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Alright, well now that we have a good working understanding of rendering intent, let's take a look at how we can use the soft proofing view in order to evaluate and correct our photographs. One of the things that you'll want to do is create what's called a proof copy. You can do that by clicking on this Create Proof Copy button here. This will create a virtual copy. You can see it down bellow in the film strip and this is a virtual copy which is intended to be printed from. This is the one with the soft proof profile turned on. Next we want to choose a rendering intent.
This will give us 2 different looks. Do we want to preserve the color relationship, or do we want to just clip the colors which are out of gamut, and bring those down, push those down to in gamut colors? Here, with this image, I think it would be nice to preserve the relationship, so I'll choose perceptual. Next, we need to determine a profile. In order to choose a profile, I'm going to turn on my Clip-in Indicator. This showing me the colors which are out of gamet with this printer and this paper type. In this case, velvet fine art paper. because this image is so much about saturation, I may want to choose a paper type, say like premium luster.
We'll see that there are less colors which are out of gamut, creates a little bit more of a vibrant picture. I like that. I'm going to choose that profile. Next, we need to make some adjustments to get those colors in gamut. We may be thinking, well what about going to our saturation slider and dragging this down? When we do that, yes, we correct the out of gamut colors but the image just looks strange. That won't work. What we could do instead of that is we could get into these specific areas a few different ways.
One technique that you could use is to scroll down to your HSL controls. Here in the HSL panel, you have Hue, Saturation, and Luminance. If you go to Saturation, and click on the targeted adjustment tool, you can then hover over the color which is a problem area and click and drag down. As you do that, you'll notice that this red clipping or out of gamut warning indicator, it disappears, it gets smaller. I'll do the same thing with the hair. I'll click and drag down. Now, as you work with color, you may not be able to remove all of the gamut warning.
If you go so far that it's all gone or perhaps the hair just looks a little too lifeless, in situations like that maybe you're going to have a little bit of clipping there. And that clipping is going to be dealt with with your rendering intent. In other words, it's shifting all the colors so that they have that color relationship here. Well in a situation like this where the clipping is now small, perhaps the relative rendering intent would work well here because it's just hitting upon these brighter or more saturated color areas. And again, you can see the visual difference as you choose on those options. Here I think still perceptual, well I think that looks best. Well now that we have this proof, what is interesting is that we're ready to print this file, we're ready to exit the soft proofing view. In order to do that, I'll click done here, I'm done with this tool. And I'm going to click off this option for soft proofing. So here's our image, it doesn't look that much different. Yet this image has been adjusted and what we did is we basically saw this soft proof view we made the needed adjustments in that view we made adjustments here we also may have made adjustments other panels like the basic panel and this image is now in a really good spot.
Well let's compare these two pictures. We'll click on one, hold down the Command key on a Mac, Control key on Windows, then click on another. Next what I want to do is go to the library module and in the library module I'm going to click on the survey mode. In survey here it allows us to view these images side by side. Well as I see these pictures side-by-side what we can see is that yes this one has more color saturation in the hair. It is definitely more orange than this picture over here. And yes, the green is brighter in this picture, yet for the most part it still has that same look and feel. It still has those nice tones and colors and expression. And by going through all of that process really what we've done is we have successfully modified this image not so that it looks good to our eye and this is the trick right but so that it's going to look good in the final print. Because what you can see with your eyes on your monitor well it far exceeds that which is reproducible with you printer.
So sometimes we kind of have to make these changes. We have to go against our best intuition and say, while this doesn't look as good, this image is going to print better. It's going to look stronger in the long run.
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