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As Ansel Adams once said, "The negative is the equivalent of the composer's score, and the print the performance." Now, with Photoshop CS4 for Photographers: Desktop Printing Techniques, creating breathtaking prints is within reach. In this course, photographer and instructor Chris Orwig teaches techniques and workflows for crafting powerful and enduring images that bring the photographer's vision to life. From producing a business card to visiting a working press, Chris covers everything photographers need to know to achieve unique, compelling results from the printing process. Exercise files accompany the course.
In this movie, I want to talk about the process of soft proofing. The nice thing about soft proofing is it gives us an idea of how the image will actually look on a particular type of paper with a particular type of printer. So we can then use this to make modifications, if we need to or corrections for that matter, so that our print looks even better. Again, soft proofing is all about clarifying the communication between monitor and printing. So how then do we do soft proofing? Well, once we have our photograph ready for print, as I have here, I'm going to navigate up to my View pulldown menu and there I'm going to choose Proof Setup and then Custom.
Now I go to this Custom Proof Condition. What I'm going to do is select a Device to Simulate. In this case, I'm going to scroll down and find my particular printer. Let's say that in this particular scenario, I'm printing to the Epson 2400. So I'm going to go ahead and choose a particular type of a profile. I'll go ahead and select Enhance Matte there (EnhMatte). My Rendering Intent, I'm choosing as Relative Colorimetric. That's typically where you want to start. Black Point Compensation on and Simulate Paper Color on as well. So we'll go ahead and click OK. We now see a very different photograph. We can toggle this preview on and off by navigating to View > Proof Colors. Again, we can also press Command+Y on a Mac or Ctrl+Y on a PC to toggle that on and off.
Now one of the things that I see here is that the image is just a little bit less yellow. I also have a little bit less contrast. You have to keep in mind that in order to build up these blacks in here, the black shadows, it's going to be setting down quite a bit of ink. So is this image going to look really faded and muted as it does here? Well, not necessarily. We have to get into this mindset that this is going to be printed on paper. It is going to have this type of a shift. So we have a little bit less contrast, also a little bit less saturation. So we may then want to make some corrections or enhancements based on the soft proof that we are viewing here. Well, how do we do that? We will talk about that in the next movie.
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