of this little
preview for a moment, so that we can see
| | 03:35 | the image in its entirety. Go back to
Sharpening, increase the Amount here.
| | 03:39 | Let's go to Basic, so we don't have
any of the other controls up. One of the
| | 03:44 | things we are seeing is that this top
edge becomes darker, darker, darker,
| | 03:47 | darker and darker and wider as it goes
towards the corner. I'll turn on More
| | 03:51 | Accurate, so we can see even a
little bit more of that how it's kind of
| | 03:54 | fanning out to the edge.
| | 03:56 | Now when I turn that off, perhaps it
is a little bit easier because it's just
| | 03:59 | a black edge. Same thing here, it's a
white edge that goes out, out, out and
| | 04:02 | extends. Yet when it gets to this
color here, which is really close to our
| | 04:06 | background color, there isn't
really much sharpening at all. So what's
| | 04:10 | happening is this particular dialog is
looking for areas of contrast. So when there
| | 04:14 | is white on dark gray, well, there is a
lot of sharpening. When there is black
| | 04:17 | on dark gray, there is more
sharpening than gray on dark gray.
| | 04:20 | Are you with me on that? So what's
happening again is it's looking for these
| | 04:23 | edges and it's saying, "Hey! I'm
going to sharpen those edges based on the
| | 04:27 | contrast." Here we can also see this,
how these different rectangles are being sharpened.
| | 04:31 | So again, we are not actually
sharpening our image. Rather, we are creating the
| | 04:34 | illusion of sharpness by trying to find
contrast edges and then increasing the
| | 04:39 | contrast on those edges. So in this case,
it made the background darker and the
| | 04:43 | foreground brighter. Here it made the
foreground, or the blacker, blacker,
| | 04:47 | and the background, which
was gray, a little bit brighter. Again,
| | 04:50 | boosting the contrast right around
those edges to create or to simulate a
| | 04:55 | sharpening effect.
| | Collapse this transcript |
| Sharpening pt. 1: Using Smart Filters| 00:00 | In the previous movie, we learned a
little bit about how Smart Sharpen actually
| | 00:03 | works, and in this movie, we are
going to apply what we know to a practical
| | 00:07 | situation. Well, you have this
wonderful portrait of my daughter Annika.
| | 00:11 | What I want to do is print this out as
a 4x6. So the first thing that you need
| | 00:15 | to do before you can sharpen your file
is resize it. In this case, we'll go to
| | 00:19 | Image and then choose Image Size.
| | 00:21 | Now, currently it's a 5x7, so I'll
change this to a 4x6. Now, when I do that, I
| | 00:26 | don't have enough Height. So I'll
change my Height to 6. Now, when I do that I
| | 00:29 | have too much Width. Well, what do I
need to do? Well I need to size it down as
| | 00:32 | close as I can and click OK. Make sure
Bicubic Sharper (best for reduction) is on.
| | 00:37 | Now, that I have sized it down, I'll
then grab the Crop tool, and here I'm
| | 00:41 | going to enter a Width of 4 inches and
a Height of 6 inches, and Resolution 300
| | 00:46 | there. And if those numbers aren't
there for you, you can go ahead and enter
| | 00:49 | them. You can also select this option
from the pulldown menu, there it is, 4x6
| | 00:54 | inch crop at 300 pixels per inch. All right.
| | 00:56 | Next, we are going to click-and-drag
the Crop tool across this image, and then
| | 01:00 | we are going to reposition this crop to
compose that. Press Enter or Return to
| | 01:04 | apply that. Great, so far so good.
We have now resized the image.
| | 01:08 | Now, the next step that we need to
take is to double-click the Zoom tool to
| | 01:11 | look at the detail that we have.
Press the Spacebar tool to move around the
| | 01:15 | image. Now, as I do that, I say okay,
well thankfully I have enough detail on
| | 01:19 | the face. The near eye is in focus. So
what that means is when you are taking a
| | 01:23 | picture of someone, you will always
want the eye that's closest to the camera
| | 01:26 | to be the eye that's most in focus.
| | 01:28 | Now, this eye isn't quite sharp
enough over here. I have lots of other
| | 01:32 | sharpness on the face, the ear is out
of focus, really shallow depth of field
| | 01:36 | here. So I'm going to have
to do some unique sharpening.
| | 01:39 | Now, in order to use Smart Sharpen
effectively, what I want to do is I want to
| | 01:43 | convert this layer to a Smart Object.
So let's go ahead and do that. We are
| | 01:47 | going to go to our layer. Right-click
or Ctrl-click, choose Convert to Smart
| | 01:51 | Object and then double-click the name
here, and we'll give this new layer a
| | 01:55 | name of annika. And the reason that I
want to sharpen as a Smart Filter is
| | 01:59 | because it gives me extra
flexibility. Let me show you what I mean.
| | 02:02 | We'll navigate to our Filter
pulldown menu, choose Sharpen and then Smart
| | 02:07 | Sharpen. Now, when I do that, this
opens up the Smart Sharpen dialog window.
| | 02:11 | I'm going to go ahead and increase my
Radius and my Amount to a point where the
| | 02:15 | image looks horrible. That is not
good sharpening. But I'm doing this to
| | 02:19 | illustrate a point.
We'll click OK to apply that.
| | 02:21 | Now, here you can see I have this
Smart Filter icons. Double-click Smart
| | 02:25 | Sharpen. Well, I can lower the Radius,
dial that back in, bring back my Amount.
| | 02:29 | Click OK. I can also double-click the
icon to open up my Blending Mode option
| | 02:33 | or lower my Opacity, to find the
sweet spot for this particular degree of
| | 02:36 | sharpening. Click OK to apply that.
| | 02:39 | I also have a built-in mask. So I
can mask-off particular areas in my
| | 02:42 | photograph as we are going to need to
do with this particular image. Okay, well
| | 02:46 | now that we have set this up as a
Smart Filter. I'm going to go ahead and
| | 02:49 | double-click the option for my blend
mode. Bring my Opacity all the way up.
| | 02:53 | I will then double-click the Smart
Sharpen filter, and pull up this dialog
| | 02:57 | here. And what I want to do is position
this and then press the Spacebar, move
| | 03:01 | the image in the background, and
position this dialog, so I get the best of
| | 03:05 | both worlds, right? I have a really
large preview, the preview here, as well
| | 03:07 | as, the preview in the background.
| | 03:10 | All right, we are all set to sharpen
this image, and we'll do that in the next movie.
| | Collapse this transcript |
| Sharpening pt: 2: Using Smart Sharpen| 00:00 | All right, well in the previous
movie we converted this layer for a Smart
| | 00:03 | Filter. Opened up the Smart Sharpen
dialog, and we are using this as a Smart
| | 00:07 | Filter, which basically
means we have extra flexibility.
| | 00:10 | We now need to dial-in the appropriate
amount of sharpening. Well, how do we do that?
| | 00:14 | Well, one of the things that I
like to do is I like to think of the
| | 00:17 | radius in regards to sandpaper. Now,
let me explain. This is a bit of a
| | 00:21 | stretch, but this is going to helps me
understand how the Radius slider works.
| | 00:25 | Pretend that you are working on a
woodworking project. Now, if you have really
| | 00:28 | coarse wood, I mean, it's really
rough wood. Well, what you want to do is
| | 00:32 | increase the radius, increase the grit
of the sandpaper. On the other hand, if
| | 00:36 | you have a real fine finished piece of
wood, you are going to use a low, real
| | 00:39 | fine grain sandpaper in order to finish it off.
| | 00:42 | So, we can think about that in regards
to our Radius amount. The higher the res
| | 00:46 | of the file, the larger the Radius.
For that matter, if it's a web file or a
| | 00:49 | small file that we have here, we
are going to use a real low radius.
| | 00:53 | Now our Amount will vary as well, but
it won't vary as significantly as the
| | 00:56 | Radius. So in this case, we are going
to go ahead and bring our Radius up a
| | 00:59 | little bit. Click on the image
to look at our before and after.
| | 01:02 | We really want to focus in on the
different areas of the image. I want to try
| | 01:05 | to get this eye in focus as well, or
to bring some sharpness to that eye.
| | 01:09 | I'm noticing that as I'm increasing the
Amount here, that I'm bringing a little bit
| | 01:13 | of a haloing effect, although the
image is looking good in certain areas.
| | 01:17 | So now this particular amount of
sharpening is too high. There is too much
| | 01:21 | sharpening here. Yet I'm okay with that.
Even though I absolutely despise over
| | 01:26 | sharpened image, and I'm okay with that,
because we are going to then paint in
| | 01:30 | the sharpening to specific areas.
| | 01:32 | Okay, well now that we have our Amount
and Radius in, and again my Radius is a
| | 01:35 | little bit high, my Amounts is a little
bit too high than I'm comfortable with,
| | 01:38 | I'll click OK to apply that.
| | 01:40 | Next I'll move over, so I can focus in
on the image, and look at my before and
| | 01:44 | after. Here is before and here is after.
Now, if I zoom way in on one of the
| | 01:47 | eyes, and look at my before and after,
the problem that I'm having is with
| | 01:52 | these highlights. With the halos,
the edges, that doesn't look good.
| | 01:55 | So we need to click in the mask. And
on a Mac, what I want to do is fill this
| | 01:58 | mask with black. So black is in my
background color. So on a Mac that's
| | 02:02 | Command+Delete; on a PC that would
be Ctrl+Delete. Now if black was in my
| | 02:06 | foreground, that would be Option+
Delete on a Mac, Alt+Delete on a PC. Okay,
| | 02:11 | well now that that's black, i.e. no
sharpening at all. I'm going to then grab
| | 02:15 | my brush. I'm going to move over to
the eye; it's a little bit more out of focus.
| | 02:19 | Make my brush a little bit smaller by
pressing the Left Bracket Key. I'll press
| | 02:22 | the Zero Key to take my Opacity 100%
and with a nice small brush, by painting
| | 02:27 | with white, not with black, I'm going
to bring in full amount of sharpening on
| | 02:31 | this eye. Because this is the area of
the image that needs the most amount of
| | 02:35 | sharpening. Let's look at our before
and after. Before and then after. That eye
| | 02:38 | is looking much better.
| | 02:39 | Now do I always zoom in this file, when
I'm sharpening? No, I'm just doing that
| | 02:43 | in order to illustrate how to sharpen
these eyes. Typically, you want to view
| | 02:47 | your image at 100%. Okay, well I'll
click back in the mask. I have my Brush tool.
| | 02:51 | Now here, let me go down to about 80%,
because I don't need to sharpen this eye
| | 02:55 | as much as the other one. This one
has a little bit more of it already in
| | 02:58 | focus. I'll zoom out a touch just so
I can start to zero in on the eyes. So
| | 03:02 | here is my before and after.
| | 03:03 | Okay, the eyes are looking much better.
Now, as I did that I realize that this
| | 03:07 | eye needs a little bit more. So I'll
click in the mask, I'm going to increase
| | 03:10 | this up, and then bring in some more
sharpening over here. Again, just looking
| | 03:15 | to try to get both eyes
pretty similar place. Okay, great.
| | 03:18 | Now, I'm going to make my brush nice
and big. I'm going to go down to about 50%
| | 03:22 | Opacity, and I want to bring in some
of the details on the nose there, the
| | 03:26 | lips. I'm going to bring in the
eyebrows, little bit of the hair up here. My
| | 03:31 | brush nice and big. And again, I'm
just looking to bring in some of the
| | 03:34 | sharpness to some of the
other areas around the eyes there.
| | 03:38 | Next, I'll press the X Key, and make
my brush a little bit smaller. And I'm
| | 03:44 | going to bring my Opacity up, this will
mask out some of the sharpening I just
| | 03:47 | did. I want to do that especially on
these highlight areas. I don't want those
| | 03:50 | highlight areas to look too crispy,
where the light is really reflecting on her
| | 03:55 | nose, and on her cheeks there.
| | 03:56 | I also want to remove a little bit
down here on the skin. I don't want to
| | 04:00 | over-sharpen the skin. So again, I'm
just dialing in the exact amount of
| | 04:04 | sharpening that I want. I'll zoom in
a little bit, so you can see what's
| | 04:07 | happening here. Now, here
is our before and then after.
| | 04:11 | Now one problem is I sharpened this
nose a bit too much. So I'll click at my
| | 04:14 | mask. Make my brush nice and small.
Paint with 100%. Press the Zero Key. That
| | 04:19 | takes the Opacity at 100. Now I'm going
to mask off the sharpening of that edge there,
| | 04:22 | I don't want that halo to be showing up
too much, and then we'll zoom out a bit.
| | 04:28 | Double-click the Zoom tool to go to
100%. That's the zoom rate we want. And
| | 04:31 | then click on the Eye icon to look at
our before and then after. Now, we just
| | 04:37 | applied a pretty good amount of
sharpening, and this amount of sharpening will
| | 04:40 | work really well if you are
printing this image on glossy paper.
| | 04:43 | Now, why do I say that? Well, I say
that because the sharpening isn't over the
| | 04:46 | top, and glossy paper will really show
you a lot of the details. I mean it's
| | 04:51 | able to show you so much color and sharpness.
| | 04:54 | Now, let's say that I all of a sudden
decide, I want to print this on water
| | 04:57 | color paper, or on velvet paper, or on
matte paper. Well, there is a higher Dot
| | 05:02 | Gain with those types of papers. And
what that means is that ink bleeds in the
| | 05:05 | paper a little bit. The image will
look a little bit more soft. So in that
| | 05:09 | case, I need to double-click to Smart
Sharpen icon there. And I'm going to
| | 05:12 | increase my Amount and Radius a little
bit more. I'll click OK to apply that.
| | 05:16 | Now, the sharpening may feel like its
a little bit over-sharpened on screen.
| | 05:21 | Although with that paper, it's going
to naturally soften the image, and dial
| | 05:24 | back the sharpening amount.
| | 05:25 | Now, I imagine that in these movies
it's kind of hard to tell how much I'm
| | 05:29 | actually sharpening the image, because
these movies get kind of small. Yet, my
| | 05:32 | hope is that through walking through
this process, you have now learned how you
| | 05:35 | can evaluate this on your own monitors, a
nd get the appropriate amount of sharpening.
| | 05:40 | All right, well we have now
successfully sharpened this file and as a quick
| | 05:44 | side-note I just got to tell you, I
just love these colors and the patterns and
| | 05:48 | the background there. I think that's
so beautiful, such an amazing, little
| | 05:50 | background effect there. I hadn't
noticed that before, but just zooming on the
| | 05:53 | image, that's a really nice little touch.
| | 05:56 | And in conclusion, we have
successfully sharpened this image, and learned how
| | 06:00 | to apply, what we know about
Smart Sharpen to a practical test.
| | Collapse this transcript |
| Sharpening and blend modes| 00:00 | In the previous movie, we talked about
how we could use Smart Sharpen in order
| | 00:03 | to sharpen a photograph. Now, in this
movie, what I want to do is take things a
| | 00:06 | little bit further. I want to begin to
talk about sharpening and blend modes.
| | 00:11 | Here I have this photograph of this
fascinating building, and then I have a few
| | 00:14 | other layers on top of it.
| | 00:15 | Now, one of the layers that I have is a
grayscale layer. I'm going to go ahead
| | 00:19 | and take this grayscale layer to some
different blend modes. Let say I go to
| | 00:21 | the Darken blend mode. But what happens?
Well, I lose all of the brighter or the
| | 00:25 | whiter tones. Now, on the other hand
if I go to Screen or to Lighten for that
| | 00:28 | matter, it does the opposite effect.
I lose the darker tones over here, and
| | 00:32 | brighter tones remain this way.
| | 00:34 | Well, how then I can use that in
regards to sharpening? Well, I could use that
| | 00:39 | in a really unique way. On the
topmost layer called halo_no_more. Let me go
| | 00:43 | ahead and turn that on and zoom into
this image. Now, when I zoom into this
| | 00:47 | image, we can see that the image is yes
much sharper, and I have simply applied
| | 00:51 | some Smart Sharpening here.
| | 00:52 | Yet I have a little bit of a halo
happening. Now, that halo doesn't look good.
| | 00:56 | Well, I can actually change the blend
mode of a layer like this to a different
| | 01:00 | blend mode, like Darken. Now when I
do that all of a sudden, I have the
| | 01:04 | sharpening effect, and we can see that
it's bringing out those darker tones,
| | 01:08 | but the lighter tones are no longer
affecting this image. So I was able to pull
| | 01:12 | off the halo all together. Again,
here is Normal and then here is Darken.
| | 01:17 | So one of the things that you can do
is try these different blend modes, when
| | 01:20 | you do have a little bit of a halo
effect. Now that being said, you could also
| | 01:24 | use those advance controls right inside
of Smart Sharpen and do the same thing,
| | 01:28 | but there are other times when you are
using Unsharpen Mask, which we will talk
| | 01:31 | about in a little bit, where you don't
have those sliders. In this way, you can
| | 01:35 | then pull out those halos by
using these two blend modes.
| | 01:38 | Now, there is one more blend mode that
can be helpful when sharpening. A lot of
| | 01:43 | times what happens when you are
sharpening an image is you exaggerate noise.
| | 01:46 | Then here you can see I have over-
sharpened this file, but I have done that in
| | 01:49 | order to illustrate how there is
quite a bit of noise variation in the sky,
| | 01:53 | also on the building. Now
that doesn't look good at all.
| | 01:56 | So one of the things that's really
handy in regards to sharpening is to sharpen
| | 02:00 | your photograph, and then at the
very end, to take your blend mode to
| | 02:04 | Luminosity. And this is especially
important when you have skies, or when you
| | 02:08 | have shadows that are a little bit
underexposed, this can really help get rid
| | 02:11 | off this exaggerated noise.
| | 02:13 | Watch this. When I go to Luminosity all
of a sudden, it only uses the Luminance
| | 02:17 | values of this layer. It doesn't use
all the color information. So here is my
| | 02:21 | before and after.
| | 02:22 | Now the sharpening amount there is way
over the top, yet I did that in order to
| | 02:26 | illustrate the difference between
Normal. Lots of color noise. I'll zoom in
| | 02:29 | even further so you can see all those
colors in the sky right there. And then
| | 02:33 | if I take this down to a blend mode of
Luminosity, that can really help me out.
| | 02:37 | All right, as you continue to work with
sharpening, keep that in mind, you can
| | 02:41 | always access the different blending modes
in order to improve your sharpening even more.
| | Collapse this transcript |
| Using Unsharp Mask| 00:00 | In this movie, I want to share with you
some general sharpening guidelines, as
| | 00:03 | well as I want to begin to talk
about using the Unsharpen Mask filter.
| | 00:07 | Now, for general guidelines what you
want to do is for standard sharpening
| | 00:10 | your Amount's set about 100, your
Radius is going to be 2 or less.
| | 00:14 | One other thing you are going to see is
your Radius typically is pretty low.
| | 00:17 | It rarely goes higher than 3. Now, for
the Web, your radius is really low, 0.1 or
| | 00:22 | 0.2 or 0.3. Very rarely goes up this
high as 0.5. Now our Amounts also vary and
| | 00:28 | again they are going to typically be
somewhere in the 100s, although for the
| | 00:32 | web that's a little bit different, but
somewhere in the 100s with a really low radius.
| | 00:36 | Okay, well now that we have those tips,
let's click off that Tips layer. Click
| | 00:39 | in the Background layer and copy it
by clicking and dragging it to the New
| | 00:42 | Layer icon. We will go ahead
and name this new layer unsharp.
| | 00:44 | Now we are going to navigate to our
Filter pulldown menu, choose Sharpen and
| | 00:49 | Unsharpen Mask. Just as a side note,
could we have converted this for Smart
| | 00:52 | Filters and done this as a Smart Filter?
Sure. Yet, in order to do something a
| | 00:57 | little bit different here, I'm going
to simply do this as a regular layer.
| | 01:00 | So I go to Unsharpen Mask. Now, what
I'm going to do is I'm going to bring
| | 01:03 | my Amount, my Radius, and my Threshold
all the way down. And again, I like to
| | 01:07 | reposition my dialog, so I can have a
pretty good preview of the background as
| | 01:10 | well as this portion of the preview
here. Typically, what you want to do is
| | 01:14 | bring your Amount to the somewhere in
the high 100s, so in this case about 170.
| | 01:19 | Next bring up the Radius, and you
want to bring this up slowly. You want to
| | 01:23 | find where it starts to halo and you
can see the halo off of the petals on the
| | 01:27 | sunflower here. Now, one of the
interesting things with this photograph is it's
| | 01:30 | not sharp. So we are trying to bring in
some sharpness. It's pretty soft. It's
| | 01:33 | not even that focused there. So I start
to see the halo really early on with this
| | 01:38 | image. It's coming in quickly. So my
radius needs to be super low and I'm just
| | 01:43 | looking to find where the
halo becomes just unbearable.
| | 01:46 | Now once I start to see that halo being
unbearable and I think it's right about there,
| | 01:50 | I'm going to then bring my Amount
back down to about 100%. Now why did I do that?
| | 01:55 | Well, I brought my amount up,
in order to find the sweet spot for my radius.
| | 01:59 | Now this is a pretty small file.
It's a soft file. So I have a radius
| | 02:03 | that's actually pretty high for this
type of an image. Yet you can use this
| | 02:07 | technique on all different types of images.
| | 02:09 | Again a high amount, bring your radius
up until you see the halo, then bring
| | 02:14 | that amount back down. Now, what's the
deal with the Threshold slider? Well, if I
| | 02:17 | increase my Amount up, I'm going to go
ahead and increase this significantly.
| | 02:21 | The Threshold, I like to think of as
a slider that says, hey guys, you know
| | 02:24 | back it off a little bit. It's
kind of the save-the-day slider.
| | 02:27 | So when I increase the Threshold slider,
even on that bad of sharpening, you can
| | 02:30 | see that it's making out to be a
pretty decent image. Now, it's not amazing.
| | 02:35 | But keep in mind I'm exaggerating
the amount intensely here. Okay well,
| | 02:38 | let's go back down to about 100
or so. Bring the threshold down.
| | 02:42 | So what I'm doing is I just think of
this kind as a peacemaker slide. Make
| | 02:45 | peace between the amount and the radius
there. I click on the image to look at
| | 02:49 | my before and after and I'm looking to
try to create a pretty subtle effect.
| | 02:53 | Now a lot of times it's helpful to
actually look away from your monitor, and
| | 02:56 | then look back and say, does this image
actually look good? In my case, I think
| | 03:01 | it does. Therefore I'm going to
increase my Amount just a little bit more, also
| | 03:05 | my Threshold and the Radius just a
little bit more, so I have a little bit too
| | 03:09 | much sharpening, click OK to apply that.
| | 03:11 | The reason I like to have a little bit
more here is because I can then mask it
| | 03:15 | in the specific areas, or I can simply
lower the Opacity to dial this and then
| | 03:19 | find a sweet spot. So again, I just
like to have a little bit of that upper
| | 03:23 | room there, so I can bring it down and
find the sweet spot. It also gives me
| | 03:26 | different flexibility in
regards to my different paper types.
| | 03:30 | So if we zoom on in this image a little
bit, here is our before and then after.
| | 03:34 | This image has now been successfully
sharpened, before and after, except if I
| | 03:38 | really focus in on this portion of the
flower, let's look for problem areas.
| | 03:41 | Before and after, gosh. All on these
petals, this looks horrible. So I click on
| | 03:46 | the Mask icon, grab my Brush tool,
Left Bracket key for a nice small brush.
| | 03:50 | I press the X to flip black and white,
so I have black there, at 100% Opacity.
| | 03:54 | I am just going to go ahead and paint
away the halos and anywhere where I see
| | 03:59 | a real problematic halo, I'm going
to get rid off it. I could also try few
| | 04:03 | different techniques here. Blend modes
would be worth trying and whatnot.
| | 04:07 | I could also try to go back and lower
the amount of my sharpening, but in my
| | 04:11 | case, I'm just going to go ahead and
hit these real heavy halo areas and
| | 04:15 | it looks like I have got all of those there.
I think down here, a little bit down
| | 04:19 | below, and nothing too bad
down below. Okay great.
| | 04:22 | Now that really made a difference. If
we Shift-click that mask and zoom in on
| | 04:25 | those areas, so here is before,
Shift-click, there is after. Okay, so we have
| | 04:30 | nice sharpening. We have now some nice
sharpening on these petals right here,
| | 04:33 | but we are not getting any of that
halo effect in the sky. Okay, now we have
| | 04:37 | successfully sharpened this photograph.
Yet, what we want to do here is begin
| | 04:40 | to experiment with our blend modes a little bit.
| | 04:42 | So let's zoom in on the image. And
then we are going to go ahead and
| | 04:45 | Shift-click this mask. Let's say that
we didn't want to create this mask. Well,
| | 04:48 | we could try our two blend modes. We'll
first try Darken because that's up at
| | 04:51 | the top. It won't work.
But it's kind of interesting.
| | 04:54 | Well, then what if we try our
Lighten or Screen blend mode? Well all of a
| | 04:57 | sudden the halo up there is completely
gone. Here is our before and after.
| | 05:00 | We still have some pretty nice sharpening
effects, yet we don't have that halo.
| | 05:04 | So again, keep in mind, these blend
modes can really help you out. Right, well
| | 05:07 | let's take it back to Normal,
because we have already done our mask work.
| | 05:11 | Shift-click that mask to turn that
mask back on. What we want to do here is
| | 05:15 | because we have created a mask and we
have sharpened in a specific area, is we
| | 05:19 | want to make sure not to add any extra
exaggerated noise. So we are going to
| | 05:24 | take our blending mode to good old Luminosity.
| | 05:27 | Now that we have it on this Luminosity
blend mode, we shouldn't see much of a
| | 05:30 | difference. If anything we will see a
subtle improvement with the photo.
| | 05:34 | We'll go ahead and zoom out and then
look at our before and after. That one is
| | 05:37 | looking great and this image is now done.
| | Collapse this transcript |
| Using High Pass to sharpen| 00:00 |
In this movie, we are going to take a
look at another sharpening technique and
| | 00:03 |
it's called the high pass sharpening
technique. What we are going to do first
| | 00:06 |
is resize this photograph of my
daughter, Annika, in her mermaid costume.
| | 00:10 |
She was getting ready for Halloween here.
| | 00:12 |
So I'll navigate up to our Image >
Image Size dialog window to see what kind of
| | 00:16 |
information we have. We have quite a
bit of information and let's say that we
| | 00:20 |
want to print this at 8x10. I'll go
ahead and choose 8 here and as I do that,
| | 00:24 |
I get this 8x12 dimension. I'll click
OK to apply that, making sure Bicubic
| | 00:29 |
Sharper (best for reduction)
is turned on. Click OK.
| | 00:32 |
Next then, I'll grab the Crop tool,
press the C key and my Width is going to be
| | 00:36 |
10 and my Height is going to be 8,
300 pixels per inch. Click-and-drag to
| | 00:41 |
create that shape. The reason we are
printing this as an 8x10, let's say,
| | 00:45 |
because it needs to fit in an 8x10 frame.
| | 00:47 |
All right, well, so far so good. Now
let's double-click the Zoom tool to see
| | 00:51 |
what kind of detail we have. Now when
we do that, we see that we have pretty
| | 00:54 |
good detail in her face. Now the
eyes are exactly sharp. The cheeks are a
| | 00:57 |
little bit more in focus than the eyes
because we have this super shallow depth
| | 01:01 |
of field here. Although we are going
to be able to make something of this.
| | 01:05 |
So I'm going to zoom out a little bit,
just so we can see the image while we
| | 01:08 |
are working on it. Then I'll press
Command+J on a Mac, Ctrl+J on a PC to
| | 01:12 |
duplicate the Background layer and I'll
name this new layer high pass. Next, we
| | 01:17 |
are going to navigate to our Filter
pulldown menu and choose Other and then
| | 01:21 |
High Pass.
| | 01:23 |
Now High Pass sharpening works good in
a number of different of situations. It
| | 01:26 |
works especially good when you want to
do some edge sharpening or you want to
| | 01:30 |
do this really fine-tuned type of
sharpening. All right. Well, I'll go ahead
| | 01:34 |
and migrate over on the image by
clicking and dragging and I'm going to lower
| | 01:37 |
the Radius. What I'm looking for here
is just see a faint kind of silhouette of
| | 01:41 |
the shape of the image. I'll go
ahead and click OK to apply that.
| | 01:45 |
Now one of the things that's happening
with this particular image is if we zoom
| | 01:48 |
in, we now have a grayscale or close
to a grayscale except here you can see
| | 01:53 |
there are these little color artifacts
around the sparkles on her cheek.
| | 01:56 |
You can also see a little bit of
color artifact in her skin.
| | 02:00 |
So before we actually leave this
particular stage, we need to navigate to Image
| | 02:04 |
> Adjustments > Hue/Saturation or press
Command+U on a Mac, Ctrl+U on a PC and
| | 02:09 |
desaturate this so we have no color here.
Important step, many people miss that step.
| | 02:14 |
All right, so far we have applied the
High Pass filter, we desaturated. Now
| | 02:19 |
what is next is we are going to take
this to a blend mode of either Overlay or
| | 02:23 |
Soft Light. Overlay is going to be a
little bit more of an intense sharpening
| | 02:27 |
effect. Soft Light a little bit less.
So let's try Overlay, so you can actually
| | 02:31 |
see the effect. We will zoom in a
little bit and then click on and off. Here is
| | 02:35 |
our before and then here is our after.
Some nice, subtle, clean sharpening.
| | 02:40 |
Now the nice thing about this, of
course, is that we can mask off the areas
| | 02:43 |
that we don't want to have sharp. In
my case, there are just few areas that I
| | 02:48 |
do want to have sharp. So I'll go ahead
and hold down the Option key on a Mac,
| | 02:51 |
Alt key on a PC, click on the Layer
Mask icon down there. That will then add a
| | 02:57 |
mask filled with black.
| | 02:58 |
So when you click on this typically,
it creates a mask filled with white. If
| | 03:03 |
you hold down the Option key or that
Alt key and click on that icon, we now
| | 03:06 |
have a mask filled with black. I'll
grab my Brush tool and make this nice and
| | 03:11 |
big, paint with white. In this case,
I'm going to paint with 100% Opacity
| | 03:15 |
because what I saw there, it looked
pretty good on those eyes. I thought that
| | 03:19 |
looked phenomenal.
| | 03:21 |
Those cheeks are already pretty nice
and sharp, so I'll press the 5 key and
| | 03:24 |
just paint with 50% Opacity on the
cheeks, just a touch of sharpening, a little
| | 03:29 |
bit on the lips there too. I'll make
them look just a touch more glossy and a
| | 03:33 |
little bit on that hair as well, just
for the fun of it. We will zoom in, so we
| | 03:37 |
can see how we are doing. Here is our
before and our after. I'm going to zoom
| | 03:42 |
in even further, so you can actually
see this. It's tricky to see it on the
| | 03:45 |
small movies. Here is our before
and then after. So far so good.
| | 03:50 |
Now because I'm focusing on the eyes, I
decide, you know what? I want to bring
| | 03:53 |
even more sharpening to these eyes. I
want to get even more out of this. So in
| | 03:57 |
that case, I'm going to go ahead and
merge these two layers to the topmost
| | 04:01 |
layer. I'm going to do that by way of
shortcut. This is a handy shortcut. It's
| | 04:05 |
Shift+Option+Command+E, if you are on a
Mac. On a PC, that's Shift+Alt+Ctrl+E.
| | 04:11 |
That allows you to merge your
underlying layers to the topmost layer. We will
| | 04:15 |
go ahead and name this layer high pass 2.
| | 04:18 |
Next, we are going to Filter > Other
and High Pass. We are going to do this
| | 04:23 |
High Pass effect again. We are going
to crank it up this time though, really
| | 04:27 |
high amount here. Click OK, desaturate
it, Command+U on a Mac, Ctrl+U on a PC.
| | 04:32 |
Next, take our blend mode to Overlay.
Now we have intense amount of sharpening there.
| | 04:38 |
But what we are going to do is just
paint that into specific areas. So hold
| | 04:42 |
down the Option key on a Mac, Alt key
on a PC, click on the Layer Mask icon. So
| | 04:46 |
it's filled with black, grab your
Brush tool. You want a real small brush for
| | 04:50 |
this. A lot of times what's helpful is
when you are doing this sharpening eyes,
| | 04:53 |
like this, you will want to try to
bring in the sharpening amount. I'm going to
| | 04:57 |
bring it at 100% there. Bringing
the sharpening amount by painting the
| | 05:00 |
direction of the eyes. So you can see
here that I'm trying to kind of follow
| | 05:04 |
the way that the eye is actually working.
| | 05:06 |
Now this highlight is going to be a
little bit problematic. So I'll press the 4
| | 05:09 |
key to go to 40% and I'll just sharpen
this just a touch because that's going
| | 05:13 |
to look over-sharpened, if I go too far.
There is my before and after on that
| | 05:16 |
eye. Go over here to this eye. Now
that highlight, that's good enough.
| | 05:20 |
Actually, maybe 3 for 30%, still a
little bit there. Press 0. That will take my
| | 05:25 |
Opacity to 100% and then I'll
bring in some sharpness here.
| | 05:29 |
All right, let's zoom out a little bit,
so we can see how that looks. Here is
| | 05:34 |
our before and then after. Some nice
sharpening on those eyes. Again, before
| | 05:39 |
and after. Overall, here is our before
and now our after. Very nice sharpening
| | 05:46 |
with that High Pass filter and
combining that with some masking.
| | 05:50 |
Just when I want to look at my before
and after, make sure we are going in a
| | 05:53 |
good direction. That looks pretty
good, I think, and we have successfully
| | 05:57 |
sharpened this photograph.
| | 05:59 |
| | Collapse this transcript |
| Adding texture and effects with High Pass| 00:00 | In this movie, we are going to talk
about another scenario for using the High
| | 00:03 | Pass sharpening effect. What I want to
do here is just begin to think about how
| | 00:07 | we can add a little bit of texture with
this effect. Before I do that, we have
| | 00:11 | to talk a little bit about
sharpening in regards to contrast.
| | 00:14 | I click on the Curves adjustment layer
icon and I decrease the Contrast here,
| | 00:18 | well, the image doesn't feel as sharp.
On the other hand, if I increase the
| | 00:22 | Contrast, the image feels much more
sharp. So let's delete that layer, we don't
| | 00:26 | really need that. I just wanted to
pull that up to illustrate this idea that
| | 00:29 | sharpness and contrast go hand in hand.
| | 00:33 | So let's say that with this particular
photograph, we will double-click on the
| | 00:36 | Zoom tool and with this photograph, we
want to bring in some texture to this
| | 00:39 | sculpture here. We don't obviously want
to add any sharpening to the background
| | 00:44 | but we want to have this be a little
bit more tactile. We want to bring out
| | 00:47 | these little tiny details. So
here is what we are going to do.
| | 00:49 | We are going to go ahead and copy the
Background layer, Command+J on a Mac,
| | 00:52 | Ctrl+J on a PC. We will name this
high pass. Next, we will navigate to our
| | 00:56 | Filter pulldown menu > Other and High
Pass. Now we are looking to bring in some
| | 01:01 | texture here and it doesn't really matter
how the edges look. More important that it
| | 01:05 | matters how the detail on the sculpture
looks. Click OK to apply that. We have
| | 01:09 | some color fringing. I can see that.
All different kinds of color problems.
| | 01:13 | You know how to fix that, right? It's
Command+U on a Mac, Ctrl+U on a PC, remove
| | 01:18 | the color and click OK.
| | 01:20 | Next, we are going to take this to a
blend mode of Overlay or Soft Light.
| | 01:24 | I'm going to choose Overlay because I
want to make this real intense. So here
| | 01:27 | is my before, here is my after. Nice
texture there, except I obviously wrecked
| | 01:32 | the sky. So how do I fix that? Well,
we will turn that layer off and click
| | 01:35 | back into the Background layer. I'll
close my Adjustments panel for a moment by
| | 01:39 | double-clicking on the Adjustments tab,
so that we can really focus in on the
| | 01:43 | Background layer.
| | 01:43 | Next, we are going to grab the good old
Quick Select tool and all that we need
| | 01:47 | to do here is quickly click-and-drag
across the image. If there is an area of
| | 01:51 | the image we don't want to have to
selected, as I have here, hold down the
| | 01:55 | Option key on a Mac, Alt key on a PC
and just click-and-drag to paint that
| | 01:58 | away. Then we will go ahead and add
this area back in and just looking to try
| | 02:04 | to get it pretty close to the edge. It
doesn't need to be perfect. I'll make my
| | 02:08 | brush a little bit smaller and again,
just remove that, a little bit of an edge there.
| | 02:12 | Again, the edge doesn't need to be
perfect. Actually, having a little bit of a
| | 02:16 | problem area there will help us out
because we will be able to see how we can
| | 02:19 | fix that later. Next, click in the
high pass layer. Now this high pass layer,
| | 02:24 | we are going to then add a layer mask.
So we click on the Add Layer Mask icon,
| | 02:28 | so that the sharpening is only affecting
the sculpture. So here is my before and after.
| | 02:34 | Well, so far so good, except my edges
are a little bit too sharp. I'll go into
| | 02:39 | the Mask panel. And when I go into the
Mask panel, I can choose Mask Edge. Now
| | 02:43 | this is really interesting. Here we can
see that I'm in the mask and I'm going
| | 02:46 | to bring back some of these adjustments,
bring them back to normalize them a little bit.
| | 02:51 | Then I'll zoom out, so I can
see my image here. I'm going to view
| | 02:55 | this with this red rubylith overlay
and there you can see a little bit of
| | 02:58 | my problem area.
| | 03:00 | Now I can contract this edge, so that
that becomes a little bit smaller there.
| | 03:04 | It comes in. Feather it. We can see
that it's softening those edges; the red is
| | 03:08 | spilling over into the sculpture. I
can also smooth that out. Again, that's
| | 03:13 | going to take off that hard edge that I
have there and I can dial this in until
| | 03:17 | I see that it looks pretty good. Click
OK to apply that and now I have a new
| | 03:22 | edge on that mask. When I zoom in, it's
going to be a much more friendly, much
| | 03:25 | softer edge than it was before.
| | 03:27 | Now I have a pretty intense amount
of sharpening, yet I'm okay with that
| | 03:31 | because I'm going for this kind of a
special effect. Okay, so I have all that
| | 03:35 | texture. Now I want to work with the
color. Again, we are just beginning to
| | 03:38 | combine sharpening with other
techniques here. We will click on the Adjustment
| | 03:42 | Layer icon and choose Hue/Saturation.
Next, we are going to choose Colorize and
| | 03:47 | we are going to add quite a bit of blue
here. Then we will take the blend mode
| | 03:50 | of this layer to good old Soft Light.
| | 03:53 | Now I really like doing things like
this because what it will do is it will add
| | 03:56 | contrast and kind of bleach the image
out a little bit, removing a lot of the
| | 04:00 | color and adding in a little bit of
blue. Now if I don't like that amount of blue,
| | 04:03 | I can swing it one way or another,
but again, I think that looks kind of
| | 04:07 | fun there. Lower the Saturation
perhaps to remove even more of the blue.
| | 04:11 | Here is my before and after.
| | 04:13 | Again, I'm going for a little bit more
of a gritty, tactile feel. Almost looks a
| | 04:17 | little bit surreal in my opinion.
That image looks like it's almost two
| | 04:20 | separate things. I'll click on our
before and after, so we can zoom in to see
| | 04:24 | what kind of texture we are
bringing into this area of the photograph.
| | 04:27 | All right, well, it's a little bit
too strong, so we will lower the Opacity
| | 04:30 | and/or try a different blend mode like
Soft Light. Again, we just want to add a
| | 04:34 | little bit of contrast there, a
little bit of boost. We will find the sweet spot.
| | 04:38 | That looks good. Zoom out a
touch to look at our overall before and
| | 04:42 | after. Here is before.
| | 04:44 | Now when we look at the before, this
looks like it's not even in focus and
| | 04:47 | there is the after. We added quite a
bit of a tactile nature to that particular
| | 04:53 | object in this photograph. It feels
like it has much more texture in a kind of
| | 04:57 | a unique and creative way.
| | 04:59 | So all that I'm trying to do here is
to just get you to begin to think about
| | 05:02 | how when you are sharpening your
photographs, sometimes you are just sharpening
| | 05:06 | for a typical print. It's a normal
workflow. Other times, you need to get a
| | 05:10 | little bit more creative with your
sharpening perhaps, in order to fulfill your
| | 05:13 | desired intent with a particular photograph.
| | 05:16 | Whatever your goal is, my hope is that
these different sharpening techniques
| | 05:20 | will ultimately lead you to creating
engaging and compelling final prints.
| | Collapse this transcript |
|
|
4. Creating a Business CardBusiness card resources| 00:00 | If you are a photographer or if you
simply like to take pictures or if you are
| | 00:04 | just plain creative, you just
absolutely have to have a business card, so that
| | 00:08 | you can begin to get paid for what you
actually enjoy doing. There is nothing
| | 00:12 | like having a good business card that
can begin to formalize your process of
| | 00:16 | doing more what you actually love to do.
| | 00:18 | What I want to do in this movie is
share with you a few resources where you can
| | 00:22 | get some information and inspiration
about designing business cards. The first
| | 00:26 | site that I'm at is photoshopinfocus.
com. If you click on Photoshop Resources
| | 00:30 | and then Recommendations, you will see
that there is a link which says Click
| | 00:34 | here to view some of my recommendations
of a number of books, etcetera. If you
| | 00:38 | click on that link, it will take you to
this page. From there you want to click
| | 00:41 | on the link for Design.
| | 00:42 | Now if you go to that Design page, you
will notice that there are a number of
| | 00:45 | different books that I'm
recommending here which talk about business card
| | 00:48 | design. Now you don't necessarily need
to purchase these books, you can always
| | 00:52 | just go to borders and flip through
them in order to get some good inspiration
| | 00:55 | about how to design your own business
card. That being said, I do own quite a
| | 00:59 | bit of these books and it's fun to look
through them and get some real creative
| | 01:02 | ideas about business card design.
| | 01:03 | All right. Well, the next site that I
want to show you is on Flickr. If you do
| | 01:08 | a Google search for Flickr business
cards, it will take you to this whole set
| | 01:12 | of different types of business cards
and here you can click through a wide
| | 01:15 | range of business cards. Again, ton
of inspiration here on how other people
| | 01:19 | have designed their business cards.
| | 01:21 | The next site we are going to is
freelanceswitch.com. If you go to that site
| | 01:25 | and do a search for business cards here,
it will take you to this 18 smoking
| | 01:28 | hot business card designs. If we scroll
through this, you are going to see that
| | 01:32 | there are indeed some really good
business card designs here, and you can get
| | 01:35 | some inspiration there.
| | 01:36 | Another site for you. This one is
dailypoetics.typepad.com. Again, you can do a
| | 01:42 | search for daily poetics and the art of
the business card. Here you can scroll
| | 01:47 | through a wide range of really
creative and interesting business cards. The
| | 01:51 | next site that I'm going to go to is
bittbox.com. Again, if you do a search on
| | 01:59 | that site for business cards, here it
will take you to some of the other links
| | 02:03 | that we have already looked at. Flickr,
FreelanceSwitch, and then a few other
| | 02:06 | links as well.
| | 02:08 | Now you can, of course, do a quick
Google search and if you do a Google search
| | 02:12 | for business card inspiration, it will
show you many of the sites that I have
| | 02:15 | just pulled up as well as other sites.
So again, begin to do a little bit of
| | 02:19 | research on what's out there before you
actually start your own design process,
| | 02:23 | so that you have some inspiration. You
can then bring that inspiration to the
| | 02:27 | actual design and development of the
card. We will talk about how we are going
| | 02:30 | to do that in the next movie.
| | 02:32 | The last site that I want to
highlight is a printing site. It's called
| | 02:35 | overnightprints.com. Now in my opinion,
this is the best inexpensive place
| | 02:40 | where you can get business cards.
Let's go ahead and click on one of their
| | 02:43 | products, in this case Business Cards
here. You can also do other things like
| | 02:46 | Post Cards. Again, it just
tells us a little bit about that.
| | 02:49 | I will go to Pricing, so we get a feel
for what are their prices for some of
| | 02:52 | their different products. I can get 100
or a couple of 100 business cards let's
| | 02:56 | say for $20 or $30. Keep in mind that
shipping will be pretty expensive on
| | 03:00 | these as well. So let's say for 100
business cards, it costs you $20 or $30.
| | 03:04 | Well, that's pretty good and I
actually like to use this particular site even
| | 03:08 | to create proof business cards.
| | 03:10 | And what I mean is before I pay $800
or $1,000 or $2,000 for business cards,
| | 03:14 | I'll run the business card at this site
and it will just be a way for me to get
| | 03:18 | a feel for the size to carry it with me,
to tack it up on the wall, to give it
| | 03:22 | to a few people, to experiment with it
before I have to commit the big bucks to
| | 03:26 | that business card.
| | 03:27 | Now that being said, I know other
people who use this completely and
| | 03:30 | thoroughly. They will create business
cards because it's pretty inexpensive for
| | 03:33 | a particular event, put pretty good
photos on it. That makes sense for that
| | 03:37 | event. In my own experience, I have
found that these cards are phenomenal. Now
| | 03:41 | they are not as good as high and
expensive cards. So some people have had
| | 03:44 | problems with them. Of course, that's
part of what you are paying for, right?
| | 03:48 | But as a nice starting point, it's a
nice way to get you off the ground.
| | 03:51 | Definitely check out this site. Now
there are ton of other printing companies
| | 03:54 | out there that do things like this. So
if you know of another one, surely go
| | 03:58 | ahead and use that one. This is just
one that I have experience with. All right.
| | 04:01 | Well, now that I have shared a few
links with you and hopefully they will give
| | 04:04 | some more information and inspiration
about business cards, let's talk about
| | 04:08 | how we can use Photoshop to design one.
| | Collapse this transcript |
| Using a business card template| 00:00 |
In this brief movie, we are going to
talk about using a design template in
| | 00:04 |
order to begin the process of
building a business card in Photoshop.
| | 00:07 |
This particular design template comes to us
from the guys overnightprints.com. So,
| | 00:12 |
what you can do is navigate to their
site or someone else's site for that
| | 00:15 |
matter and you will be able to
find these different templates.
| | 00:18 |
Now these templates are great because
they are already in the correct format,
| | 00:21 |
CMYK. You notice that I have this
description here of what the safe zone is.
| | 00:25 |
What that's all about is that it
basically is telling us that we need to be
| | 00:28 |
able to add important information
inside of the safe zone. Otherwise, we may
| | 00:32 |
have our copy or our text or a part
of the image that's cropped off.
| | 00:36 |
You will also notice that there are
some nice guides. I'll turn off the
| | 00:39 |
visibility of this layer, overnight,
and there we can see our guides. Here is a
| | 00:42 |
great shortcut for you. It's Command+
Semicolon on a Mac, Ctrl+Semicolon on a PC
| | 00:47 |
to toggle on and off the visibility of
those guides. Just as a side note, if
| | 00:51 |
you press Command+Apostrophe on a Mac,
Ctrl+Apostrophe on a PC, you can also
| | 00:56 |
toggle on and off the view of the grid.
| | 00:58 |
Well, we don't need the grid, but we do
need those guides, those will be really
| | 01:01 |
helpful. So again this particular
template basically tells us, hey, you want to
| | 01:05 |
design with this middle space in mind.
Although, your card will probably extend
| | 01:09 |
beyond that, you want to have the
design of the card in that middle area.
| | 01:13 |
All right, well, now that we are
familiar with this template, let's go ahead
| | 01:16 |
and build the card based on this
template. So I'll leave this file open because
| | 01:20 |
we will be working with it in the next movie.
| | 01:22 |
| | Collapse this transcript |
| Designing the front of a business card| 00:00 | Here we are going to begin to talk
about how we are going to design and build
| | 00:03 | our business card. We are going to
change our view, so that we can see these
| | 00:06 | images. We will go ahead and choose
this next view here, so we can have these
| | 00:09 | two files open.
| | 00:10 | Now I have this one file titled source_
ideas and here I have some copy that I
| | 00:14 | copied off of something else, let's say,
and pasted it into the document. Then
| | 00:18 | I have a couple of images I might use.
I have this photograph of Shaun Thomson.
| | 00:21 | I have this one photograph of the
desert and another one of Tom Curran and then
| | 00:25 | another one of Tom Curran. They are a
little bit cropped in but I brought all
| | 00:28 | these files into one document. You can
bring files into one document simply by
| | 00:33 | clicking and dragging them.
| | 00:34 | So now that I have these, let's go
ahead and turn all these layers on. We will
| | 00:37 | click on one of the layers and drag-and-
drop the content into our business card
| | 00:41 | template. We will go to the next layer
and drag that in. Again, all that I'm
| | 00:45 | interested in doing is bringing over
some of my assets. I'm just trying to
| | 00:49 | illustrate how we are going
to start to build this out.
| | 00:51 | Now the interesting thing that's going
to start to happen is our business card
| | 00:55 | will come to life once we are in the
correct format. Again, I'm trying to
| | 00:58 | illustrate that here a little bit.
Again, it doesn't look very interesting in
| | 01:01 | this space. But now all of a sudden
when I go over here, I'll press F to go to
| | 01:04 | Full Screen View mode and let's say
that I want to work with this image of Tom,
| | 01:08 | I can go ahead and reposition this
and try to find a position that looks
| | 01:11 | perhaps interesting.
| | 01:13 | Now I'm starting to see something,
right? Well, let's take a look at tom2 and
| | 01:16 | I'll move this image around and see how
that would look. Now I could go with a
| | 01:20 | design like this with this particular
photograph, let's say, for the front
| | 01:23 | cover of a card because what I want to
do is create a card with a few images on
| | 01:27 | it. Yet in this case, this image is a
little bit too dominant and at this small
| | 01:32 | of a size I don't think that will work.
| | 01:32 | So I'll try this other photograph of
tom out. Yeah, I think that's going to
| | 01:36 | work really well. Especially, if I
have him offset over there to the side,
| | 01:40 | looking out of the frame, kind of
intriguing in that way. I put my border right
| | 01:44 | on the edge there, so I'll get a bit of
border in the mix. I now have some good
| | 01:48 | negative space for copy. All right,
I'm beginning to see this potentially as
| | 01:52 | the front of the business card.
| | 01:54 | Next thing I'm going to do is click on
my type layer and drag that up to the
| | 01:57 | top. Now if you don't have a type layer,
no big deal. Grab the Type tool and
| | 02:01 | then begin to type away. So I'll go
ahead and add some type that way. So I
| | 02:05 | could do this one of two ways. Add some
type or bring some type in from another
| | 02:09 | document. Just to speed things up,
I'm going to use the type that I already
| | 02:12 | brought in. Well, in this case, this
type is too big. It doesn't really look
| | 02:16 | very good here. How can I change them?
| | 02:17 | Well, I'll double-click the T to
select all of the type. I'm then going to
| | 02:22 | right justify this, change its size
by clicking and dragging to the left a
| | 02:26 | little bit. Then grab the Move tool and
I'll reposition this over here on this
| | 02:30 | edge. I'm starting to see something
that I might like. Now the font face that I
| | 02:34 | have chosen here doesn't look very
good in my opinion. Yet, I'm beginning to
| | 02:38 | see how this card may come together.
| | 02:40 | Next, I'll grab the T tool again by
pressing the T key and I'll highlight the
| | 02:44 | information underneath my name. I'm
going to lower the size of that, just to
| | 02:48 | create a little bit of visual interest,
also to deal with the spacing that I
| | 02:52 | have here. Press Enter or Return and
then press the V key to select the Move
| | 02:56 | tool and then I'm going to start to
nudge this around. Again, I can find a
| | 02:59 | different spot for that.
| | 03:00 | All right. Well, now that I'm starting
to see that yeah, this layout might work
| | 03:05 | and this might work for the front of
the business card, I'm going to group
| | 03:08 | these two layers. So I'll go ahead and
click in the type layer, hold down the
| | 03:12 | Shift key, click in the bottom layer of
tom, press Command+G. I'm going to name
| | 03:15 | this front. Now I'm not done with the
design but I'm pretty sure that's where
| | 03:19 | I'm going. I'm also going to put this
photo of tom in that folder. Then I'll
| | 03:23 | open that, I'm going to have that
layer turned off but I want that there in
| | 03:26 | case I need to go back to it later.
| | 03:29 | Now when I pull that up I just say the
visual really doesn't work for me. Leave
| | 03:32 | that layer off and turn tom on. Now I
want to find an interesting font, so I'll
| | 03:36 | click in my type layer, navigate to
Window and choose Character. Now in the
| | 03:41 | Character panel, I can click in the
font name and use the Arrow keys to go
| | 03:45 | through it, try to find different fonts
that I think work with this particular
| | 03:48 | type of layout.
| | 03:49 | Now that's kind of interesting, it's a
little bit sketchy. It kind of fits with
| | 03:53 | the sepia tone film photograph, right.
Yet not what I'm going for. I'm going to
| | 03:57 | go ahead and scroll through. I know
a font that I like to use a lot. It's
| | 04:01 | called Meta. That's one of my
favorite fonts. So I'm going to go ahead and
| | 04:03 | select that. I think that looks pretty nice.
| | 04:05 | Next thing I'm going to do is click on
the image, press the T key to select the
| | 04:09 | Type tool. I'm going to hover over
all other type now and I'll go ahead and
| | 04:13 | change its size. I want to change
its size to something a little bit more
| | 04:15 | uniform and see if I can get a type
that looks pretty good, so that all fits
| | 04:20 | right in there.
| | 04:21 | This particular font tends to work well
pretty small. Go ahead and increase the
| | 04:25 | size of the name there just a bit,
press Enter or Return. I also kind of like
| | 04:29 | that I have this two-tone nature. We
have a dark brown on top and a lighter
| | 04:33 | brown below. To do that, all that you
need to do is highlight a portion of the
| | 04:36 | text field, open up the Character
panel and here I'll change it to something
| | 04:40 | other than I had before, in this case,
an orange. Now I have this different
| | 04:44 | color. I don't like that, so undo it.
Then go ahead and close that Character panel.
| | 04:49 | Now in my opinion, this is a pretty
cool layout for the front cover of a
| | 04:52 | business card. I just want to
modify the positioning here a little bit.
| | 04:55 | Actually, I ordered a business
card with this particular design at
| | 04:58 | overnightprints.com and it looked
pretty good. All right, well, now that
| | 05:01 | we have designed the front of the
business card, it's time for the back and
| | 05:05 | we will do that in the next movie.
| | Collapse this transcript |
| Designing the back of a business card| 00:00 |
Now that we have successfully
designed the front of the business card, it's
| | 00:03 |
time to work on the back. So let's
turn off the Visibility of this particular
| | 00:07 |
layer set and turn on one of our images.
| | 00:09 |
In this case I have this nice desert
photo. I have resized it to fit on the
| | 00:12 |
card. It's really dramatic. I like it.
The tone doesn't really match the front.
| | 00:17 |
So I say well I can do that, I can add
a little bit of toning here. So I'll go
| | 00:20 |
to Color Balance, add a little bit of
red, maybe a little bit yellow, just
| | 00:24 |
adding a bit of Sepia tone effect
here and that's kind of a subtle little
| | 00:28 |
effect, but yeah trying to connect it.
Now look at the front and then the back.
| | 00:32 |
We need to do a little bit more color
work, but then all of a sudden I say you
| | 00:34 |
know what? It doesn't work at all
because the subject matter is so different.
| | 00:38 |
Your business card really needs to feel
cohesive. You can show variety, but it
| | 00:42 |
has to feel cohesive. So I'm just
going to just get rid of these layers, they
| | 00:45 |
are not going to work for me. Well,
what about this next layer shaun? Well it's
| | 00:48 |
shot with the same type of film; it's
part of the same project. Well I'll just
| | 00:51 |
move that one in and try to experiment
with where I want to place it. Now when
| | 00:55 |
I bring Shaun down low, his chin gets
cut off. That's not good and his eyes are
| | 00:59 |
too low. But when I bring it up, it's
kind of like it was that came in, which
| | 01:02 |
101I got lucky there. That looks really
nice. It's a little bit more about his
| | 01:06 |
eyes, I like that.
| | 01:06 |
And those eyes are also sitting closer
to that rule of thirds spot, right over
| | 01:11 |
there. Nice visual interest,
perfect. I like the positioning.
| | 01:14 |
Next thing I want to do is add my
domain name. I'll press the T key to select
| | 01:18 |
the Type tool and then I'll go ahead
and type out my domain name chrisorwig.com
| | 01:22 |
press Enter or Return, then press the V
key to select the Move tool and try to
| | 01:26 |
move this around. Could I put it down
here, up top, over here? Definitely,
| | 01:30 |
can't do it over the forehead, too
close the eyes. So I can't find space for this.
| | 01:34 |
Well I could decrease its size and
put it right there yet that's not quite
| | 01:39 |
compelling me enough. So Command+T on a
Mac, Ctrl+T on a PC will Free Transform
| | 01:43 |
this and we are going to rotate it. If
I just hover near the corner points, I
| | 01:47 |
can rotate that. I'm also going to
decrease its size a little bit, because this
| | 01:51 |
isn't as important here. Press Enter or Return.
| | 01:54 |
I will position this up here, find a
nice spot, making sure to stay away from
| | 01:58 |
the safe zone guides there. Nice thing
to have those on. Next I'll open up the
| | 02:02 |
Character panel and I'm going to
choose a color. I'll sample a color from the
| | 02:05 |
image. Add a little bit more orange
into it. I think that would be kind of fun.
| | 02:08 |
Click OK.
| | 02:09 |
Now in this particular case I want
this to be a little bit more faint. So I
| | 02:13 |
just going to lower the Opacity and
I'll go ahead and lower the Opacity, have a
| | 02:16 |
little subtle domain name reference
there and I want this subtle because I do
| | 02:20 |
want this to be pretty
strong and about the photograph.
| | 02:23 |
Now when designing business cards, you
can do all different kinds of things but
| | 02:26 |
this is just a particular flavor
that I'm going for here. Now that I have
| | 02:30 |
completed the design of the back I'll
hold down the Shift key, click on shaun
| | 02:34 |
layer and the chrisorwig.com layer,
press Command+G to group those. I'll name
| | 02:38 |
this group back.
| | 02:40 |
Well now that I have the front and the
back, let's take a look at them. There
| | 02:43 |
is the front. Very nice. There is the
back. That's going to really work for me
| | 02:47 |
except the chrisorwig.com is way
too big. So I'm going to go ahead and
| | 02:51 |
Command+T that, hold down the Shift key,
make this much smaller. Now you can
| | 02:55 |
Free Transform text while holding down
the Shift key to constrain proportions
| | 02:59 |
and not worry about any degradation
because text is vector, which is really nice.
| | 03:04 |
Well now here is my front and my back.
That looks nice. Well now that I have
| | 03:08 |
the front and the back designed, I
need to then create a flattened version of
| | 03:13 |
the front and the flattened version of
the back so that I can then upload that
| | 03:17 |
flattened version to the server to
overnight prints to whatever to order my
| | 03:21 |
cards. So I'll go ahead and navigate
to Image and choose Duplicate and I'll
| | 03:26 |
name one of the duplicates the name front.
| | 03:29 |
There is my front business card. I'll
then turn off the front layer. Make sure
| | 03:32 |
I have back turned on. I navigate to
Image and choose Duplicate. This one is
| | 03:36 |
going to be back. You got it.
| | 03:37 |
If we go to our Window pulldown menu,
we can see all of our open files. There
| | 03:42 |
is my template file, some source ideas,
those are from one of the previous
| | 03:45 |
movies and then front and back. Well,
here I'm inside of back. I need to
| | 03:49 |
flatten this so I navigate to Layer
and choose Flatten Image. Disregard the
| | 03:54 |
hidden layers? You betcha. Now I have
a nice flattened back image ready to be
| | 03:58 |
uploaded to the server.
| | 03:59 |
Next step, Window and choose front.
Make sure I'm in the front. Now the front
| | 04:05 |
is actually wrong. I didn't turn on
the front layer here. So I want to make
| | 04:09 |
sure I have that one on and navigate
to Layer and choose Flatten Image and
| | 04:13 |
discard those hidden layers, you betcha.
| | 04:16 |
So now I have the front of the
business card, save that file out. I also have
| | 04:20 |
the back of the business card and I'm
ready and set to upload this to my server
| | 04:25 |
and then cross my fingers and wait on
pins and needles until this arise. There
| | 04:29 |
is nothing like ordering something
that you have designed yourself and then
| | 04:32 |
opening it up and seeing how it actually looks.
| | 04:35 |
Now if you are new to business card
design, here is what I recommend. Try to
| | 04:38 |
follow someone else's business card,
not this particular one, but some of those
| | 04:42 |
others that I showed you in that
inspiration movie and then first try a pretty
| | 04:46 |
low run, meaning just get 100 business
card, because in that way you can test
| | 04:51 |
or experiment with a particular
design and see how it actually works.
| | 04:55 |
And here is the good news. Let's
say your business card is just playing
| | 04:58 |
horrible. I mean it is so bad, well it
has your information on it and you can
| | 05:03 |
always bring it to your local sandwich
shop where they have one of those fish
| | 05:06 |
bowls that says hey, leave a business
card and you can win a free lunch, you
| | 05:10 |
could always drop all 100 in there and
your chances for winning the sandwich
| | 05:15 |
would probably be pretty good.
| | 05:17 |
| | Collapse this transcript |
| Repurposing a business card for others| 00:00 | Once you have come up with the basic
layout for your business cards, it's
| | 00:03 | probably a good idea to see how
scalable the idea is. Let's say, for example,
| | 00:07 | that all of a sudden you hire a
studio manager and you need to create a
| | 00:10 | business card for that person. Well, how does
this particular layout work for that person?
| | 00:14 | Well, let's give it a try. So what I'm
going to do here is click into my front
| | 00:17 | folder and I click into my type
layer where I have my name. Now I don't
| | 00:21 | necessarily want my name there anymore,
but I do want my studio manager's name.
| | 00:24 | So I'll go ahead and type her name out
and I'll just type out a make-believe
| | 00:28 | name at this point and then her title.
Next, I'll go down one level and I'll
| | 00:34 | type out Chris Orwig Photography and
now that I have all of this information
| | 00:40 | I'll press Enter or Return. Now I need
to reposition this, because it doesn't
| | 00:44 | quite work down below, the
weight doesn't work there.
| | 00:46 | Now at this juncture I need to
change a few other things as well, just
| | 00:50 | visually I'm thinking you know what? I
have the domain name there and then at
| | 00:53 | the very bottom of that I'm going to
create one more field and that will be the
| | 00:57 | phone number down there and then
reposition this so there is a little bit more
| | 01:01 | negative space and here we have a
card that's a little bit more about the
| | 01:04 | studio manager. So it has her name up
there, and then the name of the business
| | 01:08 | down below and the back will work
pretty much the same, but in this case I'm
| | 01:13 | saying you know what? Hey, this
business card is even better than I thought,
| | 01:16 | because it's scalable. I can use this
for myself and I can also use this in
| | 01:20 | other situation for other people that
are potentially going to work with/for me.
| | Collapse this transcript |
| Business card examples| 00:00 | In this movie I want to talk a little
bit about business cards. Now we have
| | 00:03 | already designed our business cards and
what I want to do is I want to show you
| | 00:06 | the business card that I ordered with
the design that we used in those training
| | 00:10 | movies that you just watched.
| | 00:11 | Now here is the actual business card,
how it turned out and here we can see how
| | 00:15 | the corners were cut and you can also
see the little bit of the text on there
| | 00:19 | and the images and for the most part
the images look really good. So again
| | 00:23 | I just wanted to kind of show you how
you can complete this process and what they
| | 00:26 | may look like.
| | 00:27 | Now one of the things that you want to
do with your own business cards is order
| | 00:30 | a few and typically what I like to do
order just 100 or so to get a feel for
| | 00:35 | the card. I also want to take some time
to show you some cards that a few of my
| | 00:38 | other students have created. Here is
one that's very visually different and you
| | 00:42 | can see it has all of this
information and some graphics on it.
| | 00:45 | Another one, it's a little bit more
photographic based. In this case he has a
| | 00:48 | glossy finish. The one that I created
had a matte finish. So again you have
| | 00:51 | some options there. You can also see
there are options for rounded corners or
| | 00:55 | for not using rounded corners. Here is
one student of mine who created a really
| | 00:58 | unique standout business card. On
each card there was a photograph,
| | 01:01 | a different photograph, five different
photographs. On the other side the copy
| | 01:05 | and typography was all the same.
She would give her clients a number of
| | 01:09 | different business cards, so they
can see some fun little photos, and there
| | 01:12 | here again is another very different
business card, different type of a layout.
| | 01:16 | So if you are struggling with ideas
in regards to your own business card,
| | 01:20 | meaning what do I put on it? How do I
design this? You can follow those links
| | 01:24 | and I have shared with you for some
good inspiration. I also recommend that you
| | 01:28 | check out some of the different books
that are out there and this is just one
| | 01:30 | that I quickly grabbed off my bookshop,
it's called Designing Brand Identity.
| | 01:34 | It walks you through the different
process of saying, okay, well, what is a brand?
| | 01:37 | What makes a good brand? What are good
brand marks? What are good brand designs?
| | 01:42 | So a lot of times what you need to do
in order to create a good business card
| | 01:45 | is to have a strong idea. It's not
just about putting something together and
| | 01:50 | getting it printed but rather it's
about having a good idea and some good
| | 01:53 | supporting collateral, whether those
are designs or photographs or whatever
| | 01:56 | they are, and that will ultimately
lead to the best business card design.
| | Collapse this transcript |
|
|
5. Designing Promo Materials Typography resources sites| 00:00 |
As you know typography is incredibly
important when it comes to promotional
| | 00:04 |
materials and in this movie what I want
to do is share with you a few resources
| | 00:08 |
that will help you get better at
typography. Now the first site that I have up
| | 00:12 |
here is House Industries, the domain
name is houseind.com. You could also do a
| | 00:19 |
Google search for House Industries,
it will take you to this site.
| | 00:22 |
Now what we can do here is we can
navigate to a particular font kit and I'm
| | 00:26 |
going to go down to let's say
Neutraface. I love that font. And here you can
| | 00:30 |
see that it tells me the price of this
font, and I can scroll through and view
| | 00:33 |
the different type treatments. Now
there is also some valuable information on
| | 00:37 |
this site in regards to typography and
in addition you can always submit email
| | 00:42 |
to receive the free catalog. Now for
some people these particular fonts are
| | 00:45 |
going to be a little bit pricey, yet it
will help you become familiar with some
| | 00:49 |
really intriguing typefaces.
| | 00:51 |
Now another site where you can go in
order to find fonts is good old fonts.com.
| | 00:56 |
Now one of the things that I like
about fonts.com is that it can teach you
| | 00:59 |
quite a bit about type and quite a
bit about fonts. For example, so if you
| | 01:03 |
navigate to the Find Fonts navigation
button and then choose Search by Sight,
| | 01:08 |
this will then take you
through a series of questions.
| | 01:10 |
For example what type of tail does the
Q have? So you know what? I like it when
| | 01:16 |
it just touches a circle and then you
can go through and continually answer
| | 01:19 |
these questions. After answering these
questions it will then say hey, you know
| | 01:23 |
what? Based on the way you responded,
these fonts fit that particular criteria
| | 01:27 |
and it's just kind of intriguing and
kind of intuitive way to begin to search
| | 01:31 |
for a particular type of font.
| | 01:33 |
Now go to fonts.com for research like
this and for other types of things as
| | 01:37 |
well as to purchase fonts. Now the next
few sites that I want to share with you
| | 01:41 |
are where you can find some free fonts.
The first one is the dafont.com. Now
| | 01:47 |
here you can search for fonts based
on their description. For example Sans
| | 01:49 |
Serif and if I go ahead and click on
that option and then scroll down, you will
| | 01:53 |
see that I have different types of fonts.
| | 01:55 |
Now just be sure to note what kind of
font it is. In this case this is a free
| | 01:59 |
font. So I can download and use that.
Sometimes they are free only for personal
| | 02:04 |
use. So just be sure to check that. Now
another site where you can find similar
| | 02:07 |
free fonts is 1001freefonts.com and
again if you do a Google search for
| | 02:13 |
1001freefonts it will take you to this site.
| | 02:16 |
And here I have pulled up some of the
retro fonts, just to give you a feel for
| | 02:19 |
some of the things that you can find.
One of the things that you want to begin
| | 02:22 |
to think about is that all type has a
voice. What voice do you want to have
| | 02:26 |
with your particular type of marketing
collateral? All right, a couple of more
| | 02:30 |
sites for you. This one is abstractfonts
.com. Again, a nice place where you can
| | 02:35 |
find some free fonts and then one
more, which is www.urbanfonts.com, very
| | 02:40 |
similar to freefonts, and here we can
see we have a featured free font. We can
| | 02:43 |
roll over it to see the alphabet.
| | 02:46 |
So as you are digging into creating
your own promotional materials or if you
| | 02:49 |
just want to have fun with typography
I recommend that you visit all those
| | 02:53 |
sites and if you visit them trying to
think about what kind of voice do I want
| | 02:56 |
to have with my particular promo
materials. And experiment with fonts, download
| | 03:01 |
them, install them and begin to use
them in Photoshop, because one of the
| | 03:04 |
things that I have found is that most
marketing materials that are created by
| | 03:08 |
photographers or for photographers for
that matter are really, really simple.
| | 03:12 |
They are based on typography and
photography. A lot of times what happens is
| | 03:16 |
photographers just focus in on the
photographs and forget about the typography,
| | 03:20 |
but both are really important, especially
because typically the designs are so minimal.
| | 03:24 |
All right, well, I hope that those
sites will be a bit of inspiration as well
| | 03:28 |
as information for you as you
learn more about typography.
| | 03:32 |
| | Collapse this transcript |
| Tips and shortcuts for working with type| 00:00 | There is something incredibly fun
about beginning to work with type inside of
| | 00:03 | Photoshop and in this movie what I want
to do is begin to talk about how we can
| | 00:07 | work with type. In addition I want to
share with you a few type shortcuts.
| | 00:11 | Now here you can see that I have this
document open where I have assembled a
| | 00:14 | handful of the different type
shortcuts that you can use inside of Photoshop
| | 00:18 | CS4. Now at some point you will
probably want to go through all of these
| | 00:21 | shortcuts and you can find this
document in the Exercise Files folder for this
| | 00:25 | chapter. Yet for now I want to focus
in on just a couple of the shortcuts.
| | 00:29 | So I'm going to go ahead and turn on
this way our focus. Now we can see that
| | 00:33 | I'm just focusing in on a few of these
shortcuts. Now I'm going to go ahead and
| | 00:36 | press the T key to select the Type
tool. Before I begin typing I'm going to
| | 00:40 | choose a Font Size. I'm going to make
this size pretty small, go to size 14,
| | 00:43 | I'll go ahead and click and then begin to type.
| | 00:46 | So you have typed out this message.
Typography, typo there on there, Typography
| | 00:55 | is fun, engaging, and interesting.
I'll press Enter or Return to apply that,
| | 00:59 | then I'll grab the Move tool and I'm
going to click and drag to move this. Now
| | 01:02 | when I move this out I suddenly
realize I don't really like the font or the
| | 01:06 | font size and there is a typo. Well,
how can I then fix that? I'll go ahead and
| | 01:10 | press the T key to select the Type tool.
I'll click into this Type field when I
| | 01:14 | hover over it, we will notice that
the cursor will change. I'll select that
| | 01:17 | letter which is a typo, the s there.
Now it says Typography is fun, engaging
| | 01:21 | and interesting. To accept this type
field I press Enter or Return. All right,
| | 01:26 | well what about changing the font?
| | 01:28 | One of the things that I can do is if
I'm in the Type layer I can go up to the
| | 01:31 | Options bar here and then use the
Arrow keys and I can scroll through the
| | 01:35 | different fonts. Well that's kind of
interesting, isn't it? And here I can see
| | 01:38 | I have a wide range of fonts. I can
also press the Up arrow or I can go ahead
| | 01:42 | and click on some of the different
fonts here and I'll go ahead and choose a
| | 01:45 | font that I think will be kind of
interesting Stencil. Okay, well how then can
| | 01:49 | I select all the text?
| | 01:50 | Well, here is our shortcut. Double-
click the T in the Layers palette. Now all
| | 01:54 | of that type is selected. Let's say
that I want to increase or decrease the
| | 01:58 | size of this particular font. Well,
there is a nice shortcut here. We can use
| | 02:02 | Command+Shift on a Mac, Ctrl+Shift on
a PC then the greater than or less than
| | 02:07 | keys in order to change our font size.
Now we are not using the arrow keys. If
| | 02:11 | we use the arrow keys what will happen
is it will actually select or deselect
| | 02:15 | different aspects of the type and here
you can see I'm selecting or deselecting
| | 02:19 | different parts of the type. But
really here we want to use that greater or
| | 02:22 | less than number and we can
change different parts of the font.
| | 02:25 | Now let's say I want to select
everything. Well, I can press Command+A on a Mac
| | 02:29 | Ctrl+A on a PC to select all of the type.
Okay great. Well, here we can see we
| | 02:33 | have a few shortcuts that allow us to
change some of the spacing here with this
| | 02:36 | type. We can change the Leading by
holding on the Option key on the Mac, Alt
| | 02:40 | key on a PC and then
using the Up or Darrow keys.
| | 02:44 | Now at the same time I press that same
shortcut key down Option and now use the
| | 02:48 | Right or Left arrow keys. Now some of
you may be thinking, wow! There is quite
| | 02:52 | a bit of shortcuts here. Am I really
going to use all these shortcuts? Well,
| | 02:56 | initially probably not, but the more
begin to work with type, the more you may
| | 02:59 | want to use and access these shortcuts.
| | 03:02 | I will go ahead and press Enter or
Return here. We can also access these by
| | 03:06 | navigating to Window > Character and
opening up the Character panel and here I
| | 03:10 | can change some of the similar things
that I have done before and we can see
| | 03:13 | how that will work in this way simply
by using the sliders and controls. Now in
| | 03:17 | addition I can select different fonts
or click into this Font field and then
| | 03:21 | press the Up or Down arrow keys.
| | 03:23 | Now the last thing that I want to talk
about in regards to type is that you can
| | 03:27 | Free Transform type. If I go ahead and
press Command+T on a Mac, Ctrl+T on a
| | 03:31 | PC, hold down the Shift key and then
drag one of the four corner points, I can
| | 03:35 | resize that Font field as well.
Press Enter or Return to apply that.
| | 03:39 | Double-click that T to select all and
I'll go ahead and take this back to a
| | 03:42 | normal size so that all of the type is
the exact same size and then I can click
| | 03:46 | and drag this to increase the size or
decrease. So one of the things that you
| | 03:50 | are discovering here is that while
there are some shortcuts, there are also
| | 03:54 | some long cuts.
| | 03:54 | Now we can do some of the similar
things in different ways. There is no one
| | 03:58 | correct way for working with type.
Rather I just wanted to show you a few
| | 04:01 | different options so that you can
begin to be more effective when you are
| | 04:05 | working with type in Photoshop.
| | Collapse this transcript |
| Promo card inspiration and resources| 00:00 |
If you are like me and you like
taking pictures or if you are a pro
| | 00:03 |
photographer and you want to get more
work doing photography, eventually you
| | 00:07 |
are going to need to create and design
and send out a promo card. What I want
| | 00:11 |
to do in this movie is share with you
a few resources where you can get some
| | 00:14 |
information as well as some
inspiration about how to create a good and
| | 00:18 |
effective promo card.
| | 00:19 |
Now, the first site that I want to
share with you is pdnonline.com. Do a search
| | 00:24 |
for that, then navigate to the
Contest section. From there what we are
| | 00:27 |
interested in doing is viewing the
winners gallery. Now this will be really
| | 00:30 |
helpful, we will click to enter the
gallery and it will be helpful because here
| | 00:34 |
we have some of the best promo cards
according to this particular publication,
| | 00:38 |
a great publication by the way.
| | 00:39 |
So go ahead and view the winners and
click on that link there. Then I'm just
| | 00:44 |
going to click through a few of these
different Promo winners and you can see
| | 00:47 |
there are some really interesting
ideas here. We can also navigate down to
| | 00:50 |
Direct Mail and there we are going to
see just some different types of Direct
| | 00:53 |
Mail pieces. Again some real
creativity, some great photography too. And it
| | 00:58 |
will be a nice mix of things here. It
will give us some inspiration in regards
| | 01:01 |
to promo card design and layout.
| | 01:04 |
All right, well let's go ahead and
close those windows. The next site that I
| | 01:07 |
want to share with you is aphotoeditor
.com. Now if you haven't visited this
| | 01:11 |
site before, it's definitely
worthwhile. There is quite a bit of good
| | 01:14 |
information here. Yet the particular
section that I'm interested here has to do
| | 01:18 |
with promo cards. So if you go to the
site and do a search for promo cards it
| | 01:21 |
will take you to this page and it
will talk a little bit about promo cards.
| | 01:25 |
Now, another section that it will take
you to is this place where it shows you
| | 01:28 |
how some of the promo cards have
stacked up in his office and if scroll all the
| | 01:32 |
way down, he has a wide range of promo
cards here and if click through these we
| | 01:36 |
can see some promo cards and click on
the promo card it will then give a little
| | 01:40 |
a comment by him in this case he says
hey, that's pretty cool. We can also go
| | 01:43 |
down to thumbnails and click on a few
other promo cards in this way. Again a
| | 01:47 |
wide range of promo cards, I really
like that one, nice and clean layout.
| | 01:51 |
You can also view these same images
if you navigate to flickr.com and do a
| | 01:56 |
search for promo cards. Again that's F-L
-I-C-K-R flickr.com and do a search for
| | 02:01 |
promo cards and you will find some of
those same promo cards except the promo
| | 02:04 |
cards are a little bit bigger and a
little bit easier to see, so that's kind of nice.
| | 02:09 |
All right, the last site that I want
to highlight is modernpostcard.com. Well
| | 02:13 |
there are a wide range of sites and
also local services I'm sure that you have
| | 02:17 |
in your area, where you can print
promo cards. This is one that I found to be
| | 02:20 |
really good. Now there are others out
there, I'm just trying to show something
| | 02:24 |
a little bit different compared
to what I have shown in the past.
| | 02:27 |
Now, here I have clicked on the
section for promo cards and here you can see
| | 02:30 |
that we can order about 250 cards for
about $150, so that's not too bad. What
| | 02:35 |
we can do is scroll down, we can then
download a template, in this case I'm
| | 02:39 |
going to download a template for
Photoshop 5x7 postcard, I'll go ahead and
| | 02:42 |
click Search. That will take me to the
page where I can download that template.
| | 02:46 |
I can also navigate to
the File Setup Instructions.
| | 02:49 |
Now, this is going to be pretty
helpful because it will walk me through how I
| | 02:52 |
can setup this file if I'm not using
the template. It will also give me some
| | 02:56 |
important information about the Safe
Zone, the Trim Line. Also if we are going
| | 03:00 |
to have Full Bleed how far we want
our images to go out. So it will be
| | 03:03 |
definitely worthwhile to read through
these set of instructions here. And in
| | 03:07 |
one of the subsequent movies we will
actually be talking about how we can use
| | 03:10 |
this particular template in
order to design a promo card.
| | 03:13 |
Now keep in mind, you don't have to get
to your promo cards here, it's just one
| | 03:17 |
place of many that I have had success
with. All right well I hope that these links
| | 03:21 |
provide you with bit of inspiration
as well as a bit of helpful information.
| | 03:27 |
| | Collapse this transcript |
| Using a template to build a promo| 00:00 |
Here we are going to go through how
we can use a template that we have
| | 00:03 |
downloaded from a site in order to
create a promo card. This particular
| | 00:07 |
template comes to us from
modernpostcard.com and it's a template for a 5x7
| | 00:12 |
horizontal postcard. Now we could of
course use this template and print it out
| | 00:15 |
on our desktop printer or we could
actually upload this and send this to Modern
| | 00:19 |
Postcard so that they could print it for us.
| | 00:22 |
Now, I'm going to be talking about
going to press in one of the later chapters
| | 00:25 |
yet here what I'm going to do is
talk about how we can begin to use this
| | 00:28 |
template to design a postcard. All
right we will go ahead and double-click the
| | 00:31 |
Zoom tool. That will take this to 100%,
then I press the Spacebar tool and I'll
| | 00:35 |
click and drag, so I can see these
instructions here. And basically what these
| | 00:39 |
instructions tell me is that the
postcard will be trimmed right here. So what
| | 00:43 |
you want to do, if you have an image
that has Full Bleed, you want to go pass
| | 00:46 |
the Trim Line, otherwise that Trim
Line might not look so good so you need to
| | 00:49 |
go beyond that just a bit.
| | 00:51 |
Now, it also tells us, hey there is
a Safe Zone and this is where all the
| | 00:54 |
important element should be. They
should be within this area. That being said
| | 00:58 |
the postcard will go out to this extra
outline here, these dotted lines. Now I
| | 01:01 |
have brought some guides into this
document. They don't exist on the template
| | 01:05 |
when you download it and there you can
see the guides is different spaces here.
| | 01:09 |
All right, well I'm ready to begin to
design the postcard. So I'll turn off the
| | 01:12 |
modernpostcard layer and the
instructions layer. So I just have those guides
| | 01:16 |
on. That's what I'm going to do. I'm
going to go ahead and navigate to 2-Up so
| | 01:20 |
I can see these images side by side.
I'll click in the photo document and this
| | 01:24 |
is a JPEG that I want to
include in this particular postcard.
| | 01:26 |
I am going to click and drag this into
the postcard document, now it says you
| | 01:30 |
are pasting content from a document
of a different profile. Do you want to
| | 01:34 |
convert this to CMYK working space?
Well I'm not really sure what particular
| | 01:38 |
CMYK working spaces is. I could have
converted it previously. Yet, this is
| | 01:42 |
going to do the conversion for me so
I'll simply click OK. Next we will press F
| | 01:46 |
to go to Full Screen View mode and then
we are going to zoom out so we can see
| | 01:50 |
how this works and I'll zoom out by
pressing Command+- on a Mac, Ctrl+- on the PC.
| | 01:55 |
All right, so now that I have brought
the image in, if I wanted this to be Full
| | 01:58 |
Bleed, I would need to have the image
extend beyond these guides, well perfect.
| | 02:01 |
Well, all of sudden I decide I could do
a Full Bleed and that would be fine.
| | 02:05 |
I could have my information on the back
of the card. But rather, I want to have
| | 02:08 |
my domain name up on front, I want to
have a little bit of negative space so
| | 02:12 |
that there is a border around the image.
I want to customize this a little bit
| | 02:15 |
further. We will talk about
doing that in the next movie.
| | 02:18 |
| | Collapse this transcript |
| Customizing the template| 00:00 | Well, the first thing that I want to do
in order to customize this is to clean
| | 00:04 | up my workspace just a little bit.
What I mean is this edge is going to be
| | 00:07 | trimmed off. So it's hard to determine
what this card will look like while I
| | 00:11 | can see that edge.
| | 00:12 | So here is what I can do. I can go
ahead and select the Marquee tool as I have
| | 00:16 | done so here and then click and drag.
It's going to lock to those guides there.
| | 00:20 | Create a new layer by clicking on the
New Layer icon, inverse the selection,
| | 00:25 | Select and choose Inverse, then fill
that with black, Edit and then Fill and
| | 00:30 | we'll choose Black there, click OK.
| | 00:31 | So now that I have that black edge, I
can then go to that Full Screen view mode
| | 00:36 | and get a better feel for the actual
edge of this promo card. Now at the end of
| | 00:40 | the process I'll delete this layer, but
this layer help me pre-visualize where
| | 00:44 | the postcard edge actually ends. Well
so far so good, let's then go to Select
| | 00:49 | and choose Deselect. Then we are going
to Ctrl-click or right click and choose
| | 00:54 | Black as our background color there.
Now again, this helps me have a clear idea
| | 00:58 | of where this particular promo card ends.
| | 01:00 | Next, I'm going to click on the image
layer here, I'll go ahead and name that
| | 01:03 | layer image and I'll grab my Marquee
tool, press the M key if you don't have it
| | 01:07 | selected. Click and drag around these
inner guides because this really is the
| | 01:11 | safe zone. If I want to create a border,
my image only needs to go to this line
| | 01:15 | here, so I'll click on the Add
Layer Mask icon, now perfect!
| | 01:19 | Next thing I want to do is I want to
add a little bit of space below the image.
| | 01:22 | So unlink the image in the mask, click
in the mask layer, Command+T on a Mac,
| | 01:26 | Ctrl+T on a PC and I'm going to bring
this up significantly, so I have a little
| | 01:31 | bit of space there for my
domain name. Press Enter or Return.
| | 01:35 | Next I'm going to target the image
itself. I'll click in the layer thumbnail,
| | 01:38 | press Command+T on a Mac, Ctrl+T on a
PC to Free Transform the image. Now here
| | 01:43 | is a great shortcut. If you can't see
all of the Free Transform handles, press
| | 01:47 | Command+Zero on a Mac, Ctrl+Zero on PC.
It will then zoom out so that you can
| | 01:52 | see all those and here I can now grab
those and bring those in. I'll go ahead
| | 01:57 | and bring those in all sides.
| | 01:58 | What I'm looking to do here is just to
have the surfer little bit smaller or
| | 02:02 | perhaps as small as I can go with
him so that I have a lot of the ocean
| | 02:06 | surrounding him. Press Enter or Return
and then I'll press the V key to select
| | 02:10 | the Move tool and use my Arrow keys
to nudge this around a little bit. Just
| | 02:14 | find the sweet spot in regards to how I
want the layout. So far so good, except
| | 02:18 | those guides are really distracting,
aren't they? Well, press Command+Semicolon
| | 02:22 | on a Mac, Ctrl+Semicolon on a PC.
| | 02:25 | Aright. Now I'm getting the feel for
things, next step, grab the Type tool by
| | 02:29 | pressing the T key and we'll go ahead
and click and then type out our domain
| | 02:34 | name. I'll press Command+A to
highlight that, that's for the Mac, Ctrl+A on a
| | 02:39 | PC and I'm going to go ahead and
select the font that I typically use for my
| | 02:42 | branding, which is Meta and I'm going
to take that font size down quite a bit.
| | 02:47 | Press Enter or Return to apply that
and I'm going to look at where I can
| | 02:51 | position that particular text field.
| | 02:54 | One of the things that I'm noticing is
I don't like the treatment of that type
| | 02:56 | there. So I'm going to go to Window and
choose Character and here I'm going to
| | 02:59 | take this spacing between the letters
back to zero. That looks much better.
| | 03:04 | Then in regards to the color, I'm
going to choose a color from this image
| | 03:08 | except make this a little bit more brown,
so a little bit less orange in there.
| | 03:13 | Click OK to apply that. Then I'll
close the Character panel and a couple of
| | 03:18 | different places I could have this,
perhaps down there in the bottom corner.
| | 03:22 | I can also move it over here to the bottom
-left corner. That could be kind of fun
| | 03:26 | to have that there.
| | 03:27 | All right. Let's turn on our guides,
Command+Semicolon on a Mac, Ctrl+Semicolon
| | 03:31 | on a PC. You want to make sure that
that text is going to fit inside of the
| | 03:34 | safe zone. Now our trimmed edge is
still right here, so I may want to bring
| | 03:38 | this down a little bit lower. I think
that looks pretty good. Command+Semicolon
| | 03:43 | to turn off those guides and again I
can just find the sweet spot for that layer.
| | 03:47 | All right. Well, the last step is
going to be to turn off the Visibility of
| | 03:50 | Layer 2. This is that border because
we don't need that, because that's just
| | 03:54 | showing us where the trim is going to
be. We actually need to have the full
| | 03:58 | file, needs to go to white all the
way to the edge. The final thing that we
| | 04:02 | would want to do would be to flatten this file.
| | 04:04 | Now to flatten it, we are going to
navigate to Layer and then choose Flatten
| | 04:08 | Image. We want to do this when we
are really sure about the design. In an
| | 04:12 | addition, what I would like to do is
navigate to Image and choose Duplicate so
| | 04:17 | that I'm working with a duplicate
version of it and I'll call this final. And
| | 04:21 | then navigate to Layer > Flatten
Image and discard those hidden layers,
| | 04:26 | you betcha.
| | 04:27 | Then there we have our promo card.
Press Tab to get rid of everything. Here we
| | 04:31 | can evaluate the promo card, make sure
it looks good and at this juncture we
| | 04:35 | can either print this out on our
desktop printer and then trim it to size or we
| | 04:39 | could upload this to ModernPostcard.com.
| | 04:42 | Now if you're going to do a little bit
more of a serious print run, like upload
| | 04:45 | this to Modern Postcard or take it to
another printing press. I recommend you
| | 04:49 | watch the chapter on going to press
where I get into more of the details of
| | 04:52 | CMYK and of preparing our files for
press. All right, well that wraps up our
| | 04:57 | conversion about creating this promo card.
| | Collapse this transcript |
| Building a grid-based promo card| 00:00 | In this brief movie, I want to
simply talk about creating promo card with
| | 00:03 | multiple images on it, in particular, a
promo card that's based on a grid. Now,
| | 00:08 | this is going to be a pretty easy
process because I have already resized all
| | 00:12 | the photographs and I have dragged them
into this document. Now, this document
| | 00:15 | isn't one of the Template files, yet I
thought it would be fun just to use a
| | 00:18 | low-res file with some small images in
order to quickly talk about how you can
| | 00:22 | create a grid.
| | 00:22 | All right, well I'm going to go ahead
and click in my Layer 9 and I'm going to
| | 00:25 | click and drag this over the top right
corner and when I do that, you can see
| | 00:29 | that it kind of snaps in position
over there and it is going to snap in
| | 00:32 | position in a pretty good spot for me,
so I have equal spacing above this and
| | 00:36 | then also to the right of this. I'll go
ahead and lower that just a touch there
| | 00:39 | to get it perfect.
| | 00:39 | All right, next I'll click in Layer 6
and now when I bring Layer 6 over; it is
| | 00:43 | aligned off of the other image. So,
the alignment goes hand in hand and I'll
| | 00:48 | click and drag this one over here and
bring that image in as well. Now, when I
| | 00:51 | bring these images in, if I notice
that they are off or if I feel like the
| | 00:55 | spacing isn't perfect, well you can
click in one layer, Shift-click into the
| | 00:59 | other layer, so I have all of them
selected, then say give me equal spacing
| | 01:04 | between all of these images and then
I can also use the arrow keys to nudge
| | 01:08 | these around as needed.
| | 01:09 | All right, well those look pretty good.
Next, I'll go to Layer 8 and I'm going
| | 01:13 | to click and drag, bring this over
here and then Layer 5, click and drag,
| | 01:18 | reposition these. Now, what about
those layers underneath here that I can't
| | 01:22 | quite get to? Well, I could of course
click in the layer or even better, if I
| | 01:26 | right-click or Ctrl-click, I can see
it says Layer 7. That's the one that I
| | 01:30 | want and then I'll bring this one over
here. So that right-click or Ctrl-click
| | 01:35 | trick is really helpful when you want
to select a layer that is underneath
| | 01:38 | something. Of course, we can always
click in the Layers palette as well.
| | 01:42 | I am just going to go ahead and build
this out. We are almost done here with
| | 01:45 | this nice colorful grid of images.
Sometimes I create Promo cards with one
| | 01:50 | image on them, other times, I put
multiple images on them and I think it is
| | 01:54 | kind of interesting, it tells a very
different story. Last thing that I'm going
| | 01:57 | to do here is add some type. Press the
T key to select the Type tool. I'll go
| | 02:01 | ahead and type out my domain name. Now,
do you always only have to have your
| | 02:05 | domain name on your Promo card? No,
that's just what I have done in the last
| | 02:08 | few cards that I have created. Press
Enter or Return to apply that. Press the V
| | 02:12 | key to select the Move tool and
I'll click and Reposition that.
| | 02:15 | Now, that font is a little bit too
small for me. Then I'm going to keep that
| | 02:19 | there. I need one more Text field. So,
I'll hold down the Option key on a Mac,
| | 02:23 | Alt key on a PC, then click and drag
that will allow me to copy and paste that
| | 02:27 | font over there. Press the T key,
click into that text field, press Command+A
| | 02:32 | to Select All. Go ahead and type a
number out here. Press Enter or Return.
| | 02:37 | Next, I'll select the Move tool, press
the V key and I'll change the Opacity of
| | 02:41 | this to about 70% Opacity, so I'll
press the 7 key, then the 4 key to take it
| | 02:45 | down to 40%. I kind of like
that, really light gray there.
| | 02:48 | All right, well back to this Text field
here. How can we select that? Well, if
| | 02:52 | we right-click or Ctrl-click, we can
jump right to that text layer. Press
| | 02:56 | Command+T on a Mac, Ctr+T on a PC,
then we will hold down the Shift key, grab
| | 03:01 | one of those corner points, press
Enter or Return to apply that and then
| | 03:04 | position this where we want it. All
right, well, that looks pretty good. And if
| | 03:08 | you want to change the Opacity of that
layer, press the 8 key, it goes down to
| | 03:11 | 80% or 7 to 70% or 6 to 60%. That looks
kind of nice. We have a little bit more
| | 03:16 | prominent logo, little bit less
prominent phone number over there. So, in this
| | 03:20 | case, we have all the information
that they need, a really nice and clean layout.
| | 03:23 | Now, the only thing that I want to do
here so that this is a little bit more
| | 03:26 | photographic is lower the Opacity of
that even further. So, I went down to 30%
| | 03:30 | with that layer by pressing the 3 key.
I'll go to the layer above, press the 3
| | 03:34 | key now that's at 30% as well. Again,
just pulling back the typography so it's
| | 03:39 | a little bit more photo-based.
| | 03:39 | All right, well that wasn't too
painful yet I just want to give you some idea
| | 03:44 | so that when you are creating promo
cards, sometimes you may use one image,
| | 03:47 | other times you will use multiple
images. Now, I said that we didn't use the
| | 03:50 | Template file in order to move quickly
here, we could have done the same exact
| | 03:54 | thing with that Template file. In this
case we just created this nice little
| | 03:57 | small promo card.
| | 03:58 | Now, the last thing that I would like
to do here in order to make sure that my
| | 04:01 | borders are just perfect is to actually
create my own borders and lay those on
| | 04:06 | top of the images because sometimes
what happens is even though you resize your
| | 04:11 | images, you may have incorrectly
resized one or not another, or cropped one
| | 04:15 | incorrectly or something along those
lines. Let's go ahead and zoom in on this
| | 04:19 | image and see if we have done that.
We will zoom in one of the intersecting
| | 04:21 | areas and here we can see that, you
know what? These two images aren't the same
| | 04:25 | size. I have a bigger gap
here than I do over here.
| | 04:28 | All right, well I'll double-click the
Zoom tool to go back to 100%. What I'm
| | 04:31 | going to do is scroll up to the top of
my Layers palette, create a new layer by
| | 04:36 | clicking on the New Layer icon. Next,
I'll grab my Marquee tool and I'm going
| | 04:40 | to go ahead and create a gap here by
clicking and dragging across this area and
| | 04:45 | it is going to be a gap that will
cover up a portion of the image here.
| | 04:48 | I will lower that then fill it with
white, Command+Delete on a Mac, Ctrl+Delete
| | 04:52 | on a PC, then go to Select > Deselect.
Well, now that I have one border, I'll
| | 04:58 | hold down the Option key on a Mac, Alt
key on a PC, click and drag and bring
| | 05:01 | this up to this top area, so now I
have the space or border right there that
| | 05:06 | has that equal size or equal
width that's the other one. Great.
| | 05:09 | We need a couple more. Option-click and
drag on a Mac, that's an Alt-click and
| | 05:13 | drag on a PC, then press Command+T if
you are on a Mac, Ctrl+T on a PC, hover
| | 05:18 | over one of those anchor points till
you see the bent arrow and we are going to
| | 05:22 | free transform that. So it is a
vertical line and again I'm just doing this to
| | 05:26 | make sure that the grid
spacing is exactly prefect.
| | 05:30 | Then I hold down the Option key or the
Alt key, click and drag that bring that
| | 05:34 | over to the side. But one of the
things that's kind of nice about this is we
| | 05:38 | now have equal spacing around our images.
We know that it is prefect for sure.
| | 05:42 | Now, we could of course have gone back
and free transformed the images. I just
| | 05:45 | kind of like this trick because it can
speed up the overall process. Couple of
| | 05:50 | more edges we need to work on. Well,
that's the side edge and the top edge,
| | 05:53 | also the side edge over here.
| | 05:55 | So, hold down the Option key if you
are on a Mac, Alt key on a PC, click and
| | 05:58 | drag that. So, we have that over
there on the side and we just want to make
| | 06:01 | sure we have the same exact width as
we do in the other places. Option-click
| | 06:05 | and drag on a Mac, Alt-click and drag
on a PC. Perfect. And let's select one of
| | 06:10 | these other white lines here. You can
select one of those by right-clicking.
| | 06:13 | There you can see it is image 11 copy,
Option-click and drag or Alt-click and
| | 06:18 | drag. You get the gist, don't
you? That looks pretty nice.
| | 06:22 | The only problem is now those guides
are actually covering out my two text
| | 06:26 | fields. Well, how can we fix that? Well,
let's click in one of the layers, hold
| | 06:29 | down the Shift key, click in the
topmost layer and press Command+G on a Mac,
| | 06:34 | Ctr+G on a PC. We will name this
spacers because those are the spacers between
| | 06:39 | the images.
| | 06:41 | Next, we are going to go into the
Images folder. Scroll down to where we find
| | 06:44 | the two text fields, click in one of
the Text fields, hold down the Shift key,
| | 06:48 | click in another text field. Now, here
is a great shortcut for reordering your
| | 06:53 | layers. If you press Shift+Command on
a Mac or Shift+Ctrl on a PC plus right
| | 06:58 | bracket, we can then move those up to
the top of the stack. So I go ahead and
| | 07:01 | press those keys a couple of times. It
then positions or reorders my layer so
| | 07:06 | that those are at the top of the
stack and that's a nice shortcut for
| | 07:10 | reordering our layers and as I do that,
I realize I need to move things around a little bit.
| | 07:15 | I will go ahead and select the
chrisorwig.com, use the arrow keys to bring that
| | 07:19 | in and then click in the layer for the
phone number, bring that one in a little
| | 07:23 | bit and voila! We have successfully
created a perfect grid Promo card.
| | Collapse this transcript |
| Resources for creating a photo book| 00:00 | On-demand printing and short-run
printing has blossomed in the last few years
| | 00:04 | and rightly so, it is better than ever.
Now you can create books with your own
| | 00:09 | photographs in them in unique ways and
you can print these with these short-run
| | 00:14 | print techniques.
| | 00:14 | What that means is you can just
order one copy or two copies or have your
| | 00:18 | friends order copies. So, a lot of
people are shifting to creating their own
| | 00:21 | books or doing this for portfolios or
just to create a simple book. Now, in
| | 00:25 | this movie, what I'm going to do is
just show you a few places where you can go
| | 00:28 | to create your own books. I'm not
going to teach you how to do this simply
| | 00:31 | because it is so easy.
| | 00:33 | For example, you can navigate to
Blurb.com, and then download the Blurb
| | 00:39 | BookSmart. It allows you to assemble
and put together a book, upload it and
| | 00:44 | then it is ready to be ordered and
printed. It is quite amazing! Actually, if
| | 00:48 | you navigate over the Book Store and do
a search for my name, you can find some
| | 00:51 | of the Blurb books that I have created.
| | 00:54 | One of the things that I've found with
Blurb is that the quality is phenomenal
| | 00:56 | for the price. So, I have had great
success with these guys. Now another
| | 01:00 | company that you can check out is
Fastback Books, the domain name is
| | 01:04 | FastbackBooks.com. Again, here you can
design and create your own book and have
| | 01:09 | them printed for you.
| | 01:10 | Now, certain companies like this one,
you will need to know how to use InDesign
| | 01:13 | in order to design the book. You will
then upload those InDesign files for them
| | 01:18 | to be printed. Other sites, for example
like Blurb, have book building software
| | 01:22 | that you can use in order to design
your book with the software. So you don't
| | 01:26 | really need to know how to do anything
else besides use their little software
| | 01:29 | application, which is quite intuitive.
| | 01:31 | All right, another site that I want to
highlight is EditionOneStudios.com. Now,
| | 01:35 | Edition One Studios is yet another
publishing company that does short print
| | 01:39 | runs or you can design your own book
and have it printed. There are also a
| | 01:43 | couple of other companies you can go
to as well that I want to highlight. One
| | 01:46 | of them is Mpix.com.
| | 01:49 | Mpix.com is a nice place to use
because they actually have a color management
| | 01:53 | staff and they have profiles and
what not and you can get pretty accurate
| | 01:57 | results from these guys. In addition,
they have some soft cover books, some
| | 02:00 | hard cover books and you can go
ahead and navigate through their Prints &
| | 02:03 | Products section to find out more
about the different books that they have.
| | 02:07 | One more self-publishing site I want
to highlight is Lulu.com and again, here
| | 02:11 | you can use their particular type of
software in order to create hard cover,
| | 02:14 | soft cover, paperback books, you name
it. Now just by looking at these sites
| | 02:18 | briefly, you are going to pick up
a little bit of the vibe, right?
| | 02:21 | Blurb is going to give you a little
bit different quality, say for example,
| | 02:24 | than some of these other companies. Yet,
some of these other companies will be
| | 02:27 | pretty cost-effective and for the
most part, all across the board, these
| | 02:31 | different book companies will give
you pretty good results. So, here is my
| | 02:35 | advice for you. If you haven't ever
created a book of your own images, do so
| | 02:39 | now. It is so much fun.
| | 02:41 | What you want to do first is
experiment with some photographs that "don't
| | 02:45 | matter". I mean create a book just for
the fun of it; maybe you have gone on a
| | 02:47 | vacation or trip. Well, take those
photos from that trip, create a simple book.
| | 02:52 | Try to limit your page count let's say
to about 30 pages in order to just get a
| | 02:55 | feel for the book. Get a feel for how
the images are printed, what size works,
| | 02:59 | how the typography works. So,
do one of these "test books".
| | 03:03 | Now, it will cost something, yes,
but you want to get a little bit of an
| | 03:06 | experience with this before you do the
book that you are really interested in
| | 03:09 | doing, before you do your portfolio
or before you begin to work with your
| | 03:12 | images that really matter.
| | 03:14 | So, again if you haven't experimented
with creating your own book, I definitely
| | 03:18 | recommend that you do so. I don't
think that you will be disappointed.
| | Collapse this transcript |
| Photo book examples| 00:00 | In the last movie, I briefly talked
about creating your own book and in this
| | 00:04 | movie, what I'm going to do is just
pretend that you have come to my office and
| | 00:06 | said, hey Chris! I would really like
to get some more ideas about creating
| | 00:09 | my own book. What I would do is then pull out
a couple of books, maybe one that I created.
| | 00:13 | This particular book I printed in at
FastbackBooks.com, one of the sites that
| | 00:16 | I shared with you, and I'll go ahead
and hand this to you and you would flip
| | 00:19 | through it and maybe get to a couple
of different pages, perhaps find a page
| | 00:23 | that you like the layout of. Then we
would begin to talk about, well, how big
| | 00:26 | should the image be based on the
size of the page? Where could we put the
| | 00:30 | contact info? Well, lot of times what
happens is it's kind of a nice idea to
| | 00:33 | put the contact info near the end of
the book. Again, begin to see the actual
| | 00:38 | physical artifact.
| | 00:39 | Okay, well we wrapped up our look at
this book. Let's go ahead and take a look
| | 00:43 | at another book. This one was put
together by one of my former students Matt Mallams.
| | 00:47 | One of the things about
being a teacher is it is such a privilege
| | 00:50 | because guys like Matt just inspire you.
Matt is an amazing journalist!
| | 00:55 | This book contains a bunch of his
photographs as well as a bunch of his journals.
| | 00:59 | Let us take a look at this one.
| | 01:00 | All right, so as we flip through this
book, one of the things that you may
| | 01:03 | notice here is that you see a wide
range of different types of photographs,
| | 01:07 | also some journal entries. And again,
you get some ideas for different layouts.
| | 01:11 | One of the things you will notice
with this one is that there are a lot of
| | 01:15 | pages here and then at the end of
the book, he included his promotional
| | 01:18 | information and his contact info,
kind of a nice way to do it and the print
| | 01:22 | quality looks really nice, the binding
is really nice. Again, this photo book is
| | 01:26 | inspiring to me. I loved it and
thanks, Matt, for creating that book and for
| | 01:30 | sharing it with me. It definitely was inspiring.
| | 01:33 | All right, well all that I wanted to do
here was just to begin to give you some
| | 01:36 | ideas about how you can create your
own books and I just want to illustrate
| | 01:40 | this idea that there is something
really fun and really tangible about having
| | 01:44 | that artifact in your hand.
| | 01:46 | There is also something interesting
that happens to your photographs. When you
| | 01:49 | bind them together and create them as
a set, it makes them a little bit more
| | 01:53 | formal. It formalizes your thinking.
In your photographic vision in a way.
| | 01:58 | If your images are all just loose leaf,
well anyone can look at them in really any
| | 02:03 | way they want to or they can click
through them online in any way they want to.
| | 02:07 | But if you look at a book, typically
you are away from your computer and you
| | 02:10 | slow down and you flip that page by
page and you feel the paper of the book and
| | 02:15 | there is something about that, that
really invites the viewer in. So, if you
| | 02:20 | haven't created your own book,
I definitely recommend that you do so now.
| | 02:24 | Take a break from this training title
and put together a book and print it.
| | 02:27 | I think that you will be surprised at
how enjoyable this process is. And in
| | 02:32 | addition, I think you will really be
surprised at how educational the process is.
| | 02:36 | I can't tell you how much I have
learned by trying to put together these
| | 02:39 | small books. Even if they are just for
myself, they teach me so much about how
| | 02:43 | I see. They also show me so many of the
mistakes that I made photographically.
| | 02:48 | They sharpen me as a photographer.
All right, well that wraps up this movie.
| | 02:52 | I hope you enjoyed it. Bye for now!
| | Collapse this transcript |
|
|
6. Creative Print LayoutsCreating a PDF layout with the Output module| 00:00 | This chapter is going to be one of
those fun chapters and what we are going to
| | 00:03 | do in this chapter is talk about how
we can create photomontages. Now I read
| | 00:07 | once that a montage is an art form that
consists of smaller items that are put
| | 00:12 | together. What I want to do in the next
couple of movies is take a look at how
| | 00:15 | we can use the output module, in
order to create these unique layouts and
| | 00:19 | combine multiple images together. Now
this chapter isn't very technical. Well,
| | 00:24 | it will have some technical aspects to it.
It's going to be a little bit more creative.
| | 00:28 | All right, well, here you can see I'm
in the Adobe Bridge. I have selected the
| | 00:31 | folder wolf_kids, which is a sub folder
of the Chapter 06_print_layouts, and I
| | 00:37 | have these four images of these kids
here. I want to go ahead and take a look
| | 00:40 | at them by pressing the Spacebar key
that takes it to Full Screen view mode,
| | 00:44 | there they have all of their fall leaves,
they are throwing them up in the air
| | 00:47 | and then they fall down and then
fall some more, really fun photographs.
| | 00:52 | Now one of the things that I'm
realizing when I look at photographs like this
| | 00:55 | is that these photographs work really
well together, right it's that sequence,
| | 00:59 | it's that event that really makes this
kind of exciting. So I want to create a
| | 01:03 | Print layout that combines all four of
these images on one page. So let's go
| | 01:08 | ahead and select all of these by
pressing Command+A on a Mac, Ctrl+A on a PC.
| | 01:13 | Next, we are going to navigate to the
output module. Now we can do that by
| | 01:16 | simply clicking on the output module
or by pressing the shortcut. That's
| | 01:20 | Command+F4 on a Mac, Ctrl+F4 on a PC.
This then takes us to the output module
| | 01:26 | where we can create web galleries as
well as PDF files. Now, I want to create a
| | 01:29 | PDF file and here it has the last
PDF that I created or at least the last
| | 01:33 | layout that I used. Now that doesn't
really work for me and it doesn't really
| | 01:37 | work for this set of images.
| | 01:39 | What I want to do then is I'm going
to take my template to maximum size and
| | 01:42 | then choose Refresh Preview. Now your
workflow when you are creating PDFs is
| | 01:46 | going to be to make some changes and
then click Refresh, make some changes and
| | 01:50 | click Refresh. You are also going to
want to access all of these different
| | 01:54 | menus down here.
| | 01:55 | Now because there is quite a bit of
information in these menus, here is what I
| | 01:58 | recommend, navigate to Adobe Bridge
CS4, Preferences, in the Preferences
| | 02:03 | dialog, what we are going to do is go
to Output and choose Use Solo mode for
| | 02:07 | Output panel behavior. Let me show you
how that works. We will click OK here to
| | 02:11 | apply that. Next, when I open up my
Layout panel, now all of a sudden the
| | 02:16 | Document panel is closed. So only one
panel will be open at a time. That's
| | 02:21 | going to help me out a little bit.
| | 02:22 | So then I have to scroll up and down
in order to access the different things
| | 02:26 | that we will need to access. All right,
well so far so good. Let's go back to
| | 02:29 | document for a moment. We see that we
have one image on the page. It's really
| | 02:33 | big. I also notice that I have the file
name here, I don't want the file name.
| | 02:37 | I wanted to create a beautiful
print with all of these images on it.
| | 02:40 | So I'll go to Overlays and I'll turn
off File name and Extension, great. Next,
| | 02:46 | I'm going to go back to document. What
type of layout work best, will it be a
| | 02:50 | vertical or a portrait or a
horizontal or a landscape, I want to go to that
| | 02:54 | other layout here and then just
refresh the preview. Now when I refresh the
| | 02:58 | preview, all I'm doing is making some
changes, refreshing it so that I can say
| | 03:01 | yeah, this is what I'm talking about,
this will look pretty interesting and I'm
| | 03:05 | going to change my inches here so I
can see what size paper I'm working on.
| | 03:09 | That would be kind of nice 8.5x11.5 or
12. That would be a pretty nice paper
| | 03:13 | size to print to. I can
also change this of course.
| | 03:16 | But I'll go ahead and leave that there
for now and say yeah, that would be a
| | 03:19 | nice way to test this out. Next, I'll
click on Layout and it will open that up.
| | 03:23 | What I really need is I need more than
one image on a page. So I need more than
| | 03:27 | one column right. So I'll go ahead and
enter 2 here, hit Refresh Preview and
| | 03:32 | I'm just trying to begin to show you
how you are going to work through these
| | 03:35 | different menus making changes, hit
Refresh and see how you are doing. Okay,
| | 03:39 | well now I actually need two rows, and
I don't want to Rotate for Best Fit.
I
| | 03:44 | I want to have two images across and
two images underneath, Refresh Preview.
| | 03:48 | I'm getting closer to the pre-
visualization that I had for this. Okay great.
| | 03:53 | Well, now I have some spacing above
and below. So they don't have any spacing
| | 03:57 | between the images here, so I want to
have some equal spacing. So in order to
| | 04:01 | do that, I'll go ahead and type in .17
and again I'm just following what I have
| | 04:05 | over here. That way I'll have equal
amount of space and I can continually
| | 04:09 | change these till I get
my grid to be just perfect.
| | 04:13 | All right, well, so far so good. I'm
liking that. I like the space that I have
| | 04:16 | here but the space between the images
isn't right for me. So on the bottom, I'm
| | 04:20 | going to go ahead and increase this a
little bit. I'll increase this to 2 and
| | 04:23 | it's going to just be a game of nudging,
a game of saying, okay, well I'm going
| | 04:27 | to nudge those prints up, now they are
up a little bit higher and say hey, I
| | 04:30 | want to nudge them a little bit more.
So I'm going to go to .3 and again, I'm
| | 04:34 | just going to go through this and use
this as a way that nudge things up. Now
| | 04:38 | it would be really nice if I could
just pick these images up and move them
| | 04:40 | higher. But I can't.
| | 04:42 | So for the most part though I'm pretty
satisfied. I have this nice four-image
| | 04:46 | grid. Now I can zoom in on this by
simply clicking so I can look at one of the
| | 04:50 | images or hold down the Option key on
a Mac, Alt key on a PC and click again
| | 04:54 | and then you can zoom out.
| | 04:56 | So you can zoom in and out to really
examine how this is going. Now I could
| | 04:59 | further modify this layout, let's say
there is too much space up top. Well then
| | 05:03 | I can just reduce this number here and
increase this number down here, so I can
| | 05:08 | kind of shuffle things around quite a
bit in order to get everything in the
| | 05:11 | exact spot where I want it. Yet, for
this particular id, I think we have a
| | 05:15 | pretty good layout right here. This
would be a nice file to save and print and
| | 05:19 | I'm guessing that by having all four of
these images together, the final print
| | 05:23 | will be that much more dynamic because
it tells a different story and your eye
| | 05:27 | travels all across the images.
| | 05:29 | All right, well the final step that I
need to take is to click the Save button.
| | 05:33 | I'll go ahead and save this to my
Desktop and I'll call this wolf_kids and it
| | 05:38 | will then generate that PDF. It will
open up Adobe Acrobat if I have that and
| | 05:44 | it's going to access Full Screen view
mode so I can really evaluate that. Okay,
| | 05:48 | well now that I can see this, I say
you know what? This looks really good.
| | 05:50 | I like this. I do have a little bit
more space up top than I would like.
| | 05:54 | But I could go back to Bridge and fix that.
| | 05:56 | Yet for now, I'm going to say you know
what? This is pretty nice. I'll go ahead
| | 05:59 | and print this file out just in order
to see if I like this concept, see if I
| | 06:02 | like this print. Because if I do,
after I print it on this smaller sheet of
| | 06:07 | paper, I'm probably going to print
this on a big huge 13x19 piece of paper
| | 06:12 | because I think the impact of this type
of an image sequence would really work
| | 06:15 | if I went big. Yet I'm just going to
print a smaller one first in order to see
| | 06:19 | if I like it and the nice thing about
using the output module is you can start
| | 06:23 | to assemble your images in unique way
and see connections between your images
| | 06:27 | and discover new things and ultimately,
create something that's completely
| | 06:31 | different had you just printed a single image.
| | Collapse this transcript |
| Creating a layout pt. 1: Using the Output module to create a rough layout| 00:00 | In this movie, we are going to continue
to talk about how we can use the output
| | 00:03 | module in order to create some unique
layouts and here you can see that I'm in
| | 00:07 | the Adobe Bridge and I'm in the
subfolder for this chapter Austin.
| | 00:11 | Now one of the things that's kind of interesting
to do is when you are photographing at a
| | 00:15 | particular occasion to try to pick a
theme and here you can see I have a bunch
| | 00:19 | of different images and they
all kind of follow the same theme.
| | 00:22 | Now it's not really the beautiful side
of Austin, Texas but it's the kind of
| | 00:25 | the back alley door side of Austin,
Texas and a lot of times what happens is
| | 00:30 | when you have this theme and when
you pre-visualize and say hey,
| | 00:32 | I want to be able to put these all in one page,
it then kind of directs what you see and
| | 00:37 | again I'm looking for kind of that
back alley look. I want to have really
| | 00:40 | interesting and vivid colors, have
a range of colors and some pretty
| | 00:44 | interesting options.
| | 00:45 | Let's go ahead then and assemble all
of these images on one page. We will do
| | 00:49 | that by pressing Command+A on a Mac,
Ctrl+A on a PC to Select All. Next, we are
| | 00:53 | going to press Command+F4 on a Mac, Ctrl
+F4 on a PC to go to the output module.
| | 00:58 | It will then show me the last
particular layout that I used. Now the first
| | 01:02 | layout that I want to show you is a
template and it's kind of nice because we
| | 01:05 | can use this template to create a contact sheet.
| | 01:07 | I will go ahead and use 4x5 contact
sheet, refresh my preview and what this
| | 01:11 | means is the amount of columns and rows,
so we have a 4x5 thing here and I can
| | 01:16 | use this particular type of a layout in
order to create a little contact sheet
| | 01:20 | so I can remember these images and I
would like to have these contact sheets
| | 01:24 | because a lot of times my photographs
are buried in hard drives and it's really
| | 01:28 | hard to access them and keep in mind,
I use Lightroom, I use Bridge. I do all
| | 01:31 | this stuff a lot but still they are
buried. I need that visual artifact in
| | 01:36 | order to trigger my memory about those images.
| | 01:38 | Okay, well let's say I then print that
out. But then all of a sudden, I start
| | 01:41 | to think, well wouldn't it be
interesting, if I perhaps had all of these on one
| | 01:45 | page and had this kind of little bit
more clean layout. Well, that's what I
| | 01:49 | want to do here. So first things first,
I realized that I'm going to need to
| | 01:52 | get rid of one of these photographs.
Now which one will I get rid of? Well, I'm
| | 01:56 | going to get rid of the door handle image.
| | 01:58 | So I'll hold down the Command key on
a Mac, Ctrl key on a PC, click on that
| | 02:01 | image in the filmstrip. I have now
removed that from my selection. Next thing
| | 02:04 | I'm going to do is navigate into my
Overlays panel and click off the Overlay.
| | 02:09 | Then I'm going to go back to the Layout
panel and here we can see we have four
| | 02:13 | columns, five rows. I'm going to go
turn on, use autospacing and then refresh
| | 02:18 | my preview. This will then bring all
these images together and I say okay yeah,
| | 02:22 | I'm kind of starting to see how this
could work. Now all of the images are a
| | 02:26 | little bit small. So why don't I
increase their size. Now how could I do that?
| | 02:30 | Well, I need four columns across, but
how many rows do I actually need? Well, I
| | 02:34 | only need three. So I'll go ahead and
change that number to 3, hit Refresh
| | 02:37 | Preview and as you will be able
to see here, we are getting closer.
| | 02:42 | All right, now I'm liking that.
That's kind of interesting. I'll turn Use
| | 02:45 | Autospacing off and then I'll hit my
Refresh Preview and then I'm going to
| | 02:48 | begin to customize the space a little
bit here so that I can bring all these
| | 02:52 | images together. All right, well
now that I have all those photographs
| | 02:55 | together, I'm going to add some more
space on the bottom of this document. I'll
| | 02:59 | go ahead and add a 2 here and hit
Refresh and I'm just interested in trying to
| | 03:03 | push my images up a little higher and
we can see that they are getting closer
| | 03:07 | and closer. Now let's say that rather
than customizing the layout here and
| | 03:12 | continually changing my
numbers as we have done before.
| | 03:15 | Well, let's say that what we actually
want to do is take a look at how we can
| | 03:17 | use this layout and customize it
further in Photoshop. We will take a look at
| | 03:22 | how we can do that in the next movie.
| | Collapse this transcript |
| Creating a layout pt. 2: Customizing a PDF layout in Photoshop| 00:00 | Now that we have customized the layout
of this PDF file, I'm ready to save it.
| | 00:04 | Yet before I do that, I just want to
check on my document size. So if I go to
| | 00:07 | the document window, make sure I'm
in inches, I can see my paper size.
| | 00:12 | Now if this particular paper size isn't
good for me, I want to change that let's
| | 00:15 | say to A3 and then change my option
to Inches there, refresh the preview
| | 00:20 | because let's say I want a little bit
bigger print. I want to have little bit
| | 00:23 | more file size that I can work with.
Okay, well that's fine. Now the next thing
| | 00:27 | that we are going to do is
navigate down to the Save button.
| | 00:29 | Now we don't want to view this PDF
after saving, so we are going to check that off
| | 00:32 | and also just for the record,
wouldn't it be nice if there is a button here
| | 00:35 | that said Open in Photoshop? Well,
that doesn't exist yet, maybe in CS5.
| | 00:40 | So we will go ahead and click Save here,
I'll save this to the Desktop and I'll
| | 00:43 | call this Austin. That will then
generate the PDF and when it's done, it will
| | 00:48 | tell me hey, congratulations. Your PDF
was successfully created. Perfect. Click OK.
| | 00:54 | Next, I'm going to navigate over to
Photoshop and in Photoshop, I'll go to File
| | 00:58 | > Open and choose that PDF file and
click Open. Now when I click Open here,
| | 01:03 | it's going to open up the Import
PDF dialog window. Now all the default
| | 01:07 | settings will work just fine for me.
So I'm going to click OK. It will then
| | 01:10 | open up this particular PDF file. Now
the nice thing about this is that I'll be
| | 01:15 | able to work with this document in a
unique way. So let's press F to go to Full
| | 01:19 | Screen view mode now that we
are in Photoshop. Okay, great.
| | 01:21 | Well now I can see I have all the
different layers here and I have these little
| | 01:25 | thumbnails. Now currently, if I move
this, I move it all together. Well that
| | 01:30 | doesn't really work for me, because
I want to get all of these thumbnails
| | 01:32 | closer together. I also want to have a
little bit more of a space around the
| | 01:36 | edge. Well, I'll zoom out, Command+-
on a Mac, Ctrl+- on a PC, grab the Crop
| | 01:41 | tool by clicking on it in the Tools
panel and I'm going to click and drag the
| | 01:45 | crop around the image and I'm going
to actually go beyond the document size
| | 01:50 | here and then I'll press Enter or Return.
| | 01:52 | Now when I did that, I actually
opened up more space for me to work with.
| | 01:56 | Great. Next step. I'll go ahead and
make a selection of these doors here.
| | 02:01 | Navigate to Edit and choose Cut. So
those are now gone, create a new layer by
| | 02:07 | clicking on the New Layer icon, Edit
and Paste and of course you can use your
| | 02:11 | shortcuts if you know those. Press the
V key to select the Move tool and then
| | 02:15 | we will move those up.
| | 02:17 | We can use the Arrow keys also to
nudge those around. Next step, go back to
| | 02:21 | layer 2, Marquee tool, make a
selection of these bottom images here and this
| | 02:27 | time we will do by a way of shortcut,
Command+X on a Mac, Ctrl+X on a PC.
| | 02:32 | Next, Shift+Command+N on a Mac, Shift+
Ctrl+N on a PC. That's a shortcut to
| | 02:38 | create a new layer and we will just
name this layer, Layer 3. That's fine. And
| | 02:42 | then, we are going to Paste, we are
going to press Command+V to Paste those
| | 02:47 | images into that layer and then move
them around. Now if you don't like those
| | 02:51 | shortcuts, you can always do it the
way that I did previously, the long cuts.
| | 02:55 | All right great.
| | 02:56 | Let's click in Layer 1. At this juncture,
I need a white background, right. So
| | 03:00 | if I click on the New Layer icon, it
will create a new layer above this layer,
| | 03:04 | if I want to create one below, you hold
down the Command key on a Mac, the Ctrl
| | 03:08 | key on a PC, then click on this New
Layer icon so that you have a layer
| | 03:12 | underneath the layer that you have
previously targeted. Next, Edit > Fill.
| | 03:17 | I want to fill this with a
white color there, all right.
| | 03:21 | Now we can start to see how this
particular montage is going to come together.
| | 03:25 | All right, well my crop wasn't that
good. So I'm going to go ahead and extend
| | 03:28 | my crop around the images here. What
I'm interested in doing is just bringing
| | 03:33 | this in a little bit, I want a little
bit of a tighter craft, little bit less
| | 03:36 | space around the edge. Just felt like
it was too big for me. I want to have
| | 03:41 | some nice space down below, so I can
put the title of this montage. I'll press
| | 03:45 | Enter or Return. All right, so far so good.
| | 03:48 | Next, press the T key to select the
Type tool and I'll go ahead and type
| | 03:53 | something out here. This font is super
small. It's only a 2 point font, so I'll
| | 03:58 | press Command+A on a Mac, Ctrl+A on a PC,
then I'll click and drag to the right
| | 04:02 | in order to make that bigger. Grab the
Move tool so I can move this around and
| | 04:08 | re-access that Type tool by pressing
the T key, hovering over the text field
| | 04:13 | and clicking and type in a little
message here. Press Enter or Return,
| | 04:19 | reposition that and I want to have a
little bit lower Opacity there for this,
| | 04:22 | so I'll press the 5 key to go to 50% Opacity.
| | 04:26 | You can also experiment will free
transforming this Copy here, Command+T on a
| | 04:29 | Mac, Ctrl+T on a PC and then hold
down the Shift key while you grab one of
| | 04:33 | those four corner points and you can
extend this. Press Enter or Return. Now
| | 04:40 | press 2 to go to 20% and that's a
little bit too big for me, so I'm going to
| | 04:46 | free transform it again, Command+T,
didn't really like the big font there,
| | 04:49 | didn't wok for me, press Enter or
Return. Next, press F to go to Full Screen
| | 04:53 | view mode and we have created a
pretty unique layout by way of the output
| | 04:58 | module in combination with Photoshop.
| | Collapse this transcript |
| Creating a three-image layout in Photoshop| 00:00 | Here we are going to take a look at how
we can combine multiple images or three
| | 00:03 | images on one page in Photoshop. You
can think of this movie as a creative
| | 00:07 | movie as well as a little bit of a
technical movie because I imagine you are
| | 00:10 | going to pick up a few tips
and tricks here along the way.
| | 00:12 | All right, well the three photos that
I want to combine are greg_lawler_01,
| | 00:16 | greg_lawler_02 and greg_lawler_03. You
can see that I have those open here and
| | 00:19 | I like these three photos because they
were captured with film, the film was
| | 00:22 | cross-processed. So nothing has been
done to these photos in Photoshop just yet
| | 00:26 | and I really like that effect
and Sophia is just so cute there.
| | 00:29 | So the first thing that I'm going to
do is navigate to the Arrange Documents
| | 00:32 | option and I'm going to choose this
particular option here where I can see all
| | 00:35 | the photos. I'll then click on one of
the documents and drag it into another
| | 00:39 | while holding on the Shift key that
will bring that into the center of this
| | 00:43 | document. Click on another one, hold down
the Shift key and bring that one in as well.
| | 00:47 | All right, let's press F to go to Full
Screen view mode so that we have all of
| | 00:51 | these photos here. Well, now when I do
that, I can click and I can reposition a
| | 00:54 | photo so that it's above another photo.
It's actually off of or outside of the
| | 00:58 | confines of the canvas. Well, how can
I access that? Well, if you go to Image
| | 01:02 | and then choose Reveal All, it will
then extend your canvas, I'll zoom out so
| | 01:06 | we can see that, so that I have
those images there, well perfect.
| | 01:09 | Okay, well then I want to have this
particular layer down below, how can I do
| | 01:14 | that? Well, hold down Ctrl+Option+
Command on a Mac and click. You notice that
| | 01:19 | helps me target that layer. On a PC,
that's Ctrl+Alt-click or you can always on
| | 01:23 | the layer. Here I'm going to go ahead
and move this down and then go to Image
| | 01:28 | and choose Reveal All. Now I have this
trip deck here and it's starting to look
| | 01:32 | kind of interesting.
| | 01:33 | I want a little bit more space, so I'll
press the C key to grab the Crop tool.
| | 01:37 | Click and drag to expand that across
these images here. Now that I have done
| | 01:41 | that, my spacings are a little bit off.
No big deal. I can re-orientate this
| | 01:45 | either by grabbing my Crop tool and
clicking and dragging this out a little bit
| | 01:50 | and up so I have a little bit more
space or I can reposition the images in
| | 01:54 | another way. Okay, well great.
| | 01:56 | Next, I'll click in the topmost layer
and I'm going to do that this time, by
| | 01:59 | selecting the Move tool, press V on
the keyboard, right-click and then I can
| | 02:03 | see the layer name there, Layer 2 and
I'll move this one up. I'll go down and
| | 02:07 | right-click, choose Layer 1 and then
drag this one down a little bit. All
| | 02:11 | right, well so far so good. We have
almost successfully designed this little
| | 02:15 | trip deck of photos here. Last thing I
want to do is create a little bit more
| | 02:18 | of a clean crop. So I'll grab my
Crop tool, I'm just going to extend this
| | 02:23 | beyond the edge here and then press
Enter or Return to apply that and press F
| | 02:28 | to go to Full Screen view mode and then
zoom in perhaps a little bit so we can
| | 02:32 | see that, you saw it was a little bit
too far wasn't it. We will zoom out just
| | 02:35 | a touch here, so we can see all of
those and we have successfully created a
| | 02:39 | different story by combining these
three images together. We have created a bit
| | 02:43 | of a photomontage, a bit of a photo story
in a really unique way without a lot of effort.
| | Collapse this transcript |
| Creating a grid photo montage | 00:00 | In this movie, we are going to
combine more images in one document in
| | 00:03 | Photoshop. You can think of this movie
as a bit of creative inspiration. Now
| | 00:07 | let's take a look at some of the
photos that we have up. Currently I have the
| | 00:10 | bg.psd file open and here I have
dragged in a number of the different files.
| | 00:15 | Now what happened was I had to take my
car into the shop to have a smog check.
| | 00:18 | I had five minutes, I walk around
with my camera I'm thinking,
| | 00:20 | I'm going to shoot images that will work well
together. Now here we have laundry mat,
| | 00:25 | we have some birds on telephone wires,
picture of a laundry, one of the laundry
| | 00:29 | machine, a corrugated wall, you get the idea.
| | 00:32 | And somehow I thought, it's kind of
interesting. None of these images are
| | 00:35 | amazing by themselves, yet together it
really creates something. So, again as
| | 00:40 | we are working through these different
print layout, keep in mind that what I'm
| | 00:43 | trying to get you to think about is
just how can I combine images and even
| | 00:46 | more, how can I begin the create
print layouts so that it shapes how I
| | 00:50 | photograph, because I can then try
to have consistency and cohesion and
| | 00:55 | connection with my photographs
because the problem is with a lot of amateur
| | 00:58 | photography is you just don't have
that common thread that unites the photography.
| | 01:04 | So, we can do this with simple five-
minute walks. All right, well I brought in
| | 01:07 | most of the images. There is one image
that I still need to bring in and I also
| | 01:11 | need to work on resizing this. So, I'm
going to go ahead and navigate to the
| | 01:14 | Arrange Mode where I can see that image.
I'll click on it and drag it into this
| | 01:17 | document. Okay, great. Now press F to
go to Full Screen View Mode, I'm going to
| | 01:22 | click in one of these layers, hold
down the Shift key, click in another and
| | 01:25 | I'll center these vertically and horizontally.
| | 01:27 | Now when I do that I realize, hey, you
know what? This looks pretty good except
| | 01:31 | this washer image is the wrong size.
I didn't resize that correctly in the
| | 01:35 | other documents. Well, no big deal,
check this out. Because they are centered
| | 01:38 | vertically and horizontally, I press
Command+T on the Mac, Ctrl+T on the PC.
| | 01:43 | I'm going to go ahead and just bring
this down right to that corner edge there,
| | 01:46 | also hold down the Shift key, bring
out in the other corner point. Now I have
| | 01:49 | the exact perfect size and I'm able to do
that because I aligned all of those images.
| | 01:54 | Now let's just make sure they are
fully aligned, click on one layer,
| | 01:57 | Shift-click in another and then
we will align those vertically and
| | 01:59 | horizontally. All right, great. Now
is where the fun begins where we get to
| | 02:03 | begin to tell the story.
| | 02:05 | So we are going to go ahead and click
in one of my layers here and I'll click
| | 02:08 | in Layer 1 and I'll reposition this up
in the top corner. I'll then click in
| | 02:13 | another layer and position that, now
it's going to kind of lock to the same
| | 02:17 | grid type of space as this image, you
notice I have that equal space on top,
| | 02:21 | perfect.
| | 02:22 | I will then go to the washer photograph,
I just like this one, all you have to
| | 02:26 | do is have a slow shutter speed and
get some of the motion there, really fun.
| | 02:31 | Click in Layer 2 and again just bring
in these images together and click in yet
| | 02:38 | another layer and finally our
shadow layer and then just fine-tune the
| | 02:45 | positioning on this just a bit.
| | 02:47 | Now I'll click in the topmost layer,
Shift-click in the bottommost layer, grab
| | 02:51 | the Move tool, by pressing the V key
and I could just nudge this around based
| | 02:54 | on where I want them, so I can have
some equal spacing all the way around the
| | 02:58 | board. Now grab the Type tool and I'll
type out the title of this particular
| | 03:04 | project 5 Minute Walk, press Enter or
Return, reposition that, Command+T to
| | 03:11 | free transform that 5 Minute Walk.
| | 03:14 | I want to have a little bit more
interesting font so I'll navigate to Window
| | 03:17 | and Character, and I'm going to go
ahead and scroll through these font till I
| | 03:20 | find one. I think it's kind of
interesting and fits this particular project.
| | 03:24 | Now here is one that may look kind
of interesting, all right. I'll then
| | 03:28 | reposition that and Command+
T to make it much smaller.
| | 03:32 | Then hold down the Option key on the
Mac, Alt key on a PC, click and drag and
| | 03:36 | drag it over to the other side and I'm
going to type out By Chris Orwig, press
| | 03:41 | Enter or Return. Now I'm going to
lower the Opacity of that layer so with the
| | 03:44 | Move tool selected, I'll press the V
key and then I'll press the 4 key to go to
| | 03:48 | 40 % Opacity.
| | 03:49 | I will go to the 5 Minute Walk layer.
What I actually want to do is change the
| | 03:53 | color of this. So I'm going to then
go back to my Character panel and I'll
| | 03:57 | choose a color here and I'll sample
color from the photograph and click OK, all
| | 04:01 | right. So let's press Tab and then F to
go to Full Screen View Mode. I have the
| | 04:05 | rulers visible. To hide those that's
Command+R on the Mac, Ctrl+R on a PC.
| | 04:10 | Now we have successfully created a
pretty interesting photo grid here, a little
| | 04:13 | bit too much spacing between those
photos. So I'm going to go ahead and click
| | 04:16 | in that layer and just nudge those
over a little bit, hadn't realized that my
| | 04:21 | Spacing was off there and again just
using the arrow keys to nudge those around
| | 04:25 | and then click and Shift-click to move
those over to the other side and I think
| | 04:29 | that looks pretty good.
| | 04:30 | Let's press Tab to bring everything back,
so we can see that looks good. Press
| | 04:34 | F to go to Full Screen View Mode and
we will just nudge that over so that we
| | 04:39 | have equal spacing all the way around the board.
| | 04:42 | All right, that looks pretty nice. Next,
we are in Full Screen View Mode and I
| | 04:46 | need to move this text field, and how
can I do that? We will right-click, I can
| | 04:50 | select it and then use the arrow keys
to nudge it around. Same thing over here
| | 04:55 | right-click, select that layer and
we have successfully made some changes
| | 04:59 | without even having the
Photoshop interface visible.
| | 05:01 | Now that's quite a bit of fun. All
right, well enclosing we have successfully
| | 05:04 | created this photomontage. Now if you
haven't created one of these before, I
| | 05:08 | recommend you do so now, take five
minute, take a five minute break right now,
| | 05:12 | wander around, just try to capture six
images that belong together. Now they
| | 05:16 | can perhaps be different images but if
they are connected enough together, they
| | 05:20 | can tell a unique story.
| | Collapse this transcript |
| Building a creative layout pt. 1| 00:00 |
Here, we are going to have some more
fun with layout and we are going to be
| | 00:03 |
working on these images that I
brought into this document, all these
| | 00:05 |
apples_picking files, but we are
going to do this a little bit differently.
| | 00:09 |
So for starters we are going to
navigate up to our Options bar, select the Move
| | 00:12 |
tool and turn on Auto-Select. Next,
we are going to press F to go to Full
| | 00:15 |
Screen View mode, then press F7 to
bring back our Layers palette. We are going
| | 00:19 |
to do this without all of the rest
of the Photoshop interface visible.
| | 00:23 |
Well, now here I have a bunch of
different images so I'll go ahead and click on
| | 00:26 |
one of them and I'm going to reposition
that photograph and then I'll click on
| | 00:29 |
another, I'll reposition that one and
yet another I have some verticals there,
| | 00:33 |
those are really interesting.
| | 00:34 |
Now what I'm going to be able to do
with those? Well, there are little bit
| | 00:37 |
different in size of my other photos,
so I'm going to group this together. So
| | 00:41 |
I'm going to go ahead and click in one
of the verticals, hold down the Shift
| | 00:44 |
key, click in another and then press
Command+G on a PC, that's Ctrl+G for Group.
| | 00:49 |
Now let's turn those off. We will
come back to those later. All right, well
| | 00:52 |
next, we will click on Fresh Apples
and we will go ahead and put that in our
| | 00:56 |
space in there and then we are going to
bring in our tractor shot, we have this
| | 01:00 |
old rotten apples on the ground, some
fresh apples here, apple picking cart and
| | 01:05 |
kids in an apple picking cart. Again,
we are just first starting to reorganize
| | 01:10 |
this and bring some of these images around.
| | 01:12 |
Okay, well great! Well, now that we
can see what we have here, one of the
| | 01:15 |
things that I'm thinking is it
would be kind of interesting to get our
| | 01:17 |
alignment a little bit better to see if
we actually like this. So I click on an
| | 01:21 |
image, use the Arrow keys and nudge
things around. Well, at this juncture, this
| | 01:25 |
montage or this grid is pretty normal,
right? Well, how could we introduce
| | 01:29 |
perhaps a little bit more of an
interesting pattern here, or work with space in
| | 01:34 |
a little bit more intriguing way?
| | 01:35 |
Let's click in our bottom layer, green,
hold down the Shift key and click in
| | 01:39 |
the top layer, fresh, and reposition
these in the middle of the screen here for
| | 01:42 |
a moment and then just begin
to change this up a little bit.
| | 01:46 |
All right, well one of the things that
I'm going to do is go ahead and begin to
| | 01:48 |
change the way that these images are
laid out. I'm going to try to have a
| | 01:52 |
little bit of a different grouping. So
I'll click in one of them and I'm going
| | 01:55 |
to drop this down here, click in
another one, drop this one over here and again
| | 02:00 |
I'm just having a little bit of fun
with my layout. I'm going to turn on my
| | 02:03 |
three verticals.
| | 02:04 |
Now with my three verticals what I'm
interested in doing is using those in one
| | 02:08 |
of these spaces. So I have these three
together. I'll press Command+T because
| | 02:12 |
they are in a group, I can press
Command+T on a Mac, Ctrl+T on a PC, and I'm
| | 02:16 |
going to resize these so that these
actually fit inside of this space that we
| | 02:20 |
have here, the width of the space that we have.
| | 02:23 |
Next, I'll click on my background image.
I'll reposition that and say OK. It's
| | 02:26 |
kind of going in an interesting
direction. Now I want to bring out some guides
| | 02:30 |
just to make sure my spacing is
working out. Press Command+R on a Mac, Ctrl+R
| | 02:33 |
on a PC. We will click one of the
guides and drag that out. What we are looking
| | 02:38 |
to do is to drag that out and
align that off of one of our images.
| | 02:41 |
So we can see here that this image
needs to move over our group. If we click on
| | 02:45 |
that, that needs to come over. We're
also going to bring out another guide to
| | 02:48 |
see if our resizing of our group
worked out. You know what? It's just too big
| | 02:52 |
there, so I'm going to go ahead and
Command+T that and make that a little bit
| | 02:56 |
smaller, right, so that then fits
inside of this space here. We can bring a
| | 02:59 |
guide out and again just to make
sure we have everything lined up.
| | 03:03 |
Okay, well the guides and the rulers
are a bit distracting at this juncture, so
| | 03:07 |
I'll press Command+R on a Mac, Ctrl+R
on a PC to hide those and then on a Mac
| | 03:12 |
Command+Semicolon, on a PC Ctrl+
Semicolon to remove those guides.
| | 03:16 |
Okay, great! Well, the next thing
that I'm going to do here is I'm going to
| | 03:19 |
move this tractor shot down a little bit.
I'll move this apple shot up. It's a
| | 03:24 |
little bit like a puzzle, right, just
shifting things around. Then I'll click
| | 03:27 |
in this bottom layer here, bring this
one up. So I'm just going to continually
| | 03:31 |
modify this around and see what I can
do in regards to my overall spacing here.
| | 03:36 |
One of the things that I'm realizing is
that I could change things up a little
| | 03:39 |
bit in regard to the size of the images.
So I'm going to need to do perhaps a
| | 03:44 |
little bit of cropping or a little of
masking in order to get this to look really good.
| | 03:48 |
So at this juncture, let's say, we have
a pretty rough layout. Now you may not
| | 03:53 |
quite know where I'm going with this,
but what I want to do here is I want to
| | 03:57 |
start to have multiple size images, I
don't want to have them all of the same
| | 04:01 |
size. I like my little triptych here of
these verticals, I would like to have a
| | 04:05 |
few other images that have different
sizes as well. And in addition, I want to
| | 04:09 |
add a few other design
elements to make this even better.
| | 04:13 |
All right, well at this point, we kind
of have all the puzzle pieces roughly
| | 04:17 |
laid out. It's a rough layout here.
Let's go ahead and make this layout even better
| | 04:21 |
and we will do that in the next movie.
| | 04:24 |
| | Collapse this transcript |
| Building a creative layout pt. 2| 00:00 |
In order to finish off this montage,
which is a little bit like a puzzle,
| | 00:03 |
what I want to do next is begin to change
the spacing and also the size of some of
| | 00:08 |
the images. So I'm going to go ahead
and click in the Rotten Apples layer.
| | 00:11 |
I'll use my arrow keys to nudge that
up. I'm also going to nudge up these
| | 00:14 |
images here. I'm just going to start to
work from the top down. Again, I want
| | 00:19 |
to get my spacing nice and equal.
| | 00:20 |
Next, I'm going to click in this layer
titled Tree, I want to grab that marquee
| | 00:25 |
tool by pressing the M key. What I'm
going to do here is I'm actually going to
| | 00:28 |
make a selection. I'll make a selection
that's about the size of the image, yet
| | 00:33 |
not quite the full size there, and
may click on the Add Layer Mask option.
| | 00:38 |
Now when I do that, I can then turn
off the link option between the image and
| | 00:42 |
the layer mask, click in the image,
press the V key, just like the Move tool,
| | 00:46 |
and then use the Arrow keys to move
this around, so that I have some nice
| | 00:50 |
bright apples there.
| | 00:51 |
Right, well great. Well, now that I
have done that, I can then go ahead and
| | 00:54 |
click on the layer underneath it,
and bring this one up. All that I'm
| | 00:58 |
interested in doing is trying to
begin to create a little bit of an
| | 01:01 |
interruption of the pattern.
| | 01:03 |
Okay, well, I'll click in the layer
for the group of those verticals. I'll
| | 01:06 |
bring those up as well. We are just
starting to see how we have a little bit
| | 01:09 |
more of a dynamic layout because our
sizing of the images is changing up a bit.
| | 01:14 |
Let's do that with the Tractor layer
as well. I'll go ahead and bring up the
| | 01:17 |
Tractor layer. One of the things that
I notice is when I bring this Tractor
| | 01:20 |
layer up, really, I can have it up
quite high, and just focusing on Annika, my
| | 01:25 |
daughter there.
| | 01:25 |
Okay, well great! Well, let's grab that
Marquee tool by pressing the M key, and
| | 01:29 |
then we will go ahead and click and
drag across that and then click on the
| | 01:33 |
option to Add Layer Mask. Now that we
have added that layer mask, we can then
| | 01:37 |
click off this to link those two, and
I can move the mask or the photographs.
| | 01:41 |
If I click on the mask, and I can go
ahead and then press the V key to grab the
| | 01:44 |
Move tool, and I'm just going to nudge
that down, so that I have equal spacing,
| | 01:49 |
and just a little bit more focused
version of that particular photograph.
| | 01:53 |
All right great! Next I'll press the V
key to select the Move tool. I'll then
| | 01:56 |
click in another layer, so in this case,
I'll click in Fresh, let's say, and
| | 02:00 |
I'll bring up that Fresh image there.
I really like that one. I think it is a
| | 02:04 |
fun photograph. I like
what it brings to the mix.
| | 02:07 |
As I do that, I realize that kind of
have a duplicate. I like the sign, but
| | 02:10 |
it's even better with her. So I'm
going to go ahead and replace that by
| | 02:13 |
bringing this by all the way up top.
| | 02:15 |
Now this particular layer is
underneath Fresh. How can I reorder my layers by
| | 02:20 |
way of shortcut? Again we are trying to
push the envelope a little bit here, or
| | 02:24 |
we can do that by pressing Command+]
on a MAC, Ctrl+] on a PC. I'm going to
| | 02:30 |
then turn off the Fresh layer
altogether. I don't need that layer anymore.
| | 02:34 |
All right great! Well so far so good.
Last thing I want to do is then have a
| | 02:38 |
mask for this layer here which is Empty
Cart, and I want the mask to be pretty
| | 02:42 |
similar in size as the mask that I
have here on my Tractor layer, actually
| | 02:46 |
right here.
| | 02:47 |
So I'll go ahead and click on the
Tractor mask, hold down the Option key on a
| | 02:50 |
MAC, Alt key on a PC, and click and
drag that to the Empty Cart layer. Now I
| | 02:55 |
have added that mask to this layer,
except it's on the wrong spot.
| | 02:58 |
So I'll click on the mask, and I'll go
ahead, and then click and drag it over
| | 03:02 |
to the left, so that I have it in the
correct spot. Now I have a very different
| | 03:06 |
layout. I'll go ahead and use the
arrow keys in order to nudge that one up.
| | 03:11 |
So far so good. Next I'm going to click
in the layer with the kids in the cart.
| | 03:15 |
So I'll go ahead and click in Kids Cart,
and I'm just going to move that one
| | 03:19 |
up, so that it's aligned with the
bottom of these verticals here. When I do
| | 03:23 |
that, I realize that my spacing
between these two images isn't quite perfect.
| | 03:27 |
So I'm going to go back to that
particular layer here. We can see that this is
| | 03:30 |
the layer and I'm going to free
transform the mask, Command+T on a Mac, Ctrl+T
| | 03:34 |
on a PC. That gives me the ability to
just bring that mask up a little bit, and
| | 03:38 |
them press Enter or Return.
| | 03:40 |
Well our spacing is starting to look
good. We need to elevate or lift up these
| | 03:44 |
bottom two images. How can we do that?
If I click in Empty Cart, I then need to
| | 03:50 |
relink the mask and the image, and then
use my arrow keys, and I can nudge that one up.
| | 03:54 |
Same thing with Tractor, I'll click in
that Tractor layer, relink those, target
| | 03:58 |
that layer, and I'll go ahead and nudge
those up, nudge just a little bit, but
| | 04:01 |
that really helps out. Okay, we kind of
have this interesting grid, because we
| | 04:05 |
are playing with sizes, we have
different sizes. It's a very different type of
| | 04:09 |
a montage. It tells a very different story.
| | 04:11 |
Well, the next thing that I want to do
is I'm going to grab the marquee tool by
| | 04:14 |
pressing the M key, and I'm going to
click and drag to create a shape that's
| | 04:18 |
the same width as what I have here. So
now that I have that same width, I'll
| | 04:23 |
press the spacebar key, and I'll drag
this down, so that it's underneath all
| | 04:26 |
those photos there.
| | 04:28 |
Great! Well, now that that's
underneath, I'm going to create a new layer,
| | 04:31 |
Shift+Command+N on a Mac, Shift+Ctrl+
N on a PC. I know there are a lot of
| | 04:36 |
shortcuts here. If you don't know any
of these shortcuts, pause the movie,
| | 04:39 |
write them down, and then keep going.
We are going to name this layer bar,
| | 04:43 |
because I'm going to create a bar
at the bottom of the photograph.
| | 04:46 |
Now I need to grab the Eyedropper
tool. Press the I key to select the
| | 04:50 |
Eyedropper tool. I'm going to sample a
color. In this case, I'm sampling this
| | 04:53 |
red here on the background. I then want
to fill this selection with that color.
| | 04:58 |
On a Mac that's Option+Delete; on a
PC that's Alt+Delete. Well, now that we
| | 05:02 |
have that color, let's go ahead and
deselect. That's Command+D on a Mac,
| | 05:06 |
Ctrl+D on a PC.
| | 05:09 |
Let's then, grab this color and hover
it over our images. One of the things
| | 05:12 |
that I'm noticing is that when I do
that, it's not quite the right size. It's
| | 05:16 |
not exactly where I need it to be,
it's not quite long enough. Command+T on a
| | 05:19 |
Mac, Ctrl+T on a PC. I can make
that a little bit longer here.
| | 05:23 |
If I zoom in even further, and really
look at these edges, or line them up
| | 05:28 |
right there on the image, actually
that's pretty good. Then I'll nudge that
| | 05:31 |
back down, so I have it back below.
Command+Minus on a Mac, Ctrl+Minus on a PC,
| | 05:37 |
to zoom out.
| | 05:38 |
Great! We are getting close to
finishing off our layout. Press the C key to
| | 05:42 |
grab the Crop tool. What I'm going to
do here is just create a crop around the
| | 05:45 |
edge of our layout, and you can click
and drag to extend that crop. If you want
| | 05:51 |
to shift its position, all that you
need to do is press the spacebar key and
| | 05:54 |
then you can move that around, and
then when you let go off the spacebar key,
| | 05:58 |
you can further resize the crop area.
| | 06:01 |
Well, now that I have that, I'll press
Enter or Return to apply that. Great!
| | 06:05 |
That's looking pretty interesting.
I'll grab the Type tool, and I'm going to
| | 06:09 |
add some type here. The type
I'm going to add is Apple Picking.
| | 06:12 |
Now when I do that, my Apple Picking
layer, I can't really see. I can't really
| | 06:17 |
see it for a couple of reasons. One is
because you can tell that the font is
| | 06:21 |
red. So that's not going to really work for me.
| | 06:24 |
Now I can change this font in a number
of different ways. The easiest technique
| | 06:27 |
that I can use is going to be to
press the Tab key to bring back some of my
| | 06:30 |
interface, and then go ahead and
minimize this panel by double-clicking the
| | 06:34 |
Adjustments tab. Double-click the T, to
select all of the font there, and I'll
| | 06:39 |
go ahead and choose a new color. The
color that I'm going to choose is white.
| | 06:43 |
If I click on only web colors, it makes
it really easy to grab that white, and
| | 06:47 |
I'll click OK to apply that. Then I'll
grab the Move tool and I'll click and
| | 06:51 |
reposition that, Command+T on a Mac,
Ctrl+T on a PC, and then free transform that.
| | 06:56 |
I have a little Apple Picking message
there, and then I'm going to Option-click
| | 07:00 |
and drag, so I have the same font on
this side over here, and I'll type out By
| | 07:04 |
Chris Orwig, press Enter or Return,
use my Arrow keys to nudge those around,
| | 07:10 |
and then lower the opacity of that,
because I want that to be a little bit less
| | 07:14 |
prominent. Press Tab to get rid of
the interface, and we have now created a
| | 07:17 |
really unique layout.
| | 07:19 |
Now, part of the intent of this movie
is just to have fun with layout, and in
| | 07:22 |
addition to try to get you to begin
to work in Photoshop without using the interface.
| | 07:28 |
Now I know that I threw in quite a
bit of shortcuts there, and some of the
| | 07:30 |
shortcuts may be a little bit
complicated or confusing, my hope is that by
| | 07:35 |
having this movie at the end of this
chapter, you can kind of build up to it,
| | 07:39 |
and if any of this doesn't make sense,
keep in mind, you can always do things
| | 07:42 |
with the Photoshop interface visible.
| | 07:44 |
If these shortcuts frustrate you, no
big deal, just go back to what you know.
| | 07:48 |
Yet perhaps, by watching this movie,
you may have picked up a few shortcuts
| | 07:52 |
that you can begin to integrate in
your own workflow, and even more. I hope
| | 07:56 |
that by talking about print layout,
you can begin to see how you can assemble
| | 08:00 |
images in some unique ways, in order to
tell completely different photographic stories.
| | 08:06 |
| | Collapse this transcript |
| Multiple-image layout pt. 1: Using Bridge and Photoshop| 00:00 |
A good friend of ours, Greg, who is a
great photographer, took some family
| | 00:03 |
photos of us down at the beach. I want
to show you those photos, and then talk
| | 00:07 |
about how we can bring these photos
together in one layout. What I want to do
| | 00:11 |
here with these photos is
create a Christmas card.
| | 00:13 |
So I'll go ahead and click on the
first image and press the spacebar key to
| | 00:16 |
take these to full screen view mode,
I'm then going to scroll through these
| | 00:19 |
images, and here you can see we have
some action photos of my wife Kelly
| | 00:23 |
spinning Annika around. Here's a nice
family portrait, a great portrait of my
| | 00:27 |
wife Kelly and Sophia, and then me
tossing Annika up in the air. Then again,
| | 00:32 |
just some more really fun photos.
| | 00:34 |
Now, when I get these photos back from
Greg, I think, oh yeah, these are great.
| | 00:37 |
Yet, how can I choose one of these for
the Christmas card? So what I'm going to
| | 00:41 |
do is press the Escape key to go back
to the Adobe Bridge, and rather than
| | 00:45 |
picking one of these images, what I'm
going to do is create a layout based on
| | 00:48 |
all of these files.
| | 00:49 |
Now I have already resized these
images down, so they approximately fit on a
| | 00:53 |
4x6 image, so that I can then have
this printed at a local digital lab, so it
| | 00:57 |
won't cost very much. But it will
still be kind of an interesting layout with
| | 01:00 |
multiple images on it.
| | 01:02 |
Well, I'll go ahead and select the
first file. Scroll down, Shift-click on the
| | 01:06 |
left on the last file, then I'm going
to navigate to Tools > Photoshop and load
| | 01:10 |
these files in the Photoshop layers.
I'll go ahead and click that option, and
| | 01:13 |
what this will do is it will open up
all of these different images in one
| | 01:17 |
layered Photoshop document.
| | 01:19 |
Now this is really helpful when it
comes to creating a layout. So let's press F
| | 01:23 |
to go to full screen view mode, and
then I also have my Rulers visible, so I'll
| | 01:27 |
press Command+R to hide those rulers,
and just to reset everything, I'm going
| | 01:31 |
to click on the Essentials pulldown
menu here for my different workspaces, and
| | 01:35 |
choose Essentials. That will take me
back to my default Essentials workspace.
| | 01:39 |
Again, I just kind of want to clean
everything up a bit before I start, because
| | 01:43 |
I'm working with multiple pieces.
Whenever you are working with multiple
| | 01:46 |
pieces, you want to reduce and simplify,
so you can really focus in on the task
| | 01:49 |
at hand. Well, let's double-click
the Color tab, and double-click the
| | 01:53 |
Adjustments tab, so we can see our images.
| | 01:55 |
Now the first set of images that we
have, 01 through 07, it's almost like a
| | 01:59 |
movie, right? With Annika being spun
around in circles there, and if we turn
| | 02:03 |
off these Eye icons, that's really
fun how that happens. So I want to make
| | 02:07 |
those a little bit cinematic, so I'll
click on the top one, hold down the Shift
| | 02:10 |
key, click in the bottom one, which is
07, press Command+T on a Mac, Ctrl+T on
| | 02:15 |
a PC. I'm going to free transform these,
and the vision that I have for these
| | 02:18 |
images is to create a little bit of a
film strip that stretches all the way
| | 02:21 |
across this particular layout.
| | 02:23 |
Now the actual size of this particular
scene is really going to be subjective.
| | 02:27 |
Also just for the record, it's pretty
fun to create Christmas card layouts or
| | 02:30 |
other different types of layouts that
are bigger than this, but for now I'll
| | 02:33 |
stick with this 4x6.
| | 02:34 |
While I free transform this, and I
think that looks pretty good, I'll
| | 02:38 |
double-click that to apply it. Next,
I'll click on the second image, and I'll
| | 02:42 |
go ahead and bring that one out, click
on the third image, bring that one out,
| | 02:45 |
and then click on the fourth image,
bring that one out as well, and then I'll
| | 02:49 |
go down to 05, click and
drag that over to the right.
| | 02:52 |
One of the things I'm noticing here is
that these are too big. I can't fit all
| | 02:56 |
of them in the frame. So I'll go
ahead and click on the topmost image, hold
| | 02:59 |
down the Shift key, click in the
bottommost image of this set, press Command+T
| | 03:03 |
on a Mac, Ctrl+T on a PC, hold down
the Shift key and then click and drag to
| | 03:08 |
decrease the size of those,
press Enter or Return.
| | 03:11 |
Okay, great. Now where was I? I'll
click in 05, and I'll drag that. That wasn't
| | 03:14 |
the right one. Click in 06, and I'll
click and drag this one all the way over
| | 03:18 |
here to the right. At this juncture, I
think that's kind of fun. I might just
| | 03:22 |
leave that as-is and lose
this last little image here.
| | 03:25 |
So let's go ahead and move these
around just a touch. So I'll click in this
| | 03:29 |
one, hold down the Shift key, click in
the topmost layer, press Command+T on
| | 03:32 |
Mac, Ctrl+T on a PC. That shows me I'm
just beyond the edge of the frame. So
| | 03:37 |
hold down the Shift key, and free
transform those, so they are all of equal
| | 03:40 |
sizes, they all fit
perfectly there in this layout.
| | 03:43 |
Great! Well, I'm not going to use orwig
_family_07. So I'll go ahead and turn
| | 03:47 |
the visibility of that one off, zoom
in a little bit, so I can see my nice
| | 03:50 |
layout. I like that. I think that's
kind of fun. While, we have started to
| | 03:54 |
build this layout, we have more ground to cover,
and we will do that in the next movie.
| | 03:59 |
| | Collapse this transcript |
| Multiple-image layout pt. 2: Masking and resizing photos| 00:00 | Now that we have worked on the
filmstrip aspect of this particular layout, I'm
| | 00:04 | going to go ahead and group these
images. So I click in the topmost images of
| | 00:07 | the set, hold down the shift key,
click in the bottom most image of that set
| | 00:10 | and press Command+G to group. Then I
go ahead and call this group filmstrip.
| | 00:14 | That's kind of what is like.
| | 00:16 | Next, what I want to do begin to create
a layout that makes sense so I can fit
| | 00:19 | three images across on both these
sections above and below this filmstrip. So
| | 00:24 | what I'm going to do is grab my Marquee
tool and I'm going to click and drag to
| | 00:27 | create a marquee selection over the
entirety of that space there. I'll then
| | 00:31 | create a new layer. So I have a
Layer 1 here and I fill this particular
| | 00:34 | selection with that color. I'll navigate
to Edit > Fill and choose white or black.
| | 00:39 | It doesn't really matter. Click OK
to apply that and then Select and Deselect.
| | 00:43 | Well now that I have the selection I'm
going to Free Transform it by pressing
| | 00:46 | Command+T on Mac, Ctrl+T on a PC. I'll
then click and drag this center point
| | 00:51 | here over to the far right so that
the X coordinate is 0. Now the width I'm
| | 00:55 | going to change to 33.33%, press
Enter or Return to apply that. Now that's
| | 01:00 | roughly a third of this
particular distance here.
| | 01:03 | Well, let's copy and paste the
selection. We are going to do that by pressing
| | 01:07 | the Option key, clicking and dragging
so that we now have another version of
| | 01:11 | that shape. And there we can see there
is a subtle gap. If we zoom in a little
| | 01:14 | bit more, we can see that there is just
a slight gap there. It will show up in
| | 01:17 | different zoom rates. I hold down the
Option key and I'll click and drag this
| | 01:21 | over to the right so that I have
that image on the far right over there.
| | 01:25 | Okay great. Well, let's zoom in a
little bit and when we zoom in we can see
| | 01:28 | that, yeah, they are pretty closer.
There is a little tiny gap between these.
| | 01:31 | But for the most part they are in pretty
good shape. So we will go ahead and zoom out.
| | 01:34 | Now that we have these shapes here,
we can use these shapes to begin to
| | 01:39 | assemble our images and create a mask
based on those shapes. So first thing we
| | 01:43 | want to do is try to figure out what
image would we like in a top left hand
| | 01:46 | corner. Well, I'm going to turn off the
visibility of all the underlying layers
| | 01:50 | and just turn on the visibility of
one image that I really like. Top left.
| | 01:53 | That's something you see quite often.
That's one of the first images you see,
| | 01:56 | because we read top to bottom, left to right.
| | 01:59 | So I'm going to go ahead and select
this orwig_family_09.jpg photograph. I'll
| | 02:02 | click in that layer an then I'm going
to press the Command key on the Mac or
| | 02:06 | Ctrl key on a PC and I'm going to
Command-click on the shape that I want to use
| | 02:10 | to create a mask, which in this case is
Layer 1. So I Command-click on Layer 1.
| | 02:14 | That activates that shape as a selection.
| | 02:17 | Well, now all that I need to do is
click on the Add layer mask icon. So I now
| | 02:20 | have a mask which masks off just that
particular area. Well, I can't fit the
| | 02:25 | whole image in there, so unlink the
image from its mask. I click on the Image
| | 02:29 | icon. We will see the brackets around
that showing me I'm actually there and
| | 02:32 | I'll click to reposition this
photograph and then press Command+T on a Mac,
| | 02:36 | Ctrl+T on a PC, hold down the Shift key
and Free Transform this so that it fits
| | 02:40 | in this new shape here.
| | 02:42 | Now because this shape is a little
bit different it is going to change the
| | 02:45 | overall composition, yet I'm okay with
that. I'm going to kind of have some fun
| | 02:48 | with this. I'll press Enter or Return.
Well, I'm ready for the next image. What
| | 02:52 | can I use next? Well. How about this
one here? I kind of like that photograph.
| | 02:55 | I'll click in orwig_family_08.jpg.
Now hold on the Command key on the Mac,
| | 02:59 | Ctrl+Key on a PC. Click on the layer
thumbnail. In this case Layer thumbnail 1,
| | 03:03 | click on the Add layer mask icon.
Click to unlink the image from the mask.
| | 03:07 | Click in the Layer thumbnail. Press
Command+T on a Mac, Ctrl+T on a PC and we
| | 03:12 | will Free Transform this and just want
to get that image in there. Maybe offset
| | 03:17 | that one a little bit, so it's off to
the side. Press Enter or Return. All
| | 03:21 | right we are making some good progress here.
| | 03:23 | Now we need to add one more image to
this space over here. What image would
| | 03:26 | look nice there? Well, how about this
one, orwig_family_13? I'll click in that
| | 03:30 | layer and then hold down the Command
key on the Mac, Ctrl key on a PC and
| | 03:34 | Command-click on Layer 1 copy 2,
which is this far rectangle on the right.
| | 03:39 | Click on the Add Layer Mask icon,
unlink these two and then click in the image
| | 03:44 | Command+T on the Mac, Ctrl+T on PC and
then click to reposition that and press
| | 03:49 | Enter or Return.
| | 03:50 | Well, so far so good. We are going in a
pretty good direction. Now these three
| | 03:54 | images all belong together and we go
ahead and click and drag this so that we
| | 03:58 | have the far right and then the
middle and then the far left. Now the only
| | 04:01 | problem is that as we click through
here one of the things we are seeing is
| | 04:05 | there is a bit of a gap. Now sometimes
it's kind of hard to see the gaps. So
| | 04:08 | here is what I like to do.
| | 04:09 | I will go ahead and click underneath
the images that I worked on, create a new
| | 04:13 | layer and I'll fill that layer by
going to Edit > Fill. I'll choose a color
| | 04:16 | here and I'm going to go ahead and
choose a strong color like Red and I'll
| | 04:19 | click OK and then OK. Now that I have
that color and I zoom in a little bit, I
| | 04:24 | can see I have some pretty
serious gaps that I need to deal with.
| | 04:27 | So how can we fix those? That's
actually quite easy. So we will go ahead and
| | 04:31 | click in the middle layer here and
I'm going to move my mask around just a
| | 04:35 | touch. Now I'm going to go ahead move
it over to the right just a bit and then
| | 04:38 | I press Command+T on Mac, Ctrl+T on a
PC and I'll click and drag this to the
| | 04:42 | right a bit so that I then fill that out.
| | 04:44 | Now I'll click in the other mask,
Command+T there, and I'll go ahead and expand
| | 04:48 | that a touch as well. That looks nice
and then I'll go over to my first image,
| | 04:52 | Command+T and I click and drag that
down just to cover up that space. And click
| | 04:57 | in this one, Command+T, move that
over to the right and the way that these
| | 05:01 | images are overlapping,
I can get away with that.
| | 05:03 | Now is this grid perfect? I mean pixel
perfect. No, but I'm okay with that. No
| | 05:08 | one is going to ever notice the half
a pixel of that that's off. One of the
| | 05:11 | things that I do notice though is that
my filmstrip, there is a little bit of a
| | 05:14 | gap here between these two photos. So
we are going to go ahead and navigate
| | 05:17 | down to that filmstrip and I'm going to
click in the layer where I'm seeing the
| | 05:20 | gap. Its one of these two layers here
and I'm going to go ahead and move that
| | 05:23 | over just a touch and when I move that
over, I realize I now have a gap over
| | 05:27 | here on the right hand side. So I
click to move over the entire filmstrip and
| | 05:31 | then I have a gap on the right hand side.
| | 05:33 | I need to free transform all the
images in the filmstrip. So I'll click in my
| | 05:37 | folder. Command+T on Mac, Ctrl+T on a
PC, click and drag that just a touch
| | 05:41 | there. Press Enter or Return and then
we will go in and fine-tune some of the
| | 05:45 | other little gaps that we have here.
And again just making the most of these
| | 05:49 | and we will nudge this one over to the
right a bit. You see arrow keys. Nudge
| | 05:52 | this one over. You see arrow keys,
nudge that one over, arrow keys, nudge this
| | 05:56 | one over and that looks perfect.
| | 05:58 | All right one of the things that you
can see here is that we need to do a
| | 06:01 | little bit of fine tuning, but it's
actually a quite fun. This image is really
| | 06:05 | starting to come together. Well, let's
go ahead and turn off the visibility of
| | 06:07 | the red layer and now we finish a
large portion of this particular layout.
| | 06:12 | We are ready to now build the bottom
portion of this image and let's do that and
| | 06:15 | finish off this
Christmas card in the next movie.
| | Collapse this transcript |
| Multiple-image layout pt. 3: Finalizing the layout| 00:00 | All right, we have made some great
progress. What we need to do here is
| | 00:03 | finalize the bottom three images and
then work on the color. So what I'm going
| | 00:06 | to do is go ahead and turn on
one of the images that I like,
| | 00:09 | orwig_family_12.jpg. I'll
move that down a little bit.
| | 00:12 | Then I'm going to go ahead and hold
down the Option key on a Mac, Alt key on a
| | 00:15 | PC and I'm going to click and drag the
mask icon from one of my other layers.
| | 00:19 | In this case, I add the mask from this
particular layer here. Now that mask is
| | 00:23 | too high. So I want to make sure I'm
targeting that particular mask layer. Hold
| | 00:26 | down the Shift key and I'll click and
drag that down and you can see that it's
| | 00:30 | now showing up down below.
| | 00:31 | Well, that mask isn't quite tall
enough. You can see that there. So I'll go
| | 00:34 | ahead and leave that where it is. Press
Command+T and I'll click and drag that
| | 00:38 | down, so that it covers the entire of
that space. So my image here is going to
| | 00:41 | be a little bit taller than my images
are up top. All right, we will then click
| | 00:45 | in the layer thumbnail. Press Command+T
on a Mac, Ctrl+T on a PC, hold down the
| | 00:49 | Shift key, free transform that. We will
just go ahead and try to find the free
| | 00:53 | transform that works. That one is a
little bit crazy there. So I'll go ahead
| | 00:56 | and try to find a nice position for that.
Then press Enter or Return to apply that.
| | 01:02 | Let's click in the next image, orwig_
family_11.jpg. Click and drag that down,
| | 01:06 | so we can see it there. Then we are
going to hold down the Option key on a Mac,
| | 01:10 | Alt key on a PC, click on the layer
mask for the middle image. If we hold down
| | 01:14 | the Option key on a Mac, Alt key on a
PC and click and drag, it will copy and
| | 01:17 | paste that layer mask. Now hold
down the Shift key. With the Move tool
| | 01:21 | selected, we will click and drag that
down. So we are just bringing that down
| | 01:24 | here and it's not going to be quite tall enough.
| | 01:27 | So we press Command+T on a Mac, Ctrl+T
on a PC to free transform that and then
| | 01:31 | click in the layer thumbnail. In this
case, I like that one. That size that it
| | 01:35 | is. So I'm just going to leave it as
-is. Next, turn on our final layer,
| | 01:39 | orwig_family_10.jpg. Reposition that
just a touch here and then hold down the
| | 01:43 | Option key on a Mac, Alt key on a PC,
click and drag that layer mask. There it
| | 01:47 | is up top, so Shift-click and drag that
down. Press Command+T on a Mac, Ctrl+T
| | 01:51 | on a PC to free transform it. Then
finally, click in the layer thumbnail,
| | 01:55 | reposition this.
| | 01:57 | As we reposition this, we can either
find perhaps a new layout, a different
| | 02:01 | version of the image or press Command
+T on a Mac, Ctrl+T on a PC to free
| | 02:05 | transform that, so that more of the
photograph fits in this particular space
| | 02:09 | here. I'm just going to free transform
this down. See if I can get Annika being
| | 02:13 | tossed up in the air there. That's
so much fun. All right, press Enter or Return.
| | 02:18 | Okay, let's zoom out and take a look at
our clause. So far so good. I'll press
| | 02:22 | the Tab key once, zoom in. Press the F
key to go to full screen view mode. Now
| | 02:27 | I have this really nice layout. Now
there are only a couple of things that I
| | 02:30 | want to do here. One thing is I want
to work on the overall color as well as
| | 02:34 | the overall sharpness of this file.
We will do those two things in the next movie.
| | Collapse this transcript |
| Multiple-image layout pt. 4: Color and sharpening| 00:00 |
In this last movie, we are going to
work on the color a little bit of this
| | 00:03 |
layout. So here is what I'm going to do.
We are going to go ahead and delete
| | 00:05 |
some of the layers that I don't need
like Layer 2. Don't need it. Press the
| | 00:08 |
Delete key. Now I want to organize
these layers as well. So I'll go ahead and
| | 00:12 |
click in this top layer of the bottom
set here and then Shift-click in the
| | 00:16 |
bottom and press Command+G on the Mac,
Ctrl+G on a PC and I'll name this one
| | 00:20 |
the lower set and then click in one of
the images from the top set. Hold down
| | 00:25 |
the Shift key, click in the top image
there. Press Command+G on a Mac, Ctrl+G
| | 00:28 |
on a PC and I'll name this top set. Okay great.
| | 00:31 |
Well now that I have all my different
sets I can then click in my shapes up
| | 00:35 |
here. I need those anymore. Hold down
the Shift key, click in another one,
| | 00:38 |
press the Delete key. They are gone,
all right. Well I have reduced and
| | 00:41 |
simplified a bit so that I can clean
this up and then I can create some unique
| | 00:45 |
color effects.
| | 00:46 |
So go ahead and click on the Adjustment
Layer icon and choose Curves. Well now
| | 00:48 |
in Curves what I actually want to do is
I want to increase the contrast quite a
| | 00:52 |
bit. So I'm going to bring down my
blacks and I'm going to bring up my whites.
| | 00:56 |
So I'm increasing the contrast here.
We can see quite a bit. Now will this
| | 00:59 |
image print very well? Well, my blacks
may be at little bit too black there,
| | 01:03 |
but I'm going to have some fun with
this and modify the color quite a bit.
| | 01:06 |
I will go to the Red channel and here
I'm going to increase red significantly,
| | 01:09 |
adding a ton of red. Go to the Green-
Magenta channel, add a ton of magenta
| | 01:13 |
there and then also the Blue-Yellow
channel. Adding some yellow into the mix as
| | 01:17 |
well. Now I have added a ton of color
and contrast. Too much, right? Well, no
| | 01:21 |
big deal. What I want to do is have
this strong color shifts so that I can kind
| | 01:24 |
of see where my image is going.
This now looks too green to me.
| | 01:28 |
When I add all that red, now that
looks kind of interesting. This image looks
| | 01:31 |
really good. So I'm going to go ahead
and lower the Opacity here and we are
| | 01:34 |
trying to find a sweet spot where I'm
adding a bit of that contrast and that
| | 01:37 |
color shifts and I think that looks kind
of nice right there, at just about 50%.
| | 01:42 |
Now I exaggerated it initially that
kind of get the real move that I was going
| | 01:46 |
for and then I dial that back a bit.
So that the colors are little bit
| | 01:49 |
manageable and a little bit more
interesting there. It's not as over the top as
| | 01:53 |
it was before. Next, I want to modify
the color of the filmstrip here. So we
| | 01:57 |
are going to go ahead and click to
open up this filmstrip group. I'm going to
| | 02:00 |
close my Adjustments panel for a second.
| | 02:01 |
I am going to click into this group and
I'll click on the icon for Curves. That
| | 02:04 |
makes a real drastic Curves adjustment.
Now this isn't my final adjustment, but
| | 02:08 |
just to illustrate what I'm doing
here is I can modify just a filmstrip by
| | 02:13 |
changing the blend mode for this
particular group here. Now currently my blend
| | 02:17 |
mode is on Normal. By default it's on
Pass Through. When it's on Pass Through
| | 02:21 |
this Curves adjustment affects
everything. If I click on the layer set group
| | 02:25 |
there and changes this to Normal, well
this adjustment then just affect those
| | 02:29 |
images in the filmstrip.
| | 02:30 |
Okay well let's click on this Curves
adjustment. We don't want to brighten it
| | 02:32 |
up that far. What I do want to do is
bring up my blacks a little bit there. Go
| | 02:36 |
ahead and click and drag my midpoint
off there. So I do want to brighten this
| | 02:39 |
image up a little bit and I go into
that Blue-Yellow channel, I'm going to add
| | 02:42 |
a nice bit of yellow there. I need to
go to Green-Magenta, add some magenta as
| | 02:46 |
well. And then Red-Cyan, add some
red there as well. So let's look at the
| | 02:50 |
before and after of those. Here is
before and here is after. Again, just adding
| | 02:54 |
some nice warmth to the little
filmstrip set of the images there.
| | 02:57 |
Okay well let's double-click the
Adjustments tab and see how we are doing. Here
| | 03:00 |
is our color before and then after and
also we have this filmstrip adjustment,
| | 03:05 |
before and after. The trick to that was
making sure that our blend mode for the
| | 03:09 |
group was on Normal rather than Pass
Through. Okay great. Well what about
| | 03:14 |
sharpening of this image? Well I could
go through and sharpen each individual
| | 03:18 |
image. Yet that would be kind of
problematic, right it would take forever. So
| | 03:21 |
on the other hand, what I can do is
merge all these layers to the topmost layer.
| | 03:26 |
So I'll click in my topmost layer.
Then I'm going to use this great shortcut.
| | 03:29 |
It's Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on a PC. That will take
| | 03:35 |
all of your underlying layers merge
them to the top. So if I turn off these
| | 03:39 |
layers those are now irrelevant. I
just have this topmost layer and I'll go
| | 03:43 |
ahead and name this layer, sharpening.
| | 03:45 |
Next I'm going to right-click or Ctrl-
click and choose Covert to Smart Object
| | 03:49 |
and then from there I'll double-click
the Zoom tool to take this image to 100%.
| | 03:53 |
Look at an area of the photo that
needs to be sharpened a bit. Navigate to
| | 03:56 |
Filter > Sharpen and choose Smart
Sharpen and then I'm just going to move this
| | 04:01 |
around a little bit. We are going to
have a pretty low Radius here and my
| | 04:05 |
Amount, bring that down a touch.
That's a pretty small file we don't need to
| | 04:08 |
over sharpen it. I'm just clicking on
the image to see my before and after.
| | 04:12 |
See what is actually sharpened and
what isn't. Just for the record, you could
| | 04:16 |
use this technique to add a little
bit of film grain as well which might be
| | 04:19 |
nice with these photos because I'm
going for this specialized kind of color
| | 04:22 |
treatment. But I think that looks
pretty good. I'll click OK to apply that. Now
| | 04:26 |
I can look at my before and after.
That looks pretty nice. I'll zoom out a
| | 04:30 |
touch and we have now finished up our
work on this file. Let's press F to go to
| | 04:34 |
Full Screen view mode and then the F7
key to bring up our Layers palette and
| | 04:38 |
walk through what we have. If we turn
off all the layers, we have the lower
| | 04:42 |
set, the top set, that filmstrip in the
middle and then some color adjustments
| | 04:46 |
and then finally on top of
everything, a little bit of sharpening.
| | 04:50 |
Now my hope is that this movie has
given you some creative inspiration about
| | 04:53 |
how you can create some unique
layouts that tell a very different story.
| | 04:57 |
Because now we have multiple images
combined on a single Photoshop document.
| | 05:01 |
We can tell a very unique story compare to
just having one image. So again, if you
| | 05:05 |
haven't experimented with techniques
like this I definitely recommend that you
| | 05:08 |
do so. I think you will enjoy
the process and the final results.
| | 05:13 |
| | Collapse this transcript |
|
|
7. Desktop Printing ConsiderationsPrinter recommendations| 00:00 | When it comes to picking out a printer,
one of the things that you have to keep
| | 00:03 | in mind is there is something magical
about the final print. It's almost as if
| | 00:06 | it just completes the whole
photographic workflow, that final artifact
| | 00:10 | is so fascinating.
| | 00:11 | So one of the things that you need to
consider in regards to your printer is
| | 00:14 | that you typically want to get the
best of the best. I mean, you want to get
| | 00:18 | the best that you can afford because
it's always worthwhile to invest a little
| | 00:22 | bit more in a printer.
| | 00:23 | Well for starters then, what does that
mean in regards to different brands.?
| | 00:26 | Well, the three top brands that all of
the top pros use are either Epson, Canon
| | 00:30 | or HP. So if you are going to get a photo
printer I recommend that you get one of those.
| | 00:34 | Again, it's not really worth skimping
on your printer because that final artifact,
| | 00:39 | that final print is going to be
so worth it, if you have a nice printer.
| | 00:43 | Now you may be thinking, well, I don't
have enough money to buy this type of
| | 00:46 | printer. Well neither do I. We all
have a certain amount of money that we can
| | 00:50 | afford for a particular type of printer.
| | 00:52 | So I'm not necessarily saying that you
have to buy the best. But buy of what
| | 00:56 | you can afford but try to push the
envelope a little bit here because typically
| | 01:01 | it's well worthwhile. Well, I do all of
my printing on Epson printers and here
| | 01:05 | you can see actually a little bit of an
older snapshot of my office and there
| | 01:08 | I have the Epson 2400.
| | 01:10 | The two printers that I use most often
are that printer as well as the Epson 3800.
| | 01:14 | Now the Epson 3800 in my opinion
is just hands-down amazing. Now I don't
| | 01:19 | get anything for saying that. But this
printer is just unreal. The first time
| | 01:24 | that I plugged in my Epson printer
and I ran a print through it, I was just
| | 01:27 | stunned. I was literally
excited about desktop printing.
| | 01:30 | This for me is the printer that
changed my mind about how desktop printing is
| | 01:35 | incredibly exciting. Now I have been
doing desktop printing for a quite a bit
| | 01:38 | of time and I have been using high-
end printers for quite a bit of time.
| | 01:41 | But it's this printer that really just
excited me about this overall process
| | 01:45 | and again if I have to do any printing
this is really the one that I turn to.
| | 01:49 | Now I'll use some of the other
printers as well just to experiment with them
| | 01:52 | and also to do some other test prints.
Yet this one I found to have the best
| | 01:56 | luck with. Now I'm saying all of this
in a way that I hope is a little bit
| | 01:59 | descriptive rather then prescriptive.
And what I mean by that is I could only
| | 02:03 | describe what I do in my own
workflow. And share that with you.
| | 02:06 | I am not necessarily saying that you
have to get an Epson printer, although I
| | 02:10 | think it would be a really good idea.
What I'm saying is hey, this is how I do
| | 02:14 | things and this is my own workflow.
What you then need to do is take these
| | 02:17 | ideas and say okay, what then can
I do that will make sense in my own
| | 02:21 | photographic workflow.
| | 02:23 | And then finally, you are obviously
picking up a bit here that I'm encouraging
| | 02:26 | you to try to begin to think about
your printer and possibly then begin to
| | 02:29 | invest in a printer. Because one of the
things that I found, and again this is
| | 02:33 | descriptive of my own workflow, is that
by investing a little bit in printing,
| | 02:37 | it has really added a quite a bit of
excitement to my overall photographic
| | 02:41 | process and in turn it has helped me
create images that are that much more stunning.
| | Collapse this transcript |
| Paper recommendations| 00:00 |
Here I want to briefly share with you a
few paper recommendations. Now before I
| | 00:04 |
actually talk about the paper I want to
talk about one thing really quickly. As
| | 00:07 |
an artist you have to be a little bit
opinionated, right. Because it's that
| | 00:11 |
opinion that then takes your vision
somewhere. And so in my case I'm a little
| | 00:15 |
bit opinionated about paper and about
printing and I print a certain way with
| | 00:18 |
a certain type of paper. And all that
I can do is really talk about my perspective.
| | 00:23 |
Now I'm going to talk about my
perspective, not necessarily because it's
| | 00:26 |
prescriptive meaning that you have to
do this. Rather I'm going to describe my
| | 00:30 |
own workflow so that you can get some
ideas from that and then take those ideas
| | 00:34 |
and blend them with your own ideas and
come up with what works best for you.
| | 00:38 |
All right. Well I print everything on
Epson printers. I absolutely love those
| | 00:42 |
printers and I have already talked
about that a little bit. And I also do
| | 00:45 |
almost all of my printing with Epson
papers. Now the different types of papers
| | 00:48 |
that I like to use are the glossy paper,
the luster, the matte and the velvet
| | 00:52 |
fine art papers. I also experiment a
little bit with some of the canvas papers.
| | 00:55 |
Those are really fascinating.
| | 00:57 |
The majority of my printing is
done on the matte paper. It's called
| | 01:00 |
presentation paper. And I really like
that. I like the way that the blacks work
| | 01:03 |
and contrast and what not. I also am
starting to do some printing with Red
| | 01:07 |
River paper. They have this line of
paper called Green Pix. It's 100% post
| | 01:11 |
consumer recycled paper. Now in my
opinion this is the first recycled paper
| | 01:16 |
that actually looks good and it looks
really good and I'm pretty excited about
| | 01:21 |
that as you can tell.
| | 01:21 |
So if I have recommend some paper
for you as you begin to experiment with
| | 01:25 |
printing, I would say okay if you have
an Epson printer you definitely want to
| | 01:28 |
get some luster paper matte and then
one of the fine art papers like a velvet
| | 01:31 |
fine art, and begin to see how color
and tone and contrast and sharpness works
| | 01:36 |
for these different types of papers.
| | 01:38 |
I also would recommend that you dig
into the Red River Green Pix paper.
| | 01:41 |
They have different sizes and also types
of paper. You can use these for greeting
| | 01:45 |
cards or you can use various
standard sizes of that paper as well.
| | 01:50 |
| | Collapse this transcript |
| Paper resources| 00:00 | All right, in this movie, I want to
share with you a few paper resources that
| | 00:04 | will help you in your overall printing
workflow. The first thing that I want to
| | 00:07 | do is pull up my web browser. I'm going
to go ahead and do that and share with
| | 00:10 | you a few links.
| | 00:12 | Now I'll share with you some links
where you can find your paper profiles. Now
| | 00:15 | if you remember from the chapter on
color management, paper profiles are really
| | 00:19 | important because they help clarify the
communication between your monitor and
| | 00:24 | your printer.
| | 00:25 | So one of the places that you can go
is to the particular paper company that
| | 00:28 | you are buying the paper from, for
example, Epson and here you can see that you
| | 00:31 | can download the ICC Profiles for this
particular type of paper. We can also go
| | 00:36 | a few other places as well. PixelGenius
.com has some great paper profiles and
| | 00:41 | here you can see that I can find
profiles for different printers. So like the
| | 00:44 | printer that I print to, the Epson 3800,
I can then download the profiles for
| | 00:48 | the different type of papers
that I'm going to be using.
| | 00:50 | Now in other place where you can
find these is yet a different site,
| | 00:54 | BreathingColor.com, and again here
they have created a number of different
| | 00:58 | profiles for different printers and you
can see the list of printers down here.
| | 01:02 | Now here I'm tending to show profiles
for the printers in the paper that I'm
| | 01:05 | using, but of course, all that you need
to do in order to find the profiles for
| | 01:08 | your paper and your printer is to do a
little bit of a Google search and you
| | 01:12 | will be able to find these pretty
quickly. The last thing that I want to share
| | 01:16 | with you here is for redrivercatalog.com
/profiles and here is where I can find
| | 01:21 | some of the profiles for
this particular paper company.
| | 01:24 | So again, keep in mind, what you want
to do is to go to the paper company's
| | 01:28 | website first to try to find the
profiles there. If you can't find them there,
| | 01:32 | you can always look other places and
then finally, it's always best to create
| | 01:35 | your own paper profiles with your own
printer because each printer is a little
| | 01:39 | bit different, each batch of
paper is a little bit different.
| | 01:41 | All right, well now that I have shared
with those things, I want to go back to
| | 01:45 | this file that we have in our Chapter
07 folder. Here I'm in the Adobe Bridge,
| | 01:48 | I'll press the Spacebar in order to
open this up in full-screen view mode.
| | 01:52 | Now this is a screen capture from a
document on the Epson website. Now while
| | 01:57 | it's on the Epson website, I think this
document is actually helpful for anyone
| | 02:00 | printing with any kind of paper. And
what it has to do with this paper surfaces
| | 02:05 | and light reflection? One of the
things that it says over here is that plane
| | 02:09 | paper or uncoated paper, it
absorbs ink there is a lot dot gain.
| | 02:13 | Now dot gain you can think of like
having a magic marker and sticking that
| | 02:16 | magic marker on a paper towel. Well
the ink then spreads out into the paper
| | 02:20 | towel. Well in this case, what
happens is lights reflected away from the
| | 02:24 | viewing eye and it doesn't look very
good. The image doesn't look very strong.
| | 02:27 | Well, you can also use glossy papers.
They're an improvement because you have
| | 02:31 | minimized dot gains, so you are
getting a little bit more of the image. Yet
| | 02:34 | what's ideal is to have resin-
coated paper for the finest quality of
| | 02:38 | photographic results as it says here,
you want to go for these results that are
| | 02:42 | resin-coated. So they give you the look
and feel and the colors of traditional photography.
| | 02:46 | So the whole point of this particular
document is that good paper really I mean
| | 02:50 | really matters. The other thing to
keep in mind is that there is always one
| | 02:54 | side of the paper that's coated and
one side that isn't or I should say
| | 02:57 | typically that's the case.
Most papers aren't double-sided.
| | 03:00 | So in that case what happens is you
want to make sure that you are printing on
| | 03:03 | the correct side. So if you ever
insert a piece of paper in your printer and
| | 03:06 | the image comes out and it just looks
kind of flat and the colors don't look
| | 03:09 | very good, it just looks strange, you
probably are printing on the wrong side
| | 03:13 | of the paper. And then my final
thought for you is this; if you haven't
| | 03:16 | experimented with printing on good
paper, you just have to. It is so
| | 03:21 | compelling. It's inspiring to see that
print emerge and to see how good it can
| | 03:25 | actually look.
| | Collapse this transcript |
| Printing recommendations overview| 00:00 | Hey, welcome. This is Chris Orwig here
and here we are in my office. What I
| | 00:05 | want to do in this movie is just
have a little bit of a conversation about
| | 00:08 | printing and about paper and let's
imagine that you came by my office and say
| | 00:12 | hey! Chris, what's the deal with
different types of printers and
| | 00:14 | do you know what printer is best?
| | 00:15 | What I would probably do is I'll pull
out an analogy. I would say well what
| | 00:19 | camera is best? Let's say I reach for
my Hasselblad. Well in this case, if I'm
| | 00:23 | going to shoot a photograph with a
Hasselblad, it's going to give me a particular
| | 00:26 | type of an image. Let's say just at
the base level, it's going to give me a
| | 00:29 | square format. Now is this square format
better or worse than my 35 millimeter
| | 00:35 | camera that I'll grab here?
Well no, it's just different.
| | 00:38 | Then they also might say well, will the
camera body and the camera type and lens
| | 00:42 | determine how good the photograph is?
Well, yes and no, right. There is a
| | 00:47 | little bit of give and take there. At
the end of the day, if we take a look at
| | 00:50 | this camera that I have here. This old
Nikon D1x that's been taken apart by one
| | 00:54 | of my friends. We can see that it's
just a camera. There is really nothing to it
| | 01:00 | or it's a shell of a camera and it
kind of reminds me that the camera isn't
| | 01:03 | going to make a good image. It's
more about me and so when considering a printer,
| | 01:08 | yes, we do want to consider,
okay what printer will be best? And there
| | 01:12 | are printers that are better
than other printers, etcetera.
| | 01:14 | But ultimately when you want to
create a good photograph, when you want to
| | 01:18 | create a good print, it's really
about you and about the whole process and
| | 01:22 | going through that whole process. Well,
how then do you start to think about papers?
| | 01:26 | Well there are a lot of different
types of papers you can use. One of
| | 01:29 | the type of papers I like is this Red
River Paper, because it's completely
| | 01:33 | recycled and I enjoy that. I like when
I'm able to create some prints that
| | 01:37 | are a little bit more green.
| | 01:38 | Another type of paper that I print to
quite often and I have mentioned this
| | 01:41 | before is this Ultra Premium
Presentation Paper. Basically, Epson's matte paper.
| | 01:46 | Wonderful stuff, I love printing
to that. And again, one of my other
| | 01:50 | favorites is this velvet fine art paper.
Now speaking of the velvet fine art
| | 01:54 | paper, I have a handful of prints on
my printer here and if you came by my
| | 01:58 | office, I would say well, let's look
at some of these and I'll pull one out.
| | 02:00 | For example, this photograph of my
daughter Sophie and my wife Kelly. I love
| | 02:06 | this image on this velvet paper. I
love that I can touch this. It really fits
| | 02:10 | the message and the feeling of this
particular event. Now let's go ahead and
| | 02:15 | grab another print that's come off
my printer recently. This one is Gerry Lopez,
| | 02:18 | an amazing and renowned surfer.
I love the vivid colors that you can see
| | 02:23 | here and I like how those colors work
with this matte paper. I like that I can
| | 02:27 | feel bit of that texture
there. It's not glossy or shiny.
| | 02:30 | Now again, the type of paper that you
use is really preferential. Is there one
| | 02:35 | type that's better than another? Well
not necessarily. Really it depends on
| | 02:39 | what you want to communicate. Now other
times you reach for a print and you say
| | 02:42 | oh yeah, I love that. You know, again,
that really works with the message that
| | 02:46 | I'm trying to communicate and you are
getting excited about your printing. Then
| | 02:49 | all of a sudden, you get one of these
and your print doesn't look good at all.
| | 02:53 | It just looks like everything is wrong.
I mean the photograph is good,
| | 02:57 | but the print isn't good.
| | 02:58 | Well in this case, I print on the
wrong side of the paper and you know that
| | 03:02 | happens to us when we are printing
and the reason I bring that up is that
| | 03:05 | printing takes experimentation.
It takes learning your paper. In this case,
| | 03:09 | here is that final print of that same
photograph. It looks so much better.
| | 03:13 | Let me show you a comparison and again
we would talk a little bit about printing
| | 03:16 | and that process of printing and
ensuring that you get that good final print.
| | 03:21 | And there are lot of times, getting
that good final print is really about you.
| | 03:25 | You are in the printing community,
or in the printing world, one of the
| | 03:28 | things that they say is that there are
these print masters, these people who
| | 03:31 | have mastery over this printing process.
That's kind of interesting when you
| | 03:34 | stop to think about it. It's not
something like you can just push a button
| | 03:37 | and cross your fingers and hope to
get a good print. That's why you are
| | 03:40 | watching this training title, right,
so that you can learn more about how you
| | 03:44 | can use all these different things
in order to create amazing prints.
| | 03:47 | Another thing that printing does for
you. As you print out a photograph, like
| | 03:51 | let's say this photograph of Ben Harper.
What you need to do typically is print
| | 03:55 | a photograph and then let it sit
somewhere. Hang it up on a wall. Walk away
| | 03:59 | from it and then when you come back to
the photograph, you will see things anew.
| | 04:02 | Like with this image. I see that
there is this little divot right close to
| | 04:06 | his eye. Now I don't want anything
distracting right close to his eyes.
| | 04:09 | And I didn't notice that while I was working
on my computer because I really focused in
| | 04:13 | on his eyes and it took me turning
away from the photograph and then coming
| | 04:17 | back to it to discover that mistake.
And you will find that creating prints is
| | 04:21 | a great way to learn about photography.
You will find that it will sharpen your vision.
| | 04:25 | Now I'll go ahead and just pull out a
couple more here. Just some fun photographs.
| | 04:28 | Another one, Jack Johnson, great print
of Jack. He is an amazing guy and then
| | 04:32 | another print here. We will talk about
his later. How we can use print layouts,
| | 04:37 | in order to print multiple images on
one page for testing, or to save paper,
| | 04:41 | and to save time, and to save ink.
| | 04:43 | So one of the things that I want you to
begin to think about as you dig deeper
| | 04:46 | into this wonderful world of printing
is that there are number of different
| | 04:49 | devices that you can use. There are
number of different paper types that you
| | 04:52 | can use. There is no one correct or
no one best way to create a print.
| | 04:57 | Some people will say you have to use this
or you have to do that. Well it's not
| | 05:00 | necessarily true, because printing is
essentially an experimental process.
| | 05:05 | It's a process that will teach you quite
a bit about how you think, how you
| | 05:09 | photograph, how you see. It will
clarify your vision and it will do so much more.
| | 05:13 | So here is my hope for you. My hope is
that as you learn more about printing,
| | 05:17 | as you dig deeper in this training
title that this will all help you create
| | 05:22 | much more compelling prints. All right,
well, thanks for stopping by my office.
| | 05:26 | I'll catch you in the next movie. Bye for now.
| | Collapse this transcript |
|
|
8. Desktop Printing PreparationColor management refresher| 00:00 |
Before we dive head first into the
wonderful world of printing, what I want to
| | 00:04 |
do is just step back for a moment and
I want to step all the way back to our
| | 00:08 |
conservation about color management.
Here we have these images, which
| | 00:11 |
represented typical photographic
workflow from capture over here on the left
| | 00:15 |
all the way to output over here on the right.
| | 00:18 |
Now one of the things that we talked
about in regards to color management is
| | 00:21 |
that color management is all about
clarifying the communication across multiple
| | 00:25 |
devices. So far we have talked about
creating profiles for our monitor. Now
| | 00:29 |
that's really important, because on
our monitor, the color is created via
| | 00:32 |
light. That color and those tones have
to be translated into a different color
| | 00:36 |
space because the color on a printer
is created via ink. All right, well what
| | 00:41 |
we need to do in order to tighten up
our overall color management workflow is
| | 00:45 |
begin to create some test prints.
| | 00:47 |
Now you have done this before right.
You print an image out, you are like wow!
| | 00:50 |
It is way too blue. So you add a
little bit of yellow. Well then you kind of
| | 00:54 |
have to do this back and forth thing
until you get the print just right.
| | 00:57 |
Wouldn't it be nice if we are able to
create some test prints that had a little
| | 01:00 |
bit more logic built into them, so
that then ultimately we could begin to
| | 01:04 |
create profiles, so that we would know
exactly how our particular image will be
| | 01:08 |
printed on a particular
printer and a particular paper type?
| | 01:12 |
Now that's important because I tend
to like to think of it this way: your
| | 01:15 |
printer and your paper have a mood. It
may be a little bit moody. One day there
| | 01:19 |
is some moisture in the air, where
your image is going to print a little bit
| | 01:22 |
differently or in another day, let's
say, there is a little bit of a blockage
| | 01:26 |
in your ink cartridge. Well, a little
bit less ink is going to come out and for
| | 01:29 |
that reason, what we want to do is to
begin to create some test prints as well
| | 01:33 |
as some profiles which will help to
clarify the communication from our monitor
| | 01:37 |
to our printer. So we have our
profile for our monitor, we have some test
| | 01:40 |
prints, some profiles for our printers
and in that case, we can speed up our
| | 01:43 |
overall workflow and ultimately, all of
this work that we are going to putting
| | 01:47 |
into this process is going to lead to creating
more stunning and compelling final prints.
| | 01:53 |
| | Collapse this transcript |
| Finding sample files online for test printing| 00:00 | In the previous movie I mentioned that
it's a good idea to try to have a good
| | 00:04 | test print, so you can see how your
printer is actually rendering color and tone.
| | 00:07 | We have a sample file here
that we could use as a test print.
| | 00:11 | Now there is some interesting things
about this particular file. We have this
| | 00:14 | grayscale wedge, we have a grayscale,
all these vivid colors. So again what we
| | 00:18 | can do is use a file like this and
printed out and analyze the actual print of
| | 00:23 | this particular type of document and
then determine how our printer is actually
| | 00:27 | working and then make some logical
decisions and apply those decisions to how
| | 00:31 | we edit and work on our photographs.
| | 00:33 | All right, where do these test files
come from? Well, what I want to do is
| | 00:36 | first share with you a few different
test files and then show you a few links
| | 00:39 | where you can download these files so
that you can use them in your workflow.
| | 00:43 | All right, well here is a different
type of a test file. It's a just a
| | 00:45 | grayscale or grayscale step wedge there
and you will see this grayscales show up
| | 00:50 | in a number of different places.
| | 00:51 | This will help us set our white and
our black points. Now we will talk about
| | 00:55 | how we can use some of these test
files in a moment, yet for now, I just
| | 00:58 | want to share with you a few different
files. Now this particular file is one
| | 01:02 | that's included with this training.
You can find it in the chapter folder for
| | 01:05 | this training and it was created by
one of my colleagues and fellow teachers,
| | 01:08 | Rob Winner.
| | 01:09 | And here you can see again, we have all
of this different color information in
| | 01:13 | this file. And one of the things it's
kind of fun about this document is I have
| | 01:16 | created another layer where you can
remove all of his photographs, add some of
| | 01:19 | your own, and for that matter I
also have a new layer called smaller where
| | 01:23 | I have all the color information
below where you could then include some of
| | 01:26 | your own photographs above.
| | 01:29 | Now the idea here is to include some
of your own photos that have different
| | 01:32 | colors, so you can see how those colors
are rendered and how the colors compare
| | 01:36 | to what you are seeing on your monitor.
All right, well, enough on showing you
| | 01:39 | the files. Now I want to navigate to my
web browser and show you where you can
| | 01:43 | find some of these.
| | 01:44 | Well, if you do a quick Google search
for a Bill Atkinson's test file, it will
| | 01:48 | take you to this page. Now here are a
bunch of different downloads that you can grab.
| | 01:51 | One of them is that test print
file that I showed you previously, in this
| | 01:55 | case right here. So you can download
that and then use that as your own test file.
| | 02:00 | Now, another site that I want to
navigate to is John Paul Caponigro.
| | 02:03 | Now if you are not familiar with John
Paul, his work is stunning and he is
| | 02:07 | incredibly technical. He is one of
these unique individuals which is both
| | 02:10 | artist and technician and somehow he
combines these two worlds in a really nice way.
| | 02:14 | Well, if you navigate to his site and
click on Downloads and then Technique,
| | 02:19 | you can find this different files and
I'm just going to go ahead and pull up
| | 02:21 | one of the files and articles that he
has in which he talks about how you can
| | 02:25 | create this linear gray gradient and
then also use that as a test file and then
| | 02:29 | download a sample file.
| | 02:31 | Now a number of his files, you have to
actually be a member. For example, here
| | 02:34 | you can see where he is talking
about exposure. This is free if you are a
| | 02:37 | member of his site.
| | 02:39 | So again I recommend that you become a
member of his site, not only because
| | 02:42 | you'll get some helpful emails from him
in regards to Photoshop and printing,
| | 02:46 | etcetera, but it also will give you
access to hundreds of resource files.
| | 02:50 | All right, well I hope that those
resources will be helpful to you. Now that we
| | 02:54 | know a little bit about test printing,
let's go ahead and take a look at how we
| | 02:57 | can integrate this into our own workflow.
| | Collapse this transcript |
| Soft-proofing with paper profiles| 00:00 |
In this movie, I want to talk about
the process of soft proofing. The nice
| | 00:04 |
thing about soft proofing is it gives
us an idea of how the image will actually
| | 00:08 |
look on a particular type of paper with
a particular type of printer. So we can
| | 00:12 |
then use this to make modifications,
if we need to or corrections for that matter,
| | 00:16 |
so that our print looks even better.
| | 00:18 |
Again, soft proofing is all about
clarifying the communication between monitor
| | 00:22 |
and printing. So how then do we do
soft proofing? Well, once we have our
| | 00:26 |
photograph ready for print, as I have
here, I'm going to navigate up to my View
| | 00:30 |
pulldown menu and there I'm going to
choose Proof Setup and then Custom.
| | 00:33 |
Now I go to this Custom Proof
Condition. What I'm going to do is select a
| | 00:37 |
Device to Simulate. In this case,
I'm going to scroll down and find my
| | 00:40 |
particular printer. Let's say that in
this particular scenario, I'm printing to
| | 00:44 |
the Epson 2400. So I'm going to go
ahead and choose a particular type of a profile.
| | 00:48 |
I'll go ahead and select Enhance Matte
there (EnhMatte). My Rendering Intent,
| | 00:52 |
I'm choosing as Relative Colorimetric.
That's typically where you want to start.
| | 00:56 |
Black Point Compensation on and
Simulate Paper Color on as well.
| | 01:00 |
So we'll go ahead and click OK. We now
see a very different photograph. We can
| | 01:03 |
toggle this preview on and off by
navigating to View > Proof Colors. Again, we
| | 01:08 |
can also press Command+Y on a Mac or
Ctrl+Y on a PC to toggle that on and off.
| | 01:13 |
Now one of the things that I see here
is that the image is just a little bit
| | 01:16 |
less yellow. I also have a little bit
less contrast. You have to keep in mind
| | 01:20 |
that in order to build up these blacks
in here, the black shadows, it's going
| | 01:24 |
to be setting down quite a bit of ink.
So is this image going to look really
| | 01:27 |
faded and muted as it does here? Well,
not necessarily. We have to get into
| | 01:31 |
this mindset that this is going to be
printed on paper. It is going to have
| | 01:34 |
this type of a shift. So we have a
little bit less contrast, also a little bit
| | 01:39 |
less saturation.
| | 01:40 |
So we may then want to make some
corrections or enhancements based on the soft
| | 01:44 |
proof that we are viewing here. Well,
how do we do that? We will talk about
| | 01:47 |
that in the next movie.
| | 01:49 |
| | Collapse this transcript |
| Soft-proofing to correct an image| 00:00 | So now that we know a little bit about
soft proofing, let's go ahead and walk
| | 00:04 | through a typical soft proofing
workflow. The first thing that you want to do
| | 00:07 | is navigate to the Image pulldown menu
and choose Duplicate. This way you will
| | 00:11 | have a copy of the exact same image.
| | 00:13 | Next, we are going to navigate to the
option where we can see these side by side.
| | 00:16 | So here I can see the actual
file and here is the copy. I'll press the
| | 00:20 | Spacebar key and move this over so I
can actually see the face, click in the
| | 00:24 | other image and then move the face over as well.
| | 00:26 | Currently, the view on both of these
images is exactly the same. The next step
| | 00:30 | is to navigate to our View > Proof Setup
> Custom menu and here we are going to
| | 00:34 | choose a particular type of paper
that we are going to be printing to.
| | 00:36 | Now in my case, I'll go ahead and scroll
down and let's say that this time I decide
| | 00:41 | that I'm going to print to Premium
Glossy paper and I'll Simulate Paper Color on,
| | 00:45 | Preserve RGB Numbers off.
Rendering Intent, Relative Colorimetric.
| | 00:50 | Black Point Compensation on.
Let's go ahead and click OK.
| | 00:53 | All right, well here we can see the
original image and the after. If we press
| | 00:57 | Command+Y, we look at the before the
profile or before the soft proof and then
| | 01:01 | after. So one of the things that I'm
noticing is that I lost a little bit in
| | 01:05 | this image. I want to bring some of
that back, so I'll go ahead and click on
| | 01:08 | the Adjustment Layer icon and choose Curves.
| | 01:10 | In this Curves dialog, I'm just going
to darken up some of my blacks there.
| | 01:14 | I'm just looking to try to bring back down
some of those darker tones. So here is
| | 01:18 | my before and after. Again, just
bringing back some of that contrast in the image.
| | 01:22 | Next, up in the highlights I think
that looks okay and then I'm going to go
| | 01:26 | ahead and navigate to my Blue-Yellow
channel. I want to add just a touch of
| | 01:30 | yellow here, so I'm just going to warm
this up just a little bit and again,
| | 01:34 | I'm making small kind of micro adjustments
here and then I'm going to go into that
| | 01:39 | Red-Cyan channel and add a little bit
of red to the image and trying to get the
| | 01:43 | color to look a little bit more accurate.
| | 01:45 | Again, I'm just making some small
adjustments to try to get these two to look
| | 01:50 | the same. And again, I'm going to try
and compare them back and forth and whatnot.
| | 01:53 | Now this image, it has a little bit of
a nice warmth to it but they are pretty close.
| | 01:57 | Well let's turn the profile off. Command
+Y on a Mac, Ctrl+Y on a PC. Now when I
| | 02:02 | do that, this image looks a little bit
over the top, right? It's much warmer,
| | 02:06 | much higher contrast in this file. So
what we are doing here essentially is
| | 02:10 | when we turn the profile on, we are
saying you know what? This image is going
| | 02:13 | to let's say fall a little bit to the left.
| | 02:14 | Well because it's going to fall a little
bit to the left, we are going to then
| | 02:18 | correct it as we did so here with this
layer and then when we print this image,
| | 02:22 | the soft proof is really irrelevant.
All that we are doing is turning this on
| | 02:26 | simulate how it will print.
| | 02:28 | So we are going to then print the
image this way and ultimately what we see
| | 02:32 | here will eventually turn out to be
a print like this over here. So we can
| | 02:36 | use this soft proofing technique in order
to increase our accuracy, in order to
| | 02:41 | preview what the print will actually look like.
| | 02:43 | Now if you haven't experimented with
soft proofing, you definitely want to
| | 02:46 | because you will soon discover that
you can create much more color and tone
| | 02:50 | accurate prints.
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| Setting white and black points based on the test print| 00:00 | Now that we know a little bit about
where we can find some test print files and
| | 00:04 | we also know little bit about Soft
Proofing, let's take this even further.
| | 00:08 | Well here I have one of these test
files, I'm going to navigate up to my View
| | 00:11 | pulldown menu > Proof Setup > Custom
and here I'm going to do a Soft Proof on
| | 00:15 | the Epson 2400 Premium Glossy, Relative
Colorimetric, Black Point on, Simulate
| | 00:19 | Paper Color, bingo! Click OK.
| | 00:22 | Now when I press Command+Y on a Mac,
Ctrl+Y on a PC, I can toggle back and
| | 00:26 | forth between the actual image and the
soft proof. I see that I lose a lot of
| | 00:29 | saturation. I also lose some tone
across the image and a little bit of
| | 00:33 | sharpness as well, right?
So it's kind of helpful.
| | 00:35 | Well one of the things that also we
will notice if we zoom in on this grayscale
| | 00:39 | down below, so when you press Command+Y,
we notice that what was once bright
| | 00:42 | white is now a little bit more of a
muted white and what was once black with
| | 00:46 | detail, now has perhaps less or more
detail. So this proof is showing me that
| | 00:51 | when I print this image, there is going
to be a little bit of a shift. So what
| | 00:54 | we can do is actually use a Grayscale
Step Wedge like this or just a regular
| | 00:58 | grayscale and we can create a
grayscale by simply using our Gradient tool and
| | 01:02 | go from black to white or use one of
these files and we can then print out that file.
| | 01:07 | Now I have another test file, I want to
pull up which is just a grayscale and I
| | 01:11 | want to pull this one up here and we
can see that we have a grayscale step
| | 01:14 | wedge as well as grayscale. In order
to simplify what we were talking about
| | 01:18 | here because we are going to take a
look at how we can use a test print to set
| | 01:21 | our white and our black points so that
we have accurate detail on those points.
| | 01:26 | Well, let's say, for example, that we
print this image and we print it out and
| | 01:29 | we grab the print off the printer
and we say you know what? I'm going to
| | 01:32 | evaluate where I can see relevant
white detail. So where I see relevant white
| | 01:37 | detail on the print, not on the monitor,
but on the print. Let's say somewhere
| | 01:40 | right around in here. So I say oh,
it's right there. That's where I start to
| | 01:43 | see relevant detail.
| | 01:45 | Well I'll then go back to the digital
file, right here and I hold down the
| | 01:48 | Shift key and I click to set a little
point. I then, with the actual print, I
| | 01:52 | look and say, where is my black with
detail? Where do I actually start to see
| | 01:55 | some black show up? And I say, you know
what? It's right over here. And then in
| | 01:59 | my Info palette, I'm going to
take these values to Grayscale.
| | 02:03 | Now this is kind of an abstract
concept and I'm aware of that. Yet what I'm
| | 02:06 | trying to do is just say that what we
are doing is we are analyzing a print and
| | 02:10 | with that print we are seeing where we
start to see our whites and our blacks.
| | 02:14 | Well then, going back to the digital
file and measuring what the amounts are
| | 02:18 | at that point.
| | 02:19 | So we are going then write down these
numbers and these numbers are little bit
| | 02:23 | strange but we are going to write
them down because the proof is in the
| | 02:26 | pudding, the proof is in that print,
right? So we are going to write down that.
| | 02:29 | For my blacks, I have 98%. For my
whites, I have 11%. So remember those two
| | 02:36 | numbers. So blacks 98, whites 11%. I
then go to an image that I want to print.
| | 02:41 | In this case I'm going to navigate to
another image that I have opened and this
| | 02:44 | is a photograph of my friend Martin
in Baja, California and I want to first
| | 02:48 | define where are my brightest
points are and my darkest points.
| | 02:52 | So I'm going to use that threshold
trick, we learned before, right? We will
| | 02:54 | click on the Threshold adjustment
layer icon, drag to the left, find our
| | 02:58 | deepest blacks. They are up in here
somewhere. I'll Shift-click to add a little
| | 03:01 | point. I'm going to close that Info
palette so you can see that. Drag the
| | 03:05 | Threshold slider over here, find the
brightest points. It looks like it's the
| | 03:08 | skin and the shirt there. So I'm
going to go ahead and set a point on that
| | 03:12 | garment, Shift-click to set that.
| | 03:14 | All right, I'm going to pull the Info
palette out so we can keep that visible
| | 03:17 | and close the other panels there.
Next I'm going to delete this layer. It's
| | 03:20 | gone. Now let's say this image is color
correct. What I want to do is just make
| | 03:24 | sure it's going to print well, make
sure my whites and my blacks are going
| | 03:27 | to print well.
| | 03:28 | Well, let's go back and revisit those
numbers for a moment. Now I know, we
| | 03:31 | probably wrote them down, but just in
case, now my white point is 11%. What's
| | 03:36 | that going to mean over here? What I'm
actually going to do over here is it's
| | 03:40 | not going to be 11%, right there, it's
going to be 89% for that white point.
| | 03:46 | Let me show you what I mean. I'll click
on the Adjustment Layer icon and choose
| | 03:48 | Curves, double-click the eyedropper
for my whites and here I need to type in
| | 03:53 | 89% because 89+11 = 100.
| | 03:57 | So that's what my printer has told me
is where I want to have my white with
| | 04:01 | detail. I'm going to go ahead and
click OK to apply that number. I don't want
| | 04:05 | this as my default color right now
because I'm just doing a demo, but typically
| | 04:09 | yes, you would want that. I'm going to
click on that point. Now when I do that
| | 04:13 | I all of a sudden shifted those whites
and in addition, I have a little bit of
| | 04:17 | a color shift or perhaps a color correction.
| | 04:19 | Well let's say that all I want is the
tones to be corrected and not the color.
| | 04:23 | Well we will fix that in a second.
Okay well what about the blacks? We are
| | 04:27 | going to navigate back to the grayscale
file here and with our blacks, remember
| | 04:30 | it was 98%. So our blacks, that's going
to be 2. So I'll navigate back to that
| | 04:35 | file, double-click the black eyedropper,
we are going to change the brightness
| | 04:38 | value to 2%, click OK to apply that.
Typically you would say Yes, but for me,
| | 04:43 | I'm going to say No because this is
just a demo and I'm going to click on my
| | 04:46 | blacks up there.
| | 04:47 | Now, one of the things that's
happened is we can see our before and after,
| | 04:50 | there is a color shift, right? Well, if
I just want to tone shade so the image
| | 04:55 | prints properly, I'm going to then
take this blend mode all the way down to
| | 04:59 | Luminosity. Now the colors will shift
a little bit but there is going to be
| | 05:02 | much less of a color shift, mostly toned,
mostly brightness values. Now what I
| | 05:07 | have done here is I have ensured that
this image is going to print well, that
| | 05:11 | my blacks are going to print well and
that my whites are going to print well.
| | 05:14 | Now where am I coming up with these
numbers is just by way of review and are
| | 05:18 | these numbers something that you are
going to use? Well no, not at all. These
| | 05:21 | are make believe numbers, what's most
important is that you print out this
| | 05:24 | grayscale or one of those grayscale
wedges and again you can also use the
| | 05:28 | grayscale that we saw here in this
raw winner file, right? You are going to
| | 05:32 | print that out and say you know what?
Based on the print, the actual artifact,
| | 05:36 | I see why would detail coming in here.
I'll then sample that point and then
| | 05:40 | measure it and then apply that
measurement that I have discovered to an actual
| | 05:44 | photograph so that I can get accurate
and good highlights as well as accurate
| | 05:48 | and good shadows.
| | 05:50 | Now a lot of time when people first
discover this concept of test printing and
| | 05:54 | getting their whites and their blacks
in appropriate place, they start to say,
| | 05:57 | Wow! It's kind of little bit confusing.
But one of the things that I have found
| | 06:00 | is that the more you experiment with
this and dig into this and perhaps watch
| | 06:03 | these movies again and then try it on
your own, you will really start to see
| | 06:06 | the benefit of this. Because what will
happen is your prints will start to look
| | 06:10 | better and better.
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|
|
9. Desktop Printing WorkflowStarting with Camera Raw| 00:00 | In this chapter we are going to
walk through a typical Desktop printing
| | 00:03 | workflow starting off with a raw photograph.
| | 00:06 | Here I have this fun photograph that I
captured of my good friend Sarah and her
| | 00:09 | bridal party there and I climbed up in
a tree to get this perspective. It's a
| | 00:13 | raw file. So the first thing that I
need to do is open this up in Camera Raw by
| | 00:17 | pressing Command+O on a Mac. That's
Ctrl+O on a PC. That will open up Camera
| | 00:22 | Raw inside of Adobe Photoshop.
| | 00:23 | Now when I'm working in Camera Raw, I
like to always work in full screen, so
| | 00:27 | you can press the F key to toggle
between the Full Screen View Mode and the
| | 00:30 | Regular View Mode. You can also
click this icon here to do that as well.
| | 00:34 | All right, well the next thing that
I'm going to do is rotate this image. So
| | 00:37 | I'll click on the Rotate icon because
I want to make this photograph a little
| | 00:40 | bit more about Sarah. Rather than
having her at the bottom of frame, I'll have
| | 00:43 | her right there in the middle of frame.
Later I'll be cropping this image. Yet
| | 00:47 | for now, I really want to determine
if I have enough information and if the
| | 00:50 | information that I have is good and
that's really important in regards to printing.
| | 00:54 | So in order to do that, I'm going to
press Command+Option+0, on a PC. That's
| | 00:59 | Ctrl+Alt+0. Next I'll press the
Spacebar key and I'm going to click and drag
| | 01:03 | and I really want to focus in on the
bride here Sarah. Now I have great detail,
| | 01:07 | I don't see any potential problems, so
I'm pretty good to go. So I'll then zoom
| | 01:11 | back out to fit in view and I'll do
that by pressing Command+0 on a Mac or
| | 01:15 | Ctrl+0 on PC.
| | 01:17 | Now if Camera Raw is new to you I have
a whole other training title on Camera
| | 01:21 | Raw, be sure to check that out to learn
how to use Camera Raw. We are not going
| | 01:23 | to really talk about how to use Camera
Raw in depth here, so again dig deeper
| | 01:27 | into that by watching that other
training title. But here, all that I'm going
| | 01:30 | to do is simply click on this Auto
button here, this will be give me some auto
| | 01:34 | adjustments, so we will try to modify
the image just a little bit and the other
| | 01:37 | thing that I'm going to do is make
sure that my Workflow Options are at
| | 01:40 | the Native Size.
| | 01:41 | I will go and click on the link at the
bottom. What I mean by that is you can
| | 01:45 | see there is nothing subtracted or
added to the native size of the chip for
| | 01:49 | this particular camera. It's a 12.7
megapixel chip, so I have the native size.
| | 01:53 | So when I zoom in all the way as I did
there with that shortcut previously, I'm
| | 01:57 | seeing the actual pixels, not
anything taken away or not anything added.
| | 02:01 | All right, great. So now that I have
gone through this and I'm at my Native
| | 02:04 | Size, I'll go ahead and click OK. I'm
ready to make a few subtle improvements
| | 02:08 | and enhancements in Camera Raw, so I'll
go ahead and do that now. I'll increase
| | 02:11 | the Temperature just a bit because I
want to warm this image up, just a touch
| | 02:14 | there. Clarity, I'm going to increase
as well, add a little bit of Contrast, a
| | 02:18 | touch of Fill Light and I also be
modifying the overall tone inside of
| | 02:22 | Photoshop. So I'm not too concerned
about my Camera Raw controls here though.
| | 02:25 | Next, I'm going to do is go to the
Detail panel. I'll just make sure I have a
| | 02:28 | low amount of Detail Sharpening. I
don't want to do that because I have a
| | 02:32 | photograph of people, this will then
focus the native sharpening on the edges a
| | 02:36 | little bit more. I'm going to make
sure I have a little bit of Luminance and
| | 02:39 | Color Noise Reduction. Most of her
images will need a touch of that and at this
| | 02:43 | juncture I'm going to say, you know
what? This image is fine. It's a pretty
| | 02:46 | good file, it's good to go, let's go
ahead and open this image up in Photoshop.
| | 02:50 | So I'll click Open Image, it will then
open this file up at it's native size
| | 02:54 | inside of Photoshop, I'll press F to
go to Full Screen View Mode and here we
| | 02:59 | are ready to begin the work in
Photoshop and we will do that in the next movie.
| | Collapse this transcript |
| Resizing in Photoshop| 00:00 | Now that we have this image open in
Photoshop, we are ready to resize this
| | 00:03 | photo yet before we do that I just
want to double check to make sure I have
| | 00:07 | good information at 100%. Now do you
remember the shortcut to zoom in into 100%
| | 00:11 | in Camera Raw? Well the same
shortcut works here. On a Mac, that's
| | 00:15 | Command+Option+0, on a PC, that's Ctrl+
Alt+0 and then that takes us into 100%,
| | 00:21 | we can press the Spacebar key and then
click and drag to move around the image
| | 00:24 | and again we are just looking to make
sure we have good detail, good sharpness,
| | 00:27 | good color, good contrast, all of
those things at 100%, okay, great.
| | 00:30 | Well, next what I'm going to do is go
ahead and press Command+0 on a Mac or
| | 00:35 | Ctrl+0 on a PC that takes us to this
fit in view mode, I can also zoom in and
| | 00:39 | out by pressing Command on a Mac,
Ctrl on a PC plus or minus. Again, I just
| | 00:44 | want to do a quick double check, all right.
| | 00:45 | Well we are now on to the wonderful
world of image resizing. When we navigate
| | 00:50 | to our Image pulldown menu, you will
notice you have the option for Image Size.
| | 00:53 | There is also a shortcut there. One
of the things that I want to do here is
| | 00:56 | just again take a look at what we have.
So in this case, we have a file about
| | 00:59 | 30 megs. We can print this currently
at 300 pixel per inch is about 9 by 14.
| | 01:04 | One of the things that I like to do
when printing is actually typically don't
| | 01:08 | print it at the resolution of 300, I
print it something much less. So I'm going
| | 01:11 | to go ahead and change those numbers.
So I'll click Resample Image off, I'm
| | 01:15 | going to change my Resolution to 240
and then I'll go ahead and click Resample
| | 01:20 | Image back on.
| | 01:21 | All right, well now that I have that I
see that I can get away with printing
| | 01:24 | this a little bit bigger and just for
the record, you can print it at much
| | 01:27 | lower resolutions as well. The next
thing that I want to do is double-check my
| | 01:31 | Image Interpolation. In this case,
it's set to Bicubic Sharper, which is best
| | 01:35 | for reduction. So if I'm going to
reduce the size of this image, I'm definitely
| | 01:39 | going to be wanting to use Bicubic Sharper.
| | 01:42 | Now we will have to see what we are
actually going do in regards to the image
| | 01:44 | size, we don't really know and I'm not
actually going to change the image size
| | 01:48 | in this dialog window, rather I'm
going to crop the file. So this isn't going
| | 01:52 | to be too relevant for me but I'll show
you where it will be relevant in a moment.
| | 01:56 | All right, if I wanted to resize the
image here, what I would do now is simply
| | 02:00 | change the height or the width or I'll
change the height or the width here in
| | 02:04 | the pixel dimensions, either way it
would work. Yet what I'm interested in
| | 02:07 | doing is cropping this image as a square,
I really like the square format and I
| | 02:12 | think this particular cluster of people
there will work really well inside of a
| | 02:16 | square. So for now, I'm going to go
ahead and click OK, all that I have done is
| | 02:20 | change the resolution.
| | 02:21 | Next, I'm going to grab the Crop tool
by pressing the C key. Now in my crop,
| | 02:25 | you can see that I can choose a
number of different crops, I'm going to go
| | 02:28 | ahead and select perhaps 5 by 4 inch
here and once I do that, you can see that
| | 02:32 | the options change up top and I'll
click out of that. Well I don't want a 5 by
| | 02:36 | 4 inch, what I'm really interested in
let's say 5 by 5 inch, my resolution of
| | 02:40 | 240 pixels per inch.
| | 02:43 | Now in this juncture, it may be that
I'm going to be sizing this image down
| | 02:47 | because I may end up cropping into
an area, which then will resize the
| | 02:50 | photograph. Well what Bicubic
interpolation is going to be used? Well, the
| | 02:55 | Bicubic Interpolation that will be
used will be whatever I set in my
| | 02:58 | Preferences. Now the quickest way to do
that on a Mac or a PC is Command+K on a
| | 03:03 | Mac, Ctrl+K on a PC.
| | 03:06 | Now here we have our default image
Interpolation. Now just in case I'm going to
| | 03:10 | re-resizing this image down, I need to
make sure I have this Bicubic Sharper
| | 03:14 | best for reduction. Now if you are
going to increase the image, you will change
| | 03:17 | that to a default, a best for
enlargement and the reason we are changing the
| | 03:21 | default here is because whatever we
set here is what will be used by the Crop
| | 03:25 | tool. We will go ahead and click OK.
| | 03:26 | Next, we are going to click and drag to
expand that crop as a 5 by 5 inch. Now
| | 03:31 | typically when you are cropping, what
you want to do is not really cut into
| | 03:34 | people too much, you don't want to cut
off arms or elbows or tops of head but
| | 03:38 | it's already happening a little bit
here and this group of people are so
| | 03:42 | crowded together I kind of like that
and I'm going to go with that. I'll hold
| | 03:45 | down the Shift key and I'm going to
bring this cropping even further, and I'm
| | 03:48 | going to try to bring it in really
tight just so that I have this really nice
| | 03:51 | close group feel to the image.
| | 03:54 | Here what I'm doing is just modifying
the crop till I get something that I
| | 03:56 | like. I can then use the arrows key to
nudge this around. And a lot of times
| | 04:00 | what happens is if you crop in like
this so that you have a repeating pattern,
| | 04:04 | in this case, the kind of repeating
pattern of people, it can create a little
| | 04:07 | bit of sense of excitement or if it's a
repeating pattern that goes all the way
| | 04:11 | to the edges and it feels really
crowded, the mind will imagine that that
| | 04:15 | pattern kind of continues outside of the frame.
| | 04:17 | They can just give this illusion of a
little bit of excitement, a lot of people
| | 04:21 | there, so I'll go ahead and apply
that crop and press the Enter key. And I
| | 04:24 | shouldn't say a lot of people, but what
I should say is what it will do is then
| | 04:28 | give the sense of like, wow! This is
the kind of the moment, we are not really
| | 04:31 | focusing in on the landscape anymore
but really the people and although I have
| | 04:35 | cropped off an elbow and elbow and part
of a head which typically I don't like
| | 04:39 | doing with this particular
photograph, I kind of like it.
| | 04:42 | All right, well let's go ahead and
confirm our image resized. We can open up
| | 04:45 | the Image Size dialog window by
pressing Command+Option on a Mac, Ctrl+Alt on a
| | 04:51 | PC and then the I key and here you can
see I have this 5 by 5 image. It's about
| | 04:55 | a 4 meg file now and that will print
really well as a 5 by 5 photograph.
| | 05:00 | All right, well now that we have done
that, we are ready to do a little bit
| | 05:03 | more work in Photoshop to prep this
file for printing and we will do that in
| | 05:07 | the next movie.
| | Collapse this transcript |
| Setting the white and black points| 00:00 | We are now ready to begin to prepare
this file for print. One of the things
| | 00:03 | that I want to do here is make sure I
have good detail in my blacks and my
| | 00:07 | whites. Now in order to do that, I'm
going to go ahead and navigate to the
| | 00:10 | Adjustments panel and click on the
Threshold icon there. I'm just going to use
| | 00:14 | this to try to find my deepest blacks
and also my brightest whites. So when I
| | 00:17 | do that, I can see that I have some
deep blacks here. I'll press the I key to
| | 00:21 | select the eyedropper
and I'll Shift-click there.
| | 00:23 | Now all this is doing is just setting
a little points saying, "hey! Here is
| | 00:26 | where you can find some deep blacks."
Then I'll go ahead and click and drag to
| | 00:30 | the right and here I'm going to find
some nice bright whites on these roses
| | 00:33 | over here. I'll Shift-click to set
another point. Now do I need this layer
| | 00:36 | anymore? No, not at all. So I'll
delete it, I'll press the Delete key. Now I
| | 00:40 | love that in CS4 you can delete
layers simply by pressing the Delete key.
| | 00:44 | The next thing that I'm going to do
is go ahead and navigate to my Curves
| | 00:47 | adjustments and I'll click on the
Curves icon there. I'm going to go ahead and
| | 00:51 | open up the Y eyedropper. I'll double-
click that. Here I can select a target
| | 00:55 | highlight color. I'm just going to use
a default color here. I have 95%.
| | 00:59 | You can see that's the last number that I
used and that's the brightness value of
| | 01:02 | 95%. I'll click OK to make sure I have
that. Then I'll sample this point here.
| | 01:07 | Okay, great.
| | 01:07 | Now I'm going to go to my black point.
I'll double-click that eyedropper, I'm
| | 01:11 | going to change that to 5% of my
brightness value. Again, those were the last
| | 01:15 | percentages that I used, so I
remember those. I also had set those as my
| | 01:19 | defaults in a previous movie. So go
ahead and click OK and then I'm going to
| | 01:22 | sample this area of the hair. Now
when I see that, one of the things I'm
| | 01:25 | noticing is it's bringing out some
more detail there in the hair. That's just
| | 01:29 | going to help us, so that
this image prints better.
| | 01:31 | Now one of the things that happens
sometimes is when you do this, it creates a
| | 01:34 | little bit of a color shift or in my
case, it removed a little bit of the
| | 01:37 | warmth from the image. It's real subtle
but if we zoom in a little bit, you can
| | 01:41 | see here is our before
and then here is our after.
| | 01:44 | Now this image, perhaps, is a little
bit more color correct but I'm interested,
| | 01:48 | perhaps, in having a little bit of that
warmth in the image. So what I'm going
| | 01:51 | to do here is click on this
particular adjustment layer and make sure I'm
| | 01:54 | targeting that Curves layer and take my
blend mode to good old Luminosity. Now
| | 01:58 | here all it's going to do is work
on the overall luminance value or the
| | 02:02 | brightness value. So I have more
detail in the shadows there. If I zoom in on
| | 02:05 | that particular area of the hair, we
can especially see that. I'm definitely
| | 02:07 | going to have that print a little
bit better. Well, let's zoom out.
| | 02:11 | Well, now that we have modified the
overall tone, we are ready to work on the color
| | 02:14 | and we will do that in the next movie.
| | Collapse this transcript |
| Checking skin tone| 00:00 |
In this movie what we are going to do
is just double check to make sure that
| | 00:03 |
our skin tones are in a good place.
| | 00:05 |
Now, my guess is that they are pretty
good, yet I just want to double-check
| | 00:08 |
this. Also, as a side note, what I'm
going to do here is just briefly get into
| | 00:12 |
the topic of color correcting skin by
the numbers, but keep in mind, we cover
| | 00:15 |
that in detail earlier in this training
title. So if you haven't watched those
| | 00:19 |
movies, it definitely would be
worthwhile to dig into those movies before
| | 00:22 |
watching this one.
| | 00:23 |
So I'm going to go ahead and press
the I key to select the Eyedropper tool.
| | 00:26 |
Make sure my sample size is something
other than Point Sample; in this case 5
| | 00:29 |
by 5 Average will be fine.
| | 00:31 |
I'm then going to sample an area just
off of the highlight. I have a highlight
| | 00:34 |
on the forehead there. I'll hold down
the Shift key and click to set a point
| | 00:37 |
there. I'll change my numbers to CMYK Color.
| | 00:40 |
Now, sometimes it's a little bit
distracting to have all these numbers visible.
| | 00:44 |
You can remove numbers by holding down
the Shift key and clicking and dragging
| | 00:47 |
one of those points out. So go ahead
and hold down the Shift key and click and
| | 00:50 |
drag those points out, and then
I'll navigate back to the image there.
| | 00:53 |
Open up the Info palette, and here you
can see I have my CMYK mix. Now, what
| | 00:58 |
I'm looking for here is a cyan
amount that's one-third to one-fifth of my
| | 01:02 |
magenta, my yellow. What that means is
you multiply 8 by 3, that's 24, or 8 by
| | 01:07 |
5, that's 40. So I need to see a
magenta or a yellow value of somewhere between
| | 01:12 |
24 and 40.
| | 01:13 |
Now, are those numbers right in that
range? Yes, exactly. Now, my next numbers
| | 01:17 |
I want to work at are the magenta and
the yellow. I always want a little bit
| | 01:21 |
more yellow than my magenta. So in
this case, I'm in good shape, these skin
| | 01:25 |
tones look really good. The only thing
that I may want to do here is go ahead
| | 01:29 |
and create another Curves adjustment.
| | 01:31 |
So I'll go ahead and navigate back to
my Adjustments panel, Click on Curves,
| | 01:34 |
navigate to the Blue Yellow Channel,
and open up the Info palette and drag this
| | 01:38 |
out so I can watch this while I'm
working on it. In this Blue Yellow Channel,
| | 01:42 |
I'll click on the Target Adjustment
tool, and I'm simply going to click and
| | 01:45 |
drag down to add a little bit more
yellow to warm this up even more.
| | 01:49 |
Now, I have gone a little bit higher
than I typically would like to. Now, my
| | 01:52 |
magenta is lower than the yellow,
which is good. The yellow is now even more
| | 01:57 |
higher, yet it still fits in
this general recipe of numbers.
| | 02:01 |
Again, if you are thinking, Chris, I
have no idea what you are talking about.
| | 02:04 |
Keep in mind that there is more
information about this earlier in this training
| | 02:07 |
title. Here, basically what we want to
do is have a number of our cyan, where
| | 02:11 |
we can multiply by 3 or 5. When we do
that, we see that our magenta or yellow
| | 02:16 |
percentages are somewhere in that
range, and in addition, we have a yellow
| | 02:20 |
that's always higher than magenta. In
this case I'm just adding a little bit
| | 02:23 |
more yellow, just for the fun of it,
just to warm this image up a touch more.
| | 02:27 |
Now, another way that we could warm
this image up would be to click on the
| | 02:30 |
Adjustments Layer icon and choose
Photo Filter, and add a little bit of a
| | 02:34 |
warming filter.
| | 02:35 |
So I'm going to go ahead and do that
and look at my numbers. Now, are my
| | 02:38 |
numbers still in the range? Well,
they are a little bit off now, right?
| | 02:41 |
Now, if I multiply 3 by 5, it's 15.
If I multiply 5 by 5, that's now 25. So
| | 02:47 |
what I did here was I added a little
bit too much of a color shift, so this
| | 02:50 |
isn't going to really work for me. But
I could lower my Opacity, and I could
| | 02:54 |
lower that Opacity just so I can find
a place where I can bring those numbers
| | 02:57 |
back into range. When I do that I say
hey, those numbers still fit in that mix.
| | 03:01 |
Now, this image is much warmer, and
this is a little bit of a subjective edit,
| | 03:05 |
yet this is where things get a little
bit fun. Do you always want something
| | 03:08 |
that's perfectly color correct, or do
you want to add or enhance the photograph
| | 03:12 |
a little bit? Now, the
choice is really up to you.
| | 03:15 |
In my case, I want to warm this image
up a little bit, have a little bit of fun
| | 03:18 |
with that, bring out some more of
those vivid colors, and so I have done that here.
| | 03:22 |
All right. Well, now that we have
talked a little bit about color correcting
| | 03:25 |
the skin tones, just to highlight,
did we actually need to make those two
| | 03:29 |
adjustments? No, the image looks fine
here, and these final adjustments are
| | 03:33 |
pretty subtle, yet I thought that it
would be helpful in regards to printing to
| | 03:37 |
at least point out that one of the
things that I typically do in my printing
| | 03:40 |
workflow is I double check my numbers.
I make sure my numbers are in a good
| | 03:44 |
place before I actually get to the
process of printing the photograph.
| | 03:48 |
| | Collapse this transcript |
| Sharpening with Smart Sharpen| 00:00 | Now that we have worked on the overall
tone and color of this photograph we are
| | 00:03 | ready to sharpen it. The way that we
are going to sharpen this image is we are
| | 00:06 | going to navigate over the background
layer. We will right-click or Ctrl-click
| | 00:09 | the background layer and choose Convert
to Smart Object. This way we can use a
| | 00:13 | Smart Filter while sharpening this image.
Next let's double-click the Zoom tool
| | 00:17 | to take the image to 100% so we can
see nice details there, then we will
| | 00:21 | navigate to our Filter pulldown menu
and choose Sharpen and good old Smart Sharpen.
| | 00:26 | Now, the Smart Sharpen dialog open,
what I like to do is to try to align this
| | 00:29 | so I can see some of my image in the
background there. I can also see the
| | 00:33 | preview in this preview window, so I
have the best of both worlds. I'm getting
| | 00:36 | a little bit of larger preview and
align it with the background image if I can.
| | 00:40 | Now typically what you want to do
with Smart Sharpening is you want to have
| | 00:43 | your Radius is going to be pretty low
and our Amount, we are going to go to
| | 00:46 | about 100, we are on Advanced Lens
Blur. We are going to start with a low
| | 00:50 | Radius here, we are going to bring
our Amount up and I'm going to bring my
| | 00:53 | Amount up somewhere in the 130s
or so, and then I'm going to slowly
| | 00:56 | incrementally bring up this Radius.
| | 00:58 | Now, as I bring up this Radius what I'm
looking to do is to try to define where
| | 01:02 | I start to see halos. If I click on
the image and let go, I can see my before
| | 01:06 | and after. I'm going to start to see
haloing around edges like along the chin,
| | 01:10 | the necklaces, any areas of high
contrast and I'm going to try to find this
| | 01:14 | sweet spot for the sharpening here and
I like to find that sweet spot either
| | 01:17 | within an Amount somewhere in the 100s
or perhaps even the high 100s and again
| | 01:21 | it will just start to show me where
the haloing shows up and then once I see
| | 01:25 | where that haloing shows up I'll drop
my Amount to perhaps somewhere down 100%.
| | 01:29 | Now, there are quite a bit of
techniques that you can use for sharpening but
| | 01:33 | most importantly you just want to make
sure that you are not over sharpening
| | 01:36 | the image in addition you want to keep
in mind that what we are doing here is
| | 01:39 | called Output Sharpening. Where
sharpening based on how we want to output this
| | 01:43 | image it's going to be a 5x5 photograph,
so it's going to be a relatively small
| | 01:47 | right. And I have decided I want to
print this on Matte Paper let's say.
| | 01:51 | So again my Sharpening Amount is going
to be a little bit higher, than it would
| | 01:54 | be say on a Glossy paper. Because on
Glossy paper the ink isn't going to absorb
| | 01:59 | into the papers much so I don't need
to sharpen it quite as much. Here my ink
| | 02:02 | is going to absorb a little bit into it,
it's going to soften the image just a
| | 02:05 | touch so I have a little
bit higher sharpening amount.
| | 02:07 | All right, well I'll go ahead and
click OK to apply that and the nice thing
| | 02:11 | about this is I can click on this icon
here to see my before and after. Again
| | 02:15 | really paying attention to the
different details that I'm seeing. I can also
| | 02:18 | click into the mask, press the B key
to grab the Brush tool, change my Brush
| | 02:22 | Size by pressing the left bracket key
and then D takes me to my default colors
| | 02:26 | black and white, X flips those colors.
| | 02:29 | What I'm going to do is paint with
black along this edge of the face there and
| | 02:32 | also along the edge of the chin, just
to paint away any areas where I'm seeing
| | 02:36 | a little bit of haloing effect and
I'm doing that at a low Opacity of 40%
| | 02:41 | accidentally, I want this opacity to be
up to 100% because I want to mask this
| | 02:45 | off completely, paint this out complete
black there because I don't want those
| | 02:49 | edges to be over sharpened. There
already is a little bit of a halo there.
| | 02:52 | I don't need to overdo that. And so I'm
just going to paint around the image and
| | 02:56 | just make sure I cannot remove any other areas.
| | 02:59 | I am just paying special close
attention to the face because I don't want any
| | 03:02 | halos around the face and what a halo
is where that edge becomes a little bit
| | 03:06 | too strong, a little bit too strong
and little bit too harsh. I do want some
| | 03:09 | nice sharpness in the hair and the eyes
and the teeth and again I'm just going
| | 03:13 | to make my way through this document
and remove any halos that I see. I'm going
| | 03:17 | to remove a little bit of sharpening on
those teeth there because I definitely
| | 03:21 | don't want the image to look over sharp.
| | 03:23 | All right, well now that I have done
that we can turn this on and off and look
| | 03:26 | at our before and then after. If I
zoom in even further we are going to see
| | 03:30 | even closer look at the sharpening.
It's subtle, here is my before and there is
| | 03:34 | my after and if I zoom in even closer
so you can see that, here is my before
| | 03:38 | and after. Now what percentage rate
should you actually be at when evaluating
| | 03:42 | your sharpening? Well 100%. Double
click to your Zoom tool and there you can
| | 03:46 | see the actual detail that you will get
when you are printing. All right, well,
| | 03:49 | this image is now sharp. We are ready
to go through the rest of our printing process.
| | Collapse this transcript |
| Making soft proof corrections| 00:00 | Now that we have worked on the color,
and the tone, and the sharpness of this
| | 00:03 | photograph, we are ready to send it to
the printer, but first it's a good idea
| | 00:06 | to soft proof the image.
| | 00:07 | Now we have actually already talked
about soft proofing in the previous
| | 00:10 | chapter, so I'll just go over this
briefly here. What we are going to do is we
| | 00:14 | are going to navigate to our Image
pulldown and choose Duplicate, so that we
| | 00:17 | will have a copy of this photograph.
Next we will take this to the View, the
| | 00:21 | 2-Up view, so we can see this side by
side, press the Spacebar key, click to
| | 00:25 | reposition this, so we can
see some important information.
| | 00:28 | Then we are going to actually click in
the image that we will be printing and
| | 00:31 | we will navigate to the View pulldown
menu and choose Proof Setup and then
| | 00:35 | Custom. Here we are going to choose
Device to Simulate, a particular printer
| | 00:39 | and a particular paper type. Now
typically I print to either the Epson 2400 or
| | 00:44 | the 3800. Let's say we are going to
the 2400 this time and I have a couple of
| | 00:48 | different options here. If I choose
EnhMatte, for example, we can see that
| | 00:51 | there is quite of bit of a shift and
my blacks aren't quite as black. I don't
| | 00:54 | quite have as much saturation. I'll go
back to that Premium Glossy Best Photo
| | 00:58 | and we see a little bit of a different shift.
| | 01:01 | So let's say that I all of a sudden
decide, I want to get a little bit more
| | 01:03 | color out of this, little bit more
saturation. I'm going for that Premium
| | 01:07 | Glossy Paper. Now Rendering Intent
typically you start with Relative
| | 01:10 | Colorimetric, then if you have any
problems with banding or anything you go to
| | 01:13 | Perceptual. So I'll leave that on
Relative Colorimetric. Black Point is on,
| | 01:17 | Simulate Paper is on and I click OK.
Now I can toggle this on and off by
| | 01:21 | pressing Command+Y on a Mac, Ctrl+Y on
a PC. So there is my before and after.
| | 01:26 | Now is this soft proof actually doing
anything? No, it's just simulating how
| | 01:30 | this particular image may print on
that printer with that particular type of
| | 01:34 | paper. So now that I can see that, now
that I can see there is a little bit of
| | 01:37 | a difference between these two
images, I'm going to try to minimize the
| | 01:40 | difference there.
| | 01:41 | So I go ahead and click in my topmost
layer. Click on the Adjustment Layer icon
| | 01:44 | and choose Curves. With this image it
looks like all that I really need to do
| | 01:48 | is just to darken this up a little bit
and add a little bit of brightness as
| | 01:52 | well. So it's a subtle S curve and
again I'm just visually looking at the two
| | 01:56 | images side by side. Here is my
before and after just bringing that out a
| | 02:00 | little bit more and that looks really nice.
| | 02:02 | Now if I turn the Soft Proof off, so
go ahead and choose Proof Color, this
| | 02:06 | image will look too saturated, it will
look too contrasty. Well, it looks that
| | 02:10 | way because I made that adjustment
with the proof on. So let's turn that back
| | 02:14 | on in order to get these to look a
little bit better. So again what you do with
| | 02:17 | soft proofing is you turn on that
soft proof. You make a comparison, so you
| | 02:21 | compare a contrast and say you know what?
Hey, with that proof on I'm going to
| | 02:24 | make some adjustments so that the
final print will look that much better.
| | 02:27 | And again if you haven't experimented
with soft proofing, you definitely want
| | 02:31 | to do so because this process, it can
really speed up your overall printing
| | 02:35 | workflow and in addition it can help
you increase the accuracy between the
| | 02:39 | photograph that you are seeing on
your monitor and the final print.
| | 02:42 | All right well the last thing that we
need to do is go ahead and get rid of
| | 02:45 | this copy, so I'll go ahead and close
that. We don't need to save that. Take
| | 02:48 | this image to Full Screen View Mode.
This photograph is now ready to be sent to
| | 02:53 | my desktop printer.
| | Collapse this transcript |
| Introducing the Photoshop Print dialog| 00:00 | We are now ready to send this image
to our desktop printer. Now in the next
| | 00:04 | couple of movies, we are going to walk
through that process and you may notice
| | 00:07 | that the sound sounds just a little
bit differently because now I'm actually
| | 00:10 | working on one of my main studio computers.
| | 00:12 | All right, well let's go ahead and
navigate to where we can send this to our
| | 00:15 | printer and that's by going to
the File pulldown menu and choosing Print
| | 00:19 | or by pressing the shortcut key, Command+P.
So go ahead and select that option.
| | 00:23 | This will open up the Print dialog window.
| | 00:25 | Now the Print dialog window is packed
with valuable information. I like to
| | 00:29 | think of this dialog window as been
divided up into three vertical columns.
| | 00:33 | Here is one column where I have
Preview and also some soft proofing
| | 00:35 | information. Then in the middle, I'm
able to choose my printer and dial in a
| | 00:39 | few settings there and then finally in
the far right, here is where I'm going
| | 00:42 | to dial in all of my Color Management options.
| | 00:44 | Okay, well for starters, one of the
things that I need to do is to select the
| | 00:48 | printer that I'll be printing to. In
this case, I'm printing to the Epson 3800,
| | 00:51 | so I have gone ahead and selected that.
Now that I have selected that,
| | 00:55 | I'm going to go up to the Page Setup
options because the page setup that
| | 00:58 | I determine is really
contingent upon the particular printer.
| | 01:01 | So I'll go ahead and choose Page Setup.
Now in this Page Setup dialog, I need
| | 01:05 | to choose the particular printer. So
I'll go ahead and leave my Page Attributes
| | 01:08 | as-is, select the printer, Epson
3800. Now here, I'm going to choose a
| | 01:12 | particular paper type. Let's say that I
want to print this on this A3 size. So,
| | 01:16 | I could go ahead and do that and I
could determine the particular type of
| | 01:20 | layout that I want and
I'll go ahead and select OK.
| | 01:22 | Well, now my image appears much
smaller in this larger sheet of paper.
| | 01:26 | Now I realize I'm going to be wasting
a big piece of paper. So I go ahead and
| | 01:30 | navigate back to Page Setup and I'll
choose something much smaller and I'll go
| | 01:33 | ahead to that US Letter size and click
OK and now this 5x5 image looks a little
| | 01:38 | bit bigger on that sheet of paper.
| | 01:40 | Okay, well now that we set up the page,
I'm going to go ahead and click Center
| | 01:43 | Image off and I'm going to click and
drag to reposition this image. So it's a
| | 01:47 | little bit higher on the page just
because I think that will look nicer.
| | 01:50 | Now, the next option I have has to do
with scaling the print size. Now I can
| | 01:54 | Scale to Fit Media. It will resize the
image, or I can also increase the Height
| | 01:59 | or the Width here. Now typically, I
don't like to do any scaling inside of this
| | 02:03 | Print dialog window. I almost think
they included this in order to speed up your
| | 02:07 | printing process just when you want to
create a rough print. Typically what you
| | 02:11 | want to do is dial in the exact image
size before you actually get to this
| | 02:15 | dialog. So I almost always
skip this dialog in its entirety.
| | 02:18 | Now I can turn the visibility of this
bounding box on or off and again that's
| | 02:22 | just a visual which would then help me
scale or resize this. Well, I don't need
| | 02:26 | to scale or resize this image so
I'm going to obviously turn that off.
| | 02:29 | Okay, but what about this information
over here, the information in regards to
| | 02:33 | soft proofing? Well, in order to be
able to take advantage of those options,
| | 02:37 | I need to change something over here
in the right-hand column, the Color
| | 02:40 | Management column. We will take a
look at that column in the next movie.
| | Collapse this transcript |
| Color management and the Photoshop Print dialog| 00:00 | As we continue the printing process the
next place we want to go is this third
| | 00:04 | column or at least this column as I
call it here, where we can dial in some
| | 00:07 | Color Management options.
| | 00:09 | Now that being said, we can also go
to this pulldown menu and we can choose
| | 00:12 | Output. Now if we choose Output we can
add things like Crop Corner Marks and
| | 00:16 | then that can help us as we are
cropping our image. We can also do a few other
| | 00:19 | things here. But typically I find as a
photographer I rarely go to this menu.
| | 00:23 | Most of the time, I'm simply in this
Color Management menu. So I'm going to
| | 00:26 | focus in on that.
| | 00:27 | Now currently this document is
profiled in the Adobe RGB (1998) Color Space.
| | 00:31 | Great. Now color handling what do I
want to do? Do I want my printer to manage
| | 00:35 | the color or do I want Photoshop to
manage the color? Well, typically Photoshop
| | 00:38 | does a better job. So I'm going to
go to Photoshop to manage this color.
| | 00:41 | Now when I do that, all of sudden I
have some options over here. Now it gives
| | 00:45 | me a warning message. Remember to
disable color management in the printer
| | 00:48 | dialog box. That's going to be really
important. We don't need double color
| | 00:52 | management. If we have that, print
isn't going to look good at all. So what we
| | 00:56 | need to do is have Photoshop manage
our color and then we will disable Color
| | 01:00 | Management inside of our Printer
dialog when we get there later.
| | 01:03 | Okay well let's skip around a little
bit and jump back over here to these
| | 01:06 | options now that we have them. Well,
here what I can do is Match my Print
| | 01:09 | Colors, I can also select a Gamut
Warning which will show me out of gamut
| | 01:12 | colors and then display the Paper White.
| | 01:15 | Now in this case, I'm not seeing
very much, yet when I change my Printer
| | 01:18 | Profile, and I'll go ahead and scroll
down and select a paper that I want to
| | 01:21 | print to and let's say that I'm
going to be printing the Epson 3800 here,
| | 01:25 | Premium Glossy Photo paper (Pro98 PGPP
). Now these become really relevant. So
| | 01:28 | my Gamut Warning you are going to
see is this gray color and you can just
| | 01:31 | barely see it on some of the flowers
there that are a little bit out of gamut.
| | 01:35 | Now when matching the print colors,
it's going to show me that Soft Proof based
| | 01:38 | on this particular printer and paper
type. It's also going to show me my paper
| | 01:42 | white, i.e. the actual light of that
paper or trying to simulate the light
| | 01:45 | of that paper.
| | 01:46 | Now is this incredibly helpful here? No,
but it's just kind of a nice second
| | 01:50 | soft proof glance, right? Saying, Hey!
This is probably how this image is going
| | 01:54 | to look when it's printed.
So you say okay, great.
| | 01:56 | Well I need to scroll down to the next
option and choose a Rendering Intent.
| | 02:01 | Now we have talked a little bit about
Rendering Intents and I'll talk a little
| | 02:04 | bit more about them in the next
chapter but for now, one of the nice things
| | 02:07 | about this is when I scroll over this
option I get a full description down here.
| | 02:12 | Typically what you want to do with
photographs is choose Relative Colorimetric
| | 02:15 | first, if that doesn't work, if you
see some strange banding or some color
| | 02:19 | problems try Perceptual. And one of the
reasons why you want to choose Relative
| | 02:23 | Colorimetric first is what it does is
it just shifts the out of gamut colors.
| | 02:27 | So it doesn't shift the other colors.
For example, here in my Gamut Warning,
| | 02:30 | it's just some of the bright oranges
of the flowers. So all the other colors
| | 02:34 | will look as it is, but it's going to
shift those bright oranges and I know you
| | 02:38 | probably can't see those because this
is so small. But just imagine with me
| | 02:41 | that those are out of gamut. So
it's just going to shift those.
| | 02:44 | Now one of my colleagues, kind of said
it to me this way, just by way of kind
| | 02:47 | of a fun anecdote, he said, Well,
hey! Why don't you think of Relative
| | 02:50 | Colorimetric as that Rendering Intent
that gets rid of one of your relatives?
| | 02:54 | You know when your family just have
that one relative you don't want to have in
| | 02:57 | the photo, you just kind of want to
kick them out of the photo. Well that's
| | 02:59 | what this Rendering Intent does. Again,
it just works with those out of gamut colors.
| | 03:03 | Now on the other hand, Perceptual,
what that does is it says, Hey! Take the
| | 03:07 | whole color gamut. Let's take everyone
in the picture for example, and let's
| | 03:11 | say everyone, move over two steps and
then everyone moves over in a certain way.
| | 03:16 | So it looks at all the colors and
shifts all of them in a unique way. And
| | 03:19 | again, we will talk a little bit more
about this later but for now, I'm going
| | 03:22 | to go ahead and select Relative
Colorimetric, leave Black Point Compensation
| | 03:26 | turned on and now we have a couple of
more steps and we will talk about those steps
| | 03:29 | in the next movie.
| | Collapse this transcript |
| Final Print dialog settings| 00:00 |
We are now ready to send this
photograph to our desktop printer. And in order
| | 00:03 |
to do that we will simply click the
Print button. At this juncture what we are
| | 00:07 |
actually doing is exiting Photoshop,
we have now entered into the Epson Print
| | 00:12 |
dialog window, because I'm going
to be printing to the Epson 3800.
| | 00:15 |
Now whatever printer type you are
using, it doesn't really matter what will
| | 00:18 |
happen here is it will open that
printer's dialog window where you want to dial
| | 00:23 |
in a few options.
| | 00:24 |
Now most importantly what we need to
do is choose our Media Type and turn off
| | 00:28 |
Color Management. Now each dialog
window will look a little bit differently. So
| | 00:32 |
what you are going to need to do is go
through the settings for your particular
| | 00:35 |
printer. I'll go through the
settings for my printer just so you have an
| | 00:38 |
example of what you are looking for.
| | 00:40 |
All right. Well, what I'm going to do
here is click on this pulldown menu. Also
| | 00:43 |
I should say if you are not seeing many
menu options click on the icon next to
| | 00:46 |
the Printer, pulldown menu and
there you get a number of more options.
| | 00:49 |
Now, we are going to click on this
pulldown menu and the only place that I need
| | 00:52 |
to go is Print Settings. Now in the
Print Settings dialog window, I need to
| | 00:56 |
choose my Media Type and here I'm going
to go to Photo Paper > Premium Glossy,
| | 01:00 |
all right. That looks good.
| | 01:01 |
Color, it's going to be Color, not
Advanced B&W or Black. So I'm going to go
| | 01:04 |
ahead and choose Color. Color Settings
important step, right? We want to make
| | 01:08 |
sure to turn off Color Management
inside of this dialog. So the Color Settings
| | 01:12 |
are off, perfect.
| | 01:14 |
Now the Print Quality, there are two
options here. SuperFine or SuperPhoto.
| | 01:17 |
SuperFine will work well with this
image. Now we have High Speed, on this
| | 01:21 |
particular printer because it's a high-
end amazing printer, I'm going to leave
| | 01:24 |
High Speed on.
| | 01:25 |
Well, with a little bit of a lower-end
printer I might turn this off and here
| | 01:28 |
is why. What happens is when the print
is created? The ink is set down, right?
| | 01:32 |
And it moves from left to right. So
the ink is set down as the ink cartridge
| | 01:36 |
travels across the paper.
| | 01:37 |
With High Speed on, it sets down ink as
it goes left to right and then right to
| | 01:42 |
left as well. So it doesn't give much
time for the ink to dry which can result
| | 01:46 |
in a lower quality print. So you have
to experiment with that setting. But with
| | 01:50 |
this printer I know that High Speed,
leaving that on, it will work really well.
| | 01:53 |
All right, at this juncture we are
now ready, we have completed the entire
| | 01:57 |
process. All that we need to do is
simply click the Print button in order to
| | 02:01 |
print this image and at this point
what we want to do is wait on the edge of
| | 02:05 |
the our seat because there is
something so exciting about seeing that image
| | 02:08 |
roll out of the printer then
finally holding it in your hand.
| | 02:11 |
It's that final artifact that
completes the whole photographic loop from
| | 02:15 |
capture all the way to output and
there is something about that, that is just
| | 02:19 |
completely exhilarating to me.
| | 02:21 |
All right, well this wraps up our
conversation about printing to your desktop
| | 02:25 |
printer. I hope that these movies will
help you create many stunning, engaging
| | 02:30 |
and compelling photographic prints.
| | 02:33 |
| | Collapse this transcript |
| The final print| 00:00 | Hey, welcome back to my office. Come on
in. In this movie what I want to do is
| | 00:04 | talk about the final print. A lot of
times what happens is we print our images out
| | 00:09 | but they don't just feel quite
complete. Let's say even when we print our
| | 00:12 | images really big, like we have this
one up here. I have a number of large
| | 00:16 | format prints there.
| | 00:17 | Yet what we need to do is finish
them off in some way, shape or form.
| | 00:21 | For example, I had one of my former
students Todd Glaser, he printed this
| | 00:25 | photo for me and it's one of my all
time favorite surfers at one of my all time
| | 00:28 | favorite surf spots and I enjoy the
picture in this format, yet it feels a
| | 00:33 | little bit floppy. We can hear that
and feel that. It doesn't feel like it's
| | 00:37 | been formalized, that it's been completed.
| | 00:40 | Now there are a number of different
ways that we can do that. One way is to
| | 00:42 | simply mount our photographs on
gaterboard, and I like that format.
| | 00:46 | You can also frame your images as well.
But in this case, when I get this image
| | 00:50 | back from the framing shop or from the
local camera store that does this here in town,
| | 00:55 | I say, Oh yeah! I want to
hang that on the wall. I'm just like,
| | 00:58 | all right, that's the image!
That's that final photo!
| | 01:02 | What I want to do is just walk through
a couple of examples of that and again,
| | 01:05 | you can print or formalize your photos
in a number of different ways and
| | 01:09 | what we want to do here is just get you to
begin to think about that. Again, we have
| | 01:13 | a photograph. In this case we have
seen this one before but it feels floppy.
| | 01:16 | It's interesting yet it doesn't
quite feel as significant until we do
| | 01:21 | something with it.
| | 01:22 | In this case, it's one of the large
prints here but I just have it mounted and
| | 01:25 | when I have it mounted and it's really big,
I can actually see that. I think,
| | 01:29 | yeah, there is something there.
There is something to be reckoned with.
| | 01:32 | There is some permanence there.
| | 01:33 | One of the reasons that we love
photographs is because of their permanence and
| | 01:37 | again, just one more example for you
and then a quick thought. Here is another
| | 01:40 | photograph that I took, in this
case of World Champion pro surfer Shaun Thomson.
| | 01:45 | In this case, it's a little bit of a
smaller print but it still has some
| | 01:49 | substance to it. It feels like there
is something there. And you know framing
| | 01:52 | or mounting can really do that for
a photograph. We can also do this in
| | 01:56 | different sizes and just to show
you some variety here, here we have a
| | 02:00 | photograph that's a little bit
bigger in this case, a larger print.
| | 02:03 | Now there is something that happens to
your photographs when they go large or
| | 02:07 | when they are framed or when they are
mounted in this case. And what happens is
| | 02:12 | again, it kind of formalizes the print
in a unique way and one of the things that
| | 02:15 | you will discover is that some prints
look great when they go big. Other prints don't.
| | 02:20 | Some prints look better when they
are small. And it really depends on the
| | 02:23 | subject matter. It depends on the
intimacy of the photograph. Sometimes if it's
| | 02:27 | something that's like a little
delicate something, let's say a delicate leaf,
| | 02:31 | when you make that big and you can
really see the intricacies and
| | 02:34 | the intimacies of those delicacies,
it's fascinating when it goes big.
| | 02:38 | Other times, when you have a
photograph that's really graphic and when that's
| | 02:42 | printed a medium size that
graphic shape become intriguing or engaging.
| | 02:46 | Another thing to think about in regards
to printing and how big you go is your
| | 02:50 | viewing distance and typically what you
do is you take the width let's say from
| | 02:54 | corner to corner in this case, and
then you double that. So you need to be
| | 02:58 | about this far away from this
photograph in order to enjoy it.
| | 03:01 | Now if you have a small space, like let's
say my office here, it's a pretty small space.
| | 03:05 | If I were to hang a wide range
of large format prints and here it would
| | 03:09 | overwhelming, you would want to back
away from them. So you can't typically get
| | 03:13 | away with hanging a ton of those. Yet,
if I had smaller images and I put those
| | 03:17 | smaller images in a row, it would be
inviting, it would draw me and I would want
| | 03:20 | to lean forward and look at them.
| | 03:23 | So as you get to the stage of creating
the final print, think about how you can
| | 03:27 | finalize your photographs, whether by
let's say mounting or overmatting or
| | 03:32 | framing. But whatever you do, take a
risk and spend a little bit of extra money
| | 03:37 | in order to formalize a few of
your prints. And just a few of them.
| | 03:40 | And you may be thinking, Oh! Gosh,
I don't have any extra money to do that.
| | 03:43 | Well then save up some money to do it,
because one of the things that I have
| | 03:46 | found is it helps me learn to see anew.
It helps me enjoy my photographs in
| | 03:51 | new ways and it also helps
others enjoy my photographs as well.
| | 03:55 | All right, well either way, I hope
that you enjoy creating your final prints.
| | 04:00 | Thanks for coming by my office. I'll
catch you in the next movie. Bye for now.
| | Collapse this transcript |
|
|
10. Speeding Up the Printing WorkflowSetting up a test strip print| 00:00 | In this chapter, I want to share with
you a few tips that will help you speed
| | 00:03 | up your overall printing workflow and
in this movie, what we are going to do is
| | 00:06 | talk about how we can create a test
strip and do test strip printing again in
| | 00:10 | order to speed up how we are
actually printing our photographs.
| | 00:13 | Now, there is nothing worse than
printing out a photograph and realizing, you
| | 00:16 | know what? The blues in that
photograph aren't quite blue enough and then
| | 00:20 | creating another print. So you know
there are now too blue and then going back
| | 00:23 | and forth and wasting all of this paper,
this time and this ink. So how can you
| | 00:27 | get around that? Well,
let's talk about that here.
| | 00:29 | Here I have a photograph of Ivan Basso
in a wind tunnel in San Diego. Now, what
| | 00:32 | I want to do is run a couple of test
prints. Now here is how I'm going to do
| | 00:36 | that. First, I'm going to grab my
Marquee tool by pressing the M key. I'm going
| | 00:39 | to then click and drag along
something that I think is kind of important.
| | 00:44 | In this case, I have a little bit of a
skin tone. I also have some blues from
| | 00:47 | the bike and I have a few other colors
in the mix as well. So, I'm selecting
| | 00:51 | something from the photograph that I
think is kind of important. Well, then I'm
| | 00:54 | going to Copy this selection into a
new layer. On a Mac, you can do that by
| | 00:58 | pressing Command+J. On a PC that's Ctrl+J.
| | 01:00 | Well, now that I have this test
strip on a new layer, we can turn off our
| | 01:04 | Background layer and see that we just
have this single strip here. Okay, well,
| | 01:08 | great. Well, how then can I use that
in a unique way in order to create a
| | 01:12 | print, which will give me a lot of
different information and help me create the
| | 01:16 | final accurate print.
| | 01:18 | Well, here is what we are going to do.
We are going to go ahead and hold down
| | 01:20 | the Command key on a Mac, Ctrl key on a
PC and click on the New Layer icon that
| | 01:24 | will create a new layer underneath our
Layer 1 and let's close the Adjustments
| | 01:28 | panel and the Color panel by double-
clicking the tab so we can really see what
| | 01:31 | we are doing here.
| | 01:32 | And now that I have this Layer 2, I'm
going to fill that with a color. We can
| | 01:36 | do that by way of shortcut or by
going to Edit > Fill and then selecting in
| | 01:40 | this case, White and click OK. Well,
now that I have that white, I'll click
| | 01:43 | back into my Layer 1, my test strip
there. I'm going to then select the Move
| | 01:48 | tool by pressing the V key.
| | 01:49 | Here I'll hold down the Option key on
a Mac, Alt key on a PC and I'm going to
| | 01:54 | click and drag with that key being
pressed down which will give me the ability
| | 01:57 | to Copy and Paste that
particular portion of the image.
| | 02:00 | So, again, on a Mac, you hold down the
Option key and on a PC that's the Alt
| | 02:03 | key and you click and drag and we are
going to do this multiple times so that
| | 02:06 | we have multiple strips of this
particular portion of the image.
| | 02:09 | Now, in this case, I ran out of space
over there, so I'll go ahead and click
| | 02:13 | back down to Layer 1 and I'll Option-
click and drag a little bit forward.
| | 02:16 | Again, so I have multiple test strips.
| | 02:19 | All right, well now that I have
all of these different strips of that
| | 02:22 | particular photograph, how can I use
those in order to speed up my overall
| | 02:26 | printing workflow? Well, we will talk
about how we can use these different
| | 02:29 | strips of our photograph in the next movie.
| | Collapse this transcript |
| Modifying the test strip print| 00:00 | Now that we have all of these test
strips, we are ready to begin to make some
| | 00:03 | modifications so that we can
determine the best print. Now you may be
| | 00:07 | wondering, okay Chris, why are you
actually doing this? Well, I'm doing this so
| | 00:10 | that I can have, in this case, seven
different types of prints. I can print all
| | 00:14 | of those on one piece of paper. I'm not
wasting a lot of paper. I can then make
| | 00:18 | an adjustment based on what I'm seeing
by this particular test. All right, well
| | 00:22 | let's take a look at what
the test might look like.
| | 00:24 | So I'll go ahead and reorder my layers
first. I'm going to click and drag this
| | 00:27 | one down and this one down so that I
have this real linear pattern. This is my
| | 00:30 | first image and then all the way over
to my last. Next, I'm going to make any
| | 00:34 | kind of adjustment. Now keep in mind,
I can make an adjustment based on
| | 00:38 | sharpness, on contrast, on color
adjustment, hue/saturation, color balance,
| | 00:43 | you name it. The sky is the limit.
| | 00:45 | In order to make this really visual,
in order to actually see how this works,
| | 00:49 | I'm going to make a desaturation
adjustment. Now I wouldn't typically
| | 00:52 | desaturate this image but again,
I think this will help you understand the
| | 00:56 | concept, so you can see how you
can apply this in your own workflow.
| | 00:59 | All right, well first I'm going to
click on the Adjustment Layer icon, choose
| | 01:02 | Hue/Saturation. I'm going to
desaturate 100 points. Next, I'll close the
| | 01:06 | Adjustments panel by double clicking
that. Here we could see that I have an
| | 01:09 | adjustment where I'm desaturating the
image 100%. I'll go ahead and hold down
| | 01:13 | the Option key on a Mac, Alt key on a PC,
hover over between these two layers,
| | 01:17 | my cursor changes and now I have
an adjustment which just affects the
| | 01:20 | underlying layer.
| | 01:22 | Next, I'm going to copy this and I'm
going to copy it by way of a shortcut.
| | 01:26 | Here is a real nice shortcut to use
when you need to copy layers. You hold down
| | 01:30 | the Option key on a Mac, Alt key on a
PC and then click and drag. So I'm going
| | 01:34 | to go ahead and click and drag this so
I have this adjustment between all of my
| | 01:38 | layers or on top of
every layer that I have here.
| | 01:41 | Next, I'll hold down the Option key on
a Mac, Alt key on a PC and then go ahead
| | 01:45 | and make sure that this adjustment is
just affecting the layer immediately
| | 01:49 | underneath it. In this case, I made a
little bit of a mistake there. So I want
| | 01:53 | to make sure that the adjustment layer
is affecting the photograph. So again,
| | 01:56 | adjustment layer, photograph, adjustment
layer here. Hold down the Option key on
| | 01:59 | a Mac, Alt key on a PC, photograph and
here you can see I'm going through my layers.
| | 02:03 | All right, great! Well
how then can I make some changes?
| | 02:06 | Well, I could make some changes by
modifying this particular type of adjustment
| | 02:11 | or for that matter, I could go and say,
you know what? This one I'll leave at
| | 02:14 | 100%. This one here I'm going to
click in and then I'll press the 8 key.
| | 02:19 | It will take it to 80%. I'll click in
the next one. I'm going to press 6 to go to 60%.
| | 02:24 | I'll go to the next one. I'll go
to 40% there and then I'll go to this
| | 02:27 | next one. In this case, I'm going to go
to 20% and then in this one, I'll go to
| | 02:33 | 10% and then finally the last one, I'm
going to go ahead and take this all the
| | 02:37 | way down to 0%.
| | 02:39 | So here you can see I have these
differing degrees of desaturation, because
| | 02:44 | let's say one of the things I've
decided is that this image is a little bit too
| | 02:47 | saturated. Yet I'm not exactly sure how
far I should actually go in regards to
| | 02:51 | desaturation. So I could then print
this test strip out and I would have seven
| | 02:56 | different options. Well here is the
original file and I could compare that to
| | 03:00 | these different options. When I
compare that to the different options, I say,
| | 03:03 | you know what? This one was too
saturated, but you know this one, it looked
| | 03:07 | really, really good based on the way
I was printing it on this premium glossy
| | 03:10 | paper and this was the one that I
really liked. Well, let's go ahead and find
| | 03:15 | that image and we can do that by right-clicking
or Ctrl-clicking and selecting the layer.
| | 03:20 | So in this case, it says Layer 1
copy 2. So let's take a look at the
| | 03:25 | adjustment. Well, it says desaturation
at an amount of 20%. Okay, well, we have
| | 03:31 | determined what we actually need to
do here. So at this juncture we can go
| | 03:35 | ahead and either get rid of all of
these other layers or we could group them or
| | 03:38 | hide them. I'm going to group them.
So I'll click on my topmost layer, hold
| | 03:42 | down the Shift key, click on my
bottommost layer and press Command+G to group those.
| | 03:46 | I don't need any of those test
stripes anymore or for that matter,
| | 03:50 | I don't need this Layer 2 anymore.
So I'll click on the original document.
| | 03:54 | Next, I'll go ahead and click on
the Adjustment Layer and choose
| | 03:57 | Hue/Saturation, desaturate 100%, do
exactly what I did before and then take
| | 04:03 | my Opacity to 20% and here,
I have the exact adjustment that I made
| | 04:08 | to that particular test strip. And I
was able to discover that particular
| | 04:12 | adjustment was the best adjustment for
this image by creating one single print
| | 04:16 | rather than creating three or four
or five or seven prints. So again,
| | 04:21 | the particular adjustments that I was
showing here with the desaturation isn't
| | 04:25 | something that I would typically do,
but I do make adjustments like that,
| | 04:28 | with sharpness or with contrast or with
color shifts or with color saturation trying
| | 04:33 | to determine how far I'm
going to saturate something.
| | 04:36 | Also keep in mind that you always
don't need to make these many test strips.
| | 04:39 | So I'll go ahead and turn that on for
a second. What I may have really needed
| | 04:42 | to do was only have three little
test strips in order to simplify the
| | 04:45 | process. Yet here in order to
understand the concept, what I was interested in
| | 04:50 | doing was showing a lot so you can really
see that there is quite a bit of transition.
| | 04:54 | When it comes to printing, your
transitions aren't so strong. They are a little
| | 04:58 | bit more subtle, because creating the
perfect print is all about making those
| | 05:02 | subtle fine-tuned adjustments in order
to get the print to just look perfect.
| | 05:06 | Yet here again for educational purposes
in order to teach the concept, I made a
| | 05:10 | pretty drastic adjustment. So what you
need to do in your own workflow is take
| | 05:14 | this concept and say okay, I kind of
get it. What Chris is taking about is
| | 05:17 | taking a slice of the image and
then making some modifications to that
| | 05:20 | particular slice, printing a bunch
of slices on one page, or a bunch of test
| | 05:24 | prints or test strips on one page in
order to determine what's best without
| | 05:27 | wasting ink, paper, or time.
| | Collapse this transcript |
| Understanding rendering intents| 00:00 | When you are printing your photographs,
one of the decisions that you will
| | 00:03 | eventually need to make is what
rendering you intent to use. Now, initially
| | 00:06 | this term may sound a little bit
strange. It is a little bit strange but
| | 00:10 | it's not that bad. Let me explain.
| | 00:12 | rendering intent has to do with how
you are going to render the color. Now,
| | 00:15 | when you think about color for a moment,
you have colors on your monitor,
| | 00:18 | for example, that are bright and
saturated because of the color is created via
| | 00:21 | light. Well, you just can't reproduce
those colors on the printer, so what then
| | 00:25 | do you do with those
colors that are "out of gamut"?
| | 00:28 | Well, typically, for photographs,
Relative Colormetric and Perceptual work best.
| | 00:33 | Now these two rendering intents
are actually pretty similar. Relative
| | 00:36 | Colormetric is the one you want to try
first. It keeps the colors that are in gamut
| | 00:40 | but it clips those that are out
of gamut. It keeps the most amount of
| | 00:43 | color, yet it can't posterize
the color that is out of gamut.
| | 00:46 | So, again for portraits and things like
that, Relative Colormetric is going to
| | 00:50 | be very good for you. Now, Perceptual,
what's that about? Well, this maintains
| | 00:53 | color relationships. It scales those
out of gamut colors and scales the other
| | 00:58 | colors in a similar way so that there
is a very similar color relationship.
| | 01:02 | On the other hand, we have
another rendering intent called Absolute
| | 01:04 | Colormetric, which maps colors from
any space to in gamut colors without
| | 01:09 | adjusting the white and the black points.
| | 01:12 | Then the final option is Saturation.
Now this option typically isn't good for
| | 01:16 | photographs because it doesn't
necessarily look real. It's not going for
| | 01:19 | realism or color relationships. Rather
what this rendering intent is going for
| | 01:24 | is just keeping those saturated
colors as saturated as possible.
| | 01:28 | Now, that being said there are times
and places where you have images and you
| | 01:31 | have colors that are just almost surreal.
I mean, in real life, you know those
| | 01:35 | real life colors that are amazing. So that
Saturation rendering intent might help you out.
| | 01:40 | All right, well now that we have
talked a little bit about these rendering
| | 01:42 | intents, the thing to keep in mind is
this. First, try Relative Colormetric.
| | 01:46 | If that doesn't work, try Perceptual or
Absolute. And what you are going to need
| | 01:50 | to do is to build up some experience
with these different rendering intents, so
| | 01:53 | you can actually begin to see how the
color shifts. Because color and color
| | 01:57 | gamut is a pretty abstract concept,
again, it's helpful to create some test
| | 02:01 | prints so you can learn to see color
and so you can learn to see how these
| | 02:05 | different rendering intents actually render
color and the out of gamut colors as well.
| | 02:09 | Therefore, what we are going to do is
talk about in the next movie how we can
| | 02:12 | create some test prints which will help
us test and begin to deconstruct how we
| | 02:17 | can work with rendering intents.
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| Test-printing rendering intents| 00:00 |
In order to better understand how
rendering intents actually work, here is what
| | 00:03 |
I recommend that you do. You go ahead
and find a file that you really like.
| | 00:07 |
For example, I have this photograph of
this jellyfish right here and I like the
| | 00:11 |
bright vivid colors. You then bring
that file into your document, like in this case,
| | 00:14 |
an 8x10 page.
| | 00:16 |
You then add one word next to this.
In this case, I'm adding the word
| | 00:19 |
Saturation next to this particular
image. I'll then print this particular
| | 00:23 |
image out with the saturation
rendering intent and then I'll go ahead and
| | 00:27 |
duplicate that folder and here, you
can see, I just have a duplicate of that
| | 00:30 |
same exact image, this image time on
perceptual. I'll then print this out on
| | 00:34 |
the same exact piece of paper, this
time using the perceptual rendering intent
| | 00:38 |
and then I'll do that one more time,
this time with relative colorimetric
| | 00:42 |
rendering intent.
| | 00:43 |
I'll then have one piece of paper with
three different prints on it with three
| | 00:46 |
different rendering intents so that
I can look at side by side. Now the
| | 00:50 |
advantage of doing this is that one,
I haven't wasted paper; two, I haven't
| | 00:53 |
wasted time; and three, I can compare
and contrast the different rendering
| | 00:57 |
intents all on one page.
| | 00:59 |
After you have done that, what you are
going to want to do is go through the
| | 01:02 |
same exact thing except make another
drastic adjustment. Let's say you make a
| | 01:06 |
strong Hue/Saturation adjustment.
Print this now on a new piece of paper with
| | 01:10 |
saturation on. On that same piece of
paper this time with perceptual and then
| | 01:14 |
on that same second piece of paper
with relative color colorimetric. And then
| | 01:17 |
again, make yet another adjustment and
do something and then do something very
| | 01:20 |
similar so that what you'll have is
you'll have three different prints.
| | 01:24 |
One print with these three different
rendering intents as so, another print
| | 01:28 |
with these three different prints with
this saturation, and yet a third print
| | 01:32 |
with these three different rendering
intents on one page again just showing a
| | 01:36 |
subtle change, a subtle
contrast in color saturation change.
| | 01:40 |
One of the things that I have
discovered myself and I think you'll discover as
| | 01:43 |
well is that you can begin to teach
yourself about rendering intents because
| | 01:47 |
it's one thing to read a description
of a rendering intent or to hear someone
| | 01:50 |
talk about a rendering intent. Now,
many times that's helpful because you just
| | 01:54 |
start to think about it, but really for
me, I actually have to hold the print,
| | 01:58 |
I have to compare and contrast and
begin to see what happens with certain colors.
| | 02:02 |
Now this particular image is really
saturated and it has very specific colors
| | 02:07 |
so I would also need to do the same
test with some other images, let's say,
| | 02:11 |
some "more normal" images. Let's say
a photograph of a person in available
| | 02:14 |
light or photograph of a person with
studio light and then again, that compare
| | 02:19 |
and contrast can be incredible helpful.
| | 02:21 |
And you know one of the tricks with
Photoshop is this. The trick is not just to
| | 02:25 |
learn Photoshop but to teach yourself
how to learn Photoshop so that you can
| | 02:29 |
continually learn and that you can go
above and beyond all the things that
| | 02:33 |
you have seen and heard.
| | 02:35 |
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| Batch-processing with actions| 00:00 | As you dig deeper into printing, one of
the things that you will soon discover
| | 00:03 | is that you will be doing some of the
similar things over and over again. Now
| | 00:06 | if you ever find yourself doing
something over and over again, you may want to
| | 00:10 | consider creating an action. You can
record an action that has a few steps in
| | 00:14 | it so that you don't have to apply
those steps to every image all the time.
| | 00:18 | Now one of the things that you may
need to do in regards to printing is send
| | 00:21 | your images to a lab. Now if you are
going to send your photographs to a lab,
| | 00:25 | typically they need to be in that sRGB
color space. And let's say for example,
| | 00:29 | that we have this set of images and we
have this images that I really like, yet
| | 00:32 | what I want to do is I want to send
these to the lab so they can be printed.
| | 00:35 | I need them to be resized. I need them
to be in a particular color space and for
| | 00:40 | that matter, I want to have a black and
white version of these photographs. So
| | 00:43 | how can I then do that?
| | 00:44 | Well what we are going to do here is
create an action to do a few of those
| | 00:48 | steps and then in the next movie
take a look at how we can use the image
| | 00:51 | processor to resize and to play our action.
| | 00:54 | So the first thing you want to do is
open up one of your images. I'll go ahead
| | 00:57 | and open up this file corwig_bridal_
party 01. Press F to go to Full Screen View
| | 01:02 | mode. Now here, I'm going to zoom in a
little bit on this photograph and next
| | 01:06 | I'll navigate to my Window
pulldown menu and open up Actions.
| | 01:10 | Now in the Actions panel, I'm going to
go ahead and create a new folder or a
| | 01:13 | new set of actions and here I'm going
to call this wedding and next I'll create
| | 01:17 | a new action by clicking on the New
Action icon and I'll name this one sRGB+bw
| | 01:23 | for black and white. I'll go ahead and
click Record to start recording this.
| | 01:27 | Here I'll navigate to the Edit
pulldown menu and choose Convert to Profile.
| | 01:32 | Now it's going to remember everything
that I'm doing here, so I'll go ahead and
| | 01:35 | convert to this sRGB color space and
I'll click OK to apply that adjustment.
| | 01:40 | Next, I'm going to click on the
Adjustment Layer icon and here I'm going to
| | 01:43 | choose Black & White and I'll go ahead
and convert this to Black & White and I
| | 01:47 | may customize this.
| | 01:48 | Now, all these images are pretty
similar, so I can get away with making an
| | 01:52 | adjustment that will probably work
across the board, a little bit more
| | 01:55 | brightness on those dresses is nice.
And then again just making a few minor
| | 02:00 | adjustments. Okay, great.
| | 02:01 | Well, now that I have done my black &
white conversion, I'm going to go ahead
| | 02:04 | and click on the icon and make a
subtle Curves adjustment. I'm just going to
| | 02:07 | brighten this image up and then
darken my black. Just going for a bit more
| | 02:11 | contrast here and trying to find a
sweet spot for this particular image. Here
| | 02:15 | is my before and after.
| | 02:17 | Again, really boosting those up black
and white, overall before and then after.
| | 02:21 | Okay, well let's take a look at the
action for a moment. So go ahead and open
| | 02:25 | up the Actions panel and pull this out
and take a look at what it has recorded
| | 02:28 | so far. Well it has recorded the
convert the profile, make the layer
| | 02:31 | adjustments, set the adjustments and
then all of a sudden, it also recorded
| | 02:35 | when I clicked that eye icon to
show or hide those different layers.
| | 02:39 | Now do I need it to do that every time?
No, but it's a nice illustration that
| | 02:43 | it records everything that you are
doing or most everything that you are doing
| | 02:46 | in Photoshop. So in my case, I'm going
to stop this action, I'm then going to
| | 02:51 | go ahead and select all of these
actions where I was just clicking on the eye
| | 02:54 | icon there to evaluate my adjustments
because you do need to evaluate them. And
| | 02:59 | then I'm going to trash that. I don't
need any of those. Delete all of those.
| | 03:02 | So in this case, it's just going to
convert this to sRGB, make a Curves and a
| | 03:07 | black and white adjustment.
| | 03:08 | Okay, well perfect. Well, then let's
restart this action, so we will click on
| | 03:12 | the Record icon and save this image
out. So here I'm going to go ahead and
| | 03:16 | press Shift+Command+S on a Mac, Shift+
Ctrl+S on a PC. And I'll save this out as
| | 03:22 | a Photoshop document, a PSD file so I
can have those adjustment layers in this
| | 03:26 | document and I'll click Save. Okay,
maximize compatibility, don't need to do
| | 03:31 | that, I'll click OK.
| | 03:32 | It now recorded that Save step.
Let's close the file. Command+W on a Mac,
| | 03:37 | Ctrl+W on a PC and save it out. Now
let's stop the action and navigate back to
| | 03:42 | the Adobe Bridge. Now here in the Adobe
Bridge, I have another version of this
| | 03:46 | particular file. It's a file that's
been converted to this sRGB color space.
| | 03:51 | It's now black and white and has
a Curves adjustment applied to it.
| | 03:54 | Well, how about applying that action to
the rest of the photographs. Well, what
| | 03:58 | I can do here is click on the next
photograph, hold down the Shift key and
| | 04:01 | click on my last image, navigate to
Tools > Photoshop and Batch. Now the Batch
| | 04:07 | command. I'm going to play from the
Set wedding, the Action sRGB+ BW. I'm not
| | 04:12 | going to override the Open commands,
I'll suppress the color profile warning
| | 04:16 | because I'll be converting that color
profile anyway and then I'll go ahead and
| | 04:20 | click OK. This will then walk through
these different steps in this particular action.
| | 04:24 | It will open up all those files, apply
the steps that I have created there and
| | 04:28 | we can see that the window in the
background has been filled up with these new
| | 04:31 | images, we will go ahead and exit out
of Photoshop by clicking on the Bridge in
| | 04:35 | the background and here we can see
that we have two different sets of images.
| | 04:38 | We have the color photograph and then
there is black and white image. Now the
| | 04:41 | nice thing about this particular type
of action is we can go into any of these
| | 04:45 | files by double-clicking them to open
them up. Now it's in that sRGB color
| | 04:49 | space. So let's use that profile. We
want to stay there for a moment and I can
| | 04:53 | go into this file, I'll close my
Actions panel for a moment, zoom in a bit and
| | 04:56 | say you know what? This particular
adjustment, this Curves adjustment, wasn't
| | 04:59 | quite strong enough here. So I'm going
to go ahead and increase this a little
| | 05:02 | bit more for this image.
| | 05:03 | Now it doesn't really need that,
but I'm just saying that you have that
| | 05:06 | flexibility, I can then save and close
the file. So the particular action that
| | 05:10 | we wrote was kind of helpful, right.
It converted all of these images to this
| | 05:14 | sRGB color space, black and
white and a subtle Curves adjustment.
| | 05:18 | All right, well as you can see, you
can use actions and also batch processing
| | 05:23 | of your files based on actions to
really speed up your workflow and in this
| | 05:27 | case what it's done is it has spread
up our workflow so far in regards to
| | 05:30 | converting to black and white.
| | 05:32 | But now I have all these Photoshop
documents. They are not resized. They are
| | 05:36 | pretty huge. I just want these to be
4x6 and take a look at how big they are.
| | 05:39 | So how then can I speed up the process
of resizing all these files, so that I
| | 05:43 | can then send these black and white
images to the lab so that they can printed.
| | 05:47 | Well we will talk about how we
can do that in the next movie.
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| The image processor| 00:00 | In this movie, we will take a look at
how we can use the image processor to
| | 00:03 | speed up our workflow even more. On the
previous movie, we converted a bunch of
| | 00:07 | images to black and white, sRGB color
space, and added a little bit of Curves
| | 00:11 | adjustment. Those are all Photoshop documents.
| | 00:13 | So I'm going to click over in my Filter
panel and I'm going to filter based on
| | 00:17 | the Photoshop document so that I'm just
seeing these black and white images and
| | 00:20 | I'll scroll trough these to make sure
that these are all the images that I want
| | 00:23 | to print. And these are some pretty fun
photographs and here is a photo tip for you.
| | 00:27 | If you want to create a dynamic
photo, get people to move, to walk, to do
| | 00:31 | something, to go across the street, to
get out of a typical scenario and you
| | 00:34 | can come up with some pretty
interesting expressions. I always like to keep
| | 00:37 | people moving when I'm creating
photographs because it has potential to bring
| | 00:41 | so much life to a photograph.
| | 00:42 | All right, well now that we have all
these photos, let's go ahead and click on
| | 00:45 | the first one, hold down the Shift key,
click on the last one, navigate to our
| | 00:48 | Tools pulldown menu, choose Photoshop
and then Image Processor. Now the nice
| | 00:53 | thing about Image Processor is that it
runs incredibly well, incredibly fast
| | 00:57 | and here I'm going to select the
images to process, the ones I have already
| | 01:00 | selected in Bridge. That's
why I already selected them.
| | 01:03 | Where do I want to save those? Well,
I'll just save them in the same location
| | 01:06 | and in this case, I'm going to save
these out as JPEGs. Do I need to convert
| | 01:10 | the profile, the sRGB? No, I don't
need to do that. Although if I hadn't
| | 01:14 | created that action and batch
processed those, I would need to do that. My
| | 01:18 | quality goes from 0 to 12. Now, I'm
going to print these at about 4x6.
| | 01:22 | So I can go ahead and take this quality
all the way up or if I want to decrease
| | 01:26 | my upload time, if I'm going to upload
them to a digital printing service, I
| | 01:30 | may want to take this down a bit. I
find with a quality of 10, the images will
| | 01:34 | still look really nice. Next, I'm
going to turn Save As TIF off. I don't want
| | 01:38 | to do that, I do want to resize these
JPEGs here. Now what size am I going for?
| | 01:42 | Well, I'm going to print these out at
4x6. So what we can do is let's say we
| | 01:45 | are going to print them at 300 pixels
per inch. Well, 300 times 4 is 1,200. So
| | 01:49 | I'm going to go ahead and enter in 1,
200 here, 300 times 6 is 1,800. So I'm
| | 01:54 | going to resize these to something
along those lines. 1800X1200 or if I want a
| | 01:59 | little bit more space, I could crank
this up a couple of hundred pixels as well.
| | 02:03 | Now why would you want to crank
these up a little bit? Now sometimes what
| | 02:06 | happens is based on the particular
type of camera that you are using, you may
| | 02:10 | have a three quarter size chip or you
may not have exactly a 4x6 ratio. So
| | 02:14 | there may be some cropping that happens.
So in that case, you may want a little
| | 02:17 | bit extra flexibility.
| | 02:19 | Okay, well I now have my file type, I
have some preferences down below, I could
| | 02:23 | run an action here if I wanted to. Now
I don't want to run an action because I
| | 02:27 | have already done that, but just to
illustrate what I could do is click around
| | 02:31 | action, I can choose that wedding
action that I had done before. So I actually
| | 02:34 | could have done all of these different
steps in one place with Image Processor.
| | 02:38 | But again, I have already done that so
I don't need to do that there, I'm going
| | 02:41 | to add my copyright. I'll include the
ICC profile as well and then all that I
| | 02:46 | need to do is click Run, here is where
I kick back and watch while Photoshop
| | 02:50 | does all of it's magic. It is now
completed out process. I'll go back to the
| | 02:54 | Adobe Bridge and in this resize folder,
there is now a subfolder titled JPEG
| | 03:00 | and here you can see I have those JPEGs
that have been resized, nice small file
| | 03:03 | size as well and what I'm going to do
is just open one of these up so I can see
| | 03:07 | if the file size and the
quality actually looks good.
| | 03:10 | So I'll double-click this file, it
will open it up in Photoshop use the
| | 03:13 | embedded profile because I'm going for
that sRGB color space, double-click the
| | 03:17 | Zoom tool to take the image to 100%.
Press F to go to Full Screen View mode.
| | 03:21 | Press F again to go all the way to
Full Screen View mode. This way I can pane
| | 03:25 | across the image and again I'm just
trying to evaluate this image, making sure
| | 03:29 | the detail looks good.
| | 03:30 | I want to get one last look at this
before I actually send this to the printer
| | 03:33 | and you know what? This one is looking
pretty nice so I can go ahead and press
| | 03:37 | Command+W on a Mac, Ctrl+W on a PC to
close the file. These images are now
| | 03:41 | ready for me to upload them to a
photo services site where I can have these
| | 03:45 | files printed.
| | 03:46 | And then closing, there is one last
thing that I want to say here. In these
| | 03:49 | last couple of movies, I have gone
through a particular and specific workflow
| | 03:53 | in regards to batch processing and
actions and easing the Image Processor. Well
| | 03:57 | I have done that, keep in mind that
you can use these different techniques in
| | 04:01 | the concepts that you have learned here
in order to do a whole wide range of things.
| | 04:06 | So as you will be getting to create
more and more prints, if you ever find
| | 04:09 | yourself repeating a process or
needing to speed up your process, use the
| | 04:13 | concepts and techniques that you have
learned here in order to accomplish what
| | 04:16 | you need to accomplish in
your own particular workflow.
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|
|
11. Bonus Chapter: Going to PressOverview and intro| 00:00 | In this movie, I want to introduce
the concept of going to press. As a
| | 00:04 | photographer eventually, you are going
to need to create a file and convert it
| | 00:07 | to CMYK in order to have a professional
printing press print that document for
| | 00:11 | you or on the other hand, you may be
sending a file to a client and this
| | 00:14 | particular file will be printed in a
magazine. In that case, you are also going
| | 00:17 | to need to convert that image to CMYK.
| | 00:20 | So what we are going to do is talk a
little bit about going to press and in
| | 00:23 | this movie, I just want to introduce
the topic. Now as I previously mentioned,
| | 00:26 | I'm on the photography faculty at
the Brooks Institute in Santa Barbara, California.
| | 00:30 | There is this really rewarding class
there. It's called Digital Color Workflow.
| | 00:34 | Now I don't actually teach that class
but it's a phenomenal class. One of the
| | 00:37 | things that students get to do is they
learn a ton about Photoshop, also about
| | 00:41 | CMYK. At the end of the class, they
learn how to convert their files to CMYK
| | 00:45 | and prepare them properly and actually
get a free promo card out of the deal.
| | 00:48 | They get 500 promo cards printed on a
professional press. These are all printed
| | 00:52 | at a local printing press named,
Ventura Printing, they do a phenomenal job.
| | 00:56 | Well, anyway I have this document here,
which is a template, which is the file
| | 01:00 | we get from Ventura Printing, but I
have included a little note here which
| | 01:03 | says, "This template has been resized
." Let me show you what I mean. I'll go
| | 01:07 | ahead and open up the Image Size
dialog window and here you can see the
| | 01:10 | Resolution is a mere 100 pixels per inch.
| | 01:13 | So I have sized this template down, so
that I could, of course, include it with
| | 01:15 | the train. Otherwise, the file size
would just be too big. It wouldn't really
| | 01:18 | be worth it. So we just keep that in
mind while working with a sized down file.
| | 01:22 | Yet that being said, the rest of the
process will be identical to what we would
| | 01:26 | do if we had the full resolution file.
| | 01:28 | So if you are actually going to go
to press, you would want to have your
| | 01:30 | correct resolution. We have talked a
little bit about file size and resolution
| | 01:33 | previously. So I'm not going to go
there now but just know that we are working
| | 01:36 | on a file that's been sized down in
order to speed up how we conceptually talk
| | 01:40 | about going to press.
| | 01:41 | All right. Well, the next thing that I
need to point out is that we have these
| | 01:44 | guides. These guides are showing me
something actually kind of important. Well,
| | 01:48 | what are they all about? Well, first we
need to know how to toggle those guides
| | 01:51 | on and off. If you go ahead and
press Command+Semicolon on a Mac or
| | 01:55 | Ctrl+Semicolon on a PC, you can toggle
the visibility of those guides on and off.
| | 01:59 | When we turn those guides off, you will
notice that there are some crop marks.
| | 02:03 | Now what's to do with the crop
marks? We actually need to submit this
| | 02:06 | particular promo card with these crop
marks turned on. Now before we actually
| | 02:10 | get to the crop marks, I should also
point out -- if we go back to Image >
| | 02:13 | Image Size, this is a promo card
that's been setup to finally be a 5x7 print.
| | 02:18 | Now it's a little bit larger than that, and why?
| | 02:20 | Well, it's a little bit larger because
we need some extra space. Let's turn the
| | 02:25 | guides back on because let's say this
is where it's going to be cropped, right
| | 02:28 | there. Well, if that's right where
it's going to be cropped, we actually need
| | 02:31 | to extend our image beyond that, if we
want a full bleed image, because it's
| | 02:35 | not always going to crop exactly on
that line. You know how printing presses
| | 02:39 | work. There is a little bit of a shift
when they are going to the press because
| | 02:42 | it's a pretty high-speed process.
| | 02:44 | So again, these crop marks are saying,
hey, you want to design your promo card
| | 02:48 | to this edge here. Although if you are
going to do a full bleed, you are going
| | 02:52 | to need to extend the image beyond
the second crop mark or the second guide
| | 02:56 | right here. So again, those crop marks
and guides give me a little bit of help
| | 03:00 | in that process. Let me show you what
I mean a little bit more specifically.
| | 03:03 | I will go ahead and create a new layer
by clicking on the New Layer icon and
| | 03:07 | then I'm just going to create a
simple shape here. It's just going to be a
| | 03:10 | shape that's black. Okay, well, let's
say that this is my photograph here and I
| | 03:14 | want this on the promo card. Well, if
I wanted it to be inside of those crop
| | 03:18 | areas, I would then click to move it.
I'm just using the Arrow keys now.
| | 03:22 | I'm nudging it around making sure it's inside
of this crop line and also this crop line here.
| | 03:26 | So it is inside those. So that
photograph won't be cropped in any way, shape or
| | 03:30 | form. Although, the one thing that's
kind of tricky is the border around this
| | 03:34 | may not be exactly equal, again
because as the paper is going to the press,
| | 03:39 | there may be a little bit of a shift.
But this is pretty good, but let's say on
| | 03:43 | the other hand, all of a sudden I
decide, I want an image that is just a full
| | 03:47 | bleed. I want it to go
everywhere. So here is my photograph.
| | 03:50 | Well, in this case what I need to
make sure I do is that this image extends
| | 03:54 | beyond the crop mark and beyond the
second guide as well. For that matter, it
| | 03:58 | would be a good idea to have it go even
further. Now this gets a little tricky
| | 04:02 | because you are saying, well, let's say
I want to have a particular crop on an
| | 04:05 | image. Well, when you go to full bleed,
you are going to have to give a little
| | 04:09 | bit of your composition away. What I
mean by that is you have to extend the
| | 04:12 | image beyond the original crop line.
| | 04:15 | Now do you have to go as far as I have
gone here? No, I just want to go as far
| | 04:18 | as that second guide in order to make
sure that it will be a nice clean crop,
| | 04:23 | but yeah, you are going to lose a
little bit of the image. Well, I'll delete
| | 04:25 | that layer because I just had that in
order to illustrate what we want to do
| | 04:28 | with the file.
| | 04:29 | Well, now that I have gone over a
brief introduction of going to press and of
| | 04:33 | using this particular document, let's
go ahead and begin to build our promo card.
| | 04:37 | Then we'll go through the different
steps that we need to take in order to
| | 04:41 | ensure that we have a beautiful print
that comes off of that printing press.
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| Using a promo card template| 00:00 | So now that I have introduced the topic
of going to press, let's navigate over
| | 00:03 | to the Layers panel. Here you can see
we have two different options. I have one
| | 00:07 | promo card here that I have printed
before which is a grid - horizontal.
| | 00:11 | In order to really be able to evaluate
this, we are going to need to navigate to
| | 00:14 | Image > Image Rotation > 90 degrees
Counter Clockwise. Here we can see that
| | 00:19 | promo card is made up
of a bunch of small images.
| | 00:22 | Now we have already talked about how
to create layouts like this. So I'm not
| | 00:25 | going to go into the layout aspect of
this but just to say hey, this could be
| | 00:28 | one promo card option, we have copy
down below. Here you can see I have
| | 00:32 | chrisorwig.com. Then something that
says life is a sojourn, live well, go for it.
| | 00:38 | The copy is really small and in
these two promo cards that I'm going to
| | 00:42 | show you, the typography is really,
really small. Now is that typical for promo cards?
| | 00:46 | No, nothing is really typical when
it comes to how you create your promo card,
| | 00:51 | but this is just a way to give you an idea
of some different promo cards that I've created.
| | 00:54 | All right. Well, let's go ahead and
turn on wave riders - vertical. Now in
| | 00:58 | order to view that one, we are going
to need to navigate to Image > Image
| | 01:01 | Rotation and then 90 degrees
Clockwise. Well, here we can see I have this
| | 01:05 | portrait of Jack O'Neill at his house
in Santa Cruz, California. If you are
| | 01:09 | not familiar with Jack, Jack is the
inventor of the wetsuit. He is also the man
| | 01:14 | behind the surf brand, O'Neill. He is
an amazing person and yes, the eyepatch
| | 01:19 | that he is wearing is made out of
wetsuit material. A really interesting guy,
| | 01:23 | fascinating character!
| | 01:25 | Well, let's say that we decide we want
to print this promo card or the other
| | 01:28 | one for that matter, but let's just
stick with this one so that we can at least
| | 01:31 | choose something. One of the things
that I want to do is zoom in a little bit.
| | 01:34 | I want to just make sure that my
image is falling inside of the crop marks.
| | 01:38 | Yes, it is. Well, that's nice and it
falls hopefully inside of that. Now my
| | 01:41 | copy, I want to be really careful with
this copy. I'll go ahead and select that
| | 01:45 | for a moment by right clicking or Ctrl
-clicking and then choosing that type layer.
| | 01:49 | Now if I move this down, even down here,
there is a chance that that will get
| | 01:53 | chopped off. Again, keep in mind that
although this is the crop mark, it's not
| | 01:56 | a hard-and-fast crop mark, meaning the
paper can't shift or move in while it's
| | 02:01 | being printed. So I need to have a
little bit of breathing room, right? So I'm
| | 02:04 | going to move that up a touch so
I have nice amount of space here.
| | 02:07 | Now this edge, I don't have quite as
much space. Yet if this is cropped a
| | 02:10 | little bit, I'm fine with that. That
would look just fine. Now up top, you will
| | 02:13 | notice that I do have some of the
image that's extending beyond this initial
| | 02:16 | crop mark. So this particular part of
the edge is going to get cut off, but I'm
| | 02:20 | fine with that. I think that will
look kind of neat. In addition, you are
| | 02:23 | noticing that I have extended the image
beyond that crop, so that what will be
| | 02:27 | cropped off will be a nice clean crop.
| | 02:30 | Well, that looks good. The image is now
in the correct position and we are set
| | 02:34 | and ready to go. The next thing that
we need to do is we need to convert this
| | 02:37 | to the CMYK color space. We are going
to do that with a particular profile that
| | 02:42 | was given to us by Ventura Printing.
We'll do all of that in the next movie.
| | Collapse this transcript |
| Converting to CMYK| 00:00 | In this movie, I want to begin to talk
about converting this file to the CMYK color space.
| | 00:04 | Now currently this particular document
is in the Adobe RGB 1998 color space.
| | 00:09 | So what I'm going to do is zoom in a
little bit by pressing Command+Plus on a Mac,
| | 00:12 | Ctrl+Plus on a PC. Next, I'm going
to open up the Info palette by pressing
| | 00:16 | the F8 key. I'll click and drag this
out of the panel group there and then I'll
| | 00:20 | close that group because I don't need it
but I do need the Info palette visible.
| | 00:24 | Now I want to try to find my brightest
and my darkest point and just make sure
| | 00:28 | that those numbers are in a good spot.
So I'm going to go ahead and click on
| | 00:31 | the Adjustment Layer icon and select
Threshold. Now I'm just going to use this
| | 00:35 | Threshold control and find my darkest
points. There is a nice deep tone up there,
| | 00:39 | grab the Eyedropper tool, hold
down the Shift key, Sample Size something
| | 00:42 | other than Point Sample. 5 by 5
Average will work fine. Shift-click to set a
| | 00:46 | point there and then click and drag to
the right to find the brightest point.
| | 00:49 | So we have some nice bright values over here.
| | 00:52 | Shift-click to set a point there.
There we have the RGB values for those two
| | 00:56 | points. Now let's delete this
adjustment layer by pressing the Delete key.
| | 01:00 | That's gone. Well, we're going to
click on the eyedropper and we're going to
| | 01:03 | change this to HSB, Hue, Saturation and
Brightness. We're going to pay attention
| | 01:08 | to that B value, the brightness value
there. We'll change both points here.
| | 01:12 | What we're looking for is a brightness
value that fits within our range. Now
| | 01:16 | typically, what we want to have for our
deepest blacks is somewhere around 5%.
| | 01:20 | Here you can see my brightness value
for the blacks is 5, the brightness value
| | 01:23 | for my whites is 95. So I'm in
pretty good place, right? I have good white
| | 01:27 | with detail. I also have good black with detail.
| | 01:30 | Now if I don't have good white and
black with detail, what I could do is use
| | 01:33 | Curves to make adjustments in order to
correct that, to bring out a little bit
| | 01:37 | more of the tones. Also, as a side note
keep in mind that while this image is
| | 01:41 | a little bit dark, it's probably
going to become just a touch brighter once
| | 01:45 | I've converted this to CMYK. Well, my
numbers are in a good shape. I'm going to
| | 01:49 | go ahead and close this Info palette
for now. Next what I'm going to do is
| | 01:53 | navigate to Edit and choose Color Settings.
| | 01:56 | Now in my Color Settings dialog, I need
to change my CMYK values. Now if I were
| | 02:01 | just going to convert this to CMYK
and I were sending this photograph to a
| | 02:04 | magazine that said, "hey! Can you
please give me your photographs in the CMYK
| | 02:08 | color space?" I would choose this
option, which is U.S. Web Coated (SWOP) v2
| | 02:11 | and that would work really well.
| | 02:14 | On the other hand, let's say that this
particular photograph was going to be in
| | 02:17 | brochure, which was a little bit more
of a high-end brochure, and it was a
| | 02:20 | sheetfed, meaning it was printed one
sheet at a time. In that case, I would
| | 02:24 | choose U.S. Sheetfed Coated v2. But
I'm not going to choose either of those
| | 02:28 | options. What I'm going to do is load
a profile that was given to me from the
| | 02:33 | printing press. So go
ahead and navigate to Load CMYK.
| | 02:37 | Now when I go to this Load CMYK
option, I'm going to navigate to my
| | 02:40 | exercise_files folder and I'll select
the Chapter 11 folder. Then here is the
| | 02:45 | CMYK profile that they've given us
to use when we're printing with their
| | 02:49 | printing press. So go ahead and load that.
There you can see it's now loaded in
| | 02:53 | to the CMYK value here.
| | 02:55 | Now this is really important that I
have this value loaded into this particular
| | 02:58 | point. On the other hand, one of the
things that I could do, if I don't have
| | 03:02 | this particular profile, is I could go
back to Custom CMYK. This will open up
| | 03:07 | the Custom CMYK dialog. Now I could
then go through and follow the numbers that
| | 03:11 | they've given me in
order to create a good print.
| | 03:14 | In this case, I'm going to give it a
name, something like Ventura Printing
| | 03:18 | Press or something along those lines.
Ink Colors, SWOP (Coated); Standard,
| | 03:21 | my Dot Gain for the particular type of
paper; and the printing press I'll be doing
| | 03:25 | is 16%. Then I'm going to go to
my Gray Color Removal; my Black
| | 03:30 | Generation, Medium; my Black Ink Limit
is going to be 95%; the Total Ink Limit
| | 03:35 | is going to be 350%.
| | 03:37 | Now you may be thinking, "Okay Chris,
I've no idea what you're talking about here."
| | 03:40 | Well, all that I'm doing here is
entering in the values that, let's say,
| | 03:44 | that Ventura Printing Press gave me in
order to create a good CMYK conversion.
| | 03:49 | Now I don't actually need to do this,
yet I wanted to show you this technique
| | 03:53 | because there are other ways that you
can create these custom CMYK conversions.
| | 03:57 | So in this case we would dial in the
values that they've given us from the
| | 04:01 | printing press.
| | 04:02 | Well, as I mentioned, I don't need to
do this yet I thought that would be kind
| | 04:05 | of helpful to show you that, in case
at one point you may need to enter in
| | 04:08 | those values. From my own experience,
the first time I see a dialog I'm like,
| | 04:11 | "Oh no! What if I mess up?" But now
simply by walking through this and showing
| | 04:15 | you how you may modify this,
it's actually quite easy, right?
| | 04:18 | Well, let's click Cancel because we
don't need to use that, but what we do want
| | 04:22 | to use is this particular profile that
was provided to us from Ventura Printing
| | 04:26 | or from whatever printing press you're
printing to. Well, go ahead and click
| | 04:29 | OK. Now what's happened? Absolutely
nothing. We've just set that up as the way
| | 04:34 | that we want to create the CMYK file.
| | 04:36 | Now what we need to do is navigate to
our Image pulldown menu, choose Mode and
| | 04:40 | then CMYK Color. It's going to convert
this image to the CMYK color space based
| | 04:46 | on the color setting that we just set
up in that previous step. So I'll go
| | 04:49 | ahead and choose Image > Mode > CMYK
Color. We don't want to flatten this file,
| | 04:53 | so I'll select Don't Flatten. It says
you're about to convert it using this profile.
| | 04:57 | This is what I want to do,
so I'll go ahead and click OK.
| | 05:00 | It's going to then convert that.
| | 05:02 | Now if I press Command+Z on a Mac, Ctrl+
Z on a PC, I'm going to see the before
| | 05:06 | and after. So I'll zoom in a little bit
so you can see some of that detail here.
| | 05:09 | Here is before, this was the RGB file.
Here is the CMYK file. So one of
| | 05:15 | the things you're noticing is, as I
mentioned, that CMYK file is a little bit
| | 05:18 | brighter. Now I think that's going to
look just fine. If I didn't think that
| | 05:22 | was going to look good, what I would
want to do is open up a Curves dialog and
| | 05:25 | then make some modifications in order
to get the image to look as I wanted it.
| | 05:29 | Yet in this case, I think it looks fine.
| | 05:31 | Now the last thing that I want to
do here is reopen the Info palette.
| | 05:34 | I'll do that by pressing the F8 key. Now,
in the Info palette, I'm going to change my
| | 05:38 | main eyedropper, which is this one here,
to Total Ink. Now when I hover over
| | 05:42 | the image, it's going to give me
the total amount of ink underneath my eyedropper.
| | 05:46 | Now this is really important because
we want to make sure that we don't have
| | 05:49 | too much ink that's going to be set
down on this promo card, because if we have
| | 05:53 | too much ink, 1) this thing will
never dry, and then 2) we'll start to have
| | 05:56 | some color problems and whatnot.
| | 05:58 | So when I hover over my darkest black,
I'm looking at that number, which is
| | 06:02 | somewhere for this particular
printing press between 320 and 350, no higher
| | 06:06 | than 350. So in this case it's sitting
right around to about 320, 330 or so.
| | 06:10 | That's going to be fine. I'm just
going to hover around some of these dark
| | 06:13 | points, just making sure that I don't
have too much ink that's going to be set
| | 06:17 | down on this particular promo card.
| | 06:19 | So as I hover over the image and
especially over these dark points here in the
| | 06:23 | photograph, I'm saying you know what?
I'm in good shape, this file looks great,
| | 06:27 | it's ready to be sent to the press. So I press
the F8 key to hide the Info palette for a moment.
| | 06:31 | Zoom out just to double-check
everything to make sure I'm in good shape.
| | 06:34 | I would then save this
file out, so I'll go ahead and press
| | 06:37 | Shift+Command+S. I'm going to
save this out, corwig_promo_cmyk.
| | 06:43 | I want to name it cmyk just to alert
myself to say this is the actual file that
| | 06:48 | I want to send to press. I'll go ahead
and click Save to save that file out.
| | 06:53 | Now my final step is going to be to
flatten the image. So I'll navigate to
| | 06:56 | Layer and then choose Flatten Image.
I'll go ahead and discard those hidden
| | 07:01 | layers, sure? Click OK. Now I have a
flatten document. Finally, save that.
| | 07:06 | So now we're ready to deliver this file
and we can do that simply by uploading
| | 07:10 | it to the printing press' site. Then
we will wait expectantly for these promo
| | 07:15 | cards to show up in the mail. Just as
a side note, if you haven't created a
| | 07:18 | promo card, maybe now is the time to do so.
| | 07:21 | Experiment with this process. There is
something quite fun about having a stack
| | 07:25 | of freshly printed promo cards. Mostly
because it's neat to see your images in
| | 07:29 | print this way and even more, it can
help you get work doing more of the type
| | 07:33 | of photography that you enjoy.
| | Collapse this transcript |
| Field trip to a printing press| 00:00 | Hey! Welcome. Chris Orwig here.
Here we are at V3 Data, Print, and Mail
| | 00:05 | and what we're going to do is we're going
to take a field trip. We are going to head
| | 00:07 | on in to the printing press and there
is something that's so wonderful about
| | 00:10 | doing this, because we captured our
image, we worked in Photoshop and here we
| | 00:13 | are then going to see the whole process.
| | 00:14 | One of the things that's fascinating to
me about going through that process is
| | 00:18 | that we are going to create 500 promo
cards. And if you are going to create 500
| | 00:22 | promo cards, they better be pretty good,
and because are committing this time
| | 00:26 | and energy and effort and going
through this whole process, it will kind of
| | 00:30 | sharpen our overall photographic
skills and even more it will formalize a few
| | 00:34 | thoughts for us. And that's a lot of
time what happens is when you go to press
| | 00:38 | and that's one of the reasons I
recommend you experiment with this, because
| | 00:41 | again you are committing to
something in a little bit different way.
| | 00:44 | A lot of times when you have a higher
level of commitment, it kind of requires
| | 00:47 | that you step things up a little bit,
that you get a little bit more involved
| | 00:51 | and by getting involved in that
process, a lot times the end results
| | 00:55 | are so much better.
| | 00:56 | All right, let's go ahead and head on
into the press. I look forward to walking
| | 01:00 | around the press with you and
having this little "field trip"
| | 01:03 | as we check out the process
of creating a promo card.
| | 01:08 | Hey, here we are inside of the
printing press. You can see that the tour is
| | 01:11 | taking place back there. What we are
going to do is stray away from the actual tour.
| | 01:15 | We are going to take a little bit
of our own behind the scenes tour so we
| | 01:18 | can see how this whole printing
press process actually works. Let's go.
| | 01:24 | All right, come on. As you can tell
the printing press is a very active place
| | 01:30 | and it's really noisy in here. So what I want
to do is talk a little bit about what we're doing.
| | 01:39 | And I want to talk about that
as we walk through the printing press.
| | 01:41 | Well, here we are right on top of the
printing press and one of the things
| | 01:46 | that's interesting to me about
printing is we talk a lot about CMYK
| | 01:49 | conversion and a lot of times that's
strange. Well, what exactly is CMYK?
| | 01:54 | But then when we actually look at the color,
we have our Cyan, our Magenta, our Yellow,
| | 01:57 | and our Black. You realize all it is, is
kind of like painting or when you were kid and
| | 02:02 | you worked with your different
paint colors. You combine different ones
| | 02:04 | together in order to create new colors.
And that's the same thing that's going
| | 02:08 | to happen here on our press. We are
going to take all of these different
| | 02:11 | colors, combine them together to
create our final full colored promo card.
| | 02:21 | Here we are right in the midst of the
printing press and yes, it is noisy but
| | 02:25 | also it's fascinating. You can see
these different colors here. We have the Yellow,
| | 02:29 | some of the Magenta, the Cyan, the Black
behind us. What's going to happen is the
| | 02:34 | printer is going to run through these
three different colors and plus that
| | 02:37 | black, and then we are going to create
this final beautiful photographic print.
| | 02:41 | All right, here we have the location
where they are going to create some test prints.
| | 02:45 | The fascinating thing about this
is what they are going to do is create
| | 02:48 | these test prints and then measure the
color, measure the CMYK values, they are
| | 02:51 | also going to get into the fine details
of these prints and just make sure this
| | 02:55 | is looking good. What they want to do
is make sure that this looks perfect
| | 02:59 | before they actually do the press
run and so they have this neutral light
| | 03:02 | environment and it's a
great way to evaluate things.
| | 03:04 | A lot of times what happens is you
come to this location in order to do a press check,
| | 03:09 | in order to say you know what,
does my promo card look good?
| | 03:11 | And here's the promo card that we created.
And as I look at that I say hey, you know what?
| | 03:15 | That looks great. The color and tones
look really nice. I can't wait
| | 03:18 | to see how the final
promo card actually turns out.
| | 03:23 | All of these inks are vegetable based.
They are either soy or linseed and
| | 03:27 | the nice thing about that is all the paper
is actually recycled. So these are just
| | 03:30 | the make-readys or the test prints. So
what's going to happen with these is
| | 03:33 | we are going to measure the color. Make sure
everything is looking perfect and these look great.
| | 03:38 | Then we are going to toss them
into the recycling bin and
| | 03:40 | again that's a nice aspect of printing.
| | 03:42 | A lot of times you think, where does
all of this stuff go? Well, everything
| | 03:45 | that's used in this process in this
case is really environmental, which is a
| | 03:49 | nice touch, and it kind of makes the
overall process a little bit better.
| | 03:53 | It's so fun to take a field trip and
get out of the classroom and here we are
| | 03:57 | at the press and there are a number of
other Brooks' faculty members here and
| | 04:01 | I thought it would be kind of fun to
have some of them step in front of the
| | 04:03 | camera just in order so that it feels
like hey, you are coming along with us to
| | 04:06 | the press. The first guy you are
going to hear from is Anacleto Rapping.
| | 04:09 | Now, Anacleto Rapping was Los Angeles Times
staff photographer for years and years.
| | 04:13 | The guy is a legend. His photography is amazing.
| | 04:17 | Anacleto Rapping >> It's really
quite amazing to see all the color being
| | 04:21 | printed on this high, glossy, stock,
wonderful reproduction.
| | 04:27 | A lot of us are used to just printing out of
a small Inkjet printer or a large Inkjet printer
| | 04:32 | and we think, ah! I've got a great
print. But to make 80,000 copies of
| | 04:37 | something and to watch that go through
is quite amazing. These presses run so
| | 04:42 | quickly. They can print 700 copies in
probably 10-15 minutes. It's absolutely
| | 04:48 | beautiful to see the finished product.
| | 04:59 | Chris Orwig >> The next person you are going
to hear from is Greg Voight. Greg Voight, again
| | 05:02 | is just one of those amazing people. He is v
ery talented teacher and commercial photographer.
| | 05:08 | Greg Voight >> My background is
in commercial photography, primarily
| | 05:11 | products, advertising, those types of
things, catalogs and today we are into
| | 05:15 | Ventura Printing and this is the end
product of most of your clients. It's not
| | 05:21 | going to be websites always. It's going
to be something printed on paper that's
| | 05:25 | going to be sent out or put into a
magazine or something like that. So you have
| | 05:29 | to understand the printing process really well.
| | 05:31 | What you see on your monitor may not
be what you get in the final press. So,
| | 05:35 | learn color management, learn it well,
because the quality of your work is
| | 05:39 | solely dependent on whether or not
you understand this process or not.
| | 05:44 | Chris Orwig >> One of the things that's
fascinating is what happens is these aluminum plates
| | 05:48 | are created. Check this out. This is
aluminum and here we can see that we have
| | 05:52 | the magenta plate and this plate is
used combination with the other plates in
| | 05:57 | order to create the final
photographic print. The nice thing about these is
| | 06:01 | because they are aluminum you can
recycle these and use these again and again.
| | 06:08 | So after those big sheets come out of
printing press what happens is they go to
| | 06:12 | the cutting area and in the cutting
area they trim off all the excess edges and
| | 06:16 | it's really quite fascinating and of
course all of this can be recycled which
| | 06:20 | is really nice. And it's just kind of
an interesting visual of the one of the
| | 06:23 | final steps there.
| | 06:25 | The nice thing about those cards being
cut is that once they are cut you have
| | 06:28 | them in hand. Now ours haven't been
cut yet. I can't wait to see how they
| | 06:32 | actually turn out.
| | 06:33 | Oh yeah! Right there.
| | 06:37 | One of the things that's so fun about
| | 06:39 | going to a press is that you get to see
the final result and here I have some of
| | 06:42 | the promo cards that were created and
there is the promo card that we worked on there.
| | 06:46 | It's just fun to hold it in your
hand and watch is go through this whole
| | 06:49 | process and as I was watching around
the warehouse, I happened to notice that
| | 06:54 | there are some other interesting pieces
being printed here. These are lynda.com
| | 06:58 | gift cards and I was like hmmm, $25 value.
I might need to grab a couple of sheets of
| | 07:02 | these for myself. But I just thought
it was fun. And it's interesting to see
| | 07:06 | what actually gets printed at a press
and really, that just happened to be here.
| | 07:09 | And it's interesting to see these
different things and to see them before they
| | 07:13 | are all cut and cropped in and even
the promo cards. What it gets me thinking
| | 07:17 | about is the value of the process.
As a creative individual there is so much
| | 07:22 | value to the overall process. A lot of
times what happens is we just focus on
| | 07:26 | shooting or maybe we just focus on
Photoshop, but in that case we are missing
| | 07:30 | half of the enjoyment of photography,
of completing that by going to print
| | 07:35 | and then somehow finalizing the print.
| | 07:37 | Maybe it's at a press or maybe it's
simply by framing a photograph, but either way
| | 07:41 | there is something incredibly
invigorating about delving into the process,
| | 07:45 | the creative process of
photography and of creating that final print.
| | 07:49 | All right, well this concludes our
tour of Ventura Printing or as it's called
| | 07:54 | now V3. Now here is what you need to do.
You need to go to press. I hope that
| | 07:59 | this video has provided you a bit
of inspiration and it has helped you
| | 08:02 | demystify those processes of going to
press. Now I was just talking with the
| | 08:06 | guys at V3 and they said if you
mentioned that you are coming to them by way
| | 08:09 | of lynda.com, they will
give you a free consultation.
| | 08:12 | Now either way go to V3 or go to
another printing press, but what you want to
| | 08:15 | do is begin to establish a relationship
with a printing press, so that you can
| | 08:20 | talk through the different issues,
maybe it's for your client or yourself.
| | 08:22 | What paper do you use? How do you actually
deliver this particular marketing piece
| | 08:26 | that you are creating? Or what are some
different considerations that I need to
| | 08:29 | think about before going to press?
Because one of the things that you will soon
| | 08:33 | discover is that going to press
is an incredibly rewarding process.
| | 08:38 | Well, thanks for joining me for
joining me on this field trip. I look forward
| | 08:40 | to catching you in the next movie.
| | Collapse this transcript |
|
|
ConclusionResource sites| 00:00 |
In this brief movie, I want to share
with you a few resource sites where you
| | 00:03 |
can some more information
about Photoshop and about printing.
| | 00:06 |
The first site that I want to highlight is a
small resource site that I have pulled together.
| | 00:10 |
It's photoshopinfocus.com.
If you navigate to this site
| | 00:14 |
and then click on Photoshop Resources,
it will take you to a page where you can
| | 00:18 |
subscribe to a newsletter that I put
out every couple of months. In that
| | 00:21 |
newsletter, I include information about
creativity, a little bit of inspiration,
| | 00:25 |
some information about Photoshop and
Lightroom. So if you want to subscribe to that,
| | 00:29 |
go ahead and navigate to that page.
| | 00:30 |
Another site that I want to highlight,
I have actually pulled this one up
| | 00:33 |
before but I just want to highlight
it again here, is John Paul Caponigro's site.
| | 00:36 |
Now John is a great photographer, he is also
| | 00:39 |
really good at Photoshop. In addition,
if you subscribe to his site, you can go
| | 00:43 |
to the Downloads section and click on
Technique. Here there are a number of
| | 00:47 |
different things that you can download.
In particular, if you click on the
| | 00:50 |
section for Printing and you can see
here that he has a wide range of resources
| | 00:54 |
in regards to printing that will
help you out in your printing workflow.
| | 00:58 |
The next site that I want to
highlight is www.photoshopnews.com.
| | 01:01 |
This particular site is put together by
Jeff Schewe. Jeff is a great guy. He really
| | 01:05 |
knows this stuff. His book on Camera
Raw is actually quite good. But on the
| | 01:08 |
right hand side, the thing that I
want to point out is he has a number of
| | 01:11 |
really good links. There are so many
good links here. If we scroll down,
| | 01:15 |
we will see that he has a section on
Digital Printing. Here you can find some
| | 01:18 |
information that's loosely related to
Photoshop and to printing and some of
| | 01:22 |
those links may help you out.
| | 01:23 |
The last site that I want to highlight
is www.tv.adobe.com and you can go to
| | 01:28 |
this particular location to find free
movies on everything Adobe. So if you go
| | 01:33 |
here and do a little search for Chris
Orwig, you can find a handful of movies
| | 01:36 |
that I have created that are on the
site. You can also do a search, even
| | 01:40 |
better, for printing and watch a
free tutorial movie on printing.
| | 01:43 |
So just one of the sites that you want
to know about because again, there is
| | 01:46 |
some great training on here and it's
all free. Well, in closing, I hope that
| | 01:50 |
these sites will help you out as you
dig deeper into Photoshop and as you dig
| | 01:55 |
deeper into the wonderful world of
creating beautiful and stunning photographic prints.
| | 02:00 |
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| What's next| 00:00 | At this juncture, you have made it
through the training and you may be
| | 00:02 | thinking, okay, what's next? How can
I take my printing skills to the next level?
| | 00:07 | Well, I thought would be helpful here is
just to share with you a few ideas conceptually.
| | 00:11 | Now the first idea is it may be
helpful to take a workshop. There is nothing
| | 00:15 | like a hands-on workshop to take your
skills to the next level. There are a
| | 00:19 | whole slew, a whole wide range of
workshops and books and tutorials out there
| | 00:23 | in regards to printing and here are
few that you may be interested in.
| | 00:26 | The first one is put together by the
guys at Epson. It's called the Epson Print
| | 00:30 | Academy. This particular workshop
comes to Brooks Institute of Photography
| | 00:34 | where I teach a couple of times a year
and the people who put on this workshop
| | 00:37 | are hands down amazing. It's a phenomenal
workshop. I couldn't recommend it enough.
| | 00:42 | Another place where you could go to
find a workshop is at Santa Fe workshops.
| | 00:46 | Now they have a whole slew, a whole
wide range of workshops here. This is one
| | 00:50 | that's put together by Jerry and
it's called The Digital Print Making
| | 00:53 | Intensive. Again, I have heard great
things about things about this and Jerry
| | 00:56 | is a great guy, a great instructor as well.
| | 00:58 | Now another workshop, just to spice it
up a little bit, is put together by the
| | 01:02 | people of Pacific New Media. Actually
it offers a couple of workshops here
| | 01:05 | nothing on printing yet there are a
few that you can find on printing. For
| | 01:09 | example, on the particular calendar
I'm looking at there is one that's coming
| | 01:11 | out that's put together by George Lepp.
Now George Lepp is a phenomenal nature
| | 01:15 | photographer. Again, he is really good
at printing and here be able to get some
| | 01:19 | information from a successful pro
photographer. He is one of the Canon
| | 01:22 | Explorers of Light and also he focuses
in on printing with the Canon printers.
| | 01:27 | So what I'm trying to do here is not
to say hey, these are the only workshops
| | 01:31 | out there. But I'm just trying to get
you to begin to think about how there are
| | 01:35 | a wide range of options. For example,
this particular workshop, it's a shorter
| | 01:38 | workshop. It's relatively inexpensive.
This one has a different price point and
| | 01:42 | this one a different price point. This
one travels all around, so it may be a
| | 01:46 | little bit more accessible to you.
| | 01:47 | Now you may be thinking, okay, hey Chris,
that's really nice but I live outside
| | 01:50 | of the States, what else can I do? Well,
there are also some really good books
| | 01:54 | out there and one particular book
that I want to highlight by Tim Daly is
| | 01:57 | called Printing with Adobe Photoshop
CS4. That's a great book again. It digs
| | 02:02 | into some of the issues that we have
covered here and a little bit more that
| | 02:05 | can help you get more out of printing.
| | 02:07 | Now I don't necessarily get anything
out of saying, hey, these workshops are
| | 02:10 | great or this book is interesting.
My point here isn't really say specifics
| | 02:14 | like this particular thing is the best,
but rather what I want to do is I want
| | 02:18 | to ignite your passion for printing
and I want to share with you some other
| | 02:22 | ways of thinking about how you get even
better at printing. But what I do want
| | 02:26 | you to do is to ask yourself -- hey,
what do I need to do in order to take my
| | 02:30 | printing skills to next level? And
do whatever it takes to create amazing
| | 02:34 | prints, because one of the things that
I think that you will find that I have
| | 02:37 | discovered is that the better I get at
printing the more enjoyable my overall
| | 02:42 | photographic process actually is.
| | 02:44 | All right, well I hope that those few
ideas and resources will be helpful for you
| | 02:47 | as you become better and better at printing.
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| Goodbye| 00:00 |
Hey! Welcome and congratulations on
making it through this training title.
| | 00:04 |
Now that you know about all of these
different ways to create amazing prints,
| | 00:08 |
what comes next? Well, really it's time
to get back to shooting with whatever type
| | 00:12 |
of camera you use. It's time to get
back to taking those pictures and thinking
| | 00:16 |
about that final print.
| | 00:18 |
You know a lot of times what happens
especially in digital capture is we just
| | 00:21 |
get caught up in the experience of
taking the picture. Now I love the
| | 00:24 |
experience of taking pictures, but we
also want to think about where is this
| | 00:28 |
going to end up, what size, what
type of paper, how I'm going to actually
| | 00:31 |
create this final print?
| | 00:32 |
Another thing that you want to start
to begin to think about is how you can
| | 00:36 |
share your prints with others. Ultimately,
you create photographic prints for others, rights?
| | 00:41 |
They're for yourself, but it's
even more fun to give those away.
| | 00:44 |
For example, this is a print that I
just love. It was created by one of my good
| | 00:47 |
friends Joe Kern and here we can see
these little kids with these wooden
| | 00:50 |
surfboards, fascinating. Well here is
another print that I enjoy that was
| | 00:53 |
given to me by one of my former students.
It's a photograph of this old camera
| | 00:57 |
and I love old cameras. There is
something about that. It was such a nice and
| | 01:00 |
thoughtful gift. Now it didn't take
a lot of effort for that print to be
| | 01:04 |
created, yet there is something that's so
meaningful when you share your prints with others.
| | 01:09 |
Now of course, there are other times
when you want to sell your prints or
| | 01:12 |
when you want to work more commercially
in regards to printing. So keep in mind
| | 01:16 |
that the whole goal of this is to
create these final prints. Not so that the
| | 01:19 |
print sit in a box, but rather so that
you get those prints out there and also,
| | 01:24 |
this whole training title was all
about creating that final print so that you
| | 01:28 |
can then get back to shooting and do
more shooting and ultimately do more
| | 01:31 |
printing. So that you can complete
the entire photographic workflow from
| | 01:35 |
capture all the way to output.
| | 01:38 |
Well, it's been a distinct privilege
and honor to partner with you in this
| | 01:41 |
training adventure. Thanks
for joining me. Bye for now!
| | 01:45 |
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