Scan To Print Digital Workflow

If you follow this workflow, three files will be created on your computer: scan file, master file and the print file. The master file will be the final image with all adjustments applied to it. This file is usually stored in the TIFF or PSD format. The print file is also a TIFF or PSD file that has been resized and sharpened for printing.

Remember, just because a step is listed here, does not mean it has to be done.

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The Preparation steps are not performed for every image. They are performed to set up and maintain your workflow environment.

Set up a color managed environment even if you work in black and white.
1. Tell me why
  1. A color managed environment allows the digital hardware and software to predictably reproduce color and shadow detail as an image goes from capture to editing to printing. This web site author believes a managed environment is just as important to black and white photographers as it is to photographers who use color.
2. Tell me more
  1. Read the Color Management page to learn more about color management.
Configure your digital camera so you get the most from your Raw images. Read more on the Color Management page.
Recalibrate the monitor if it has been more than a month since it was last calibrated. For critical work, recalibrate every two weeks.
If the monitor has dust and/or smudges, clean the monitor according to the monitor manufacturer's recommendations.

If possible, use a film scanner to scan the original negative or slide. Be wary of chemically cleaning the slide or negative. Even cleaners specially made for film do not work on all films.

Turn the scanner on about a half hour before scanning to allow the internal parts to come to operating temperature.
Remove any dust from the negative or slide by using forced air. Tell me how
1. Do not use your mouth.
2. If using compressed (canned) air, always discharge some of it prior to using it on the slide, negative or print. Also, always keep the can upright while using. This will help reduce the risk of spraying propellant on the media.
3. Even better, use mechanically forced air. Mechanical hand or foot blowers can be found at www.micro-tools.com. Mechanically forced air does not have the risk of spraying impurities on images and they never run out.
Make sure the scanner is at desired color management and color space settings. For more on color spaces, read the Profiles and Color Spaces page.
Set orientation to landscape or portrait.
Perform preview scan.
Set focus.
Perform another preview scan.
Set crop size. Tell me what this means
1. This sets what part of the image will be captured in the scan, not how big the scanned image will be. Usually, image size (output size) is left to actual and any enlarging/reducing is done in Photoshop.
Set resolution. For an understanding of file resolution and printer resolution, read the Resolution page.
Set scanner bit depth. For more on bit depth, read the Channels and Bit Depth page.
Make any needed Curves/Levels adjustment to prevent clipping of shadows or highlights. But...
1. keep to a minimum since most adjustments should be done in Photoshop.
Set exposure.
Perform scan.
Save the scan file in a lossless format, such as TIFF.

Open the scan file in Photoshop.
Add copyright information to the metadata. Tell me how
1. Click File > File Info.
2. In the left side of the dialog box, make sure Description is highlighted.
3. Change the Copyright Status drop down box to Copyrighted.
4. In the Copyright Notice text box, type Copyright © year name_of_copyright_owner. Year should be the four digit year the image was originally created. Name of copyright owner should be the first and last name of the individual, or the name of the business, owning the copyright. For example, if the image was taken in 2006 and is owned by Ian Cooper, then the copyright notice would be Copyright © 2006 Ian Cooper. To create the copyright symbol, type Alt + 0169 (Option G). Windows users should make certain they use the numeric keypad on their keyboard and not the top row of keys.
5. If you have a web page containing additional copyright information, enter the complete URL in the Copyright Info URL text box. For example, www.yourdomain.com/legal/copyright.htm. Test the URL reference by clicking the Go To URL button.
Check the image's color profile to be sure it is as desired. Tell me how
1. If the Photoshop Status bar is not visible, click Window > Status Bar.
2. Left click the right facing triangle and select Document Profile.
3. The name of the color profile will be displayed to the left of the triangle . For more about profiles, read the Profiles and Color Spaces page.
If the profile is not the desired profile, convert it. Tell me how
1. Click Image or Edit > Mode > Convert to Profile.
2. For Destination Space, select the desired profile.
3. For Engine, select Adobe (ACE).
4. For Intent, select either Relative Colorimetric or Perceptual. For more on rending intent, read the Photoshop Color Settings page.
5. If available, make sure Use Black Point Compensation and Use Dither are checked.
6. Click OK to convert the color space.

If the image is Untagged, assign a profile.
1. Tell me what this means
  1. The image file was not tagged with the profile it was created with by the scanner (or digital camera). Check the scanner's (or camera's) settings to determine what color space was used, then assign it to the image.
2. Tell me how to assign a profile
  1. Click Image or Edit > Mode > Assign Profile.
  2. Select the desired profile.
  3. Click OK.
Review the histogram to check for clipping (over/under exposure).
1. Tell me what this means
  1. Clipping is when an image has been over or under exposed to the extent there is a significant loss of detail. When plotted in a histogram, clipping is seen as a bunching up against an edge of the histogram. For additional information, read the Histogram page.
2. Tell me what to do about it
  1. Rescan the image using the scanner's Curves or Levels adjustment to eliminate clipping.
  2. Or, use an adjustment layer and blending mode to correct the over/under exposure. To learn how, read the Correcting Over/Under Exposure page.
Duplicate the image. The duplicate will become your master file.
Save and close the scan file.

In this phase we are evaluating the artistic merits of the image.

Set the image to full screen. Tell me how
1. Ctrl + zero (Command + zero) to fit the image on the screen.
2. Type the letter f until in full screen mode with a gray or black border.
Articulate the subject. Tell me why
1. If you do not have a firm understanding of the photograph's subject, it will not be possible to adjust and enhance the image in order to optimize the subject. If someone were standing next to you, could you easily describe the subject to them?
Review the artistic dimensional qualities of the image. Tell me what this means
1. Physical dimensions: Landscape or Portrait Tell me more
  1. The physical dimensions of height and width of a photograph should be used to compliment and enhance the image. This is accomplished by the orientation of the image. Evaluate the image to determine which orientation best suits the image: landscape or portrait.
2. Compositional dimension: Attract, Invite, Retain Tell me more
  1. (I find viewing the image on the monitor from across the room helps me critically evaluate it.)
  2. Photographic images have two physical dimensions and what I call the Compositional dimension. The most important dimension is the Compositional dimension. This dimension is more than color, more than depth of field, more than the rule of thirds, etc. These are the visual design elements. The Compositional dimension is the ability of the image to get the viewer's attention, pull them in, keep them there and not let them wander away until they have experienced what you want to show them. This is the dimension where the viewer's experience occurs. It is through the visual experience that we touch the viewer's emotions.
  3. Attract. What is it about the image that will attract the viewer?
  4. Invite. What is the entry portal? Where does the viewer's attention enter the image? Or will their eyes wander around trying to figure out where to begin?
  5. Retain. Does the image keep the viewer's attention? Or does it confuse/frustrate the viewer and cause them to leave?
Evaluate visual design elements. Tell me more
1. There are many visual design elements, such as depth of field, color, etc. Listed here are some questions that can be used to evaluate the design aspects of an image. Show me the questions
  1. Does the image portray the subject?
  2. Does the subject fill the frame? Does the subject command the viewer's attention?
  3. Is the background neutral, enhance the subject or distract the viewer?
  4. Is the subject appropriately placed in the image? See the rule of thirds.
  5. Is there room for moving objects to move into? If the subject has eyes, is there room for them to look into?
  6. Are there hidden objects along the edges?
  7. Is the image busy or cluttered?
  8. Are the colors appropriate for the subject?
Make a note of any needed enhancing or correcting adjustments.

In this step, we review the image to evaluate its technical strengths and weaknesses. We are not making adjustments in this phase.

Tell me why
1. In the Artistic and Technical Evaluation phases, we are laying the foundation for what we need to do in order to create the image we want. Take the time to think through what you want so you can make the proper decisions of how to get there.

Evaluate exposure.
Evaluate overall contrast.
Evaluate overall color balance.
Evaluate tonal distribution by reviewing the histogram.
Evaluate specific tones. A good way to evaluate tone is to temporarily turn the image black and white. Tell me how
1. Create a Hue/Saturation adjustment layer.
2. Set Saturation to -100 and click OK to close the dialog box.
3. Set the adjustment layer's blending mode to Color. If left to Normal, you will not be evaluating the correct tones.
4. Delete, or turn off the visibility of, the Hue/Saturation adjustment layer when finished evaluating tone.
Evaluate focus. Both of the subject and the background.
Evaluate alignment and perspective: vertical, horizontal and rotational.
Look for noise in the shadow areas.
Look for fringing in the highlight areas.
Look for detail in the shadow areas.
Make a note of any needed enhancing or correcting adjustments.

While working on a previous image, tool options may have been changed to achieve a certain effect. If these options are not reset, then the next time the tool is used, it may not give the desired results. Below is a check list of common tools and their usual settings.

Show the check list
1. Marquee Selection tool . Activate the tool and set Feather to 0 px and Style to Normal.
2. Magic Wand tool . Activate the tool and set Tolerance to your usual level. Turn on Anti-alias. Set Contiguous and Sample All Layers to your usual settings.
3. Brush tool . Activate the tool and set Mode to Normal, Opacity to 100% and Flow to 100%.
4. Clone Stamp tool . Activate the tool and set Mode to Normal, Opacity to 100% and Flow to 100%. Set Aligned and Sample All Layers to your usual settings.
5. Eraser tool . Activate the tool and set Mode to Brush, Opacity to 100% and Flow to 100%.
6. Paint Bucket tool . Set to Foreground, Mode to Normal, Opacity to 100% and Tolerance to 255. Turn on Anti-alias, turn off Contiguous, and turn off All Layers.
7. Gradient tool . Active the Gradient tool. It shares the same spot as the Paint Bucket tool in the Tools panel. In the Options bar, click the gradient drop down box to open the Gradient Editor. Move the left most Color Stop handle to the left until Location says 0%.
8. Move tool . Set Auto Select to your usual preference.
9. Curves adjustment layer. The next time you create a Curves adjustment layer, use the double arrow in the X axis gradient to switch the gradient so black is on the left and white is on the right.
10. Snap option (View > Snap). The Snap feature controls the behavior of Guides and certain tools, such as the Move and Crop tools, when they are used near an edge. If the option is on, the tool will snap to the edge. If the option is off, it will not snap.

Correct lens distortion.
1. Tell me more
  1. If the original image is in the Raw format, chromatic aberration and vignetting should be corrected in Camera Raw. However, if the image has an undesired vertical, horizontal or rotational distortion caused by the lens or how the camera was positioned, this should be corrected in this step. Distortion can be caused by such things as pointing a camera upward to photograph a tall building or using a wide angle lens that causes objects to appear to be leaning.
2. Tell me how
  1. Click Filter > Distort > Lens Correction. The Lens Correction dialog box will be displayed.
  2. Set the Edge Option. The distortion correction options will rotate the image in order to remove the distortion. This can result in transparent areas. If you want Photoshop to fill in these transparent areas, set this option.
  3. Chromatic Aberration: Zoom to.
  4. Vignetting: Zoom.
  5. Barrel Distortion: Move the Remove Distortion slider to the right.
  6. Pincushion Distortion: Move the Remove Distortion slider to the left.
  7. Vertical Convergence: If vertical lines appear to be converging, move the Vertical Perspective slider to the left.
  8. Vertical Divergence: If vertical lines appear to be diverging, or separating, move the Vertical Perspective slider to the right.
  9. Horizontal Right Convergence: If horizontal lines are converging on the right side, move the Horizontal Perspective slider to the right.
  10. Horizontal Left Convergence: If horizontal lines are converging on the left side, move the Horizontal Perspective slider to the left.
  11. Rotation: To rotate the image to a hundredth of a degree, use the Angle option.
Perform a capture sharpen.
1. Tell me why
  1. Capture sharpening is used to restore some of the softness introduced when the image was digitally captured.
2. Tell me when I should not
  1. If the image was sharpened in Camera Raw, it should not be sharpened again.
3. Who can tell me how?
  1. The book Real World Digital Photography 2nd Edition, pages 513 - 519.
  2. The e-book John Shaw's Photoshop Field Guide, pages 141 - 152.
  3. The book Real World Adobe Photoshop CS, pages 475 - 506.
  4. A for-purchase sharpener plug in at www.pixelgenius.com
Lock the image layer.
1. Tell me why
  1. Rarely does one want to make changes directly to the image layer. To prevent the accidental changing of the image layer, it can be locked.
  2. If the image layer is the Background layer, it will be partially locked by default. However, the partial lock will not prevent the layer from being changed. The Background layer lock only locks its position. It still allows pixels to be changed.
2. Tell me how
  1. If the image layer is the Background layer, double click the layer name Background in the Layers panel. In the New Layer dialog box, type a new name and click OK. With the image layer still the active layer, click the solid lock icon at the top of the Layers panel.
  2. If the image layer is not the Background layer, make the layer active by clicking it in the Layers panel. Then click the solid lock icon at the top of the Layers panel to lock the layer.

Remove defects. Tell me how
1. Create a normal layer above the image layer and name it Clone and activate the Clone Stamp tool . Leave the Clone layer the active layer. Make sure Use All Layers is checked in the Options bar. Set the Aligned option as needed. If capture sharpening was done on another layer, make sure the Clone layer is above the sharpened layer.
2. Zoom to view actual pixel size.
3. Using a 'reading' pattern (either down-right-up-right-repeat; or, right-down-left-down-repeat ), review the image and using a soft edged brush, clone out any defects. Soft edged brushes are available on the Downloads page.
Color correct. Tell me how
1. Create a Hue/Saturation adjustment layer and set Saturation to +100.
2. Look for undesirable color casts, especially magentas and cyans.
3. Delete the Hue/Saturation adjustment layer.
4. Find the lightest and darkest parts of the image. Finding these parts of an image is discussed on the Finding Lightest and Darkest Areas page.
5. Refer to the Levels Color Correction page or the Curves Color Correction page to make the color corrections.
Spot Color Replacement. Tell me more
1. Color Correction, as used in this workflow, is the removal of unwanted color casts by neutralizing blacks, grays and/or whites. Color correction was discussed in the previous step.
2. Color Replacement is the changing of an object's hue without changing its underlining tone and texture. Color replacement is explained on the Spot Color Replacement page.
3. Color Balance, as used in this workflow, is the changing or enhancing of an image's color bias toward a primary or secondary color. Color balance adjustment is discussed under the Enhancement phase.
Remove red eye. Tell me how
1. From the Downloads page, download the red eye removal Channel Mixer adjustment and follow the instructions.

Set overall contrast. Tell me how
1. In order to perform this step, you must have an understanding of histograms and the Photoshop Levels adjustment. Read the Histogram page and the Levels pages to gain an understanding of these topics.
2. If you already understand histograms and Levels, then the Increase Contrast section on the Level page explains how to adjust for overall contrast.
Adjust color balance. Tell me how
1. Refer to the Color Balance page.
Adjust local tones. Tell me how by...
1. Dodge and burn
  1. Dodging and burning using a single overlay layer is discussed on the Dodging and Burning page.
2. Tonal range
  1. Create either a Levels or Curves adjustment layer.
  2. Make the desired adjustment. Depending on how Levels or Curves is used, the adjustment can be restricted to a certain range of tones. For a detailed explanation of how to use Levels or Curves, see either the Levels pages or the Curves pages.
  3. Click OK to close the dialog box.
  4. Change the blending mode to Luminosity since this is a tonal, and not a color, change.
3. Selections and masks
  1. Using one of the selection tools, draw the selection.
  2. Create either a Levels or Curves adjustment layer. The selection will become a layer mask.
  3. Make the desired adjustment. For a detailed explanation of how to use Levels or Curves, see either the Levels pages or the Curves pages.
  4. Click OK to close the dialog box.
  5. Change the blending mode to Luminosity since this is a tonal, and not a color, change.
4. Darkening or Lightening mid tones
  1. A Curves adjustment that darkens mid tones without affecting highlights or shadows can be found on the Downloads page.
  2. A Curves adjustment that lightens mid tones without affecting highlights or shadows can be found on the Downloads page.
5. Color channel
  1. Create either a Levels or Curves adjustment layer.
  2. In the Channel drop down box, select the desired channel.
  3. Make the desired adjustment. For a detailed explanation of how to use Levels or Curves, see either the Levels pages or the Curves pages.
  4. Click OK to close the dialog box.
  5. Change the blending mode to Luminosity since this is a tonal, and not a color, change.
6. Color range
  1. Using the technique described on the Using Levels and Curves with Color Ranges page, select the desired color range.
  2. Create either a Levels or Curves adjustment layer. The selected color range will become a layer mask.
  3. Make the desired adjustment. For a detailed explanation of how to use Levels or Curves, see either the Levels pages or the Curves pages.
  4. Click OK to close the dialog box.
  5. Change the blending mode to Luminosity since this is a tonal, and not a color, change.
Bring out shadow detail and/or soften highlights. Tell me different ways how
1. The spot dodge and burn method described above can be used.
2. Curves can be used to bring out shadow detail by lightening it. An in-depth explanation of the Curves control can be found on the Curves page.
3. The Photoshop CS Image > Adjustments > Shadow/Highlight command can be used. Since this is a destructive method, I prefer to create a copy of the image layer and then apply the Shadow/Highlight to the copy. Once applied, a layer mask can be created on the copy and then the mask can be painted with black or white paint to either hide or show the effect.
Adjust color richness. Tell me different ways how
1. Option 1. Create a Hue/Saturation adjustment layer and move the Saturation slider to the right to increase saturation or move the slider to the left to decrease saturation.
2. Option 2 (preferred). Create a Vibrance adjustment layer. Move the Vibrance slider to the right to increase the saturation of less saturated colors only. To increase the saturation of all colors, move the Saturation slider to the right. Move the sliders to the left to decrease saturation.
3. Whichever technique you use, apply it sparingly to avoid creating out of gamut colors.
Convert to black and white (optional). Tell me how
1. Creating black and white images from color images is discussed on the Color to Black and White pages.

If a black and white image, adjust black and white tones.
1. Tell me why
  1. After converting an image to black and white, sometimes it is desired to apply additional tonal adjustments to the image based on black and white luminance. This is where these adjustments are made.
2. Tell me how
  1. Use the same techniques as described in the Adjust Local Tones step above. However, selecting by color range or by color channel has to be done in the previous step since above the black and white conversion layer, there is no color to choose from. If you wish to learn more about retaining full color information in a black and white image, you may wish to read the Tone Management System pages.

Review histogram. Tell me why
1. One should periodically review an image's histogram throughout the workflow. But at this step, it is particularly important since adjustments to contrast, color balance, tone, shadows, highlights, etc. may have been made.

Create the crop area mask.
1. Tell me more
  1. In this step, you are not actually cropping the image. Instead, you are creating a selection or mask to show the area to be cropped. This allows you to evaluate the effect before the image is actually cropped. The technique shown below is the web author's favorite. But additional techniques for creating a crop area mask can be found on the Creating A Crop Area Mask page.
2. Tell me how
  1. Create a new layer by clicking Layer > New > Layer. Or, by clicking the Create a new layer icon on the bottom of the Layers panel. Name it something meaningful, such as Crop Area Mask.
  2. If the new layer is not the top most layer, drag it to the top.
  3. Click Select > All. This will create a selection around the entire image.
  4. Click Select > Transform Selection. This changes the selection outline into a selection grid.
  5. Grab the middle handle of the edge(s) to be cropped and drag the handle into the image until the unwanted pixels are outside the transformation box.
  6. For precise cropping, use the rulers (View > Rulers) or the width and height values in the Info panel to see exactly where the selection borders are.
  7. Press Enter to make the resized selection active. Or, press Esc to cancel the transformation selection.
  8. Click Select > Inverse.
  9. Type the letter d to set the default foreground/background colors and type the letter x until black is the foreground color .
  10. Using the paint bucket tool , fill the selected area with black, or any other color of your choice. The web author uses 30% gray because this matches the gray surrounding the document when the document is in full screen mode.
  11. Click Select > Deselect to remove the selection outline.
  12. Click the eye icon of the crop area mask layer on and off to see the effect of the crop.

Check layer order.
1. Tell me what this means
  1. When working with an image in Photoshop, it is common to create multi-layered files. The order in which these layers are stacked is as important as what the layer does. The checklist below serves as a suggested stacking order. It starts off with the top most layer. Very few images will have all the layers listed here. The checklist is for both color and black and white images.
2. Show me the checklist
  1. Crop Area Mask layer.
  2. Local sharpen layer.
  3. Black and white tonal adjustment layers.
  4. Black and white conversion adjustment layer.
  5. Shadow detail layer.
  6. Local tonal adjustment layers.
  7. Color balance adjustment layer.
  8. Overall contrast adjustment layer.
  9. Red eye removal adjustment layer.
  10. Color correction adjustment layer.
  11. Clone layer.
  12. Capture sharpen layer.
  13. Image layer as the bottom most layer.
Save the master file in a lossless format, such as TIFF or PSD.

Duplicate the file. The duplicate will become the print file. Close the master file.
Soft proof and fix out of gamut colors. Tell me how
1. Read how to soft proof and fix out of gamut colors on the Soft Proofing and Correcting Out of Gamut Colors page.
Double check layer order. Show me the checklist
1. Crop Area Mask layer.
2. Out of gamut correction layer.
3. Local sharpen layer.
4. Black and white tonal adjustment layers.
5. Black and white conversion adjustment layer.
6. Shadow detail layer.
7. Local tonal adjustment layers.
8. Color balance adjustment layer.
9. Overall contrast adjustment layer.
10. Red eye removal adjustment layer.
11. Color correction adjustment layer.
12. Clone layer.
13. Capture sharpen layer.
14. Image layer as the bottom most layer.
Merge all layers, if not already flattened.
Crop and resize image for printing. Tell me how
1. An image can be cropped and resized to fit a pre-defined output size, to best fit the image, in its entirety, or based on a previously created crop area mask. All of these methods are explained on the Cropping and Resizing page.
2. As part of cropping and resizing, the Crop Area Mask layer, if one was created, will be deleted.
Convert to 8 bit. Tell me more
1. If the image is 16 bit and the print engine cannot process 16 bit images, convert the image to 8 bit by clicking Image > Mode > 8 Bits/Channel.

Add a S curve.
1. Tell me more
  1. A S curve is a popular adjustment that increases contrast in the mid tones while decreasing contrast in shadows and highlights. This helps focus attention on the mid tone areas. While popular, no adjustment should be made to an image unless the resulting effect is desired. There is also the reverse S curve, which decreases contrast in the mid tones while increasing contrast in shadows and highlights.
2. Tell me how
  1. From the Downloads page, download the S curve (or the reverse S curve) and follow the instructions. Remember to set blending mode to Luminosity. Do not get the S curve adjustment and the black point/white point adjustment confused. Though they may look similar at first glance, they are not and are entirely different adjustments.

Add black point/white point Curve adjustment. Tell me how
1. From the Downloads page, download the printer black and white point adjustment and follow the instructions. Remember to set blending mode to Luminosity. An in-depth explanation of black and white points can be found on the Printing Topics pages.

Output sharpen.
1. Tell me why
  1. Output sharpening is done to 'over sharpen' an image to make up for some loss of sharpness when printed.
2. Who can tell me how?
  1. The same resources listed under capture sharpening.

If a black and white image, add any desired toning effects. Tell me how
1. From the Downloads page, download the Black and White Tones zip file and follow the instructions. Remember to set the blending mode to Color. Read about black and white toning on the Black and White Toning page.

Darken corners.
1. Tell me why
  1. Darkening image corners is a technique used to keep a viewer's attention inside the image. Not all images need this. But when done properly, it should be very subtle.
2. Tell me how
  1. Refer to the Levels-Darken Corners page.

Add watermark/copyright symbol, etc. Tell me how to create symbols
1. Set the foreground color to the color you want the symbol to be.
2. Create a new layer by clicking the Create a new layer icon at the bottom of the Layers panel.
3. Activate the Type tool and click in the document. The layer created in the previous step should become a Type layer.
4. Set the desired font family, style and size.
5. As you type, Windows users should make certain they use the numeric keypad on their keyboard and not the top row of keys. Show me the list of symbols
  1. To create ©, type Alt + 0169 (Option G).
  2. To create ®, type Alt + 0174 (Option R).
  3. To create ™, type Alt + 0153 (Option H).
  4. To create £, type Alt + 0163 (Option 3).
Add an edge. Tell me how
1. To add an edge to an image, read the Add or Stroke an Edge page.
Final layer order check. Show me the checklist
1. Edge layer as the topmost layer.
2. Watermark, copyright notice layer.
3. Darken corners adjustment layer. Please note that darkening corners can offset the black/white point adjustment for the corner areas and vice versa if you switch the two.
4. Black and white toning adjustment layer.
5. Output sharpen layer.
6. Black/white point adjustment layer.
7. S curve adjustment layer.
8. Flattened image layer as the bottom most layer.
Flatten the image if the print engine cannot process a layered file.
If using RIP software to print the image and the software cannot process a file with alpha channels, color sampler targets, notes or other non-image content, remove these objects from the print file.
Use Image > Rotate Canvas to orient (portrait or landscape) the image as needed. Usually, printing orientation is portrait even for images whose visual orientation is landscape.
Save the print file in a lossless format, such as TIFF, that can be processed by the print software.

Make sure the proper inks are loaded for the paper being used. For example, is the black ink in the printer correct for the type of paper, matte or glossy, being used?
Print a nozzle check pattern if it has been a while since last using the printer. Perform a nozzle cleaning if necessary.
Load the paper and print. Tell me how
1. To print using Photoshop, read the Photoshop Printing page.
2. To print using a RIP, read the RIP Printing page.
Leave the print in the output tray for about 15 minutes to allow the ink to finish drying.

When evaluating a print, you are reviewing it from both an artistic and technical perspective.

Review the print in the same type of light it will be displayed in, especially if it is black and white. This will help you find any unwanted color casts.
First, view the image from the other side of the room. This will help you spot glaring errors.
Second, review the print from a typical viewing distance. This allows you to evaluate the print from the same perspective as its future viewers.
Third, review the print with a magnifying glass (not a loupe). This allows you to locate any problems not found by the previous steps.
Are the blacks rich and deep?
Are the whites clean?
Is there detail in the shadow/highlight areas where you want them?
Look for banding in large areas of continuous tone, such as the sky.
Look for subtle color casts, especially in the shadow areas.

Cure the print. Tell me how
1. Lay the print flat, image side up, in an area where it will not be disturbed and not in direct sunlight.
2. Cover it with plain white paper for about two days for glossy type paper, shorter for matte paper, to allow the ink to finish curing. The plain paper protects the print from dust and dirt and will help draw out any gases released by the ink solvents (known as outgassing) as it cures. Make sure you allow the print to cure before framing it.

When finished, make backup copies of the original, master and print files. Always make two backup copies.

Tell me how
1. If using off-line storage, use a stable medium such as CD-R. Rewritable off-line storage, such as CD-RW or CD+RW, have not proven as stable as the write-once media. Store the two copies on separate media and store the media in different places.
2. If using online storage (which is the preferred method), such as external hard drives, make sure the two copies are on two separate drives, and not on the same drive as the original master file. Putting both copies of the files on the same hard drive is not good backup management.

Conservation frame.

Tell me why
1. If you used archival paper and ink to create the image, you will also want to use non-destructive methods and archival materials when framing to protect the image from atmospheric contaminates, light and insects.
Tell me how
1. Mounting - Consider mounting the image using conservation grade paper hinges on the top edge only and mount on acid-free, lignin-free, non-buffered backing (e.g. 100% cotton rag). If the material is buffered, then it was buffered to neutralize the acid content. Once the buffering wears off, the acid could contaminate the image. Avoid dry mounts, either hot or cold, or adhesive mounts. These are all permanent methods.
2. Mat - Always use something to separate the image from the glazing. Spacers can be used, but most often, a mat is used. The mat should be acid-free, lignin-free, non-buffered.
3. Glazing - Use either UV absorbing glass or acrylic. Acrylic is lighter, shatter-resistant and cheaper to ship. However, it requires more care when cleaning and scratches easier than glass. If framing an image with an exaggerated oblong shape, such as a panoramic, consider using acrylic and not glass because acrylic can withstand torque better than glass.
4. Seal - Once assembled, seal the back of the frame with a conservation grade paper or film to keep dust out.
5. Display out of direct sunlight. Avoid fluorescent light if possible. Hang in an area of average temperature and humidity.

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Scan To Print Digital Workflow

Recommended sequence of steps for scanning, editing, printing, presenting and preserving an image

Preparation

Scan Capture

Post Scan

Artistic Evaluation

Technical Evaluation

Reset Photoshop Tools

Correct

Enhance

Pre-Print

Print

Print Evaluation

Post-print

File Archive

Present