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In this advanced workshop Tim Grey delves into some of the finer points of creating top-quality output of your digital images. First, get an introduction to color management, which is absolutely crucial to maintaining consistent colors throughout your workflow. Tim then takes an in-depth look at the topic of sharpening—when and how to do it, as well as when not to—and covers some advanced sharpening techniques. He also offers tips for printing your photos, exploring both the relevant settings in Adobe Photoshop and those you're likely to find in your printer driver. Finally, he discusses troubleshooting suboptimal output—i.e., when something goes wrong, figuring out what happened and how to fix it. If you spend a lot of time optimizing your images, this workshop will help you make sure all that effort is reflected in the quality of your output.
To ensure that the color information contained in your images is interpreted acurately, it's important to have an embedded profile in that image. That profile serves as a translator between the RGB values contained in the image and the actual colors that they represent. More often than not, the profile embedded in your image will be the same as your working space profile. In other words, you are using the same color information in the image file as it's saved as you're using while you're working in Photoshop. But in some cases you might want to use a different profile. As just one example if your preparing an inamge for online use it can be beneficial to use the sRGB color space rather than the Adobe RGB. Or Prophoto RGB color space for example because that can help ensure more accurat results.
sRGB has a smaller color gamma then the other working spaces. And it also was originally intended to encompass the range of colors that a typical monitor can produce. Because of this and other issues the sRGB color space can also be helpful. When a viewer is looking at your image in a web browser that does not support color management, for example. So, if we wanted to convert an image from one color space to another for any reason, then we can use the Convert to Profile command. We'll find that on the Edit menu. So I can choose Edit > Convert to Profile.
And that will bring up the Convert to Profile dialog. You can see that the source space is Adobe RGB. That's my existing working space. But let's assume in this case that I want to convert this derivative image, this happens to be a JPEG, not one of my master images. And so this image is simply for use sharing online. So, I might convert the image to the sRGB color space. So, from the pop up I'll go ahead and choose sRGB for the destination space. And the other settings I can really just leave at the defaults. The engine is the Adobe color engine.
The intent is relative color metric, which works well for most conversions. Especially if we don't have a large number of colors that are out of gamut. The black point compensation will make sure that black remains black essentially. And Dithering will help ensure smooth gradations of tone and color, especially for eight bit per channel images. So, with those settings established, which really just means choosing the destination color space, I can go ahead and click OK. Know by the way that before I acutally click OK, I'll turn off the preview and turn it back on and we see absolutely no change in the image. And more often than not that will be exactly what you can expect. Because we're using Photoshop to convert an image from one color space to another. But in such a way that the appearance of colors remains unchanged. That's not always possible, for example, if you had very saturated colors and you were converting to a smaller color space.
But in most cases you can ensure a very accurate conversion from one color space to another. With no perceptible change in the appearance of the image. I'll go ahead and click OK. And then I could ofcourse save this image as a derivitive file that I can post onto a photo gallery on my website, for example.
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