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Photoshop CS5 One-on-One: Fundamentals
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Using the Color Management options


From:

Photoshop CS5 One-on-One: Fundamentals

with Deke McClelland

Video: Using the Color Management options

In this exercise, I am going to introduce you to the color management options inside the Print dialog box. Now rather than take a deep dive into the world of color management, I am going to keep things very simple here, we are going to do the whole thing in one exercise and I will show you two different approaches you can take. I advise that you go ahead and compare the results. And stick with the way that works, just to tidy things up, I've restored the original version of The joy of color. psd file found inside the 11_printing folder I did that by choosing the Revert command from the File menu.
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  1. 39m 52s
    1. Welcome to Photoshop CS5 One-on-One
      1m 49s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the DekeKeys keyboard shortcuts
      8m 10s
    4. Remapping Mac 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 8s
  2. 53m 36s
    1. There is nothing you can't do
      2m 1s
    2. The power of Photoshop
      4m 43s
    3. Duplicating a layer
      4m 49s
    4. Liquifying an image
      4m 43s
    5. Adding a layer mask
      5m 54s
    6. Loading an alpha channel
      7m 42s
    7. Selecting with Color Range
      4m 10s
    8. Making a Hue/Saturation layer
      2m 53s
    9. Luminance blending
      7m 21s
    10. Mask density
      5m 9s
    11. Making a knockout layer
      4m 11s
  3. 51m 23s
    1. The best way to work
      41s
    2. Setting General preferences
      5m 33s
    3. Changing the pasteboard color
      5m 41s
    4. File handling, performance, and units
      7m 25s
    5. Touring the Photoshop interface
      11m 5s
    6. Creating and saving a workspace
      7m 21s
    7. Changing settings and updating the workspace
      6m 4s
    8. Resetting the preferences
      7m 33s
  4. 2h 46m
    1. The amazing Adobe Bridge
      1m 17s
    2. Making a new image
      5m 11s
    3. Opening an image
      7m 7s
    4. Opening and closing multiple images
      5m 24s
    5. Opening a problem image
      4m 23s
    6. Adding file information
      8m 37s
    7. Introducing Adobe Bridge
      7m 37s
    8. A whirlwind tour of Bridge
      7m 21s
    9. Adjusting the interface and thumbnails
      8m 18s
    10. Using the full-screen preview
      8m 5s
    11. Rotating images on their sides
      5m 38s
    12. Assigning star ratings and labels
      8m 40s
    13. Filtering thumbnails in the Contents panel
      9m 13s
    14. Moving, copying, and deleting files
      6m 34s
    15. Creating and assigning keywords
      6m 38s
    16. Searches and collections
      7m 3s
    17. Batch-exporting JPEG files
      8m 57s
    18. Batch-renaming
      7m 15s
    19. String substitution and regular expressions
      8m 50s
    20. Grouping images into stacks
      7m 21s
    21. Comparing images in Review mode
      5m 58s
    22. Playing images in a slideshow
      4m 49s
    23. Customizing and saving the workspace
      7m 17s
    24. Using Mini Bridge in Photoshop CS5
      8m 36s
  5. 1h 1m
    1. Learning to swim inside an image
      37s
    2. The tabbed-window interface
      5m 19s
    3. Arranging image windows
      4m 26s
    4. Common ways to zoom
      5m 31s
    5. New zoom tricks in Photoshop CS5
      4m 24s
    6. Hidden old-school zoom tricks
      4m 34s
    7. Scrolling and panning images
      4m 8s
    8. Viewing the image at print size
      6m 42s
    9. The Navigator and "bird's-eye" scrolling
      2m 56s
    10. Nudging the screen from the keyboard
      2m 39s
    11. Scroll wheel tricks
      3m 41s
    12. The Rotate View tool
      3m 36s
    13. Cycling between screen modes
      6m 17s
    14. Using the numerical zoom value
      6m 14s
  6. 1h 6m
    1. Imaging fundamentals
      58s
    2. What is image size?
      7m 45s
    3. The Image Size command
      6m 0s
    4. Selecting an interpolation option
      4m 56s
    5. Upsampling versus "real" pixels
      5m 22s
    6. The penalty of pixels
      5m 35s
    7. Print size and resolution
      7m 26s
    8. Downsampling for print
      6m 39s
    9. Downsampling for email
      7m 28s
    10. Options for upsampling
      8m 13s
    11. Better ways to make a big image
      6m 1s
  7. 44m 43s
    1. Frame wide, crop tight
      1m 2s
    2. Using the Crop tool
      8m 8s
    3. Fixing out-of-canvas wedges
      5m 31s
    4. Crop tool presets
      6m 53s
    5. Previewing the crop angle
      4m 24s
    6. The Crop command
      4m 47s
    7. Straightening with the Ruler tool
      4m 18s
    8. Cropping without clipping
      5m 1s
    9. Perspective cropping
      4m 39s
  8. 1h 41m
    1. Making drab colors look better
      1m 20s
    2. Brightness and contrast
      4m 10s
    3. Adjusting numerical values
      4m 26s
    4. Introducing adjustment layers
      5m 17s
    5. Editing adjustment layers
      2m 51s
    6. Saving adjustment layers
      4m 35s
    7. Adding a quick layer mask
      4m 23s
    8. Introducing the Histogram
      4m 34s
    9. Working with the Histogram panel
      6m 27s
    10. Using Color Balance
      7m 18s
    11. Introducing the Variations command
      4m 51s
    12. Luminance and saturation controls
      3m 54s
    13. Fading a static adjustment
      3m 21s
    14. How hue and saturation work
      4m 28s
    15. Rotating hues and adjusting saturation
      6m 4s
    16. Creating a quick and dirty sepia tone
      4m 42s
    17. Adjusting hues selectively
      5m 32s
    18. The Target Adjustment tool
      4m 24s
    19. Photoshop CS5 Target Adjustment enhancements
      53s
    20. Adjusting the color of clothing
      8m 44s
    21. Enhancing a low-saturation image
      4m 23s
    22. Refining saturation with Vibrance
      5m 1s
  9. 1h 57m
    1. Photoshop versus the real world
      1m 21s
    2. Meet the selection tools
      10m 26s
    3. Marking the center of an image
      4m 9s
    4. Drawing a geometric selection outline
      4m 45s
    5. Blurring a selection outline with Feather
      6m 8s
    6. Copy and paste versus drag and drop
      5m 31s
    7. Creating a graduated selection
      4m 29s
    8. Aligning one image with another
      4m 45s
    9. Accessing the Move tool on the fly
      3m 34s
    10. Invert and Match Colors
      5m 4s
    11. Matching colors selectively
      3m 52s
    12. Feathering and filling a selection
      5m 14s
    13. Dressing up a composition with effects
      5m 34s
    14. The incredible image rotation trick
      2m 18s
    15. The Magic Wand tool
      4m 12s
    16. Tolerance and other options
      7m 7s
    17. Grow, Similar, and Inverse
      5m 39s
    18. Quick selection and the Magnetic Lasso
      7m 27s
    19. Evaluating a selection in Quick Mask
      8m 52s
    20. Saving and loading selections
      6m 14s
    21. Placing an image with a layer mask
      3m 23s
    22. Eliminating edge fringing
      7m 43s
  10. 1h 58m
    1. Brushing to correct
      56s
    2. How brushing works
      4m 52s
    3. Working with spacing
      7m 32s
    4. Changing size and hardness
      7m 45s
    5. The heads-up Color Picker
      7m 17s
    6. Flipping a mirror image
      3m 33s
    7. Setting the source for the History brush
      3m 42s
    8. Brightening details with the Dodge tool
      7m 49s
    9. Darkening details with the Burn tool
      3m 5s
    10. The Sponge tool
      4m 29s
    11. Backing off edits
      8m 4s
    12. Patching eye bags
      8m 57s
    13. Evening out flesh tones
      7m 23s
    14. Smoothing away whiskers
      7m 41s
    15. Reducing shadow noise
      7m 0s
    16. How healing works
      4m 40s
    17. The enhanced Spot Healing brush
      4m 52s
    18. Using the better Healing brush
      4m 23s
    19. Introducing the Clone Source panel
      3m 49s
    20. Cloning from one layer to another
      5m 30s
    21. Working with multiple sources
      4m 44s
  11. 1h 23m
    1. The layered composition
      1m 0s
    2. Making a new background layer
      6m 58s
    3. Working with "big layers"
      6m 24s
    4. Move, Duplicate, and Scale
      4m 11s
    5. Transforming a copy and repeat
      5m 15s
    6. Stacking order and eyedropping a layer
      5m 15s
    7. Adjusting multiple layers at once
      4m 22s
    8. Switching between layers
      4m 56s
    9. Making a digital star field
      5m 9s
    10. Blend mode and clipping mask
      4m 50s
    11. Dragging and dropping from your desktop
      4m 38s
    12. Black + Lens Flare = glow
      6m 16s
    13. Locking transparency
      5m 42s
    14. Adding gradient layers
      8m 12s
    15. Stacking an adjustment layer
      4m 12s
    16. Adding shadow and stroke
      6m 9s
  12. 1h 17m
    1. Outputting from Photoshop and Bridge
      1m 32s
    2. Printing an RGB composite
      5m 31s
    3. Customizing the subjective print file
      3m 15s
    4. Gauging print size
      5m 35s
    5. Scale, position, and page orientation
      5m 6s
    6. Three important printing curiosities
      4m 41s
    7. Introducing the Output options
      5m 34s
    8. Establishing a bleed
      5m 52s
    9. Using the Color Management options
      7m 21s
    10. Generating a PDF contact sheet
      6m 18s
    11. Creating a contact sheet template
      6m 8s
    12. Saving and opening a PDF contact sheet
      4m 18s
    13. Introducing the Web Gallery
      7m 53s
    14. Exporting and editing an HTML site
      3m 58s
    15. The Airtight Photocard site
      4m 56s
  13. 1h 9m
    1. Rules of the web
      1m 1s
    2. Introducing web graphics
      6m 59s
    3. A first look at Save for Web
      5m 47s
    4. Scaling a layered image versus a flat one
      7m 30s
    5. Incremental downsampling
      3m 1s
    6. Adding text, bar, and stroke
      4m 24s
    7. Assigning copyright and metadata
      6m 21s
    8. Comparing GIF, JPEG, and PNG
      4m 59s
    9. Determining the perfect JPEG settings
      6m 31s
    10. Saving metadata
      3m 52s
    11. Working with an unprofiled RGB image
      4m 35s
    12. Downsampling graphic art
      4m 49s
    13. Saving a GIF graphic
      6m 1s
    14. Antiquated GIF versus the better PNG
      4m 6s
  14. 1m 37s
    1. Until next time
      1m 37s

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Photoshop CS5 One-on-One: Fundamentals
17h 33m Beginner May 07, 2010

Viewers: in countries Watching now:

Photoshop is the world’s most powerful image editor, and it’s arguably the most complex, as well. Fortunately, nobody knows the program like award-winning book and video author Deke McClelland. Join Deke as he explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers. Gain expertise with real-world projects that make sense. Exercise files accompany the course.

Download Deke's free dekeKeys and color settings from the Exercise Files tab.

Topics include:
  • Assembling photorealistic compositions
  • Understanding image size and resolution
  • Correcting the brightness and color of images
  • Creating accurate selection outlines
  • Retouching and healing photos
  • Mastering layers and effects
  • Printing and exporting to the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Using the Color Management options

In this exercise, I am going to introduce you to the color management options inside the Print dialog box. Now rather than take a deep dive into the world of color management, I am going to keep things very simple here, we are going to do the whole thing in one exercise and I will show you two different approaches you can take. I advise that you go ahead and compare the results. And stick with the way that works, just to tidy things up, I've restored the original version of The joy of color. psd file found inside the 11_printing folder I did that by choosing the Revert command from the File menu.

Now I will go up to the File menu and choose the Print command or press Ctrl+P Command+P on the Mac. Since I have reverted the image I'm seeing an upright page once again so I'll flop it on its side by clicking the sideways guy. And then I'll change the Scale value to 120% and that's it that's a good place to start. Now let's switch from Output to Color Management. And by default Color Handling is going to be set to Printer Manages Colors. That means that the printer driver is in charge of converting the images sensibly from Adobe RGB (1998), to its equivalent inks and toner combinations.

Now notice that you'll see a little warning here that says remember to enable the printers color management in the print settings dialog box, that is the dialog box that will come up after you click on the Print button. You'll see another dialog box and you'll search through there for the color management options and you'll turn them on. If you don't see another dialog box after you click Print then you may be able get to that same dialog box by clicking on Print Settings or page set up whichever button you see underneath the word Copies. Now I can't show you have that option works because it varies from printer to printer.

And even inside the same company, Epson sometimes varies its drivers, HP sometimes does as well Cannon and so forth, so it's something of a moving target you are going to have to console your documentation, or go to your print manufacturer's Web site. But chances are it's turned on by default so you don't have to worry about it but any way there it is. The printer is in charge of color management. Print Profile is not something that you can modify at this point so leave that alone. Then we have Rendering Intent. Now the idea here is we are switching it from a big gamut color space with a lot of intermediate color variations.

That's associated with Adobe RGB and we are down sampling to a small gamut print space. And just to give you an idea inside of a standard 8 bit/channel image we have as many as 16.8 million colors, it's unlikely you're taking advantage of all those colors of course. You might be using 1 million or 2 million colors inside of a highly colorful image. But when you print that image you are down sampling those colors to something like 10,000, so you are losing a ton of color information. Now what you want is for those colors not to be missed which is why you have this Rendering Intent how are you going to lose the colors.

By default, this is set relative colorimetric which means that Photoshop and the print driver are going to do their best to find equivalent colors and then other colors in-between might end up having slightly jagged transitions. But it's nothing you probably see especially in high contrast artwork. So in our case we've got this big field of blue we've got some natural transitions inside the sweater and volumetric forms inside the face and a bunch of these more or less flat color swatches. So Relative Colorimetric would be a great choice because it really excels where high contrast imagery is concerned.

Your other options by the way are Absolute Colorimetric, I don't recommend it but it can be sometimes slightly useful in extremely high contrast artwork. If it contains a lot of text and shape layers and that kind of thing, I would never use Saturation that's for PowerPoint graphics and pie charts. And then Perceptual this is a really good one. Perceptual is good when you're working with continuous tone photographic images that have very smooth, soft, organic transitions. So when you're working with strictly photographic artwork I say Perceptual.

If you have high contrast graphic artwork like this here then you might want to go with Relative Colorimetric instead ignore the other two options. All right so I am going to switch to Relative Colorimetric and then that's it, now I would click on the Print button and I would print the image and I would actually write on that printed image. I would get a pen and I would write in the margin Printer Manages Colors, so I can keep track of that image because now I'm going to compare it to a different approach having already printed one test. This time around I want you switch to Photoshop Manages Colors and that puts Photoshop in charge of the conversion of the RGB colors into something else.

Now the Photoshop tells you at this point remember to disable the printers color management in the print settings dialog box. I don't recommend you do that, now I recommend you leave your printers color management turned on just as you had it turned on before. This means that you're going to double color manage your image which is something that for example engineers tell you not to do the guys who wrote Photoshop are not very fond of this advice on my part. But I don't care what I care about is that it gets the desired results.

And when you tell Photoshop to do a little upfront color management and then you have the printer do the rest of the chore. It often ends up working out quite nicely. So it's just something to try if it ends up giving you worse results then obviously go back to the original approach. But anyway, for now go ahead and try this so set Color Handling to Photoshop Manages Colors. Now notice that you have access to a Printer Profile option this is the thing I want you to change here. I want you to switch from Adobe RGB (1998 ) to the color space that most printers expect which is sRGB.

This guy right there sRGB IE 61966-2.1, go ahead and click on it select it, leave Rendering Intent set to whatever you had it before Perceptual, if you're working with a continuous tone photographic image. If it's high contrast then Relative Colorimetric instead. And then that's it now notice that you do have available to you some check boxes down here at the bottom left area of the dialog box. So you can turn Match Print Colors if you want to try to match the CMYK equivalents, because you are trying to predict how your image will commercially reproduce.

I don't put much stake in it but it is an option. Then you can turn on Gamut Warning to cover in gray, any colors that are completely out of gamut, and are going to have to be clipped to other colors. They will not print gray of course that's just a warning onscreen. And you could try to simulate paper white but I'm telling you I have not had my success with any of these three check boxes I would just leave them turned off. And then you'd probably want to turn on Black Point Compensation that is generally turned on by default it just happens be turned off for this specific image. And then click on the Print button.

Now after the image gets down printing, I want you to write on it Photoshop Manages Colors. I want you to hold the two side-by-side up to each other inspect them closely. If they don't look any different don't worry about it. I've had that happen incidentally where the two images pretty just look the same. However you may find that one image is noticeably more accurate than the other. Now you can expect some variation, they may both be a little off. However if one is noticeably more accurate than the other then you want to go with that approach in the future.

And you can of course tweak things over time but this is a really great, simple place to start. And that is my one exercise summary of the Color Management options inside the print dialog box.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Fundamentals.


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Q: While following along to the tutorial, my copy of Bridge does not have the same Export options as shown in the video. Why are these options missing in my copy?
A: For some reason, Bridge CS5 shipped without the Export options. They were included when Bridge updated to version 4.0.1. Updating Bridge will restore the export options.
Q: While following along with the exercises, next to the background layer on my Layers panel \, it shows a brush instead of the small picture, as it does in the video. What can I do to fix this? I erased the exercise files and started over, but it still shows the paintbrush.
A: This will occur if the Layers panel preview is turned off. To fix this, right-click in the empty gray area below the Background layer. Then choose Large Thumbnails. The thumbnail previews should come back immediately.
Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
Q: How do I load the color workflow setting for this course? I downloaded the exercise files, and when I attempt to load the setting into Photoshop, they don't appear in the Finder.

A: These days, it's easier to assign the workflow settings manually. In Photoshop, choose Edit > Color Settings. Then change the first RGB setting to Adobe RGB, and click OK.

 
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