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A digital image in a camera (le) and the printed digital image (righ ) - page 7 / 16

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If you nd that you consistently use one space more than the others, it’s convenient—but not essential—to revisit the Color Settings dialog box and choose that space as the Photoshop RGB Working Space. Remember to save the new color settings aer you’ve made this change.

To nd the RGB space Gamma value, with Advanced enabled, choose Custom RGB from the RGB Working Space menu. e initial settings are based on the current RGB space, so you will

  • nd the Gamma value in the Custom RGB dialog box. Don’t make any changes; just note the

Gamma value, click Cancel, and then change the Gray Working Space value to match your RGB space Gamma setting.

To choose ProPhoto RGB as a Photoshop Working space, click the More Options button in the Color Settings dialog box to display the advanced options shown above.

Camera Raw has one limitation that Photoshop doesn’t: All Camera Raw adjustments are global.

  • e image parameters you choose are applied to all of the pixels in your image. You can’t make

selective adjustments to parts of the image. So the goal of any image adjustment in Camera Raw is for you to get an optimum overall image adjustment, and then make any localized image adjustments to postconversion processing in Photoshop, where a broad range of selection tech- niques is available.

When you open a Camera Raw-processed image in Photoshop, you are presented with a globally optimized image. Depending on your image’s needs, your own desires, and aesthetics, you may decide to make more image adjustments or decide to leave the image alone. However, as far as color management is concerned, you’re only halfway nished.

A Color Managed Raw Workflow From Camera to Print

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