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A digital image in a camera (le) and the printed digital image (righ ) - page 3 / 16





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Color management setup

A computer running Photoshop with a Sony Artisan display and a GTI light box

Color management begins with your monitor. According to the experts, you must have an accurately calibrated and proled display so that you can have condence that what you are seeing has a meaningful relationship to your image. If you’re serious about digital photography, a monitor calibration and proling package that includes a measurement device—a colorimeter or spectrophotometer—is essential. So-called calibration tools that rely on the unaided eye may be OK for recreational users of Photoshop, but the human eye’s powerful adaptability to dierent lighting conditions makes it highly questionable for calibrating monitors, where the goal is to return the monitor to the same state each time you calibrate it.

  • e next step toward color management nirvana is to set the color settings in Photoshop to

dene how you will handle color and proles.

To set the color settings in Photoshop CS2, choose Edit > Color Settings.

We suggest that you start with U.S. Prepress Defaults and then change the settings to suit your needs. e U.S. Prepress Defaults settings are better than the NAGP default settings, but they’re still less than ideal. For most photographers, we recommend the following changes:

  • Change your Gray working space to match the gamma of your RGB working space.

  • Deselect Prole Mismatches: Ask When Pasting because you always want to paste the color appearance.

  • Deselect Prole Mismatches: Ask When Opening. When it’s selected, Photoshop displays an alert and presents you with various options when you open an image in a dierent RGB space from the one you’ve selected as your RGB working space. Because you haven’t seen the image yet, you almost certainly don’t have any grounds for making one choice over another. Dese- lecting the option makes the Preserve Embedded Proles setting under Color Management Policies dictate the color handling, which keeps the prole that was embedded in the image and uses that prole to display the image.

  • Select Missing Proles. It displays an alert when you open a le that has no prole embedded. When this option is deselected, you’ll have to guess how to interpret the color when you open

    • les without embedded proles, which creates extra work.

A Color Managed Raw Workflow From Camera to Print

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