Making the print
You’re in the home stretch, but this is where things get tricky. You need to pay close attention to mechanical, but critical, settings when printing. ere are about possible combinations of set- tings, and most of them do not produce good results. e following print path seems to be very reliable, so we suggest you follow it unless you nd it doesn’t t your needs.
You should always print from the Print With Preview dialog box in Photoshop. is dialog box oers you the very useful capability of performing the conversion to printer space on-the-y as part of the print stream, so you don’t end up with several images that have been hard-converted to printer space (which makes them less than optimal for any use, other than printing to the print condition for which they’ve been converted).
e gure on the le is the main Print with Preview dialog from Photoshop. If you do not see the Color Management
options, select Color Management from the drop down menu instead of Output options.
e Print With Preview dialog box allows you to tell Photoshop how to send the image data to
your printer. In the Color Management settings, there are critical settings you must make cor- rectly in order to have consistant and quality output. In the Print section, make sure Document is selected, the dialog will show you the current document prole.
In the Options section, you’ll see Color Handling. Here it can get confusing, but the odds are good that you want to select Let Photoshop Determine Color. ere may be valid reasons and certain situations where you may need to select Let Printer Determine Color or No Color Management. But if you have an ICC prole for your printer, it’s generally better to let Photoshop do the heavy liing with color management.
Next, you need to choose your ICC prole for your printer, paper, and ink combination. Choosing the wrong prole is a common error because prole names may not be very descriptive. Aer setting the prole, be sure to select the same rendering intent that you used in your so proof setup. In general, you’ll always want to select Black Point Compensation as this maps the black of the image to the black of the output device.
A Color Managed Raw Workflow From Camera to Print