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Photoshop CS4 for Photographers is an essential course for any digital photographer who wants to master the software's vast array of image enhancement techniques. Professional photographer and instructor Chris Orwig uses his own compelling images to demonstrate how the power of Photoshop can make photographers more passionate about their work. He covers many aspects of the application, such as working with RAW images, using curves and levels, making images snap, and enhancing bland photographs by converting them to black and white. Exercise files accompany this course.
Welcome back, we have just about completed preparing this file so that we can print it. The last thing that we need to do here is work on the overall color. In order to do that what I'm going to do is navigate to my View pulldown menu, choose Proof Setup, and then I'm going to go to Custom. This will then open up the Customize Proof Condition dialog window. Now, what I'm looking to do here is to simulate the device I'm printing to. In my case, I'm going to choose a profile for the printer that I'll be printing to. In this case, I'm going to be printing to the Epson 3800, and I'm going to choose Premium Glossy Photo Paper profile.
All right, Rendering Intent. I want to choose Relative Colormetric. Now, we have a couple of different choices here : Perceptual, Saturation, Relative, and Absolute, which choice is best. Let's cancel out of this for a moment and go to the slide that I have here, so we can focus in on our Rendering Intents. Now, typically, as a photographer what you want to do is choose Relative Colormetric first, and here is why. Relative Colorimetric keeps the colors that are in gamut but it clips what is out of gamut. So it keeps the most amount of color, yet the downside of this is it can posterize the color that are that's out of gamut, and posterization doesn't look good so you don't want that.
So if you start to see that you have posterization then you probably want to try one of the other Rendering Intents. Now, what are they? Well, the second one you want to try is Absolute Colormetric. This maps colors from any space to gamut colors without adjusting the white and the black point. So it shifts those colors to colors that are actually printable. What about Perceptual? Well, this is an interesting Rendering Intent as well. Here it maintains color relationships visually. It scales your out of gamut colors and scales all the other colors in the similar way. Finally, Saturation provides the greatest amount of saturation.
So how to make sense of all this? Well, really if you are a photographer, try Relative first, if that doesn't work; try one of the other Rendering Intents. Typically, I go to Absolute next. Now, if you are interested in a little bit more perceptual or the color relationships, try Perceptual. If you are a little bit more interested in the overall saturation, try Saturation. All right. Well, let's go back to the image now and go back to our Proof Setup here. So we will go to View > Proof Setup and choose Custom. We want that color profile, which is for the Epson 3800, Premium Glossy Paper, Relative Colormetric. Black Point Compensations on. Then I'm going to click on Simulate Paper Color, which will then also select Simulate Black Ink.
Now, when I do that and I look at my Preview. Here is the before and after. I say wow, okay, I'm losing a little bit of the intensity of the color. This Soft Proof is simulating, it's trying to give me an idea of how these colors will actually be reproduced. This is really helpful. Rather than waiting for the print to come out and say, no, it fell a little flat, it's not quite as punchy or snappy as I want, I get to see that here. So I said okay, great, I have that Soft Proof on. Navigate to your View pulldown menu, you can turn that on and off by way of shortcut, Command+Y on the Mac, Ctrl+Y on the PC, or you can click this and that gives you that before and after.
Well, we want that proof on. Now with it on, now we are analyzing and saying, okay, it's going to shift a little bit this way. I'm going to go ahead and click on my Adjustment Layer icon and choose Curves. With Curves, what I'm interested in doing is deepening the tones a little bit. I'm going to add a little bit of Contrast, because I noticed I lost just a touch of contrast there. I look at my before and after. So you are just bringing it back a little bit, and that's with that Soft Proof on. Now, if I go ahead and turn that off, I may say, you know what, I pushed that image too far, and that's exactly what I did. The Soft Proof showed me the image let's say fell a little bit to the left, let's just call it left. So what I did is I corrected and I pushed my image a little bit further to the right, so that when it falls it falls exactly where I wanted.
Now, if that doesn't really make sense, you want to turn your Soft Proof on, make any additional adjustments that you need to make. In my case I need to make a little bit of a Curves adjustment, as I have done here. Make that adjustment so that it now looks good on your monitor, and at this point we are ready to go to print. We will talk about that in the next movie.
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