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A digital image in a camera (le) and the printed digital image (righ ) - page 10 / 16





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Compared to a high-quality image in Photoshop, the image looks at and dim, and the colors appear unsaturated. is image is actually a reasonable prediction of your print. Images printed with ink on paper simply can’t contain the same dynamic range as an image on a computer’s screen. e printed color black is much lighter than on-screen, and the maximum luminosity of the paper white is very dim and oen contains a slight colorcast. e trick is to use Photoshop so proong to make your image look as good as your paper, ink, and printer can make it.

So proong with Simulate Paper Color and Simulate Black Ink deselected (le) and selected (righ )

Here are two pieces of useful advice when using the Simulate options. First, when you select Simulate Paper Color, it’s extremely important that you hide any white user interface elements before attempting to evaluate the image. Our eyes seek out the brightest object in the scene, interpret it as white, and judge all of the other colors relative to that perceived white. If you hide the white user interface elements, your eye adapts to the simulated paper white, which lets you see the objects that are on-screen as a reasonable rendition of the image. Second, look away from the screen when you select Simulate Paper Color. By looking away, you see a simulation of the true rendition of the eventual print.

  • e screen on the le has white user interface elements that interfere with the eye’s white adaptation. e screen

on the right has the palettes and tool bar hidden (by pressing Tab) and a black background (produced by pressing F twice). You can also click the Full Screen mode button on the Tools palette.

A Color Managed Raw Workflow From Camera to Print


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