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The color settings explained

From: Photoshop CS5 One-on-One: Mastery

Video: The color settings explained

In this exercise, I'm going to explain the color settings that we modified in the previous exercise. It will also be of use to anyone who may have had problems installing Best Workflow so that you can establish your color settings manually. There's not that many options that you need to change, quite frankly. But I want you to know what you've done. So, I'm going to go up to the Edit menu, and I'm going to choose the Color Settings command once again here inside of Photoshop. Ctrl+Shift+K, Cmd+Shift+K on the Mac. And let's go ahead and switch back to North American General Purpose 2, which are the default settings here in the States - not sure what they are elsewhere in the world.

The color settings explained

In this exercise, I'm going to explain the color settings that we modified in the previous exercise. It will also be of use to anyone who may have had problems installing Best Workflow so that you can establish your color settings manually. There's not that many options that you need to change, quite frankly. But I want you to know what you've done. So, I'm going to go up to the Edit menu, and I'm going to choose the Color Settings command once again here inside of Photoshop. Ctrl+Shift+K, Cmd+Shift+K on the Mac. And let's go ahead and switch back to North American General Purpose 2, which are the default settings here in the States - not sure what they are elsewhere in the world.

Now as I was saying, by default, Photoshop is set up for consumers. That's why they've got the RGB space set to sRGB. And the great thing about sRGB is it's a consistent standard. And so a lot of different companies, HP and Microsoft and Adobe and all these other companies, got involved in creating the standard and basically sticking to the standard as well, so that if you open an RGB image, like your digital photographs, inside of any old application, it's assumed that's its an sRGB image.

And then when you print it to your inkjet device, for example, then the printer driver does the work automatically and decides how to convert that sRGB information into the inks that that particular printer uses. Problem is, from an image-editing perspective, it's a very small space. It's based on a rinky-dink PC monitor, just like a little CRT tube essentially, and so it's a limited color space, and that means you're not able to take advantage of the rich array of colors that Photoshop can show you. So the first thing we do is we switch from RGB to Adobe RGB (1998).

That means suddenly we have a wider dynamic range. We have a much bigger RGB playground, essentially, in which to work. And that it doesn't hurt a darn thing because it's still a characterized space. So it's a profiled space, so now your printer would just convert from Adobe RGB over to its particular group of inks. And when you export an image for the Web, Photoshop will automatically convert it to sRGB, and I'll tell you how that works in another chapter. So it's definitely the way to go where Photoshop is concerned.

CMYK, I didn't change that in my best workflow settings. You should know that. But if you're working with a commercial printer, then you would want to change it, but you'd want to get a profile from them. So you ask your commercial printer for a profile, if they give you one then you choose this command right there, Load CMYK, you'll load it on up, and then you're good to go, presumably, as long as the profile works accurately. Next, Color Management Policies - notice everything is set to Preserve Embedded Profiles. I'm skipping Gray and Spot, by the way, you don't need worry about those.

But for the Color Management Policies, you want everybody to be Preserve Embedded Profiles because that way, you can have an sRGB image open, And an Adobe RGB image, and all kinds of different stuff. And in fact, we're switching over to Adobe RGB (1998), this welcome.tiff image was originally created as an sRGB image, and it will not change onscreen. So Photoshop can respect multiple profiles at the very same time, which is excellent, just ideal. Profile Mismatches, you don't want those on because Photoshop will be bugging you all the time, and it's not the information that you need to know, so just turn off those check boxes. Then click on More Options, drop down here to Conversion Options. Notice the Engine is the Adobe color engine. That's great, because that's cross-platform. Otherwise you got to choose a platform-specific option.

You don't want that. But, I believe the Intent is better - instead of working with Relative Colorimetric, which is perfectly reasonable for most purposes and if you're primarily doing InDesign work, or you are primarily doing vector work inside of Illustrator then Relative Colorimetric is probably your best bet - but my assumption is that you're doing most of your work inside of continuous tone photographic images, in which case Perceptual is the best bet, because you are going to getting less color banding, your gradients are going to look better anything where there is continuous colors is going to look better.

And, some colors are going to change on you. Photoshop is just going to have to change colors sometimes in order to make those perceived color transitions work out, but it's typically the best way to go. So anyway, I switch over to Perceptual. And then, lately I've gotten in a habit of turning off this check box, Use Dither on 8-bit/channel images. The idea is if you're converting an image, say, from Adobe RGB to sRGB and you're having to rewrite all the colors inside of the image, do you try to represent colors that are outside the gamut using a dither - that is, by jumbling a bunch of other colors together - or do you just represent it with the flat, take one flat color and represent it with a different, nearest equivalent flat color.

And what I've found is it's better to go with flat colors for my work, because anytime you have anything resembling a vector object, or a type, or anything along those lines, its ends up getting dithered if you turn this check box on. So I would rather have it off. I haven't run into any problems doing that. That's way I like to work. And that's it. Then you would go up here, you would click on Save, and you would go ahead and save out your settings as Best Workflow CS5. Now after that point, by the way, let's say I go ahead and save over my file and I'll click Save, and it says do you want to save over, sure I'll click OK.

Then I'm asked for some comments. Now I've gone ahead and created for you this item right here. Inside the 00_setup folder, I've created this thing called Best Workflow description.txt, and it's a just a text-only document. And then if I go ahead and open that up, say in notepad here on the PC, then it appears as one long continuous line, so you have to go to Format and choose Word Wrap - as if you wouldn't want that, why would not want it to wrap? Anyway, then you'll go ahead and select your text like so and copy it by choosing the Copy command right there or pressing Ctrl+C, Cmd+C on the Mac switch back to Photoshop.

I'll go here, select this text and press Ctrl+V or Cmd+V on the Mac for Paste, because you don't really have a command at this point to work from, and basically what this text says, is these are settings that I recommend in my Photoshop, Illustrator, and InDesign CS5 One-on-One series for Deke Press, O'Reilly media and lynda.com, so there's books and videos to ensure consistent color and printing across all three applications and more actually. So I'll click OK in order to re-create that file and then I'll click OK in order to accept my color settings.

And that's what's going on, just in case you wanted to know, just so that you know exactly what's happening every step of the way inside this series. In the next exercise, we're going to establish consistent settings across all of the Creative Suite applications in the Adobe Bridge.

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This video is part of

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

192 video lessons · 44095 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    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 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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