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Next, I want to talk about how we can customize some of the settings that we'll find in this Print dialog and these settings they are really important. That's why I wanted to include these in a separate movie and talk about them here. Let's go ahead and walkthrough a few of the options. The first one is a Layout. This isn't that important, just simply changes the paper orientation. Choose the orientation which works well for your image and also the way you want to print it. But then next we have Color Management. This is really critical. You will notice that this document has an Adobe RGB 1998 profile.
We need to somehow translate all of that color information into a language that our printer understands. In order to do this, we want Photoshop to color manage this process. So it's critical that you select this option Photoshop Manages Color. The next thing we need to do is to choose the Profile for our Printer. Here we are going to select the Paper Type that we want to work with, in this case this EnhancedMattePaper here. So after having selected those options, you will notice that we have different options which show up down below.
You can click on these checkboxes to turn these options on and off and you'll notice that this preview here essentially looks identical to our soft proof preview. And that's what it's giving us here. It's just another chance to preview how this image will print based on its Paper White and also how those colors will be rendered with that printer and paper combination. Next we have an option for sending 16-bit data to the printer. Only use this if you have a printer which can do that, if your printer can't and you turn that on, well it will just really, really slow down the printing process.
Next, Rendering Intent, this is sometimes kind of confusing so I want to talk about this a little bit here, by default Relative Colorimetric is selected and this is a great color space. What this color space does, is it says you know what I am going to take the out of gamut colors and just bring those to the nearest in gamut color. In other words if there's a color that our printer and paper can't reproduce, well it's just going to leave the colors which are in gamut as is. Take those which are out of gamut and bring them in.
In contrast Perceptual, what that does is it shifts all the colors. It takes a look at the color and it maintains visual or color relationships. It maintains the way that our eyes sees color and then shifts kind of everything. So if you need to have really accurate color, you might want to choose Relative. On the other hand if you're more interested in the color relationships in your picture, perhaps Perceptual will work best. But what about the other options like Saturation? Well this just prioritizes deep saturated colors and then the other option of Absolute, what this does is it doesn't touch those out of gamut colors.
Here when I select that option, my Gamut Warning now kind of goes crazy showing me that all of these areas, well, they are out of gamut and they are not going to print well. Well, you may want to choose this option in order to create a print to simulate how you could output this to a particular device or a different type of device. So in most scenarios, here's the distillation. You're either going to choose Relative or Perceptual. Now when it comes to printing, all of the great printing experts of the world will tell you this. Eventually what you need to do is of course try to figure out the science of printing and color management and all of this, but then you just have to create a test print.
So what I recommend you do is choose one of your favorite images, print that with Relative and also with the Perceptual Rendering Intent. And by doing that and you will get to see how it modifies one of your pictures and also how it modifies the color in that picture. And so by doing a couple of test prints, you can understand a little bit more clearly how these different intents work. And then finally, if you're not really sure well, just try Relative Colorimetric if you notice that there's banding in the sky or in areas where you have maybe a lot of saturation or gradation or whatnot, if there's banding, well, then go ahead and try Perceptual.
Now that we have dialed in these Color Management controls, let's go ahead and navigate down to these other options. These other options aren't that critical. We have Position and Size. Here we can turn (Center) centering off; we can also just click and drag to reposition this. And then you can also scale or change the size of your image. I don't recommend that you do that because typically you want to do all of that before you come to this Print dialog. Next if we are going to trim the image out of this piece of paper, we can turn on Printing Marks.
Here you can see I have these different marks which can give me information if I am going to then trim this out of this sheet of paper. Again in my case I don't want to do that, I just want to have this image sitting there by itself. Now these last two options aren't going to be relevant for us in regards to how we typically print. With Functions we can either change this so we can invert the image or we can create a negative if we want to create a digital negative. Again here, in most scenarios that isn't relevant. Now that we've dialed in all of these options and perhaps the most important options which are Color Management and also choosing our Printer and Paper Type combination we are ready to send this image to the printer.
And at this point I think it's kind of exciting. We cross our fingers, we hold our breath and simply click that Print button and this image will be sent to our printer. And ideally what comes out of that printer is a compelling and engaging photographic print.
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