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The final print

From: Photoshop CS4 for Photographers: Desktop Printing Techniques

Video: The final print

Hey, welcome back to my office. Come on in. In this movie what I want to do is talk about the final print. A lot of times what happens is we print our images out but they don't just feel quite complete. Let's say even when we print our images really big, like we have this one up here. I have a number of large format prints there. Yet what we need to do is finish them off in some way, shape or form. For example, I had one of my former students Todd Glaser, he printed this photo for me and it's one of my all time favorite surfers at one of my all time favorite surf spots and I enjoy the picture in this format, yet it feels a little bit floppy. We can hear that and feel that. It doesn't feel like it's been formalized, that it's been completed.

The final print

Hey, welcome back to my office. Come on in. In this movie what I want to do is talk about the final print. A lot of times what happens is we print our images out but they don't just feel quite complete. Let's say even when we print our images really big, like we have this one up here. I have a number of large format prints there. Yet what we need to do is finish them off in some way, shape or form. For example, I had one of my former students Todd Glaser, he printed this photo for me and it's one of my all time favorite surfers at one of my all time favorite surf spots and I enjoy the picture in this format, yet it feels a little bit floppy. We can hear that and feel that. It doesn't feel like it's been formalized, that it's been completed.

Now there are a number of different ways that we can do that. One way is to simply mount our photographs on gaterboard, and I like that format. You can also frame your images as well. But in this case, when I get this image back from the framing shop or from the local camera store that does this here in town, I say, Oh yeah! I want to hang that on the wall. I'm just like, all right, that's the image! That's that final photo! What I want to do is just walk through a couple of examples of that and again, you can print or formalize your photos in a number of different ways and what we want to do here is just get you to begin to think about that. Again, we have a photograph. In this case we have seen this one before but it feels floppy.

It's interesting yet it doesn't quite feel as significant until we do something with it. In this case, it's one of the large prints here but I just have it mounted and when I have it mounted and it's really big, I can actually see that. I think, yeah, there is something there. There is something to be reckoned with. There is some permanence there. One of the reasons that we love photographs is because of their permanence and again, just one more example for you and then a quick thought. Here is another photograph that I took, in this case of World Champion pro surfer Shaun Thomson. In this case, it's a little bit of a smaller print but it still has some substance to it. It feels like there is something there. And you know framing or mounting can really do that for a photograph. We can also do this in different sizes and just to show you some variety here, here we have a photograph that's a little bit bigger in this case, a larger print.

Now there is something that happens to your photographs when they go large or when they are framed or when they are mounted in this case. And what happens is again, it kind of formalizes the print in a unique way and one of the things that you will discover is that some prints look great when they go big. Other prints don't. Some prints look better when they are small. And it really depends on the subject matter. It depends on the intimacy of the photograph. Sometimes if it's something that's like a little delicate something, let's say a delicate leaf, when you make that big and you can really see the intricacies and the intimacies of those delicacies, it's fascinating when it goes big.

Other times, when you have a photograph that's really graphic and when that's printed a medium size that graphic shape become intriguing or engaging. Another thing to think about in regards to printing and how big you go is your viewing distance and typically what you do is you take the width let's say from corner to corner in this case, and then you double that. So you need to be about this far away from this photograph in order to enjoy it. Now if you have a small space, like let's say my office here, it's a pretty small space. If I were to hang a wide range of large format prints and here it would overwhelming, you would want to back away from them. So you can't typically get away with hanging a ton of those. Yet, if I had smaller images and I put those smaller images in a row, it would be inviting, it would draw me and I would want to lean forward and look at them.

So as you get to the stage of creating the final print, think about how you can finalize your photographs, whether by let's say mounting or overmatting or framing. But whatever you do, take a risk and spend a little bit of extra money in order to formalize a few of your prints. And just a few of them. And you may be thinking, Oh! Gosh, I don't have any extra money to do that. Well then save up some money to do it, because one of the things that I have found is it helps me learn to see anew. It helps me enjoy my photographs in new ways and it also helps others enjoy my photographs as well.

All right, well either way, I hope that you enjoy creating your final prints. Thanks for coming by my office. I'll catch you in the next movie. Bye for now.

Show transcript

This video is part of

Expand all | Collapse all
  1. 4m 20s
    1. Welcome
      3m 23s
    2. Using the exercise files
      57s
  2. 12m 3s
    1. Introducing color management
      2m 32s
    2. Creating a neutral work environment
      2m 49s
    3. Calibrating your monitor
      3m 54s
    4. Calibration demo
      2m 48s
  3. 31m 39s
    1. Correcting color pt. 1: Determining the white and black points
      2m 27s
    2. Correcting color pt. 2: Using curves
      4m 15s
    3. Correcting color pt. 3: Fine-tuning
      3m 14s
    4. Correcting color pt. 4: Adding finishing touches
      4m 35s
    5. Color-correcting an outdoor portrait with curves
      2m 41s
    6. Color-correcting skin tone by the numbers
      2m 36s
    7. Applying skin tone color correction by the numbers
      3m 52s
    8. Correcting reflected color
      2m 25s
    9. Color-correcting a studio fashion portrait
      3m 18s
    10. Color-correcting skin in a natural light portrait
      2m 16s
  4. 40m 52s
    1. Camera Raw input sharpening
      4m 14s
    2. Sharpening with Camera Raw
      2m 28s
    3. Introducing Smart Sharpen
      4m 57s
    4. Sharpening pt. 1: Using Smart Filters
      3m 15s
    5. Sharpening pt: 2: Using Smart Sharpen
      6m 5s
    6. Sharpening and blend modes
      2m 46s
    7. Using Unsharp Mask
      5m 41s
    8. Using High Pass to sharpen
      6m 0s
    9. Adding texture and effects with High Pass
      5m 26s
  5. 19m 25s
    1. Business card resources
      4m 11s
    2. Using a business card template
      1m 22s
    3. Designing the front of a business card
      5m 7s
    4. Designing the back of a business card
      5m 17s
    5. Repurposing a business card for others
      1m 26s
    6. Business card examples
      2m 2s
  6. 32m 11s
    1. Typography resources sites
      3m 32s
    2. Tips and shortcuts for working with type
      4m 7s
    3. Promo card inspiration and resources
      3m 26s
    4. Using a template to build a promo
      2m 19s
    5. Customizing the template
      5m 1s
    6. Building a grid-based promo card
      7m 29s
    7. Resources for creating a photo book
      3m 22s
    8. Photo book examples
      2m 55s
  7. 53m 53s
    1. Creating a PDF layout with the Output module
      6m 35s
    2. Creating a layout pt. 1: Using the Output module to create a rough layout
      3m 24s
    3. Creating a layout pt. 2: Customizing a PDF layout in Photoshop
      5m 1s
    4. Creating a three-image layout in Photoshop
      2m 50s
    5. Creating a grid photo montage
      5m 23s
    6. Building a creative layout pt. 1
      4m 24s
    7. Building a creative layout pt. 2
      8m 6s
    8. Multiple-image layout pt. 1: Using Bridge and Photoshop
      3m 59s
    9. Multiple-image layout pt. 2: Masking and resizing photos
      6m 19s
    10. Multiple-image layout pt. 3: Finalizing the layout
      2m 39s
    11. Multiple-image layout pt. 4: Color and sharpening
      5m 13s
  8. 13m 34s
    1. Printer recommendations
      2m 47s
    2. Paper recommendations
      1m 50s
    3. Paper resources
      3m 27s
    4. Printing recommendations overview
      5m 30s
  9. 15m 46s
    1. Color management refresher
      1m 53s
    2. Finding sample files online for test printing
      3m 0s
    3. Soft-proofing with paper profiles
      1m 49s
    4. Soft-proofing to correct an image
      2m 52s
    5. Setting white and black points based on the test print
      6m 12s
  10. 34m 0s
    1. Starting with Camera Raw
      3m 3s
    2. Resizing in Photoshop
      5m 9s
    3. Setting the white and black points
      2m 17s
    4. Checking skin tone
      3m 48s
    5. Sharpening with Smart Sharpen
      3m 55s
    6. Making soft proof corrections
      2m 54s
    7. Introducing the Photoshop Print dialog
      2m 44s
    8. Color management and the Photoshop Print dialog
      3m 32s
    9. Final Print dialog settings
      2m 33s
    10. The final print
      4m 5s
  11. 23m 7s
    1. Setting up a test strip print
      2m 32s
    2. Modifying the test strip print
      5m 30s
    3. Understanding rendering intents
      2m 20s
    4. Test-printing rendering intents
      2m 35s
    5. Batch-processing with actions
      5m 50s
    6. The image processor
      4m 20s
  12. 23m 55s
    1. Overview and intro
      4m 45s
    2. Using a promo card template
      2m 47s
    3. Converting to CMYK
      7m 36s
    4. Field trip to a printing press
      8m 47s
  13. 6m 36s
    1. Resource sites
      2m 0s
    2. What's next
      2m 51s
    3. Goodbye
      1m 45s

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