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Inkjet Printing for Photographers
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Understanding what localized adjustments are used for


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Inkjet Printing for Photographers

with Ben Long

Video: Understanding what localized adjustments are used for

While your image editor probably has many tools for making complex corrections and adjustments, it's very rare that an image can be corrected by a single global adjustment. If you've ever printed in a darkroom, you know that very often the only way to get a good print is to carefully dodge and burn specific areas of the print while it's exposing in the enlarger. Dodging and burning is simply the process of obscuring one part of the image or another to give that specific part a longer or shorter exposure.
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  1. 9m 18s
    1. Welcome
      1m 50s
    2. Exploring why we print
      4m 3s
    3. Understanding what you need for this course
      3m 25s
  2. 13m 29s
    1. Why inkjet printing?
      4m 36s
    2. Understanding ink types: Dye vs. pigment
      4m 26s
    3. Discussing considerations for black and white
      1m 48s
    4. Reviewing the features
      2m 39s
  3. 1h 1m
    1. Printing and your workflow
      3m 3s
    2. Printing black-and-white photos
      6m 49s
    3. Understanding the histogram
      7m 37s
    4. Understanding what localized adjustments are used for
      2m 38s
    5. Explaining the histogram with a practical example
      6m 51s
    6. Making a localized adjustment in a practical example
      5m 30s
    7. Evaluating a localized adjustment in a practical example
      2m 29s
    8. Refining a localized adjustment for effect
      13m 36s
    9. Making a gradient adjustment
      6m 47s
    10. Paying attention to viewing conditions
      4m 49s
    11. Summing up
      1m 50s
  4. 54m 36s
    1. Understanding pixels, printer dots, and resolution
      2m 44s
    2. Understanding resolution
      2m 33s
    3. Defining resampling and interpolation
      3m 41s
    4. Understanding where resizing fits into your workflow
      2m 12s
    5. Defining native printer resolution
      2m 39s
    6. Understanding the relationship between viewing distance and print size
      2m 1s
    7. Reducing image size in Photoshop
      9m 11s
    8. Cropping to a specific size and resolution using Canvas Size
      4m 34s
    9. Cropping to a specific size and resolution using the Crop tool
      5m 15s
    10. Enlarging an image in Photoshop
      7m 7s
    11. Creating a triptych
      3m 55s
    12. Creating a triptych using Automator on a Mac
      4m 5s
    13. Exploring the aesthetics of print size
      4m 39s
  5. 1h 17m
    1. Understanding how sharpening works
      3m 18s
    2. Sharpening in JPEG mode
      1m 26s
    3. Exploring sharpening workflows
      3m 47s
    4. Sharpening in Camera Raw
      6m 17s
    5. Looking at noise reduction
      1m 46s
    6. Sharpening output with Smart Sharpen
      11m 52s
    7. Understanding selective sharpening
      4m 25s
    8. Sharpening through an edge mask
      7m 17s
    9. Reviewing high-pass sharpening
      4m 30s
    10. Applying aggressive sharpening
      8m 53s
    11. Exploring advanced sharpening techniques
      9m 7s
    12. Exploring the Print dialog
      11m 35s
    13. Proofing at smaller sizes
      3m 3s
  6. 53m 9s
    1. Exploring how color works
      2m 5s
    2. Reviewing color models
      2m 56s
    3. Defining gamut and color space
      9m 55s
    4. Reviewing when colors go out of gamut
      4m 54s
    5. Configuring Photoshop's color settings
      5m 47s
    6. Changing color space in Camera Raw
      4m 7s
    7. Working in an advanced color space
      6m 13s
    8. Assigning a color space in Photoshop
      2m 20s
    9. Correcting a color image
      9m 17s
    10. Printing a color image
      3m 30s
    11. Evaluating the print
      2m 5s
  7. 34m 46s
    1. What is color management?
      4m 16s
    2. Profiling a monitor
      8m 45s
    3. Evaluating a monitor profile
      4m 37s
    4. Exploring paper profiles
      5m 17s
    5. Understanding soft proofing
      11m 51s
  8. 24m 33s
    1. Understanding how paper quality affects the appearance of black in prints
      3m 26s
    2. Looking at third-party papers
      3m 46s
    3. Looking at paper finish
      3m 44s
    4. Understanding paper traits
      6m 31s
    5. Discussing paper choice and presentation
      7m 6s
  9. 23m 18s
    1. Printing a black-and-white image
      11m 45s
    2. Printing a color image
      11m 33s
  10. 1m 16s
    1. Goodbye
      1m 16s

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Inkjet Printing for Photographers
5h 53m Intermediate Sep 14, 2012

Viewers: in countries Watching now:

In this course, photographer and author Ben Long explores the art and the craft of creating beautiful, archival-quality inkjet prints. The course looks at the anatomy of a print job: how a printer works, how to adjust and prepare your image to get the best results, and what happens to your photo in its journey from pixels to paper.

After a discussion of how to choose a printer, the course covers the process of preparing both black and white and color images using Adobe Photoshop. Ben describes how to take images from looking good onscreen to being properly adjusted for best results on paper, covering details such as sizing, sharpening, and color management.

With photographer and master framer Konrad Eek, Ben explores the creative decisions that photographers should address before printing. What size print? How does print size relate to the message of the photo and to the space where the photo will be displayed? What kinds of paper choices do you have, and how does your photo's content relate to the paper you choose?

The course also describes how to properly evaluate a print and how to handle common challenges that crop up during the printing process.

Topics include:
  • Why print with inkjet?
  • Types of inkjet printers: dyes versus pigments
  • Making image adjustments specifically for printing
  • Printing black-and-white photos
  • Resizing an image
  • Choosing paper
  • Working with sharpening and noise reduction
  • Color management
Subjects:
Photography Cameras + Gear Printing Photos
Software:
Photoshop
Author:
Ben Long

Understanding what localized adjustments are used for

While your image editor probably has many tools for making complex corrections and adjustments, it's very rare that an image can be corrected by a single global adjustment. If you've ever printed in a darkroom, you know that very often the only way to get a good print is to carefully dodge and burn specific areas of the print while it's exposing in the enlarger. Dodging and burning is simply the process of obscuring one part of the image or another to give that specific part a longer or shorter exposure.

Now, the practical upshot is that those areas get lighter or darker. You have to do this because there isn't always a single development exposure that's perfect for everything in the image. The exact same thing is true when we're printing digitally. As you saw in the last chapter, to get a good range of tones, nice contrast, and a silvery look, we need to be sure that we have some true black, some true white, and a particular spread of gray tones in between. The problem is that when we apply an adjustment to achieve this in one part of the image, we might blow out the highlights in another part or lighten up the shadows or darken the highlights or shadows.

So sometimes we have to perform a digital equivalent of dodging and burning to ensure that we maintain control of how much white and black there is in our image, and how the grays work in different areas of the image. Photoshop has specific Dodge and Burn tools, but for the most part, we're not going to touch those. I like them sometimes for performing retouchings, such as lightening bags under people's eyes. But for the types of edits we're going to do here, I don't recommend them, for three reasons. First, the edits they create are destructive.

That is, they permanently alter the pixels in your image. Destructive editing is a bad choice for making printing adjustments because if you do a test print and find out that your adjustment was too weak or too strong, there's no easy way to go back and change it later. Second, Dodge and Burn tools are somewhat blunt instruments and they can often leave bad color problems and artifacts in your image by the time you're done using them. But most importantly, the Dodge and Burn tools don't give us good feedback about the area we're editing. You've seen the importance of the histogram and if we perform our edits right, the histogram can continue to be our guide.

So, localized editing tools are going to be critical for all of the work we're going to do in the rest of this course. If you're working in Photoshop, then you'll need a familiarity with adjustment layers and layer masks. You can find lots of courses in the lynda library that cover these tools in detail. In the next few chapters, you're going to see me working with a few different students as we work to use localized editing tools to solve a number of different printing issues.

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