The Non-Destructive Workflow in Lightroom
Lesson 5 from: Digital Printing using Adobe Photoshop and LightroomDaniel Gregory
The Non-Destructive Workflow in Lightroom
Lesson 5 from: Digital Printing using Adobe Photoshop and LightroomDaniel Gregory
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The Non-Destructive Workflow in Lightroom
When you're in the development module, you have an option for something called soft proofing. The keyboard shortcuts. The letter s. It's actually one of keyboard shortcuts. It makes a lot of sense in light room because it actually is the letter. As for soft proofing, if you don't see that under year pull down menu for your toolbar you actually can turn soft proofing on and off. When I turn on soft proofing, the screen goes white my history and changes to say soft proof and the white Here is an attempt to simulate the paper white because again it has that I c C. Profile. What's gonna happen here is I can come in and choose perceptual on relative. You see, not a big change. Their I can simulate that ink paper and I've got an option here for all the different profiles. Now what's great about light room is anywhere. I have the profiles. I can come in and turn on and off any profiles I would potentially lose you. So unlike in photo shop, have to scroll through thousands potentially in light...
room. I can come on and turn those on and off, and that's for anywhere in the print world. If I come in here now, I'm gonna choose. Say that two's cold press natural. Thanks. Here's a little shift there. Up here is my warnings for what's out of the gamut of my monitor so the colors aren't being properly rented by the monitor and the colors air out a gamut for for the actual printer. If I come up here and choose, say s RGB, you could see the little bit of red that shows up there that reds the start of at a gamut. In that case, I wouldn't worry about that one. But if I come grab a different image that has something say highly saturated I hope that one's on my extra hard drive. Bad demo. I grab something like this, I'm gonna turn turn off saw proof really crank up the saturation here, Come back in a soft proof you see, Now it's the things in red up here that should be that hot pink. Those have fallen out of gamut. So if I change that from S RGB to say adobe RGB, you'll see things start to come into gamut. It changed them to actually be printable shoes exhibition fiber. I get more of that coming into gamut. So the relative paper I choose may help with that Out of gamut. The correction I would do in here because I've got a couple of options and come in and use the HSE l sliders. I could use a brush. I could decide that. I'm not gonna worry about it. I'm just going with the rendering intent. Handle it because one of the things to change that I got to change the hue, the saturation, luminosity and the Emmys may get super dull, and they may not want that. I may let just let the rendering intent right on that. But I've got a number of tools to use to do this, but I'm gonna go ahead and work on this. But one of the things that's great about light room is we talked about that nondestructive workflow. As soon as I come down here to make some adjustments anywhere, just say I'm gonna just the white point light room's gonna ask me, what do you want to do? Do you want to make this a proof copy? Meaning? Do you want make this the thing you're actually gonna print? Or do you want to create a proof true proof copy, which makes a virtual copy with the profiling When a print, too. And the rendering intent I always choose. Create the proof. Copy and you can see it zoomed in down there. It's giving me a little virtual copy and you can see the name is exhibition fiber in the name. If I bring up the info on the image you can see now, it's actually got that included as a part of the name. So I know if I'm on the virtual copy or not, I can come in here now and make changes to this image specific to the output, just like I had before. I'm gonna come in. I'll go down to the h s, l Maybe in this case, I'll just change the hue of the red a little bit, see if I can get it in. Damn it, I could grab a brush. I could come in and paint. I could be saturate that a little bit. Turn off my monitor warning. That's a We're rid so I can come in and play with these different options until I can get those things to fall into gametes. That's pretty close to being a gamut. I would actually be able to print that. So now I've got that virtual copy. When I go to actually print, I'm going to select the virtual copy to print. Okay. Just like in photo shop. I'm gonna print with those adjustments on in light room I'm gonna print with with the virtual copy. Okay. So soft proofing the light room pretty easy.
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Ratings and Reviews
Keith Pinn
Great course! Daniel's ability to walk you through all aspects of properly printing is very helpful. His passion for the 'art' of printing is evident throughout this video. I am really excited and certainly more confident in my ability to enjoy printing as well. I hope that he develops further courses on printing. Cheers, Keith
Pablo Fregoso
This course is just an hour and a half. I wish it was a ten hour course because how amazing the content and instruction is. Thank you Daniel, it was informative, interesting, fun, and full of valuable information.
Brett Nation
I devoured this course like a good Netflix binge on a cold, frosty winter night. The instructor, Daniel Gregory, is extremely knowledgeable and most importantly he's a great teacher. Working as a Creative designer for 30+ years, I found this course helpful to me because I recently purchased a digital printer. that was driving me insane with random unexpected color shifts. Although this course was created in 2017, I would recommend this to anyone troubleshooting a modern color printer, such as the new Canon PIXMA PRO-200, that becomes available in 2020 and later.
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