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Photoshop CS6 for Photographers

Customizing the Print dialog box options


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Photoshop CS6 for Photographers

with Chris Orwig

Video: Customizing the Print dialog box options

Next, I want to talk about how we can customize some of the settings that we'll find in this Print dialog and these settings they are really important. That's why I wanted to include these in a separate movie and talk about them here. Let's go ahead and walkthrough a few of the options. The first one is a Layout. This isn't that important, just simply changes the paper orientation. Choose the orientation which works well for your image and also the way you want to print it. But then next we have Color Management. This is really critical. You will notice that this document has an Adobe RGB 1998 profile.
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  1. 1m 43s
    1. Welcome
      58s
    2. Using the exercise files
      45s
  2. 11m 49s
    1. Ideas for how to learn Photoshop more effectively
      4m 25s
    2. Isolating what you've learned and taking quality notes
      3m 53s
    3. Getting creative and being ready to be surprised
      3m 31s
  3. 38m 57s
    1. Customizing the Bridge workspace
      4m 46s
    2. Reviewing and evaluating your photos
      4m 22s
    3. Rating, ranking, and filtering photographs
      5m 42s
    4. Organizing photos with stacks
      3m 55s
    5. Grouping pictures together with collections
      3m 56s
    6. Adding metadata and keywords
      4m 47s
    7. Renaming images
      1m 45s
    8. Accessing the Photoshop tools from within Bridge
      2m 28s
    9. Working with Bridge and Photoshop
      2m 40s
    10. Working with Mini Bridge
      4m 36s
  4. 45m 29s
    1. Setting up your color settings
      3m 31s
    2. Choosing preferences for the HUD color picker
      3m 50s
    3. Setting image interpolation preferences
      3m 3s
    4. Modifying zoom preferences
      4m 20s
    5. Changing HUD brush options
      3m 41s
    6. Customizing interface preferences
      3m 30s
    7. Opening up documents in tabs
      4m 11s
    8. Reviewing file-handling preferences
      5m 4s
    9. Setting performance preferences
      4m 23s
    10. Choosing cursor preferences
      5m 14s
    11. Reviewing guides and type preview preferences
      4m 42s
  5. 21m 4s
    1. Exploring two simple steps for more accurate color
      2m 57s
    2. Introducing color profiles
      5m 17s
    3. Opening and saving files with embedded profiles
      7m 33s
    4. Setting up your studio
      1m 59s
    5. A demonstration of monitor calibration
      1m 46s
    6. Finding color management resources
      1m 32s
  6. 28m 34s
    1. Introducing the Tools panel
      4m 53s
    2. Changing the view mode and working with panels
      5m 33s
    3. Opening and arranging multiple documents
      6m 31s
    4. Combining, saving, and closing multiple documents
      5m 17s
    5. Creating custom keyboard shortcuts
      5m 11s
    6. Working with a Wacom tablet
      1m 9s
  7. 18m 24s
    1. The foundation of digital imaging: pixels and bit depth
      6m 12s
    2. Introducing image resizing
      3m 42s
    3. Resizing images effectively
      3m 48s
    4. Resizing and straightening with the Crop tool
      2m 28s
    5. Creative tip: sizing images correctly
      2m 14s
  8. 41m 56s
    1. What is Camera Raw?
      2m 47s
    2. Accessing the Camera Raw preferences
      3m 16s
    3. Improving your images with the basic controls
      7m 0s
    4. Correcting color and white balance
      4m 44s
    5. Processing multiple images at once
      5m 56s
    6. Utilizing the Crop tool to recompose your pictures
      5m 28s
    7. Creating dramatic black-and-white conversions
      5m 34s
    8. Reducing noise and making tack-sharp photos
      7m 11s
  9. 32m 55s
    1. Introducing layers
      2m 22s
    2. Understanding layers and layer transparency
      1m 29s
    3. Working with layer opacity
      3m 29s
    4. Aligning layers
      1m 32s
    5. Creating new layers
      4m 53s
    6. Organizing layers
      2m 31s
    7. Filtering and finding layers
      2m 8s
    8. Adding layer style effects
      5m 28s
    9. Creating a clipping mask
      6m 50s
    10. Targeting and moving layers
      2m 13s
  10. 33m 22s
    1. Making selections with the marquee tools
      4m 50s
    2. Using the three lasso tools
      4m 56s
    3. Selecting with the Magic Wand tool
      5m 43s
    4. Working with the Quick Select tool
      7m 21s
    5. Selecting based on color with the Color Range controls
      7m 13s
    6. Correcting skin tones with Color Range
      3m 19s
  11. 23m 2s
    1. Introducing masking
      1m 14s
    2. Painting away the contents of a layer with a mask
      3m 59s
    3. Using a selection to build a mask
      3m 3s
    4. Removing a subject from the background with a mask
      6m 37s
    5. Using a mask to selectively sharpen an image
      3m 58s
    6. Making selections with Quick Mask
      4m 11s
  12. 13m 42s
    1. Creating a custom border using selections and masks
      5m 4s
    2. Painting custom border effects
      3m 34s
    3. Using prebuilt borders
      4m 13s
    4. Exploring the PhotoFrame plug-in
      51s
  13. 11m 49s
    1. Adding brightness and contrast
      3m 3s
    2. Using hue and saturation and the Target Adjustment tool
      5m 34s
    3. Working with vibrancy and saturation
      3m 12s
  14. 14m 36s
    1. Working with auto levels
      3m 36s
    2. Enhancing color and tone with levels
      4m 12s
    3. Painting in adjustments with levels and masking
      4m 10s
    4. Creative tip: checking in
      2m 38s
  15. 29m 50s
    1. Introducing the Curves dialog box
      3m 12s
    2. Using auto curves and adjustments to enhance an image
      4m 17s
    3. Changing brightness with curves and masks
      3m 59s
    4. Using curves and masks to improve tone and color
      4m 56s
    5. Making advanced selections and masks
      3m 53s
    6. Enhancing a portrait with hand-painted masks
      5m 53s
    7. Using, modifying, and saving curves presets
      3m 40s
  16. 20m 12s
    1. Introducing the magic of blend modes
      6m 33s
    2. Blending multiple images together
      3m 50s
    3. Using blending modes to remove white or black
      2m 8s
    4. Improving exposure, contrast, and color with blending
      5m 37s
    5. Using blending shortcuts
      2m 4s
  17. 10m 26s
    1. Working with color correction in Camera Raw
      1m 21s
    2. Correcting color with the eyedroppers
      3m 11s
    3. Correcting color and tone with the eyedroppers
      5m 54s
  18. 36m 1s
    1. Using a Replace Color adjustment
      4m 14s
    2. Using Replace Color, Hue/Saturation, and masks
      5m 32s
    3. Replacing color with advanced masking
      7m 14s
    4. Selecting and modifying color with the Hue/Saturation eyedroppers
      2m 30s
    5. Using Color Balance to create vivid color
      4m 3s
    6. Modifying color with Selective Color
      5m 3s
    7. Changing color with Photo Filter
      4m 4s
    8. Making creative color changes with Color Lookup
      1m 44s
    9. Creative tip: shoot more
      1m 37s
  19. 35m 13s
    1. The modern equivalent of a traditional technique
      1m 40s
    2. Introducing two burn and dodge techniques
      7m 22s
    3. Burning and dodging with the Brush and Gradient tools
      4m 18s
    4. Dodging and reducing shadows in a portrait
      6m 0s
    5. Using selections, masks, and curves to change tonality
      7m 21s
    6. Improving a black-and-white landscape
      8m 32s
  20. 16m 9s
    1. The power of black and white
      4m 14s
    2. Converting a portrait to black and white
      4m 6s
    3. Converting a landscape to black and white
      4m 23s
    4. Adding grain and tone to a black-and-white image
      3m 26s
  21. 31m 57s
    1. Introducing Smart Filters
      3m 36s
    2. Applying Smart Filters
      6m 20s
    3. Creating a soft contrast effect
      6m 38s
    4. Changing focus with the Blur Gallery
      3m 40s
    5. Working with Tilt-Shift Blur
      3m 52s
    6. Creating a realistic lens flare
      2m 45s
    7. Adding light with the Lighting Effects filter
      5m 6s
  22. 12m 33s
    1. Using the Noise Reduction filter
      3m 46s
    2. Exploring advanced noise reduction using channels
      2m 49s
    3. Masking in noise reduction to a specific area
      2m 1s
    4. Reducing noise with Surface Blur
      3m 57s
  23. 48m 30s
    1. Cleaning before you enhance
      1m 2s
    2. Introducing the healing and cloning tools
      7m 22s
    3. Cleaning up the background of an image
      6m 21s
    4. Basic portrait retouching
      3m 15s
    5. Brightening shadows under the eyes
      4m 53s
    6. Brightening the eyes
      2m 30s
    7. Retouching selected areas
      5m 27s
    8. Using Content-Aware Fill to remove distractions
      5m 34s
    9. Moving a subject with the Content-Aware Move tool
      7m 54s
    10. Changing shape and dimension with Liquify
      4m 12s
  24. 24m 2s
    1. Using the Lens Correction filter
      6m 52s
    2. Reducing exaggerated distortion
      5m 16s
    3. Applying Free Transform to correct perspective
      3m 49s
    4. Correcting distortion with the Perspective Crop tool
      3m 45s
    5. Using Puppet Warp to correct perspective
      4m 20s
  25. 26m 48s
    1. Combining two photos with movement
      4m 12s
    2. Using two frames for a group photo
      4m 57s
    3. Creating a panoramic photo from multiple frames
      3m 37s
    4. Correcting distortion with the Adaptive Wide Angle correction
      7m 34s
    5. Cropping, filling in the gaps, and making final panographic adjustments
      6m 28s
  26. 27m 24s
    1. Working with Smart Sharpen
      6m 17s
    2. Using Unsharpen Mask
      4m 49s
    3. High Pass sharpening an image
      4m 47s
    4. Selectively sharpening the in-focus areas of an image
      3m 35s
    5. Selective sharpening with hand-drawn masks
      7m 56s
  27. 22m 44s
    1. Preparing images for the web and email
      4m 38s
    2. Sharpening for the web
      3m 5s
    3. Using Save for Web to create an optimized JPEG
      4m 26s
    4. Exporting images to Facebook or Flickr
      4m 46s
    5. Creating a web gallery
      5m 49s
  28. 26m 6s
    1. Desktop printing recommendations
      2m 46s
    2. Creating a PDF layout and contact sheets
      5m 56s
    3. Using a soft proof to visualize the print
      8m 0s
    4. Adjusting printer settings
      3m 43s
    5. Customizing the Print dialog box options
      5m 41s
  29. 32m 4s
    1. Opening up a video file in Photoshop
      7m 7s
    2. Editing a video clip and adding text
      5m 15s
    3. Using adjustment layers and adding an audio track
      4m 47s
    4. Creating a project with multiple clips
      4m 55s
    5. Adding a cross-dissolve fade and creating custom shortcuts
      4m 43s
    6. Customizing the workspace to review your project
      3m 2s
    7. Exporting a project
      2m 15s
  30. 3m 4s
    1. Exploring additional resources and ways to keep in touch
      2m 29s
    2. Goodbye
      35s

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Photoshop CS6 for Photographers
12h 20m Beginner Apr 26, 2012

Viewers: in countries Watching now:

In Photoshop CS6 for Photographers, author, photographer, and teacher Chris Orwig explores Photoshop from the perspective of the photographer.

The course details the features and techniques behind enhancing and retouching photos, preparing them for print and online publishing, and much more. Chris demonstrates how to make basic edits in Camera Raw, develop and save color profiles, work with layers and selections, tone and sharpen, and retouch images while retaining their natural character.

Chris also shares some creative tips and project ideas, such as converting a photo to black-and-white and enhancing a portrait with hand-painted masks. The course also covers workflow details, such as organizing images in Bridge and Mini Bridge, optimizing Photoshop preferences, and calibrating your monitor.

Topics include:
  • Getting started with Bridge and Mini Bridge
  • Setting up color and performance preferences
  • Calibrating your monitor
  • Improving images with the basic controls in Camera Raw
  • Creating, aligning, and organizing layers
  • Using masks for removing or blending images and for sharpening
  • Working with vibrancy, hue, and saturation controls
  • Enhancing color and tone with Levels
  • Using Curves and masks to enhance brightness, color, and tone
  • Mastering the art of blending modes
  • Correcting and replacing color
  • Burning and dodging
  • Converting to black and white
Subject:
Photography
Software:
Photoshop
Author:
Chris Orwig

Customizing the Print dialog box options

Next, I want to talk about how we can customize some of the settings that we'll find in this Print dialog and these settings they are really important. That's why I wanted to include these in a separate movie and talk about them here. Let's go ahead and walkthrough a few of the options. The first one is a Layout. This isn't that important, just simply changes the paper orientation. Choose the orientation which works well for your image and also the way you want to print it. But then next we have Color Management. This is really critical. You will notice that this document has an Adobe RGB 1998 profile.

We need to somehow translate all of that color information into a language that our printer understands. In order to do this, we want Photoshop to color manage this process. So it's critical that you select this option Photoshop Manages Color. The next thing we need to do is to choose the Profile for our Printer. Here we are going to select the Paper Type that we want to work with, in this case this EnhancedMattePaper here. So after having selected those options, you will notice that we have different options which show up down below.

You can click on these checkboxes to turn these options on and off and you'll notice that this preview here essentially looks identical to our soft proof preview. And that's what it's giving us here. It's just another chance to preview how this image will print based on its Paper White and also how those colors will be rendered with that printer and paper combination. Next we have an option for sending 16-bit data to the printer. Only use this if you have a printer which can do that, if your printer can't and you turn that on, well it will just really, really slow down the printing process.

Next, Rendering Intent, this is sometimes kind of confusing so I want to talk about this a little bit here, by default Relative Colorimetric is selected and this is a great color space. What this color space does, is it says you know what I am going to take the out of gamut colors and just bring those to the nearest in gamut color. In other words if there's a color that our printer and paper can't reproduce, well it's just going to leave the colors which are in gamut as is. Take those which are out of gamut and bring them in.

In contrast Perceptual, what that does is it shifts all the colors. It takes a look at the color and it maintains visual or color relationships. It maintains the way that our eyes sees color and then shifts kind of everything. So if you need to have really accurate color, you might want to choose Relative. On the other hand if you're more interested in the color relationships in your picture, perhaps Perceptual will work best. But what about the other options like Saturation? Well this just prioritizes deep saturated colors and then the other option of Absolute, what this does is it doesn't touch those out of gamut colors.

Here when I select that option, my Gamut Warning now kind of goes crazy showing me that all of these areas, well, they are out of gamut and they are not going to print well. Well, you may want to choose this option in order to create a print to simulate how you could output this to a particular device or a different type of device. So in most scenarios, here's the distillation. You're either going to choose Relative or Perceptual. Now when it comes to printing, all of the great printing experts of the world will tell you this. Eventually what you need to do is of course try to figure out the science of printing and color management and all of this, but then you just have to create a test print.

So what I recommend you do is choose one of your favorite images, print that with Relative and also with the Perceptual Rendering Intent. And by doing that and you will get to see how it modifies one of your pictures and also how it modifies the color in that picture. And so by doing a couple of test prints, you can understand a little bit more clearly how these different intents work. And then finally, if you're not really sure well, just try Relative Colorimetric if you notice that there's banding in the sky or in areas where you have maybe a lot of saturation or gradation or whatnot, if there's banding, well, then go ahead and try Perceptual.

Now that we have dialed in these Color Management controls, let's go ahead and navigate down to these other options. These other options aren't that critical. We have Position and Size. Here we can turn (Center) centering off; we can also just click and drag to reposition this. And then you can also scale or change the size of your image. I don't recommend that you do that because typically you want to do all of that before you come to this Print dialog. Next if we are going to trim the image out of this piece of paper, we can turn on Printing Marks.

Here you can see I have these different marks which can give me information if I am going to then trim this out of this sheet of paper. Again in my case I don't want to do that, I just want to have this image sitting there by itself. Now these last two options aren't going to be relevant for us in regards to how we typically print. With Functions we can either change this so we can invert the image or we can create a negative if we want to create a digital negative. Again here, in most scenarios that isn't relevant. Now that we've dialed in all of these options and perhaps the most important options which are Color Management and also choosing our Printer and Paper Type combination we are ready to send this image to the printer.

And at this point I think it's kind of exciting. We cross our fingers, we hold our breath and simply click that Print button and this image will be sent to our printer. And ideally what comes out of that printer is a compelling and engaging photographic print.

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