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Setting printer profile in Lightroom CC

Lesson 28 from: The Ultimate Lightroom Classic CC Workflow

Jared Platt

Setting printer profile in Lightroom CC

Lesson 28 from: The Ultimate Lightroom Classic CC Workflow

Jared Platt

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Lesson Info

28. Setting printer profile in Lightroom CC


Class Trailer

File management and the Library Module


Intro and File Management


File Organization and Lightroom Workflow Overview


Workstation Diagram and File Flow


Converting From a Previous Lightroom Workflow


Lightroom CC Tour: Folders and Collections


Lightroom CC Tour: Publish, Histogram and Quick Develop


Importing Images into Lightroom CC


Rules for Selecting Images in Lightroom CC


Organizing Photos in Lightroom CC


Keywording in Lightroom CC


Using Facial Recognition in Lightroom CC


Working With Catalogs in Lightroom CC


Synchronizing Catalogs in Lightroom CC


Using Lightroom Mobile


Publish Services in Lightroom CC


Lightroom Workflow Q&A


Tour of The Develop Module in Lightroom CC


New Features in the Lightroom CC Develop Module


Camera Calibration


Calibrations and Custom Profiles in Lightroom CC


Calibrations in Lightroom CC: Comparing RAW and JPEG


Rules for Developing in Lightroom CC


Understanding Presets in Lightroom CC


Making Presets in Lightroom CC


Syncing Presets in Lightroom CC


Working with Photoshop and Lightroom CC


Using the Lightroom CC Print Module


Setting printer profile in Lightroom CC


Comparing Prints from Lightroom CC


Finalizing the Job in Lightroom CC


Archiving the Job in Lightroom CC


Importing Back from the Archive


Building a Proof Book in Lightroom CC


Building Albums with Smart Albums


How to Create a Portfolio in Lightroom CC


Advanced Search in a Portfolio in Lightroom CC


Scott Wyden Kivowitz Interview on SEO


Optimizing Image Metadata in Lightroom CC


Publishing a Blog Post From Lightroom CC


Making Slideshows in Lightroom CC


Lightroom CC Workflow Recap


Developing, Presets and Printing in Lightroom CC

Day 3

Lesson Info

Setting printer profile in Lightroom CC

We're going to be printing on really nice paper, but we have to profile it remember we profile their camera right? We profile their monitor, we even set up specific profiles for our preferences for our camera inside of light room we call those defaults, so we've done all of this profiling now we need to profile the printer there's two ways to do that the first way to do it is to have a really good printer and a really good piece of paper and people who have profiled it for you that's the best way and the easiest way to do it and you'll find that though if you have the right paper manufacturer on the right printer, it will work seamlessly it's beautiful if you can't get the right profile, you can also go and use a profiler paper profiler, a print profiler and x right makes those as well you would simply put the profile or they would print out a test print you read the test print, then it makes the profile and then your profile works so that what you're seeing is what you're getting on t...

he printer. So worst case scenario you can always do that however, the cans and paper has very good profiles like they work really well first first time we print out of the gates, we get the right color if we're using their profile all right so when we're down here what we want to do is we want to get their profile so if you go down here to the bottom of the print menus you have all the printing options so you can print to a j peg file or you can print to a printer we want to print with the resolution of three hundred d p I to forty's fine on inkjet printer but I'm gonna keep it at three hundred print sharpening low and for matt paper and then below that is sixteen bit output some printers can't do this the cannon can sew the cannon pro one can print sixteen bet and there is a difference the print is really, really, really deep and sharp and beautiful when you print at sixteen all right color management we want in color management we want the um we want the light room to run the color management so if I click on this profile I could say managed by printer but I don't want to manage by the printer I don't want the printer managing it I want light room managing it based on the profile we've given it so light room knows what the color is here the profile knows what the printer can accept and light room is going to run the show it's going to send all the data to the printer tell the printer what to do then print is going to follow the instructions so we want to manage it based on these profiles and so what we're going to use is I like to call it an awkward paper because I can't actually pronounce what the name is aqua aqua, rehl that's the name of the paper but I'm just going to call it aqua paper because I'll mispronounce it so this aqua paper this is the profile for I click on that profile and that's the extent of what I have to do because remember I profiled this I profiled my monitor, I know what I'm seeing and now this profile is going to take it and do the conversion from here to there to tell me what it needs to be okay, so I need that where is that? If I download a printer profile so you would go on to cancels website and you would look for the paper type that you have and the printer that you have, you would marry the two together and it would say this is your profile and you're going to download that image or that profile to your computer when you download it, you're going to go again to the light room preferences go hit preferences you're going to say show me the light room preset folder see how many times you going to use this all the time? Click on that and inside of there there is going to be a color profile section and in it there are other profiles, all I have to do is drag any profile that I've gotten from online into here, and it will be available to light room to use. So download any paper profile you have stick it in this folder and light room can use it. Um, that's another reason why we want to do this interesting sink box? Because we don't just want the developed presets to synchronize we want this to synchronize so that all of our computers can print to the same printer. Okay, so now we have the profile inside of light room because we've put it into that box and we can go backto our print and we can create. So now we have the profile set up here's the profile, this is the paper there's, two options, intent or relative? You want to do it on perceptual, so it's going to try and preserve the way it should look based on the paper, how much light you're seeing here, how much like the paper is going to reflect all that kind of stuff and then there's something down below that called print adjustments, and you can see that I've already set it up. Print adjustments are those subtle adjustments that you might make to a file when the printer prints at a little dark or not quite contrast enough because the paper sucks up think a little bit differently than what you're seeing on a glossy apple screen and so you're not getting exactly the same look on your screen as you are on the paper and so what you can do then is you can tell it I want you to be a bit more contrast e and a bit more bright because in translation between my screen which is backlit and this which is a reflective art surface there's a translation issue you could go in and start adjusting your file but you should never do that you should be calibrated well enough on all your prints that whatever it looks like on the screen it's goingto translate well to the print now I know that my print is never gonna look like this screen because this screen is a glossy monstrosity I know that it's going to look like a mat print over here and I'm okay with that if I wanted to look like this I would printed on that ungodly metallic paper I hope I don't offend anybody that uses metallic paper but I just think it is crazy just I'm seeing me in your print which is nice because I like looking at me I guess but who wants to see themselves in a print of someone else? I just don't I don't get it so I have seen metallic paper look really good if you take the metallic paper. And then you actually, uh, a poxy it to the back of, um, like that museum matted glass because then it takes all the shine off of it. But it keeps that metallic feel. And that looks really beautiful. But it's like it's it's, matted glass stuck onto metallic paper that looks cool. But other than that, I got to stay with matt paper fact, when I was talking to cans and paper, I was telling him that I like I like things that are rough and he's all you like it rough. So I just like it rough. I like like the paper rough. So anyway, okay. So back to the real world. Once we've got our set up, we got everything we want. And by the way, if you wanted to, you could also come in here and you could water mark the image. So if you click on water marking, then you could choose a watermark. You could choose a logo or you could choose text it's up to you. You can create that at the bottom. Edit watermarks. When you're in the watermarks area, you can then tell it to water. Mark it with a text there or you could find a graphic once you find a graphic just look for a png is the best file type for a graphic because it could be transparent but it's like a j peg so you would choose your transparent uh png and it would stick it right here on the top or on the side and you could choose you know where it's going to be how big it's going to be you could say I want it to be really big or really small so all of that stuff is possible but I'm not in a watermark something like this but if you were doing like a promo piece you're doing a problem piece you'd want to come up to the identity plate here click on the identity plate and then you could take this right and you could rotate it uh c right here so we're gonna know rotation click on here and I'm gonna edit the identity plate and I'm going to say uh come see our new castle that's cattle giddy up so come see our new castle and I had put it right here on you know whatever so you put whatever you want there you could build a logo there something like that and then what you do is click on this color and you would grab onto that color and then if you hold you can move over and point anywhere in here and say oh I want it to be her skin tone. I wanted to be the tone of the actual, you know, building behind her. And then so now it's gonna print that color of the building behind her that's pretty cool, right? Okay, so I'm gonna turn off the identity plates. We don't want to do that either, but now we're going to go over to the template area because we've set all of the settings that we want. Oh, and by the way, one more set of settings that you want to look at is the print settings. If you click on the print settings, it's, just your printer dialog box. But when you hit, save its not gonna print it's just going to save those settings, and when you go to the cans and website toe, look at or whatever prey paper using, but if your cancer they'll ask you, you know what, printer and what paper you're going to use, and then it shows you what kind of settings you should use for that printer. And so now when I go in and say what kind of quality media it actually tells me, choose the other fine art paper one so I know that that's the best paper setting for this particular paper because they've tested it out for me once you set that up and hit save then all of your settings or set you know your paper size you know your printer settings you know your profile you know your sizes over on the right hand side everything set you're gonna go over to the temple the template browser click on plus and you're gonna name it so then you would say first off I want to put it in my cannon folder and I want to type on here I want to say, uh thirteen by nineteen and it's aqua rehl and I think I don't know what size that is but let's just say vertical with horizontal photo just something so you know what it's gonna be? I might rename that later and hit create once I've created that I've got that in my set now so now I can choose oh, I want to print this you know, big like that or I want to print it like that or I want to print it like this or I want to you know I can choose what I want to print and notice that I have every time I use a different paper. So if I use the veiling I ve ellen bellying anyway it's a french company so I'm trying to say mall in french sounding words but anyway, so if I click on this here's the cockerel rag, click on that andi all of the settings for the paper are included so when I come over here I'm looking at the paper and the paper type itself the profile has changed so then when I come over here and choose the valley narva lean villain I go here and see how that paper type has changed so everything changes you'll also notice that the brightness and print adjustment changed because after printing several times you recognize oh this should be a little brighter this should be a little more contrast ng so if I'm using the valen paper it's plus forty but if I'm using the aqua terrell paper then it's uh see it's plus forty plus fifteen so like you have all of your various options all right? So uh let's see, I want teo I need to actually change this one two and here's something to if you set up something and you're like okay, the brightness needs to be plus fifteen contrast needs to be plus forty and then you do some work on it and you realize that that's not quite right you can always come in here and change these prints setting so I'm gonna go plus sixteen and then I'm going to go back out and I'm gonna write click that that profile there and I'm going to say update with the current settings and now that is part of that setting so I can always update it and change it and kind of adjusted as needed

Class Materials

Bonus Materials with Purchase

Advanced Workstation Setup
Lightroom Presets
Personal Only Working State
Plugin Workflow
The Workflow Archive State
The Workflow Pipeline
The Workflow Working State
Simple Workstation Setup
Shuttle Pro Settings
Bonus and Live Created Presets

Ratings and Reviews

April S.

I've been using Lightroom for about a year now. I'm pretty comfortable with the basics and a little more. Sometimes knowing what I want to learn next depends on knowing what's out there to be learned. I listened in to this course from work to get an idea of whether there was enough new content to warrant buying the course. Though Jared covers lots that I know, he filled many small things I didn't know and covered some bigger topics that were new to me. I decided that I wanted to own this course because I respond best to structured learning, and Jared starts at point A and carries through to point Z, so to speak. I have watched his live and rebroadcast courses before and I really like and learn from his teaching style too, so I'm sure this course will be the boost I need as I prepare to subscribe to Lightroom CC instead of just using my local copy. Though another reviewer's tone wasn't very nice, I have to agree that it would helpful to have a written synopsis or outline of courses to help when deciding whether to purchase. Looking at the titles of the included videos is helpful, but not enough. This would be especially useful when a person hasn't seen the live broadcast first, and is simply evaluating a course in the course library.

Jim Pater

I learned a lot from this class when I took it a long time ago. I'm not as fond of his ego but that's fine as I don't have to be around him all day long. What I found extremely useful was the video on synching Lightroom Presets. I set this Dropbox synching system on my laptop and desktop Mac computers and it works perfectly. I also use it for other programs as well like Photoshop and another program called Keyboard Maestro. Thanks for your help Jared. Much appreciated trick.


I am new to Lightroom and from the start of the course it became very clear to me that Jared is one quality person with a real passion to explain everything with great skill and a motivation for success. I did not hesitate to download his course as this is the basis for my personal development and the journey to experience great photography.

Student Work