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Color settings and intent

From: Photoshop CS5 One-on-One: Advanced

Video: Color settings and intent

In the previous exercise, I was showing you how you can preview your colors in CMYK while you continue to work along in your RGB image. In this exercise, I want to give you a sense of how that conversion happens and how you test how accurately it occurs as well and what kinds of changes you might want to make. Now, I don't want to get too deep into color management here because it is ultimately a little bit of a quagmire, but I do want you to understand what's at work inside of Photoshop and how those settings that we originally established, under the Edit menu here, we chose the Color Settings command at the outset of the course and we established those Best Workflow CS5 settings as you may recall, how those settings affect what we're seeing on-screen and how reliable this CMYK proofing ultimately is.

Color settings and intent

In the previous exercise, I was showing you how you can preview your colors in CMYK while you continue to work along in your RGB image. In this exercise, I want to give you a sense of how that conversion happens and how you test how accurately it occurs as well and what kinds of changes you might want to make. Now, I don't want to get too deep into color management here because it is ultimately a little bit of a quagmire, but I do want you to understand what's at work inside of Photoshop and how those settings that we originally established, under the Edit menu here, we chose the Color Settings command at the outset of the course and we established those Best Workflow CS5 settings as you may recall, how those settings affect what we're seeing on-screen and how reliable this CMYK proofing ultimately is.

So worst-case scenario, just let the information flow over you, best case, you'll actually gain some insights out of this exercise. So, note that I'm still working inside of Aggressive RGB mix.psd. I haven't made any changes to the file. I'll go up to the View menu. Turn on the Proof Colors command, Ctrl+Y, Command+Y on the Mac. Incidentally, you should see a full-color preview of your image. If you don't, go to the View menu, choose Proof Setup and choose this second command here Working CMYK. That switches to your Working CMYK profile.

You can also take a look by the way at the CMY Plates on their own, so you can get a sense of what kind of shadow details been offloaded to the black plate or you could go to Proof Setup and you could proof your image as it might look to someone who's colorblind, if that's a concern of yours. Anyway, I'm going to switch back to Working CMYK. Then I'll go up here to the View menu and turn on the Gamut Warning command as well, Ctrl+Shift+Y, Command+Shift+Y on the Mac. All right, now having done that, let's m go up to the Edit menu and choose the I' Color Settings command because now we can actually preview changes made to our CMYK proofing on-the-fly.

So I'll go ahead and choose that command and notice that my settings are set to Best Workflow CS5 just as I had you do at the outset of the course. Also notice that my CMYK Working Space is U.S. Web Coated (SWOP) as it is by default here in the States. I'm going to go ahead and move my dialog-box over as far as I can, so I can see the entire width of the image. Then I'll switch from U.S. web Coated to U.S. Web Uncoated. Notice just by virtue of the fact that I'm changing the paper stock, I have lots more gamut warnings going on inside of my image and I'm losing some color saturation as well.

That's because everything; the ink, the paper stock, the press conditions, the press itself, everything affects how accurately your colors are going to output. So, if you decide to cut corners and no value judgment here, just let's say your budget doesn't permit you to buy coated paper stock, why then, you're going to have to accept the fact that you're going to lose color quality from your full-color images that you're printing from Photoshop. Now, some of these color profiles, I suspect, are more accurate than others. For example, if I switch to US Newsprint, why then my gamut warnings just almost totally go away.

I lost all the gamut warnings in the eye and in her earring. So you would think that US Newsprint is just the best medium ever. Let's just compare that to printing to a Japanese newspaper in which case I lose colors all over the place. So, obviously, our newsprint technology is way ahead of theirs. Well, that's probably not true. My guess is this US Newsprint profile is overly optimistic. So my recommendation is that you talk directly with your commercial printer, work out what profile you want to be using here.

If you're really lucky, they may give you a color profile that matches their press conditions. All right, anyway, I'm going to switch back to U.S. Sheetfed Coated. I also want you to see the difference in the Intent setting here. You may recall that my instructions were to go ahead and use Perceptual if you primarily work with continuous tone photographic images and use Relative Colorimetric which is the default setting if you're primarily working with graphic designs. I'll go ahead and switch to Absolute Colorimetric. Nobody really recommends that you work with that setting, but just so you can see how much different things would be, if you were to map every single RGB color to its exact CMYK equivalent regardless of any other conditions out there, you would have clipping all over the place where your more saturated colors were concerned.

Compare that to Relative Colorimetric which takes into account white point and media and other characteristics in order to produce much more satisfactory output. So we have a lot less clipping going on. In fact, where the clipping is concerned, it's pretty equivalent to Perceptual. So we have roughly, if not exactly, the same clipping going on. What's different is how the colors are mapped in between. So, I'm going to go ahead and turn off Gamut Warning, so we can focus just on the core colors. I want you to see a big difference here between these two Intent settings.

So let's start off with Relative Colorimetric. Notice that the colors just got slightly brighter on-screen when I chose that option. So we have some brighter colors, some more intensely saturated colors inside the young woman's face in the foreground as well as inside the left half of the background woman's face. Also notice the background woman's hair. I'm going to go ahead and zoom-in on her, by the way, even though she's terribly out of focus, that's actually very useful for a comparison here.

I'm going to go ahead and now switch. Notice the back of her hair; I want you to watch those colors there. When I switch from Relative Colorimetric to Perceptual, those colors actually dimmed down. So why in the world am I recommending Perceptual over Relative Colorimetric when the latter obviously produces more saturated colors? Well, that's the whole point. Basically, you've got a trade-off going. If you choose Relative Colorimetric, then you're trading your volumetric transitions. So in other words, you may end up getting stair-stepping or banding inside of your gradients.

You may end up getting posterized edges around regions of neighboring color. So in any case you're sacrificing those transitional luminance levels between your shadows and your mid-tones and your highlights in return for getting more saturated colors, whereas you make the exact opposite trade-off if you switch to Perceptual. You're going to get better transitions between your colors, better volumetric forms, less banding. You're going to get less stair-stepping, less posterization, but in return, you've got to sacrifice some of those highly saturated colors.

Now where I'm concerned, I would much rather sacrifice the garishly saturated colors, which is what's going on inside this image and get the best color transitions possible out of my final commercial output. So that's why I recommend Perceptual for the Intent setting. Anyway, I'm going to go ahead and cancel out of this dialog-box. I just want you to have a sense of what's going on there. All right, so enough theory for now, I'm going to go up to the View menu. Turn that Proof Colors command off or press Ctrl+Y, Command+Y on the Mac. In the next exercise, I'm going to introduce you to a file that's just chalk-full of practical applications of the Channel Mixer adjustment layer

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This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32817 viewers

Deke McClelland
Author

 
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  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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