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So far, we've taken a look at how we can use soft proofing in order to evaluate and correct our photographs. In particular, we focused in on color and on saturation. Yet, what about those situations with photographs like this, where we don't have high contrast or high color saturation? Can soft proofing help here? Well, definitely. In most situations you don't have necessarily color problems, but you have problems with your images in regards to printing them that they just fall a little but short. They lose a little bit of their zest or life, or snap. Let's take a look at how we can use soft proofing in order to recover that, so that our prints look even stronger.
Well, first what I'm going to do, is go ahead and process this image. I'll go the basic panel and this is the file straight out of the camera. And the file needs a little bit of contrast. So I'll increase my contrast. Perhaps add a little bit of clarity as well. And then maybe desaturate the image attached. Just to give it a nice kind of interesting aesthetic. I'll zoom in on the image, so you can check this out. Here, I'll click on 1:4, and look at the before and after. Here is our before, and now our after. I'm going to increase the color temperature a bit too, so I just have kind of an interesting way to process this image.
And again, here it is, our before and now our after. Alright, well I liked that. I think the image is good to go, has nice amounts of contrast, interesting color, and I like the overall feel for this photograph. What I want to do though is before I go to the print module, I what to turn on soft proofing because I want to create a print of this image using matte paper. Here I'll click on Soft Proofing. Next, in the Soft Proofing dialog from my profile pulldown menu, I'll select Enhanced Matte Paper.
This is a really popular paper for photographers. And when I do that, I can see my proof preview. Next I want to turn on my gamut or out of gamut warning indicator here and then zoom out to check out the image. Now when I do that I see that really nothing is out of gamut. The image really it's good to go, yet still there is a problem. The problem doesn't have to do with gamut. The problem has to do with the paper and ink and printer combination.
Let's take a look. When we zoom in on this image, what happens is, is that image which we saw created via light, now when it's created via ink well, it's just a little bit lackluster. Here's before and now after. Let's correct that. The first step will be to click on Create Proof Copy. This will create a virtual copy. And this is the proof copy that we'll make these added changes to. So now, this image, it's lacking a little contrast. While we already added contrast here, we're going to add even more.
It’s not quite bright enough so perhaps we’ll bring up some of our highlights, or maybe a little bit of the whites there. We could also work with our shadows. We could either darken or brighten those. Perhaps bring down those blacks a touch. As we make these adjustments, we’re really looking to try to get something to look good to our eye in the soft proof view. Because here what we're seeing is what this image will actually look like when it's printed. You know this kind of goes against our intuition. Typically what you do is you get things to look good and you just trust the process, but now that we know about softproofing, what we have to do is turn that on.
This will simulate what will happen to all of these colors and tones. And then we make these extra adjustments, in order to make this look it's best. All right. Well, now, that we have these adjustments, what we need to do is exit this soft proof. So here, I'll click on the soft proof option to go back to the normal view. In this normal view, I need to make sure I haven't done anything bad. In other words, I want to make sure I don't have shadows which have been clipped, or highlights which are overexposed.
To do that we can turn on our highlight and our clipping indicator. Now when I see that here all of a sudden I realize, yeah maybe I went a bit too far with my blacks. I'll go ahead and bring those up a little bit. It's okay to have some loss of detail in there. I think that's nice, but I want to be careful with these sliders. So as you create the correction in that soft proof view, keep in mind that while it may look great here. Say if we go ahead and bring these blacks way down, or something like that. When you leave that soft proof view, it's always a good idea to check it here just to make sure that this is within the range of being reproducible. In other words When you see this indicator, it's 100% ink, too big of an area that's 100% ink and it looks a little murky.
That being said, all images can have some trapped shadow here where you have some information which isn't very relevant. And there are photographers for that matter, who have really defined their style by having 100% ink, by having really, really deep blacks. So keep in mind there is a little bit of a give and take here. Yet most importantly you're seeing this process. You're seeing the process how we can start out with our image here, and then how we can create this proof copy. And this proof copy, basically, what we do is we turn on our soft proof. And then, we crank up our controls until we think that this image looks good to our eye in this setting.
This adds that extra little snap with our particular printer type. And ultimately this does is it helps us have a more accurate vision of that final print, so that what we're seeing on our monitor is closer to what we get out of our printer.
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