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Proofing CMYK colors

From: Photoshop CS5 One-on-One: Advanced

Video: Proofing CMYK colors

I have saved my progress as Aggressive RGB mix.psd and clearly we have applied an aggressive modification to this image. You may recall this is the appearance of our original photograph. So we have some very interesting, but muted colors I would say inside of this fantastic composition. My only concern about the image in fact is the sort of mustard color shadows that we first noticed in the previous chapter. But once I turn on this channel mixer adjustment layer, the saturation levels just jumped through the roof.

Proofing CMYK colors

I have saved my progress as Aggressive RGB mix.psd and clearly we have applied an aggressive modification to this image. You may recall this is the appearance of our original photograph. So we have some very interesting, but muted colors I would say inside of this fantastic composition. My only concern about the image in fact is the sort of mustard color shadows that we first noticed in the previous chapter. But once I turn on this channel mixer adjustment layer, the saturation levels just jumped through the roof.

So, my question would be the image looks great onscreen, it looks great in RGB, it doesn't look like we have much in a way of posterization, meaning that we don't have super sharp transitions between neighboring regions of color. Those mustard areas in general look better, they don't all look better. But like under her eye, that shadow looks to be in pretty good shape, even under the hair it's better than it was before. But will these survive the commercial reproduction process? If I hand this image off to a printer are they going to able to maintain the colors that I am setting right here? Well, one way to figure out whether that's true or not is to go up to the Image menu, choose mode and choose CMYK color.

However, if you do that you are going to actually convert the image from RGB to CMYK and that means you are going to be faced with two propositions here, by the way. One is that you don't flatten the image and you still have access to your original adjustment layer so you can continue to modify your image. However, it's not going to right at all. If I click on Don't Flatten the image is going to completely change on me. So notice how much more yellow it looks than it did before. So this is the image with the adjustment layers intact in the CMYK color model.

Notice by the way, if we go to Channels panel we do now have Cyan, Magenta, Yellow, and Black channels. This is the way the image looked before with those same adjustment layers here inside RGB. So those color adjustments don't translate. Our other option by the way, I will switch back to Layers panel is to go up to the Image menu, choose mode, choose CMYK Color, and then go ahead and flatten the image in which case you keep your colors more or less intact so some of the colors change. we will examine that in just a moment. However, as few colors as possible changed in the transformation, but we did lose all of our adjustment layers, because the image got flattened in order to maintain the fundamental appearance of the image.

Neither of these scenarios is acceptable at this stage in the game, because I am still modifying my photograph. I am still adjusting the image. So I don't want to commit to CMYK at this point of time. Later I might want to. Right at the end once I am totally done, and I am ready to hand this image off to a commercial printer. That's when I am going to convert it to CMYK. In the meantime I am going to edit it in the RGB mode. So I will press Ctrl+Z, Command+Z on a Mac to undo that modification. Up here you notice in the Title tab it says RGB/8 at the end of my file name and that tells me that I am working in an eight bit per channel RGB image.

So what I would like to do is proof the image inside of the current CMYK space, the working CMYK space that is. You do that by going up to the View menu and choosing Proof Colors which has a keyboard shortcut that I will be taking advantage of. So that I don't have to keep blocking the view of the image with this menu and that's Ctrl+Y or Command+Y on a Mac. So I will go ahead and choose the command and notice the Title tab now says RGB/8, an eight bit per channel RGB image that we are viewing in the CMYK space.

So we are seeing a CMYK preview of it, even though we are still working inside of an RGB image and we still have all of our adjustment layers intact. In other words, there are no penalties to work in this way. Now you may not have seen much of a transformation take place there. I mean basically we are seeing a ton of colors that seem to be surviving. But just to give you a sense of what changed, I will press Ctrl+Y again, Command+Y in a Mac to switch out of that CMYK proofing mode. So notice the Title tab says RGB/8, there is no CMYK this time. Notice these dark colors here, these shadows inside of this rear woman's violet jacket.

Notice how rich they are. As soon as I press Ctrl+Y or Command+Y on a Mac, they lighten up. We lose a lot of the saturation inside of that shadow detail. That's true inside the other shadows in the image as well. We are losing saturation in the forward woman's hair, this front area of hair right there, inside of her jacket as well and so on. So, some of the shadows are losing their luster. Also, we are losing some color up here in the rear woman's pink hairs. So this is the original RGB image, brighter hair going on and this is the image as it will appear when printed as a CMYK image.

At least, ostensibly, this is Photoshop's nearest guess given the information you have provided it with as to how the image will look. You also have to bear in mind that you are proofing CMYK colors on an RGB monitor. There is no such thing as a CMYK screen. So you are seeing something of an impossibility. This is Photoshop's best guess as to what the colors are going to look like and yet I am here to tell you if you get your color settings right and you work carefully with your commercial printer, it's a very accurate guess. Now then another command that's available to me under the View menu is this guy right there Gamut Warning.

That's Ctrl+Shift+Y or Command+Shift+Y on a Mac and what that is going to do is it's going to show in gray, I will go ahead and zoom in here. These little gray spots right, these little gray pixels inside of this forward woman's eye, also inside of the shadow detail inside of this rear woman's hair. Those indicate colors that can not be commercially reproduced. So you are requesting from Photoshop a color that cannot be accurately produced in CMYK given your current settings. That doesn't mean the colors are going to print gray, nor they are going to print outlandishly wrong and not going to just refuse to print for example and appear white instead you are going to get the closest CMYK equivalents.

But that region right there is going to flatten out. So what you don't want to see is big huge regions of gray. What we are seeing right now is just fine in my opinion. I will go ahead and zoom out a little more, take in these colors down here like this might be the closest to a problem region that we have. But if I press Ctrl+Shift+Y or Command+Shift+Y again, well, I'd guess you know that is some pretty vibrant color that's going on right there and what Photoshop is telling me is that it's going to flatten out. We are going to get a flat region of color in our final commercial reproduction.

Even though it doesn't really look like that when we are viewing the image onscreen, which tells me that what we are seeing even though I will press Ctrl+Shift+Y or Command+Shift+Y again, even though this entire area is outside the gamut, it maybe differently outside the gamut. For example, this little region right here might map to one CMYK value and this area here might map to a different CMYK value and so on. So we don't have that kind of fine degree of visual description associated with this plain gray Gamut Warning. I will press Ctrl+Shift+Y or Command+Shift+Y again to turn it off whereas we do have pretty good detailed information associated with that soft proofing preview.

That is that Proof Colors command here under the View menu. So moral the story is if you want to confirm whether your colors are going to reproduce accurately, go up to the View menu, choose the Proof Colors Command or press Ctrl+Y, Command+Y on the Mac. When you are done using this command, turn it off, because otherwise it abides. In other words, it's not an image by image setting. It's not saved along with the image. It's not tracked according to which image you have opened. It's a global setting across Photoshop. So I am going to go ahead and turn the command off or again press Ctrl+Y or Command+Y to once again view this image inside the RGB color space.

Show transcript

This video is part of

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

247 video lessons · 32816 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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