Color Management

Lesson 6/7 - Color Management Q&A


Color Management


Lesson Info

Color Management Q&A

So let's take a look at this concept of our actual raw file is processed on our computer and we work within an embedded file and our monitors going to show us certain bits of information we convert to an output profile we actually don't see that our systems hide that from us anymore used to not be that way but our monitor profile will make sure that we're looking at the proper information so when you think about what's going on behind the scenes with color management really don't see that today but what's important for us really is to create a consistent workflow and our objective is to obtain predictable results time after time and it's exciting when you put that in play and start to obtain predictable results and it saves money and frustration it's fun to do so I spend a great pleasure to talk to you today about the issues we've covered today color management there's a lot more to it but I didn't want to get so deep into it that it would be t m I it hopefully it hasn't been I know I'...

ve done a lot of information that you today but very basically color management is easy to do today this several things that we must do is calibrate our monitor decide the color space that we want our files toe work in decide the color space such as srg be that we want to output in and um when we're doing our own printing to make sure we're converting to the proper profile the proper media types in quality laurie jo says hi any I'm using the color monkey display when I calibrate my two monitors one of the laptop one is an external monitor they're visibly different in contrast and color still what else can I do and how do I know which is correct? Well what's the loaded question hi laurie jill the big issue could be the graphics card that's running the display and uh sometimes we have issues sometimes we have a bad graphics card or something like that so my only assessment that scenario is there could be a limitation of the graphics card on one of the displays and my guest might be the bigger display might be running on a an adequate graphics card. So what that being said? What I found in my experience is that most all monitors are going to calibrated properly pretty much close with color that have a great difference in the contrast ratio when you have both things working against you from one display to the other and I'm assuming they're running off of two different operating systems because that would have to be the case then it could be the graphics card if the display is running off of the same computer than the graphics card is only going to be true to one of the two displays ok, another question from photographic ce miami uh, they say you showed a soft proofing and photo shop how do you soft proof in light room? Well, let's take a look itself proofing in light room and I, um I don't really soft proof in light room, so under the view menu, I'm gonna have to research that I'm afraid, um there it's been a tiny bit controversial, but let me get back to you let's do that. All right, so a questions from images by b k do you usually print then using c s six or using light room for which one do you usedto use both elected print from light room when I'm printing to my picks my pro one, which is a thirteen its printer okay, I love printing from light room when I'm putting on the ivf printers the large format like using for the shot because there I can use the export module, so that would be my preference. But printing from light room is fun to do it it's great results, especially when you choose the proper profile. Okay, so a images asks, is this the correct color flow? I think they're kind of clarifying here ready good light room pro photo are rgb photo shop pro photo are to be sent to a lab and then convert to s rgb so do you see what they're doing with the little flow there that makes sense? Is that something that's covered in the course when you buy it and you get the the workflow? Well, yes, that analogy is just a little bit backwards. At the end, you convert to s r j b and then sent to the lab the way I heard it was sent to the lab and dennis rgb. So yes, we working pro photo in light room and and photo shop, we convert srg b and then sent to the lab good, it was good, but I asked somebody's, paying attention, so I had seen somebody asked earlier about that it looks, their images look different when they are in light room, and then they take them into photo shop. They look different on the monitor. Do you know what might be going on? I'm going to make an assumption that they're they're working in light room free and photoshopped cs five or four, because that was an issue, and I didn't want to mention a whole lot about that, because when I went into light room kicking and screaming, one of the resolutions was light room for and see a six that basically been fixed, okay, great that's an anomaly, that was a problem, that a known problem, okay, and then we want to clarify once one final time here beats for thirty five asks when evaluating the test print, are you trying to see how much it matches the monitor or trying to see how good the print is? Uh, no matter what I do, the test prints seems never, ever to match my monitor, not even close, so kind of same thing. Well, I like that question and um, when I'm looking at a print, I'm evaluating the print itself. I don't immediately take it and match it compared to the monitor, even though when I do that it's mostly predictable that's why I say let's get predictable results because I don't think you ever get exact matching results unless you have a five thousand dollars display unit that has to color gamut in the graphics card to drive that much information. So, um, when I'm looking at images on my display and I'm going to print them pretty secure about how that's going to print because of predictable results, so that would be my answer for you to obtain predictable results as long as you are you're in the game, great, I love that answer. All right? So we have time for a couple of war, and I just want to say that some folks online have let us know that in light room for in the developed module, there is a soft proof selection box right here, right in the developed module. Yes, thank you. Fabulous. And so then a question actually coming from that is that there is an option in there that says simulate paper and ink do you know if that should be checked or not? And I know you said you don't do yourself proofing in that room, but I don't you simulate paper and eat because I think it's in it and that's looking at the actual profile fund to simulate the paper, for instance, some paper may have a yellowish tinge to it, but I haven't used that in some years. So it's an option there? Uh, but I don't use that, but ideas black point compensation. Thank you so here's soft proofing and one thing is doing is turning the background to white in this making image look brighter. So I don't know what profile it's working off up so time I've used self proofing has been photoshopped and the issue I have really in light room using soft proofing has to do with creating corrections for soft proofing, even though it's not destructive coming back to that image a year from now, and printing it on a different printer and not realizing that that soft proofing and corrections involved for that

Class Description

"This Photoshop & Lightroom color management tutorial from Eddie Tapp is a workshop we ALL need! Eddie shows you how to calibrate equipment, establish a color-managed workflow in Lightroom and Photoshop, and take advantage of color management workflow for both input processing and printing and output. If you want to accurately capture, manipulate, and reproduce the color you shoot, this is the workshop for you! "