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The next thing that we need to do is to work on the overall color and tone. Here, you can see that I've created a little bit of a demo layer. One of the things that happens when we work on an image for the Web is we prepare the file, and eventually this image becomes compressed. In other words, we throw away pixels. So say, for example, we have a pink in our image. Well, if we zoomed in on the pixels, we would see that all of these pixels sat next to each other. Well when we finally save this image for the Web, what's going to happen is is we're going to lose some of those pixels.
In other words, the lines aren't going to be as sharp; the colors aren't going to be as saturated, the tone not quite as dense. So what we need to do is to keep that in mind and kind of overcompensate for things. kKowing that the image is going to fall a little bit to the left, we're going to push the image a little bit to the right. In other words, so that when it falls down when we do the save for Web process, we still have adequate information, so the image really looks good. Well, let me show you what I mean. Well, what we need to do is we need to create a couple of Adjustment layers.
We could go straight to Hue/Saturation and simply saturate the image by adding a few points of saturation, or we could always go to Curves and click on the Curves Adjustment layer here and apply a subtle S-curve. Now a lot of times when we do this, we'll think okay, this is a little bit over the top. Well that's the point, right? Again, we're pushing the image a little bit further knowing that we're going to lose some information. Well, once we've done this, we then want to preview the image, or soft proof the image, so that we can have a vision for how this will finally look.
We can do that by navigating to our View pulldown menu, selecting Proof Setup, and from here we're going to check Monitor RGB. Now, when I do that, you can see the all of a sudden the image fell a little bit flat. It's not quite as saturated. It's not quite as vibrant. It's not quite as beautiful, right? Well, we can turn this Soft Proof view on and off by pressing Command on a Mac, Ctrl on a PC, and then the Y key. Here's my before and then after. So here we can see that what's eventually going to happen is this image is going to fall a little bit this way.
Well now knowing this, I may go in and say well, I want to add even perhaps a little bit more contrast. I want to go into the Red channel, and I will add perhaps a little bit more red, so that it then looks a little bit more healthy and vibrant and alive. Well, if I turn off the Proof Colors, what's going to happen, at this point, is it's way oversaturated. But that's okay because I know that this image, as I mentioned, is going to fall back to a more middle ground. So you may be thinking okay, well what is this proof thing, and why are we doing this? Well, what this is is it's Photoshop's way to stimulate its final destination.
In other words, Photoshop can do a great job with color. It can compensate for small color spaces, and it can make things look really quite stunning. But browsers and e-mail programs can't do that. So what we need to do is we need to simulate that and view that in that monitor space, so that we have a more accurate perspective. In this case, again, turning on that proof, and this is then showing us how this image will be finally displayed. Well, the last thing that we need to do before we actually export this and save it for Web, is we need to convert this to a color space of sRGB.
We can do so by navigating to our Edit pulldown menu and then by selecting Convert to Profile. In the Convert to Profile dialog, what we want to do is change this to that destination space of sRGB, and then we'll click OK. Now, here I'm going to check off Flatten Image. We don't need to do that, and I'll simply click OK. Well now that I've gone through all these steps, this image is now ready to be exported, and we'll do that in the next movie.
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