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Preparing Photos for Print

Lesson 52 from: Adventure Photography Pro

Alex Strohl

Preparing Photos for Print

Lesson 52 from: Adventure Photography Pro

Alex Strohl

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Lesson Info

52. Preparing Photos for Print

Lessons

Class Trailer

Intro

1

Workshop Intro

03:18

Foundations

2

Gear

12:14
3

Gear - My Camera Bags

08:00
4

Mastering Camera Settings

07:41
5

Blue Hour, A How-To

10:45
6

Photos That Move Us

07:19
7

Visual Storytelling 101

07:51
8

Endurance In A World Of Sprinting

06:27
9

Keeping Your Ideas Fresh

08:31
10

Building Your Story Arc

06:44
11

Shooting More: Action Plan

02:01
12

Conveying Emotions

07:52

In the Field

13

The Assignment: Himalaya Pre-Pro

12:08
14

In the Field: The Himalaya Defender Shoot

20:29
15

The Assignment: Canon Pre-Pro

10:25
16

In the Field: Canon USA Shoot

15:06

Editing

17

Keywords & Organizing Images

06:42
18

Commercial Grading

04:47
19

Masking & Radial Filters

12:33
20

Perspective Correction

05:39
21

HDR (Hand-Held)

03:37
22

Black & White Edits

07:00
23

Before & Afters

01:33
24

Moody Grading

13:15
25

IG Export Settings

04:00
26

Web Export Settings

02:44
27

Clone Stamping & Patch Tools

05:51
28

Grading in Lightroom

06:45
29

Hand-Held Panoramas

03:41
30

Radial Filters Pt 2

02:38
31

Delivering Files to Clients

12:33
32

Archiving & Organizing Images

10:15
33

My Favorite Software

03:44

Business

34

Let's Talk Business

01:03
35

Building A Desirable Portfolio

11:17
36

How to Contact Clients

12:00
37

Prospecting: Finding Brands That Fit You

04:16
38

Getting Clients To See Our Value

10:16
39

Paid to Travel the World

14:48
40

The Art of Making Moodboards & Treatments

08:09
41

Keys To A Fulfilling Career

07:40
42

Three Things You Need To Know Before Pitching

06:19
43

Finding Your Value Proposition

08:02
44

Media Kit: A Walk Through

08:06
45

How I Built My Audience

07:46
46

Social Media Landscape

07:32
47

Module Recap

03:08

Bonus - Everything To Know About Filters

48

Do You Need Lens Filters?

09:36
49

Filters in The Field

12:40

Bonus - Find Your Path

50

Find Your Path

07:44

Bonus - How To Print Your Work

51

Why Print or Sell Photos

23:21
52

Preparing Photos for Print

06:44
53

Reviewing Major U.S Printers

06:57

Lesson Info

Preparing Photos for Print

Welcome to the second part of the printing workshop. As you can see, many days of pat have been through and my hair has grown longer, which has given me a lot of time to reflect on the best way to do this workshop. There's two parts here. First one is how I get name is ready for printing on Photoshop and what steps I take to make sure that it's in its best shape to be printed to the way I want it. And then part two is pretty exciting because I've gone ahead and sent my image, same image to five different print shops online; Artifact Uprising, Snapfish, Mpix, Shutterfly and Saal. So major labs in the printing game and online game. I've sent the same file to them. I've ordered similar products from them and I've got the results back. I've been looking at them and comparing them. I wanna walk you through which one I think is my favorite. That's coming in part two. Now part one, let's do it. This is the image I'm going to be printing of Mount Jackson at sunset and the crazy version at the ...

bottom here. My steps happen in Photoshop. We're gonna assume you've already selected your photo, edited in Lightroom and then sent it to Photoshop for final, whatever, Capture One, or whatever you use and send it to Photoshop before finishing. Before I do anything I just go into my system preferences and display and change my color space to Adobe RGB just because it gives me a more accurate rendition of my image. I'm using Adobe RGB because that's what the print shop I use uses as well as their color profile. If your printer uses a different one, use theirs for sure. Also, some print shops have a color profile you can have embedded into your Photoshop that you can download on your computer. Not all of them do, but we're good having to see if you wanna call profile image exactly. We have Adobe RGB selected, boom, out. Step 2, 3, 4, 5. Okay. Now my step two is work my curves. This is my image out of Lightroom. I know that printing is gonna make the image a lot more flat especially with matte paper. I use matte paper most of the time and it's gonna make the shadows here and the highlights just a lot more faded. I just go and add a bit more conscious than it should on a new layer. I can always work on the opacity like this but I gotta make it a bit more conscious than it is. I usually go a bit crazy and then just put that layer at 80 percent. Just kinda go to rule, put it on white. Brightness, always too under for editing. Still a bit of fade that I wanna get rid of because the matte paper will enhance that a little too much. When you print on matte it's okay to go a bit overboard on the contrast. This feels a bit like too much, but we're good now. Now it's time for me to resize the image. As you can see this is a threshold ratio out of the ESR and most of the printers will appreciate it if you give them the image in the right ratio ready. I put it in by 14 up there, and my ratio's in Photoshop and then I just got a crop, get rid of some of the fluff because Mount Jackson, the big mountain here is so predominant. I don't wanna leave too much breathing room on top of it. It's nice to have this pink gradient gone but I don't wanna leave too much breathing room to make the mountain feel more dramatic closer to the edge of the frame. I also wanna balance my three layers. One layer here, one layer here and one layer here. Let me go a little lower, even by 14. Re-size that it's at the right size now for the printer, I just have to send it into the printer. One last thing I like to do for printing is sharpen because paper, it's gonna make the image a bit softer. I usually just duplicate this layer, Command+J and then use unsharp mask. I like to keep the zoom at 100% to see what's really going on and I pick a section that's kind of in the center of the image. This feels alright. See what's going on. My go-to, I think it was 80, fuck, radius. This is a lot. Let me get this bit of tinkering here. Sorry, tucking them in. It's good. There you go, 30. Every image is specific, so I just tinker with it. I usually don't go above 30 in the percentage and if I go it's all right because I can, again, change the capacity of the layer. My radius is one threshold. That's just the tolerance, doesn't do a ton usually, but like to keep that on the 30. All right, boom. So if we go zoom in to 100%, double click the loop, we can see what we've done by hiding the layer here. Subtle but it's still here. We can see it in the noise. There's that extra sharpness that will just shine in print. When that's done, I have to do the last step which is flatten my image. So Command+Shift+E just flattens everything. or you can just hit flatten image and makes a background of it. The reason I do that is because I save in TIF and I've had images rejected in the past because I was sending TIFs but that had all the layers in it because TIF keeps the layers. Don't do that. Just make sure you flatten your image, make sure it's the right size and you can always double check it. Till I've saved, I'm not done yet. I'm still double checking. It's feeling right. Let's go ahead and save it in my desktop. I guess I've already saved it but keep my name structure, Mount Jackson, ready, 11 by 14 and then the file name because I like to search it sometimes. Hit save, replace this one, and boom. This is how you prep your image for printing.

Class Materials

Bonus Materials with Purchase

Workbook
A Note From Alex

Ratings and Reviews

Jon
 

Not What I Was Expecting Let me just start by saying that the workshop was very good. There were lots of things that I learned and many insights I took away. Perhaps the greatest bit of wisdom imparted to me was not anything Alex said but how he approached every subject he talked about. I felt that he was talking to me as a friend, very personal and open book. This was both a blessing and a curse as the course tends to meander around and is not as structured as others I've taken. Alex's passion for the highest quality, and craftsmanship in every aspect of his business, is very evident. From the premiums he charges, to the attention to detail in client deliveries. This is where my review is going to give some hopefully constructive criticisms. For someone so focused on a premium experience I was a surprised to find the course a bit sloppily assembled, and the videography and editing lackluster. This is coming from a videographer and someone with a lot of experience in online training. A few short examples to illustrate my point include: repeating segments of the edit (in some instances the exact same segment), poor framing. Colors changing between cuts, and my biggest pet peeve, not leaving photo examples on for long enough to see them. These are all small things, but they add up, and along with the topics meandering, left me a bit disappointed. I'm curious who you would say this class is aimed towards. Amateurs, mid-level, or experts? The assumption of who you are addressing changes throughout the course. I feel like with a bit of work from an instructional designer, and some editing cleanup, you could help hone this course to be one of the best out there. I feel like I need to do a more in depth review than will fit here, to actually explain this well. Let me know if that would be helpful to you. One other note: When I signed up for a workshop on Adventure Photography, I honestly thought it would be more field focused. The field examples were all shoots for products, and not shoots documenting an adventure. I guess I had just hoped to learn that side of the storytelling process more. Getting into the nitty gritty of being wet, cold, and dirty, and still shooting bangers. The section on filters (going out and building the snow cave) was more what I thought this course was going to be. Anyhow, with all that said, I still found it valuable and worthwhile. To summarize, the course feels a bit unpolished and in some ways unfinished though there is still great value. I've taken Jimmy Chin's Masterclass on adventure photography and it felt very structured and highly polished. I purchased "Adventure Pro" on the "finish in a month" discount. I would have felt ripped off if I had paid full price with the course in its current state. Thanks for reading and I hope my criticisms come as helpful. As I've already mentioned I'd be happy to further elaborate.

Topher Hammond
 

One of the best photography investments I'm only 1/4 of the way through Alex's course and I feel like I already have a loose plan on how I can move forward in my own career as a photographer. I felt like my work was lacking a specific feeling. The way that Alex articulated ideas on how to convey emotion in your imagery and building that overarching story arc for your own life narrative were super helpful to focus on how to make my work better. Super looking forward to the rest of this course. Thanks Alex and team!

Sergi Mas de xaxars Rosell
 

Great Workshop I learned quite a lot with this workshop. Because I'm in the industry for 5 years now, there were a few things I already knew. On the other hand, Alex showed me different and more effective ways to improve my business. I like the way he gives the lessons, always in a personal and close way. This is the knowledge I wish I had when I started. Totally worth it!

Student Work

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