My Workflow For REALLY Big Prints?
HTML-код
- Опубликовано: 27 июл 2024
- I was working on an order for 30x45 and 40x60 prints and thought it might be helpful to give a look at the steps I follow when profiling for optimal colors, brightness and contrast (soft proofing), creating small test prints (hard proofing), enlarging the image and making sure the full-size image is as clean and sharp as possible before uploading it to the print lab.
In the video I soft proof in Lightroom. I also have an older video where I show soft proofing in Photoshop: • Build A Photoshop Acti...
Some hard proofing tips: • Hard Proofing for Opti...
Some basic printing workflow tips: • How To Get Great Onlin...
I also mention HD Aluminum Prints in the video. Check them out: www.hdaluminumprints.com/
You have covered exactly what I am worried about with Large Prints. I love Topaz and will get that addition. I took notes. You have calmed my nerves by giving me real step by step directions in how to prevent disasters. Thank you so very much!!! I appreciate that a LOT!
Awesome video Sean!
Wait...who gave Michael Shainblum access to my RUclips channel? Security!!
Haha! Thanks my man. Just an old dog doing my best to hang with you young dogs.
That was a great tutorial Shawn! I especially appreciate you demonstrating blending the two upsized images together. That was great
Thank you for this! Perfect timing as I have been wrapping my brain around how to properly proof, size and sharpen my images for print. THANK YOU!
That was outstanding. You helped me understand a few more items that I'll be adding to my process for large prints. Fantastic!
Thank you so much for this excellent video, Sean. This is exactly what I have been looking for. There are so many techniques, hints and recommendations for how to postprocess an image out of a camera or scanner. That's ok for viewing a photograph on a screen, but it's by far not enough in order to achieve good results in printing. By showing your workflow you mention and comment the essential steps in-depth.
Loved the fine details for finishing off the print such as the chromatic aberration, etc. provided in the video, thanks for doing this.
Thanks for posting this video, Sean. Really, really, helpful.
Pretty incredible amount of content about this stuff you’re offering for free Sean. Thanks for this!!!
You bet Jesse. Just doing my (self made up) job. I tell myself someone has to do it, right? Haha.
Perfect timing with this tutorial Sean! I have images to print from a 10 week trip through Canada and Alaska and I have "0" knowledge about how to prepare images for prints. Your skill and ability to articulate your skills is amazing! I always learn so much so thanks and keep up the great work!
Right on Dennis! It sounds like an amazing trip. Good luck with the prints. Let me know how they come out.
Fantastic tutorial. Well done. Will be using your process to print my first 30x60. I've sat on this for a year (after completing my image way back then) because I wasn't confident it would print correctly. Now I feel good about my chances and the $600 or so I'm going to spend to have it produced on metal. Much appreciated.
This video is what one might call- added value!
Well done video Sean! Your attention to detail is wonderful. I've owned several large format printers over the years so I really enjoyed how you craft your final image. Your passion for perfection is true artistry!
Thanks JF! It's a lot of stumbling around and trial and error, but over time this workflow has managed good results for me. It sounds like you have plenty of opportunity to work out your own printing workflow as well.
You put a lot of effort making the prints perfect. Thanks for sharing this with us, it was very interesting.
Wow, that is so useful. It's a lot of work to get those images ready to print.
Thank you for that....great video Sean.
Wow Sean. Yet another 'how to' and 'why' video which is super helpful. If I ever buy large print of another photographer, that will be you because I know how much attention to details you give. I think for my own print, I am going to take some short cuts. Thanks for sharing.
Thanks for this Sean! Some valuable info here!
One of the best tutorials on preparation for printing I’ve seen. Thanks!
Really informative and well done video! Thanks Sean.
Thanks for the great video Sean. It will be very useful when i start printing my own work.
Thanks for all the work it took to put that together. I really appreciate it. Those images are fantastic, and very helpful to see the details of your process. I’m happy to hear you trust LR’s soft proofing flow - I’ve wondered how good it actually is.
LR works great. I can have a bit more control doing it through PS, but it is more work and usually not necessary.
Awesome video. This is an incredibly worthwhile lesson on something most of us assumed was choosing a print size and then uploading to the print lab
You can certainly go that route and get very good results with far less effort. The deeper we go into this stuff the more marginal the gains become for the work involved. :-D
Great presentation and great info. I've saved this one to my Printmaking video list.
Thank you Sean for this video. As always your videos are very helpful for me. Two days ago I start enlarging one of my photos from Grand Canyon which I took February this year. The large version of my photo I didn’t like very much. Now I’ll try your method step by step to make my picture look better. Thank you again.
I hope it ups your satisfaction in your results. Don't overlook monitor calibrating, computer room lighting and print lighting as well. All of these can significantly affect how the print appears.
Great information as always. Thank you so much, Sean.
Came across this by chance and it's really helpful. It's also the first video that makes the process seem straight forward enough.
You've gained a Subscriber, Sean, thanks!
Excellent! Welcome to the channel Tobye!
Clear and concise,,,delivered at a pace that keeps me engaged. We too use GP Ai and are now aware to be conscious of the "cartoonish look". We sell our 13x19 prints (Canon ProGraf 1000). Soft proofing is done in Canon's PS plugin. We will certainly now be more careful to edit for optimal color, brightness and contrast before a final cleanup at 100%, being watchful for any color fringing, then into PS for compositing to deal with any over-saturated items. BTW, we use the TK7 plugins in addition to LUMENZIA,,,wouldn't be without them!
Really awesome information Sean! Thanks so much!
Excellent tutorial, thanks!
Excellent vlog. Thank you for sharing.
Great video! Thanks for sharing Sean !
Hard to find good tutorials on printing, so this was really helpful. Thanks!
Incredibly helpful. Great video.
thank you for this detailed info! this will help me so much!
Thank you so much for this video it is a lot of information. We'll done step by step workflow.
Man! It wasn't slow. It was perfect. Thank you!
Excellent! We'll done step by step workflow.
Sean great video. I’m working on a really big print order myself. Several 32x48”s, 40x60”s and 1 triptych 48x72”. So your video has come at the perfect time. I really like the idea of blending the upsized PS version with the GI version. I’ve had to go through and fix plenty of blending issues myself. They look great on a 5” screen or even a 28” screen, not so much at 60 inches. Thanks so much for this video, most people would have charged money for a video with premium content like this one.
V Taylor Right on! Congrats on that big order. It’s a time consuming process putting an order like that together. Good luck!
I rarely comment on RUclips videos, but this one was so outstanding I had to comment on it. Both the content and presentation style were simply over the top. Better than 99+ percent of RUclips videos on photography, or most any other topic for that matter. Thanks for doing this!
Thanks so much for your endorsement Richard. It makes my day!
Thank you, great practical advise.
Excellent video - thank you.
Great video, Sean. Thanks for doing it. The simple layering of Gigapixel AI and Photoshop is such a great tip.
Glad it was helpful!
This video came exactly when I needed the most. I will print large some of my images for an exhibition 60x90 cm. Thank you Sean for this content.
Glad the video was well-timed for you. I wish you great success with your exhibition. Let us know how it goes!
Thank you very much! I will.
Sean, awesome video, have learned very much! Thanks very much!!!!
Another informative video, amazing thank you so much.
Thank you. This video is extremely helpful and has helped me refine my workflow.
Awesome!
Sean, I do a fair amount of large prints and have to say this was very helpful. Thank you so much for taking the time to put this together and explaining your're workflow so well.
Glad to hear it Nick. Hopefully my stuff jives with what you already do.
@@SeanBagshaw It does but I will take even more time now! Also will try "Gigapixel AI" soon. I print with a Canon iPF8300. Thanks much Sean. Nick
Just learned a lot from a really experienced guy,thx!
Tight! Keep them coming!
Outstanding content as usual! Thanks so much again and again and again!
Very welcome!
Great video Sean, I learned a lot. This is something I have been struggling with for sometime,
Good luck Fred! I hope it helps make the struggle a little less so.
great job! thank you!
This is what I was looking for!
Really helpful, thanks!
Excellent vid.
Gigapixel is slow but worth it in the end. I use a similar process but there were some great tips here how to get the most from your (large) prints. The next problem is affording the framing for the humungous prints, but leave that to the purchaser of the fine art.
Very cool!
Wow, thanks for this amazing video.....( I´m glad that I was doing things myself the good way so far...) you just confirmed it to me! amazing
Glad you have a solid print workflow in place.
many many Thanks!
Would definitely give Preserve Details 2.0 a try instead of Automatic in Resample (Image Size). If you don't see it, go to Preferences > Technology Previews and enable it.
I was just about to respond and ask why not use Preserve Details 2.0 instead of Automatic.
I must have missed the memo that the Automatic setting doesn't auto select Preserve Details 2.0 when enlarging. I'm going to do some testing and see what I think. I've only done one comparison so far, but I'm not sure I'm liking 2.0. Stand by.
Nice video, thanks for sharing your flow. I've recently worked on preparing a large print (40x60) and tested a few enlargement software options. GP AI did produce a decent quality enlargement for some images, however the software failed in those images that had lots of small details like tree branches, leaves, or grass lines similar to what you have in your video. Not only GP AI made the details extra sharper, which can be fixed as you demonstrated, but it also introduced new elements into the image, which looked weird. The same images enlarged with ON1 Resize looked much better and it also took much less time for the software to enlarge. That said, I believe that both GP AI and ON1 can be in one's toolbox. Cheers!
Great assessment. I concur. 😁
Hi Sean great video. Would be great to see a video about icc profiles and color management.
I'll add that to the to-do list. :-)
Amazing
They just get better.
I've made some very large prints on canvas and they print specialists used 180 dpi or lower. The finished products looked great.
Yes, you can get away with lower PPI on canvas thanks to the texture and ink bleed.
Great video.
So I just put it to practice preparing some LE Prints. I was doing proofing in PS before, but I have to say your LR workflow feels more natural. Otherwise I have a similar workflow to yours but it was still good to see how much work you put into your prints. It's motivating and inspiring to see that others also put in the work :-)
Thank you - try using preserve details 2 in Photoshop for enlargements - I saw a significant improvement. That Topaz sure did an impressive job though - nice work btw.
Compared to the Auto setting? Great, I'll give it a try. I'm surprised the Auto setting doesn't default to this when making big enlargements.
You output sharpened to the point it looked perfect on screen. I thought output sharpening, especially for large prints, required a degree of over-sharpening (when evaluated on screen) to achieve perfectly sharpened prints.
Thanks, very nice tutorial, I was wondering what kind of sharpness do you apply at the image before the interpolation, just normal as you would do for a file not be interpolated or something a bit lighter? thanks again
I feel like I need to be sending my credit card details somewhere. Cheers Sean, I'll be having a look at GP ai.
"SO SO so helpfull" In demystifying my next move away from the home printer.. Cheers fum AU.
Funny, I just finished a similar order of large prints and had to go through the same process. I don't have a nice home studio set up but it was a great learning experience. I had my images framed for my client wish is another step to the process. Great video, would have been nice to see this before I did it, but I learned a lot doing on my own. In terms of resizing for large prints do you do that for all orders or only above a certain size?
Congrats on the print order! The soft proofing happens no matter what, but If the prints will be less than 16x24 or 20x30 then I generally just size them in PS and print...or print directly from Lightroom.
This was extremely helpful! Are your images on film or digital? If digital, how many megapixels are you working with on your original file before you up res? I want to follow your workflow to make 40x60 prints
Thanks! Glad to hear it. All my images for the last 20 years are digital and I do not print any of my old film photos these days because they pretty much suck. Over 20 years my digital cameras have ranged from 3MP to 50MP but I would use this same basic workflow for all of them...and for my film scans too if I were to print those for some reason. :-D
Sean. I really enjoy watching your videos. I’m looking for a dependable printer and wanted to see if you would mind sharing your print lab for your larger prints.
For aluminum prints I use HD Aluminum Prints. For everything else I use Nevada Art Printers.
Awesome video, Sean! I’m new to printing and wondering if you have a video of your workflow for smaller prints.
Everything is the same up through the test printing phase. For prints 20x30 and smaller I usually just print right out of LR to my printer or export and send that to the printer without the extra up-resing steps with Gigapixel AI and PS. Or, I'll follow the PS proofing steps I show in the video I link to in the description. And I have also found there are some benefits to be had with Gigapixel AI even on images that are not being enlarged much or not at all. It can still smooth out noise and clean up edges. But the smaller the print the less this stuff is noticeable anyway.
Sean Thanks for the response. What I’m up against is printing 4x6 and close. I crop them to 4x6 in LR But when I send to printer they get cropped even more. Not sure I understand why. Am I missing an important step along the way?
Wow! You sure know what you're doing. Thank you for this video. May I ask how large your camera's sensor is? Thanks :-)
Thanks! All the images in this particular print job were from different resolution cameras. Currently I have a Canon 5D4 (30 mp) and 5DsR (50 mp). The more pixels the larger you can enlarge for sure but Gigapixel AI allows me to enlarge more than I ever could before.
Hi Sean, Great video. Tons of useable information. Thank you.
I was wondering if this really was you final image for the printers.
I noticed at 22:33 that your top layer had been moved slightly up and right.
I wondered if you caught that.
Keep em coming, and again, thank you.
Wow! Eagle eye! Yeah...this was just a demo for the video and not one of the files I actually sent off to print, so no harm done. Trying to record a video, narrate and operate PS all at the same time can just about cause my brain to short circuit so everything I do in a video should be considered "for demo purposes only". In this case, I think what happened is I demonstrated how to nudge the layers into alignment using the arrow keys, but actually nudged them out of alignment and didn't spend the time to make sure they got set back perfectly. :-D
@@SeanBagshaw good deal. I didn't want to be "that guy" but wanted to mention it to see if you had the final print on the light table when you noticed it. I find that this is something that happens from time to time. I always see it before printing but it had to have happened long before I found it.
Regards,
Dave.
@@at-rq6zi I definitely appreciate the heads up. If I had printed an out of alignment 40x60 that would be a bummer. I have been known to pull bonehead moves like that.
Thanks for doing this video Sean. It's great to see the care that you apply to each print. I'm sure they look stunning when they come back from the printer. I have a couple of comments: first, you seem to continually merge layers in Photoshop after you've completed an operation. Wouldn't it be better to keep all the layers in your master image in case you miss something and want to go back later (e.g. if you find another hot pixel or dust spot)? Most PS experts are encouraging people to adopt non-destructive editing techniques and merging layers mid-edit is not recommended. Also, you finish your process by producing an 8 bit jpeg file. Nowadays, there are 16 bit printers with a much larger colour gamut. Wouldn't it be better to save your file as a flat TIFF file if you are using a lab with 16 bit colour capability?
Thanks for the questions. First, in my main workflow to create the master file I do not flatten layers to maintain "backward flexibility" so I can go back and make adjustments in the future, as you say. When creating the print file, I'm no longer making adjustments to the image other than clean-up and output sharpening which aren't too hard for me to get right on the first pass. Yes, it would be more flexible to maintain all those layers, but when you start piling up pixel layers in a 40x60 image file it can really make the computer drag. This particular print order was for 30 images, so any increase in efficiency/speed is worth it for me. Regarding 8-bit vs 16-bit, 16-bit gives you more editing latitude but doesn't affect how the static image appears. Like I say in the video, as long as no additional adjustments or changes are made to the image then saving to 8-bit jpeg as the final step does not change how the image appears or how it will print.
@@SeanBagshaw I'm not sure you understood my second point. There are printers now that accept 16 bit images as input and produce smoother gradients as a result. If your target is a 16 bit printer, you may not want to save your file as an 8 bit jpeg.
@@huwmorgan51 Yes, I totally understand your question. My own experience/testing and everything I have read from printers far more experienced than myself is that it almost never if ever makes a visible difference in the print itself (see this forum thread www.dpreview.com/forums/thread/4122063). Further, while some printers support 16-bit files, this is only available from Mac computers (Windows print drivers only support 8-bit apparently?). I use a PC and I assume that, unless otherwise stated, that print labs are printing at 8 bits. So, if it isn't making a difference in the print and most printers aren't going to print 16 bit anyway, I might as well upload 8 bit files and save myself time and also save the print lab bandwidth. So, my flow is to edit 16 bit and don't convert to 8 bit until the very end...and then don't do any editing at all after conversion to 8 bit.
Sean, I really like your walk through and process. I hadn't thought of combining Gigapixel and Photoshop output to eliminate the areas crunched up by Gigapixel. One question on the final save as JPEG. Do you also save the Photoshop as TIFF or PSD in case you discover something on your sectional print? Do you have a checklist you use?
I do tend to retain a tif copy with layers until I'm sure I have it perfected. I have a mental checklist, but it is always being modified and refined as I learn and new tools become available.
Hi Sean, thanks for the tutorial. I've read about colour corrected viewing booths used when comparing hard proofs to screen images. Do you use one and if not, why? Also, does the customer's display lighting factor into your process in any way? Thanks.
Hi Mike. Tricky questions. I don't use a color-accurate view booth, but that's certainly a next-level move if you want to go deep. I have not chosen to incorporate this step because all it really tells you is how closely your print is achieving accuracy with what you see on your monitor under precisely controlled lighting, but not how the print will actually look in its display location...unless it will always be displayed in a similarly calibrated color-accurate viewing booth. To me, the viewing booth step is extra space, time and money and doesn't really tell you anything about how the print will look on the wall. If it is possible to know and test some prints in the customer's viewing space then it could be valuable to take that into consideration but also adds a lot of extra time and effort. The reality is that unless your computer is sitting in your customer's house right next to the print, no one will ever know that the two may not appear precisely the same. And if the room has windows, the print will look different during the day than it does at night or on a cloudy day or with the lights on or off...so there is no way to print the image so that it will always appear the same in every moment anyway. Fortunately, our visual system is constantly compensating for light color changes in the environment. As long as the print looks good in what would be considered "typical" indoor lighting then that's good enough for me. If there is specialized gallery lighting then the print will only look even better.
Thanks much, Sean for this tutorial. Do you have any tips on how to handle out of gamut colors in Soft Proofing? I've tried a few times without success. Cheers!
Hi Rick! There really isn't anything to do with out of gamut colors (other than switching to a print method that has a wider gamut)...which is why trying to deal with them is unsuccessful. Out of gamut colors can not be printed no matter what you do...that's why they are out of gamut. When printing, the print driver/icc profile shifts out of gamut pixels to the closest in-gumut colors automatically (Relative Colormetric rendering intent). This ensures that only pixels that are out of gamut get shifted to the closest in-gamut color, keeping your image as close to original as possible. That's the best you can hope for. If colors are only slightly out of gamut then you won't even notice they have been shifted. Pixels that are way out of gamut have to be shifted quite a bit...but only just as much as needed to be printable. Trying to move out of gamut colors back in-gamut on your own can't be done on a pixel by pixel basis so you end up shifting colors in the image that don't need shifting and you also end up shifting more than needed and shifting to colors that aren't as close as possible to the orignial color. Better to just proof the image for the profile as best you can and then let the print driver do the heavy lifting figuring out how to deal with out of gamut colors.
@@SeanBagshaw Thank you, Sean! Your's is the clearest explanation I've seen. I don't print my own images at home but send them to a local lab. I must say that they match colors pretty darn close. Thanks, again for you help with this issue. Cheers, Rick.
@@rickhamill1365 That's great! I agree...the colors the labs can print these days is amazing. So, even if you do end up with some colors that are a little out of gamut most are only slightly out in the print you can barely tell. Every so often I'll have a crazy off the chart magenta or yellow/green and with low gamut printing, such as a Chromira printer or some aluminum printing, those colors will end up really bad. But if I go to an Epson Ultrachrome inkjet or the aluminum prints from HD Aluminum, then even those over the top colors can come out amazingly well.
One question! How can I know the correct size (Height) and (Width) that I need to choose for my image when I need to upload for web or print? Thank you.
This tutorial is a GEM!! Thanks Sean for always sharing amazing useful tips. I have learned so much from your tutorials on TK actions and photoshop series.
If you had multiple sizes of the same image to send off for printing, would you do this for each size or is there a "size grouping" type of approach where you could apply all of these techniques and then slightly resize it to a similar print size?
I do the first two types of sharpening to my master file but I do output sharpening separately for each output file.
Great info Sean! Sub'd - Curious what computer you're using, as I'm about to start shopping for a replacement. Just watched your "World HQ" video, and couldn't figure out what it is.
Thanks for the sub! Glad to share. I'm on a PC that I had custom-built about 4 or 5 years ago. Intel i7-5820K CPU, Nvidia GeForce GTX 980 Ti graphics card, 32 GB RAM, 11 TB striped array data drive, 1 TB solid-state OS drive. I'm probably going to be due for a new machine in a year or two.
@@SeanBagshaw Thanks Sean
Hey Sean - new to the channel. Love this video! Notice you chat about the TK7 tool set - not sure what that is... :-/ I subscribed and will be digging into some additional videos to learn as much as I can from your channel!
Welcome to the channel! The TK7 Panel is a custom extension for PS built by my friend Tony Kuyper. It does a ton of things, one of which is to help generate and utilize luminosity masks and other complex masks. You can get all the details and see some videos here www.outdoorexposurephoto.com/video-tutorials/tkactions-tk7-panel/ and I also have quite a few TK Quick Tip videos here on my RUclips channel.
@@SeanBagshaw Sounds great! I'll check it out! Thanks Sean!
How many megapixels does your camera have ? Thanks.
Great lesson as usual Sean, thank you very much!
I have a question though hahaha. Could you please elaborate on the upscaljng resolution? Why the magic 300ppi number? I’ve seen people arguing that Canon printers “native resolution” (whatever that may be) is 600ppi and Epsons 720ppi.
Would it be better to upscale to 600ppi?
Thanks again!
Canon native is 300 ppi and Epson is 360 ppi. Jeff Schewe has shown there is minor gain by printing at 600 or 720 respectively...but only visible when inspected under magnification and results in massive files sizes for larger prints. So, it may be worth it for smaller prints but probably not for larger prints...especially when going beyond the native pixel dimensions of the file.
@@SeanBagshaw got it! Maybe you could do a video testing it? Thank you very much!
Sean, can you do a video, if you haven't already made one, on how you go about making a print of a section of the image to check sharpening as you mention at 27:00?
Hi Lou...I don't have a video on that but I should make one. Until then, here's a way to to it.
1. Size the image to the print size (40x60 at 300ppi in the video example I think it was?).
2. Now go to Edit(Ps menu on a Mac)>Preferences>Units & Rulers and set your rulers to show inches and not pixels.
3. Then, use the rectangular marquee tool to select an area of the image that is the size you want to test print (12x18 inches for example).
5. Now go to Image>Crop. This will crop everything outside the selection and leave you with the selected portion of the image. This does not resample the pixels at all...it just cuts out the portion of the print file you want to print.
4. Now you can print can just print it.
Good idea to do the crop on a copy or just remember to step back in the history when finished so you don't accidentally save when it is cropped.
@@SeanBagshaw Thanks, Sean! That sounds simple and straightforward enough. A great help for some upcoming 32x48s!
Hi Sean. Thanks for this very informative video. Do you have any experience with On1 Resize?
You bet David! I don't have experience with Resize, but someone else in the comment thread said they use it and like it.
Thanks!
Great video, thanks! How did the print turn out? Also, you didn't mention upsizing in Lightroom, is it that bad? Thanks
Thanks for asking! They turned out spectacularly. Thirty 30x45 and 40x60 prints for a large office building in Portland, Oregon. I shipped the signed prints to them in December and last I heard they were still in the process of being framed. In the near future I hope to visit and see the display in person. It will be the second largest collection of my prints in one place to date. Regarding big enlargements with LR, I can't recommend it. In this follow up video I compare several different enlarging methods and LR didn't compete well at all. ruclips.net/video/2khOr_FqykA/видео.html
@@SeanBagshaw That's awesome about your prints! They are beautiful and should be on display for people to see. Make a video when you go see them in person. Thanks for the video link, I'll check it out.
Where can one find more paper simulations? Do individual paper companies provide plug-ins? Thanks!
Yes! Paper companies and print labs usually have icc profiles you can download. If you have the equipment and know how you can also create your own custom profiles. Google it and you will find a lot of info. 😁
For test prints at smaller sizes, how do you adjust for the way parts of prints can come across differently when you change their size?
As long as all the other variables stay constant then the only differences should be in image detail and apparent sharpness. Color, brightness, contrast should stay consistent. What things are you noticing that come across differently? Certainly room lighting and viewing distance can affect how you see a big print vs a small print but that's all external to the developing and printing and very hard to quantify and control.
@@SeanBagshaw As I thought how to answer this i realised the problem ... it's when I'm working with artwork; when I change the size of the print I change the gaps between lines / brush strokes and so change the density of parts of the image. It is often especially noticeable when I reduce a picture from its original size.
I realise that with my photos it's more the way some parts of a composition may not work so well when enlarged!
Thanks for the great video.
@@garyrowe58 Ahh..that does make sense. Boy, not having experience with that type of artwork I'm not sure how you could deal with that issue. Good luck :-D
Hey man nice explanation about printing..
But
I have some questions
1. What if the image is shot with high iso like 3200 in low light
2. What if the highlights are blown
3. What is the shadows are blown and turned into black
4. If we can upscale every image though a software than do we realy need high megapixel cameras..
Thanks!
1. Try noise reduction software.
2. Not much you can do about that.
3. Raw files from newer cameras have a lot of ability to recover shadows with good quality. If you are working on raw files try recovering shadows in Lightroom or other raw software. If you are working on jpegs then not much you can do.
4. Less of a need, but even with software, more pixels will still lead to greater fine detail in big prints.
@@SeanBagshaw regarding 2nd and 3rd question..
I ment to ask was
Can we print the image with blown highlights and 0%blacks in it
i always shoot in raw only..
As i learned in photography
Always to preserve the highlights
But in some cases we cant preserve the highlights..
So what will happen when i go for printing the photo with blown up hoghlights and 0% blacks..
@@rituthahryani5163 Over exposed highlights and clipped shadows will look basically the same in print as they do on the screen. Blown highlights will just be featureless white areas and clipped shadows will be featureless black areas.
Good video but unfair to compare GPai to PS for enlarging since GP is adding sharpening during upsize where as ps is just extrapolating. Sharpening needs to be done on the PS layer. Also, would never recommend using auto for uprez in PS. Depending on scene each method has merits (and also noise control).
I'd give this one two thumbs up if I could.
Is it just me or does Gigapixel AI make the output file brighter? If so, would it be better to first do the upsizing and then the proofing?
I see that too...but not sure I have ever noticed it before. It actually looks like the PS sized file is the brighter one and/or the Gigapixel AI file is a little darker. I'd have to do some testing to find out which app is the cause. But, in the end, the difference appears minimal and all the prints I have done using this method have looked good to me, so I'm not too worried about it. To be super picky you could, as you suggest, upsize first and then do the proofing in PS instead of LR, but that adds some complexity to the project and making adjustments to those really big files will drag a bit.
Very helpful. How long did it take gigapixel to render?
It seems to depend on the original file res, how much enlarging is being done and how full my RAM is. Somewhere between a couple minutes and 20 minutes. Definitely the slowest method I've used but also giving the best results. I'll have a video comparing different upsizing methods coming out next week so watch for that.
@@SeanBagshaw okay that's not terrible. Have you used photozoom pro ?
@@angryanimaldoc I have not used that one. Do you like it?
@@SeanBagshaw I like it. It let's me switch between the different algorithms to see what works best and it is faster than gigapixel. I would be interested in you thoughts if you ever try it.
Hi Sean
In Lightroom, when you export the file as Adobe RGB won't there be some issues since the file you worked on was in Prophoto?
John
I guess my question is really this: is the export function in LR the same as EDIT/CONVERT TO PROFILE in Photoshop?
@@johngiatropoulos3848 They are doing the same basic color space conversion, but PS gives you some additional features (rendering intent, black point compensation and a preview). Only colors that are outside the Adobe RGB space will be affected. If there aren't any colors in the image that are outside of Adobe RGB then the image won't change at all. For almost all my images the visible difference between Adobe RGB and ProPhoto RGB in print is minimal to none. The main advantage to the larger color space is to have more colors available in the editing phase. It's never my first choice to down-sample my color space, but if the print lab only accepts Adobe RGB they are going to convert to that profile anyway.
Sean Bagshaw got it thanks
My problem is what I see on the monitor (sharpness) doesn't match what I get on a 16x20. I shoot raw and have an Epson 3800 printer and test print on 4x6 Epson paper and print on Ilford Gold Fibre Silk paper. So what's up.
This is definitely a challenge, Tom. The screen doesn't perfectly equate to print for a variety of reasons. First is that we don't usually view a print as close as the 100% view on screen. I tend to judge my sharpening at 50% or even 33% and find that this gives me a closer approximation of what the sharpening will look like in print. Second, with different inkjet printing methods we get something called "dot gain". This is how much the little droplets of ink spread out on the media. Glossy and luster papers tend to have less dot gain and mat and textured media like fine art paper and canvas soak up the ink and have more dot gain or spread. This is where doing your own hard proofing/test printing to find the right amount of sharpening is important. For some print types and sizes, I find I have to oversharpen on the screen to get the right amount of sharpness in the print. In this video, I show a hard proofing technique that might help you hone in on the right amount of sharpening: ruclips.net/video/43_v6olWyQc/видео.html