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A digital image in a camera (le) and the printed digital image (righ ) - page 12 / 16

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Generally, you can make some ne adjustments to your image to make it look as good as possible before you actually print it. While the exact correction varies, you’ll need to adjust the overall contrast of your image by so proong. You may also want to adjust the overall color saturation, and perhaps the precise saturation of specic colors, all of which is relatively easy to accomplish by using Adjustment Layers. Even though you can never make a print look as good as it can look on-screen, you can make substantial improvements over the simple and relatively nonspecic rendering the unaided color proles oer. e aim is to make the print look as good as it can, before you spend the time, ink, and paper to print it.

  • e top le shows a slight increase in the image contrast for an image. e lower le shows a saturation increase

for the image. Both of these settings improved the image’s rendering. e Layers palette (righ ) shows a layer group named Matte Paper that contains the two adjustment layers used to correct for the paper on which the image will be printed.

Aer so proong and putting the printer and paper–specic corrections in a layer set (which is useful if you plan to make prints in the future), you’re ready to print your image. You can now close your duplicate image without saving it.

  • e original RGB image (le), and the so proofed and adjusted image using the Adjustment Layers option (righ )

A Color Managed Raw Workflow From Camera to Print

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