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A digital image in a camera (le) and the printed digital image (righ ) - page 8 / 16





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Previewing prints

If your nal intent is to produce a print, the next steps will either be extremely dicult or lead to a satisfying and predictable result. We hope that this document nudges you toward the latter outcome.

  • e marketing-driven view of color management is that its goal is obtaining a color that is WYSIWYG

(what you see is what you get). e truth of the matter is that no printing technology can repro- duce the bright, saturated colors your monitor can display. (ough it’s equally true that print can reproduce colors that your monitor can’t display, such as metallics and uorescents, and more importantly, dark saturated colors, particularly in the yellows, oranges, greens, and cyans.)

Photoshop has the incredibly useful capability to use a printer prole and alter the display to accurately represent what your nal print will look like (usually referred to as so proong). To use this capability, choose View > Proof Setup. When you so proof, you choose the exact printer prole, the rendering intent for the conversion, and the way you want Photoshop to display the so proof. You can also turn the preview on and o to toggle between the original image and the simulated print.

  • e Customize Proof Condition dialog box

  • is deceptively simple dialog box contains a lot of power, so it’s worth taking the time to under-

stand what each setting actually does.

  • e Proof Condition options let you choose the prole for the print process you want to simulate,

which may be a prole from a photo printer on your computer to a printing press on the other side of the planet.

Choose your printer prole from the Device To Simulate menu.

  • e Preserve Color Numbers option is available only when both the image and the selected

printer prole share the same color mode—for example, an RGB image and an RGB printer prole or a CMYK image and a CMYK printer prole. is option shows you the outcome if you send the image with no conversion to the printer that has the prole you selected. As such, it provides a dramatic illustration of how badly you need color management, but otherwise has little practical use for most photographers.

A Color Managed Raw Workflow From Camera to Print

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