![]() ![]() For example, if an image appears unusually desaturated and weak, that's often a clue that it was edited in a larger color space than the one you're using to view it. If you open an untagged image and you immediately see that it looks wrong, the next question to ask is how it looks wrong. How is this image supposed to look? When a profile is missing and a known good image looks way off, you can often fix it instantly by assigning the correct profile to it.If you're staring at the dialog but the answer isn't obvious, how do you figure out what it is? It all goes back to the three questions we posed early on (see "Color Management Is About Answering Simple Questions," earlier in this chapter). If your actual output conditions are represented by one of the menu items, choose it so that Proof Setup will use those conditions when it shows you the soft-proof.Īssign Profile and Convert to Profile can be intimidating to new (and even not so new) Photoshop users. Your first stop is the Proof Setup submenu (see Figure 4-14), which governs exactly what Proof Colors shows you. The default Proof Setup settings probably don't represent the output you're trying to preview, so to really benefit from soft-proofing, you need to be more specific. If Use Black Point Compensation is turned on in Color Settings, it's also applied to the rendering from the proof space to the monitor. It renders that simulation to the monitor, using relative colorimetric rendering.It first simulates the conversion from the document's space to working CMYK, using the rendering intent and black-point compensation settings specified in Color Settings.By default, Proof Colors works as follows: Soft-proofing changes only the onscreen display for the current document window, without altering other windows or saved image data. The View > Proof Colors command lets you turn soft-proofing on and off. You can use this feature to adjust the unproofed image while watching the effect on multiple soft-proofed views of the same image. This lets you see how the image will appear under different output scenarios. You can open several windows for the same image (by choosing Window > Arrange > New Window) and apply different soft-proofing settings to each window. For example, you can quickly see how the same image would look on newsprint and in your glossy brochure. We can soft-proof different conversions to CMYK while we're still working in RGB and have them accurately depicted onscreen. Soft-proofing is also a big improvement for those who print CMYK. This is a huge advantage for those who print to RGB devices such as film recorders or to photorealistic inkjet printers that pretend to be RGB devices. These allow you to preview your output accurately, whether it's RGB or CMYK. In Photoshop, soft-proofing has its own set of controls separate from the Color Settings dialog. You can work inside an accurate output simulation to optimize your image for a particular output process.įor this to work, you must calibrate and profile your monitor, and we highly recommend that you also take steps to control your viewing environment (see the sidebar "Creating a Consistent Viewing Environment," later in this chapter).You can see how an image prepared for one output process will behave when sent to another output process without adjustment: This is particularly useful when you're faced with the prospect of repurposing CMYK files made for one printing condition to work with another. ![]()
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