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Printing - General Q and A

print we're basically at depending upon what you're shooting with a GoPro or the vision to 12. 14 megapixels. They're not high pixel count files because they're also fisheye. That means your subject matter is kind of small. By definition, you get a nice big scene. Small little detail. You, Billy. Living space. Never Aladdin. Okay, good. You got it. Okay. Um, you know what? The one that I really did is I got rid of those class that was bugging me. There's the original, and not only did I retouch this out here, but I also got rid of those clouds, cause that was distraction. Those elements, you know, you don't want the I to go off to this hot spot over here. So here is that other edit. And here is this one. But the question is printing here, we've got a 20 by inch print. Um, not specifically related to this, aside from the fact that we're dealing with a fairly low resolution camera. Um, if you're shooting with the GoPro, then you're stuck with J P. A quality. So you're gonna have to want...

to take that into consideration. Let me open this up and just a couple things related to print. Um, you notice here, here's that open object that I mentioned to you before I've set it up. So mind defaults to open object. This is what are known as the workflow options down here in adobe camera raw. So as a default, it defaults to smart objects. Also, if I'm ready since I've already done all my total control, I'm going out to Prince. I actually have it go into s rgb. That's kind of anathema. A lot of people are gonna disown me because I have this as an option. It's only because I do so much work that go straight out to Web or email or print. Where s RGB is the set up? And I very rarely will do any color or tone work inside a photo shop so that eight bit per channel s RGB is what you're gonna print in. I'm afraid most printers are always backs were celebrated to that. So I have them as a setting here. Um, you can, um this is an opening. This isn't the save dialogue box, but just, you know, and I can sharpen, um, in this case for both glossy paper format when it comes to blowing up an image. I'm actually gonna hold off on this until I do my enlarging of the file. But this is something that's really good to know as a default glossy paper paper, because the ink is going to sit on top of the paper. If we're using a typical inkjet G clay print, you'll see every single pixel, and you want to be very cautious with sharpening very little sharpening because you will see every single little artifact. And that's what glossy means is that it's going to be very cautious Matt Paper, because by definition is gonna have a texture to the paper, which is going to diffuse. The light will hide artifacts with that's canvas or Matt or maybe even watercolor paper that will absorb some of the ink. All of that means that you want to be much heavier with your sharpening to compensate for the diffusion of light. You can get away with more. So that's what those sharpening parameters. I mean, I'm just gonna open this up in photo shop. If I hold down the shift key, you'll notice that it switches between open object and open image. One would read, um, pixels and open object, which is my default is gonna be a smart object. So I could continue to find too, in those settings inside of Photoshopped proper. Um, but the thing that I want to mention is that adobe in photo shop CC added a couple of really cool things and one of which is a brand new way of interpreting images up increasing the resolution of a file. So if we come over here, will tap f for full screen command zero for fit to screen. And we're gonna come up here into image, image size, and, um, you're going to want to have it set to automatic. This automatic is a brand new algorithm similar to some of the ones that have been around in different programs. When we used to be called genuine fractals blow up other things like that. Similar? Not quite the same, but better than it's been before in the past. So let's say that we wanted to do the print like we did here, So I'm gonna come over here two inches and I want that to be you can see right now is a default I can print to 25 at 17 inches wide. Let's go ahead and blow this up a little bit so you can see what we're dealing with here. Uh, hopefully this is useful information because this is your getting a freebie. This is a freebie. No coast, no cost, no obligation on printing inside a photo shop. If you are printing out to glossy paper, the to d p. I is probably going to be fine. It's good. It's middle of the road. It's adobes default Setting that algorithm is actually based upon 1/2 tone screen of 1.5 times a 1 50 line, half tone screen for typical magazine output, which is fine. Ah, lot of your service bureaus will tell you that you need 300 pixels per inch and this is P P. I. Something people call the DP I it's really pp I d p I. Is that dots on a device, not a printed page. So they're going to tell you you need 300 here at Creativelive. I was told I needed 300 I told them, No, I don't, cause it's gonna be seen from across the room. But I digress. So if I tell him, Yes. Okay. 300. And I'm not going to say re sample it now went from 17 inches to 13 inches as the maximum. Because I'm telling it, I want 300 pixel squished together per linear inch. And I'm not giving it permission to re sample and create new pixels that didn't exist. So a 300 pixels per inch. I can only print a 13 inch print coming off a d G I. One of the vision cameras. Great, that's 30 inches. So how did we do it? And actually, if you go up and look at it actually holds up quite well. Even on close inspection. Well, I re sampled. But before we do that, let's mentioned something else. Because do you really need 300? No. Like I said, you can probably 300 give you your best quality to 25 which is gonna be half the file size actually will give you good quality for most of what you're doing special. If you're looking at it from a distance and if you're printing out to something like a gallery, rap print or watercolor paper that has a lot of built in texture. You can get away with 1 50 which obviously means Aiken double the file size. And now I'm already up to almost 30 inches with the exact same file without even interpreting it. So even though there are set people who say you need 300 that is a urban legend, you don't you can get away with a lot more. But the thing nowadays is you can make everybody happy, because with this auto, you can se ri sample. I want it all. I want I want this to be 30 inches. Um, and I want it all as a matter of fact, and it needed to be 20 by 30 inches, so I'm happy to crop it. So I wanted to be 20 inches by 31. I'll crop this off, and now I've got a file that waas 27 megabytes and it's now going to go up to 163 megabyte file. But using auto, I can actually get away with it and get some good quality out of it. That's Onley. In this case, I wouldn't do it for something that's going on glossy paper that's gonna be looked up close. That's greedy. That's really greedy to do that much from this standpoint. Anything that's gonna be seen from a distance, which most large or art is, or things like that you can get away with it. And again, this is an example of that situation here, and I'll just go ahead and say, Enter and we will do it. There is how fast it interpolated up the file. There is a file, and again, this is now where I'd come up here and do my final sharpening because now I see the actual pixels and whether I use the filter adobe camera raw filter we've been using or down to more than the more standard sharpen one's liken sharp mask. You have all of those at your disposal. And now, since I've blown up the pixels already did an initial sharpening when I was in a CR. That would be what's known as input sharpening. That's just basically sharpening the file up from how it was shot. This is now output sharpening for a specific output size resolution and paper media situation. Okay, questions about that I wanted to fit that in that fitted? Well, yes, with the scaling with a raw file of the With the raw file. At this point, once it's opening up in photo shop, it's basically it's been turned into pixels. So even though I still have access to the raw file because it was smart, technically speaking is not really taking advantage of the fact that it's a raw file. Once it comes into photo shop, it has to be turned into pixels. It has to be rast arise, so to speak. It has to be de mosaic and turned into pixels. So at this point, it's basically a pixel file. The thing cool thing is, is double clicking on this and I'm backed on my sliders, including all my snapshots so I can continue to find tuning and tweaking. Do all sorts of cool stuff. Very, very. Most of this stuff I haven't taught before. Um, for you know, almost 30 years I've been teaching photo shop and digital imagery, digital art and all this stuff, but rarely have I had the opportunity to shoot about the creative process and about these different ways of seeing and shooting. So for me, these different areas, whether it's aerial or like I said, the HDR macro underwater, you know, motion blur, infrared photography, thes air. Just great things that we as artists have as our disposals. We have photographers, and a lot of them aren't really expensive. This is probably the most expensive thing, but this is like, you know, a good lens is what you're paying for. Ah, lot of the things is going to get into HDR, and macro photography can be done even with point and shoot cameras or even one of these. So these classes are not about, you know, how can I lose more money? But how can I see the world that God has put me in in different ways that I've never done before? And that is ridiculously cool. So in terms of the pre check list, I don't have anything set, but we will do one that will be part of the workbook for those people who purchase class to view later in Karen Karen, thank you for putting together that pre checklist, and I could give that to you as well. Great. And then one last technical question. What is the 5.8 gigahertz remote control do different than the one that comes with the drone. Good question. Whether it's just a different frequency or whether that is an extending of the range Adam, do you have, uh, uh, conflict with the 2.4 gigahertz that his wife, I so that when you're using the IPhone as the interface with WiFi extender, that has to be on 2.4 gigahertz? Because that's what a phone is on. So in order to control the aircraft, it has to be 5.8. Otherwise they'll clash. They'll class. So a lot of times that the gigahertz or the frequency think about his radio stations. They are different radio stations that just mean, you know, if you have the pocket these things right here, often times these will have a little switch to change the frequency that it's being controlled. So Billy and Suzy can fight each other in drone wars and, you know, do that. So whether it's compatibility between different devices and technologies like radio frequencies, WiFi frequencies, Bluetooth frequencies or using the same frequencies, that's a lot of times what it is. Sometimes it probably would be the range extender, but in this situation it's that situation about compatibility of signals