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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.
When you are printing your photographs, one of the decisions that you will eventually need to make is what rendering you intent to use. Now, initially this term may sound a little bit strange. It is a little bit strange but it's not that bad. Let me explain. rendering intent has to do with how you are going to render the color. Now, when you think about color for a moment, you have colors on your monitor, for example, that are bright and saturated because of the color is created via light. Well, you just can't reproduce those colors on the printer, so what then do you do with those colors that are "out of gamut"? Well, typically, for photographs, Relative Colormetric and Perceptual work best.
Now these two rendering intents are actually pretty similar. Relative Colormetric is the one you want to try first. It keeps the colors that are in gamut but it clips those that are out of gamut. It keeps the most amount of color, yet it can't posterize the color that is out of gamut. So, again for portraits and things like that, Relative Colormetric is going to be very good for you. Now, Perceptual, what's that about? Well, this maintains color relationships. It scales those out of gamut colors and scales the other colors in a similar way so that there is a very similar color relationship. On the other hand, we have another rendering intent called Absolute Colormetric, which maps colors from any space to in gamut colors without adjusting the white and the black points.
Then the final option is Saturation. Now this option typically isn't good for photographs because it doesn't necessarily look real. It's not going for realism or color relationships. Rather what this rendering intent is going for is just keeping those saturated colors as saturated as possible. Now, that being said there are times and places where you have images and you have colors that are just almost surreal. I mean, in real life, you know those real life colors that are amazing. So that Saturation rendering intent might help you out. All right, well now that we have talked a little bit about these rendering intents, the thing to keep in mind is this. First, try Relative Colormetric.
If that doesn't work, try Perceptual or Absolute. And what you are going to need to do is to build up some experience with these different rendering intents, so you can actually begin to see how the color shifts. Because color and color gamut is a pretty abstract concept, again, it's helpful to create some test prints so you can learn to see color and so you can learn to see how these different rendering intents actually render color and the out of gamut colors as well. Therefore, what we are going to do is talk about in the next movie how we can create some test prints which will help us test and begin to deconstruct how we can work with rendering intents.
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