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There's nothing people love more than lists, and Photoshop Top 40 offers a great one, highlighting the best features in Photoshop. Deke McClelland counts down to #1 with a new video each week, detailing one great feature after another in this popular digital imaging application. The videos cover tools, commands, and concepts, emphasizing what's really important in Photoshop.
This is an ongoing course that will be updated monthly.
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(Music playing) Deke's Photoshop? Deke's Photoshop? Top 40! #10! Color is a crapshoot, and as much as we'd like to believe that blue is blue, it simply ain't true. Every device, screen or printer displays colors differently. Fortunately, Photoshop is there to help. The Color Settings command lets you quantify colors, coordinate the other programs in the Creative Suite, and maybe just maybe get the colors that you see on screen to print accurately.
It's a tall order, but it can be done. Feature #10 is the Color Settings command, which allows you to establish Color Management Settings and Policies inside Photoshop, and I'll tell you what that means in just a moment, as well as ensure consistent color across the various Adobe Creative Suite applications. So here is how it works. Go up to the Edit menu and choose the Color Settings command, or you can press Ctrl+Shift+K, Command+Shift+K on the Mac. Brings up a fairly daunting dialog box. Now I have yet to experience simple color management that's any good.
So you can expect this to be a little bit complicated, however, I think Adobe has done about as good a job as anybody out there. Now by default Settings here in the States is set to North America General Purpose 2. It might be set to something else for you in the different part of the world. But no matter what, here are the changes I recommend you make. Drop down to this RGB Working Space right here, which by default is set to sRGB. Now sRGB is a great idea, I have to say. The idea is we're going to establish a universal RGB Working Space that will be recognized by scanners and printers and screens and all kinds of different applications out there, but it is the lowest common denominator color space.
It's designed to work with inexpensive PC monitors, old-style CRT tubes. Most of us have much better monitors at our disposal these days. And therefore we can take advantage of a richer color space. Now whether you're going to the web, or you're going to print, I don't care. I recommend that you switch your RGB space from sRGB to this guy right there, Adobe RGB (1998). It was established in 1998 as you can see. It's been adopted by just about everybody and it's a really great working space.
So go ahead and switch to Adobe RGB. Next, drop down to CMYK. If you're working with a commercial printer, I encourage you to encourage them to give you a CMYK profile, and then you can open up this pop-up menu and choose Load CMYK, and load that profile into the Color Settings dialog box. If you're not working with a commercial printer, don't worry about it. Gray and Spot you can safely skip. Drop down here to Color Management Policies. These guys should be set to their defaults. That is RGB, CMYK and gray images should all be set to Preserve Embedded Profiles.
So that Photoshop is always preserving the Embedded Profile associated with an image regardless of what overarching Working Space you have going on. I'll explain how that works in just a moment. Make sure that your Profile Mismatches are all turned off. So Ask When Opening, and Ask When Pasting, all those guys should be turned off as by default. Next go ahead and click on the More Options button in order to extend the dialog box and drop down here. Notice that we have these Conversion Options available to us. The Engine should be left set to the Adobe Color Engine or ACE, if you prefer.
I tend to go ahead and change the Intent. Now if you're working primarily with programs like Illustrator or InDesign or Flash or any of the smooth line drawing programs out there, then Relative Colorimetric is a great color space. However, if you're doing most of your work inside of Photoshop and with photographic images in general, then you better off switching over to Perceptual, because that way Photoshop is going to do its best to preserve the visual relationships between neighboring colors, and that's going to give you smoother transitions, smoother gradients and so on, better volumetric images.
Now, if you like, you can turn off one of these three check boxes, and that would be Use Dither. If you turn that off, when you convert images from one profile to another color profile, you won't apply any dithering. That issue won't introduce any noise inside of a solid color region. Now if that's a concern, turn that checkbox off. If it's not a concern, leave the checkbox on. That's all you need to do. Now what I'd like you to do is go up to the Save button here and click on it. And that way you can save your Color Settings for use across the entire Creative Suite.
Now I'm going to go ahead and save my Color Settings as Best Workflow. That's what I've been calling these for years. And I'll click the Save button, and you don't want to change the location on your hard drive, where you save these Color Settings. You want to leave it wherever Photoshop wants to put it by default. Then click on the Save button right there. And then you want to go ahead and type in the Comment as you desire. I'm going to paste in the comment that I've created in advance. These are the settings that I recommend in my Photoshop, Illustrator, and InDesign One-on-One series for Deke Press, O'Reilly Media, and the producers of this series, lynda.com.
They ensure, that is the Color Settings ensure, consistent color and printing across all three applications. Click OK. And I'm now ready to go. Notice that my Settings are now set to Best Workflow. I have all my settings saved for later use. If I ever want to switch back to the old settings, I could switch them back to North America General Purpose 2 once again. I don't want to, want to leave it set to Best Workflow, and then I'll click OK in order to accept that modification. All right. Now it's time for step two, and you only take advantage of step two, if you own a full version of the Creative Suite.
That is Photoshop, Illustrator, and a few other applications out there. If you own Photoshop by itself, you cannot do the following steps. All right, but to establish consistent color across all the Creative Suite applications, you go up to the File menu and choose Browse in Bridge. Ctrl+Alt+O or Command+Option+O on the Mac. That will switch you over to the Bridge right here. Then you go up to the Edit menu and you choose Creative Suite Color Settings, Ctrl+Shift+K or Command+Shift+K once again. Now, if you get a warning at this point. If the Bridge gives you any guff whatsoever, you're not going to get anywhere.
Even if you own the full Creative Suite, sometimes the Bridge gets confused. That's our experience anyway. And you just have to reinstall the program or call Adobe Tech Support, or wring your hands or whatever there is nothing whatsoever I can do for you. However, if everything is installed properly, you should see this dialog box right here enlisted among your various Creative Suite Color Settings that are available to you, should be the one you just saved. In my case, that is Best Workflow right there. Now notice up here that it says Not Synchronized. And that's because I change Photoshop independently of the other Creative Suite programs.
Watch this though. After I click Best Workflow, and then I click Apply, like so. Then if I were to go back to the Edit menu and choose Creative Suite Color Settings once again, I will see that things are synchronized. Because the Bridge always synchronizes all applications so that they are uniform and in agreement with each other. All right! Let's cancel out of there. I'm going to switch back over to Photoshop and finally, I want you to see that I have two images open. One's called Profile on white.jpg and it comes to us from a photographer who goes by the name Shagin, and we also have Flowers three.jpg, which comes to us from Claudio Baldini.
Now notice this little asterisk in the title bar for Flowers three.jpg. You can see RGB/8*. That Asterisk before the end paren there, that means that this image uses a different color model than the Working Space. So we're working inside of Adobe RGB and yet this image, if we check it out. Go up to do Edit menu and choose the Assign Profile and you'll find out that this image is set to sRGB right there, and that's just fine. So you can open an sRGB image, while you're working in Photoshop inside the Adobe RGB space.
Photoshop automatically converts the image from sRGB to Adobe RGB on the fly, so that you can see it right on screen. You will be able to save the image as an sRGB image. If any of that sounds a least bit confusing, which I'm sure it did, just note this. Photoshop is always taking care of you. You don't have to worry about it at all. All right. So let's say I want to merge these two images. So I'm going to take this Profile on white.jpg image. And I'm going to go ahead and grab my Move tool right there. And I'm going to drag her up onto the other title bar like so, wait for Photoshop to switchover to the Flowers three.jpg image, drag my cursor back in to place and then I'm going to press the Shift key and drop that image like so.
And as soon as I drop it, the Shift key is just ensuring that one image is centered with respect to the other. So that's nothing special. What's going on here though is Photoshop is telling me that the image that I'm pasting is using the current working RGB space which happens to be Adobe RGB, but the Destination is weird. It's sRGB in this case and do you really want to do that? Do you want to make that conversion? Now the thing is your only option is to either say OK, yes I'd like to make the conversion or cancel out, and try to make the images match up with each other.
But even if you do that, you're still going to have to make the conversion. So really the only thing to do here is say Don't show again. So you don't have to worry about this malarkey in the future. Even though, you told Photoshop not to bug you about Color Settings. Back in the Color Settings dialog box, it still does every once a while. Say, Don't show again and then click OK, in order to make the drop occur. So once again, Photoshop is taking care of you. It's automatically converting the images, so that they match each other and even though, these two images are using a different color space. Flowers three.jpg is using sRGB and the other image, the original image, Profile on white.jpg is using Adobe RGB, notice that they exactly match each other on screen.
So this is the before image, this is the after image, they are exactly the same perceptually. Now, if you eye-drop them, the colors are different, but they look the same on screen. They are going to print the same. They are going to export to the web the same. I should make that clear by the way. If you go to the File menu and you choose Save for Web & Devices. Let's go ahead and move the image over here, so we can see it. Photoshop is set by default to Convert the colors to sRGB, because sRGB works best for the Web. So Adobe RGB works best for everything. sRGB best for the web. Again, Photoshop takes care of this transformation automatically for you.
I'm going to cancel out. But check this out. Now we can mix these two images together. I've got Layer 1 here, which is the profile, so I'll go ahead and change that layer name. The flowers are in the background. I want to merge them together. I'm going to change to the blend mode. You may recall feature #11, blend modes, the best darkening mode, Multiply in order to make this woman smell the bright beautiful flowers, all colors perfectly intact. Thanks to the amazing power albeit, with a little bit of difficulty of Color Settings inside Photoshop.
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