.

What Printing Can Do For Your Images

Most of us carry and share albums of our photographs with our phones every day. When was the last time you carried prints of your images with you? When was the last time you made a print? If you haven’t made prints recently, you’re missing out. So are your images. Making prints does many things for your images.
How many things? Let me count the ways …

Sensual

Prints make your images tangible. Prints enhance your images with material qualities and the associations they bring with them. Synthetic or organic? Reflective or non-reflective? Smooth or textured? Uniform or irregular? Sharp or soft? White or cream? Transparent or metallic? These and many other factors will have an impact on the technical quality of your images (color, detail, gradation, etc) and on the reactions they produce within their viewers (“It feels like or reminds me of …”).

Scaled

Prints define the scale of your images. What is the appropriate scale for an image – miniature, life-sized, or larger-than-life? Do you want people to walk up to a building-sized mountain or hold it in their hands? Scale changes the physical and psychological reactions people have to images. They draw close to small prints and sometimes hold them or even carry them with them wherever they go; large prints immerse people in images that may fill their entire visual field until they pull back to view them from a distance. You can change a space or even create new space with prints.

Durable

Printing makes your images more durable. So far, it’s prints that have stood the test of time. Historically, it’s the images that were printed that survived. Putting new technology disaster stories aside, there’s never been a precedent to help us determine how long digital files will last if properly cared for. In theory, they should never degrade and can be copied indefinitely without reducing their quality. Whether people, first you and later the inheritors of your images, will perform the required maintenance to ensure this is the real question. One day in the future, media and format migration may become automated, but it’s not now. Consider prints your ultimate form of backup. Though they can deteriorate on their own, if properly produced and stored, prints need little or no additional care and no know how to retrieve and use them.

Saleable


Because they’re physical, prints are easily bought and sold. It’s hard to command a high price for intangible things and harder still for them to hold their value or appreciate. In recent years, there have been unprecedented escalations in the value of photographic prints. Photographic prints have sold for as much as major paintings.

Exclusive

Images in print are more rare as well as less accessible. (Often, this contributes to both their market and personal value.) Prints take up physical space and why would you let something do that if it wasn’t important? Of all the images you look at in a day, how many of them are prints? No one carries thousands of prints in their pockets or on their cell phones. No one makes millions of prints. How many prints do you make? Most of us don’t make enough prints. Making a print is a statement.

Different Experiences

Traditionally, to be viewed at all photographs needed to be printed. Today, that’s no longer true. Still, prints encourage images to be viewed in different ways. If you’re like most people, only the most important images to you have been printed and only a few of those are displayed at one time or for long periods of time. We look at images that are printed differently than images that are not. Do you look more frequently and longer at images that have been printed or images that haven’t? Prints persist. They remain in our environment consistently and require little or no conscious effort for us to consider and reconsider them yet often they demand that we do look at them more consciously. Making prints can become a part of the decision-making process to focus more attention on a select few images. When images are printed they are no longer lost amid so many other less important images. When printed your images become more significant.
In short, printing your images can work wonders for them. It can also work wonders for you.

Read What Making Prints Can Do For You.

Explore my Printing resources.

Learn more in my digital printing workshops.

Photoshop Sky Replacement Updates + Free Images – Colin Smith

 

Colin Smith (Photoshop Cafe) shows how to use the new updates to Photoshop’s sky replacement feature. Sky replacement explained in-depth and free sky pack included.

Read Colin’s tutorial here.

Colin gives you his sky and clouds pack for free here.

Learn more in my digital photography and digital printing workshops.

Photoshop Cinematic Color Grading – Make Your Images Look Like Movies

.

“Photoshop tutorial showing how to apply the cinematic effect to your photographs. The cinematic effect that we’re going for is the teal-orange look, which is a typical movie effect in action movies.”

Find out more from Jesus Ramirez at PTC.
Learn more in my digital photography and digital printing workshops.

Create Cool Color Effects With Photoshop LUTs

.

Get powerful color grades in a click. Learn how to download, install, apply and modify LUTS in Photoshop. Plus, find out how easy it is to make your own 3D LUTs.

Find out more from Colin Smith at Photoshop Cafe.
Learn more in my digital photography and digital printing workshops.

How To Make Your Images More Expressive With Adobe’s Color Grading

There was a time when color crosses were thought of as poor form, as so many were struggling to remove color casts consistently and accurately while managing the inaccuracies inherent in analog color photographic media. When you saw these kinds of effects, it was hard to ascertain whether the artist was not in control of their craft or insensitive to color or whether they deliberately deviated from the norm. But over time color effects like these have become celebrated both because their differences catch the eye, standing out amid a sea of images, and for their expressive capabilities. What used to require time-consuming chemical processing became quicker and easier digitally. Now there’s a new tool that makes it even easier and allows you to make these kinds of color choices more intuitively - Color Grading.

What Is It

Color Grading is the new Split Toning in Adobe Lightroom’s Develop and Photoshop’s Camera Raw processors. Color Grading offers major improvements including global, control, midtone control, blending sliders, luminance sliders, and the addition of color wheels for a more intuitive interface.

It’s Backwardly Compatible

Don’t panic. All of the Split Toning adjustments you’ve made with previous versions will be compatible with this improved tool if you choose to update files processed with older versions. The sliders will automatically be set new settings that generate the same results. All new controls (midtone, global, luminance) will be set to zero. Blending will be set to 100. You can also make the new tool behave like the old tool by setting Blending to 100 and moving only the hue and saturation of shadows and highlights.

How To Use It

Accessed by clicking the five circles to the right of word Adjust at the top of the panel, you can choose the way you view the Color Grading tool. It’s likely you’ll spend a majority of your time in the first panel (3-Way), which condenses into one panel the next three panels (Shadows, Midtones, Highlights). The larger view of these separate panels offers only one additional feature, the ability to use the Custom Colors swatches to apply preselected colors or sample colors within an image. The fifth and final panel Global adds color to all values equally, for finishing touches rather than the grand effect.

Color Wheels

The most eye-catching part of the new interface may present the biggest learning curve for those who have not used color wheels before but once you try it a few times you’ll find it’s incredibly intuitive.

Move the circle from the center of the color wheel towards the color you want to add, increasing saturation the further away from the center you go, and you’ll see the Hue and Saturation sliders move as you do. Rather than rendering them useless, they become fine control. The second circle on the edge of the wheel moves Hue only and is redundant but perhaps more intuitive to use. The Luminance slider affects brightness for the tonal range you’ve selected, but you’ve got to ask yourself why you wouldn’t use the more precise Tone sliders in the Basic panel. The Luminance slider is fine for some occasions, (It’s great for quickly lifting blacks or lowering whites so they’ll show color effects in ways that pure black and pure whites will not.) but don’t trade convenience for exceptional results.

Balance & Blending

The Balance and Blending sliders both control how the color you add fades into surrounding luminance values. What’s the difference? Balance places the middle of the transition while Blending affects how short or long it is. Blending sets whether the transition is short (Set low it affects fewer surrounding values thought the transitions it makes are still smooth.) or long (Set to 100 it’s capable of affecting all values but not equally.) Be careful setting both Balance and Blending high; you can create curious color cross-over effects.

You’ll find that the Blending setting will affect the saturation of your color choice significantly. A higher Blending setting with less saturated color allows more of the image to be affected less intensely. A lower Blending setting with a more saturated color affects less of the image more strongly.

Midtone Control

One of the game-changing features of Color Grading is the ability to add a third color into the midtones, one that is different from the color added into the shadows and different from the color added into the highlights.

Global Control

You might think it strange to add Global Control to a tool designed to affect select levels of luminosity, but once you try it you’ll find it very useful, often as your last stop in this panel. The addition of an overall color effect frequently helps unify the disparate effects added into shadows, midtones, and/or highlights.

Curves

Color Grading’s interface is much more intuitive and direct than Tone Curve’s. Nevertheless, with a little more work, you can get very similar and even identical effects to Color Grading by using Tone Curve’s Red, Green, and Blue Point Curve feature, which allows you to add color into shadows, midtones, and highlights and control the blend of these effects into one another. I tend to use the Curve for its precision and often further refine Color Grading effects with it; the two are not mutually exclusive. But, you can get even stronger effects with Tone Curve than you can with Color Grading. So if you find yourself using these kinds of Color Grading effects frequently, you owe it to yourself to also see what you can also do with the Tone Curve panel.

Use Photoshop's smart filters to apply Raw adjustments locally

Apply It Locally

Color Grading is a global effect, that is it will affect all shadows, midtones, and highlights equally – unless you apply it as a Camera Raw smart filter in Photoshop. If you do this, you can mask the Color Grading effect to apply it to any portion of an image in any percentage you choose and away from other portions.

Color Strategies

Before you apply Color Grading make your Basic adjustments first, setting black and white points, brightness, midtone contrast and white balance. How you set these things will change the subsequent settings you use in Color Grading. There are always exceptions but, usually, you’ll want to clear any color casts as a more neutral base will show Color Grading effects with fewer color influences and you can do more with less. Black and white images show Color Grading effects most quickly and even a tiny bit of color can produce significant differences.

Here are five strategies for applying Color Grading.


Insights Members can login to read the full article.
Email:
or Sign up