Color Management

Lesson 3 of 7

Lightroom and Photoshop Color Setups

 

Color Management

Lesson 3 of 7

Lightroom and Photoshop Color Setups

 

Lesson Info

Lightroom and Photoshop Color Setups

In photo shop if you go to edit settings there's three options near the bottom here once is color settings one says a sign profiles and the other is convert to profile so let's go to color settings because this is where you established your color your basic color settings as a working schematic in photo shot and the default setting here is america general purpose too and general purpose to incorporates srg b is an rgb space which is what we're concerned with today I'm scooting down so we could see this and in regards to the color management policies it just preserves embedded profiles but there's no will interaction between that so the recommended change of the settings would be actually called america north america pre press too when you select this setting, it changes your rgb to adobe rgb it also turns on the options here to ask when opening ask when missing profiles air pasting what does that mean? That means when you have two files open and you bring one over to the other, if it's...

a different profile is going to let you know this is in pro photo, this is an s rgb or vice versa in forty you want to do in more importantly when you're opening up an image if it's not in your preferred cover space, it gives you a warning if you're set this way you're working spaces adobe rgb this fall is not in adobe rgb what do you want to do and ninety nine point nine percent of the time you don't want to change a color space that's coming into photoshopped photo shop is quite brilliant in the respect that it can work in any color space that's in your file so always use the color space that's there to get the most out of it when you're merging images together that's when they want to call them into the same color space so when that question asked when you're putting images together then yes let's put everything in the same color space but prior to that if they're in different color spaces it's okay I set my cutter space to pro photo rgb so right here so this is my working color space the reason I do that in photo shop is so when I bring in kind of outside source into doing merges or panorama is then I have a larger color space compared to photoshopped default which happens to be s rgb so you want to select ok they're back out let me go to the bridge very quickly and get to a raw file I roll file which is stepping up they were all file here which goes into adobe rgb and this is going to have a two face so if you were with me yesterday with smart objects I totally forgot to take over the setting here well, go over it now because it has a lot to do with color management as well as your in adobe rgb at the very bottom of the screen. There is this purple line, our blue line, and if you click on it, it brings up your workflow options for your raw files. If you're going to work through adobe camera, the default setting here is, sergeant, be an eight bit and just about like, this is the default setting, so I set this over to pro photo rgb because I want all of my faust to be in pro photo our job equal, I'm working on them and in sixteen bit channel and at the very bottom is an option that I've chosen to open my images in photo shop a smart objects, so any image that comes to a cr automatically opens a smart object. So that was a little tidbit that I forgot to mention yesterday, but there it is. But more importantly, this is where you established the color space for your wall files. If you're working through a cr let's, jump over to light room in light room. If you go to the preferences, you don't have to do anything. Lightman was automatically set up toe work in pro photo rgb and sixteen bit from your raw files that is absolutely brilliant. And another reason I love light room, because it's actually set up for you to take advantage of the best technology available today without you having to go set up anything it's in photo shop, which is where you have to actually go, set up your color management spaces to work in that respect. Are there any questions about setting up your preferences there? Yes, I'm going directly from light room to photo shop within light room. Is it going to keep my settings, or do I still have to change my photo shop settings? You never make sense, and you never have to change your photo shop settings because like room is so I'm never about different color spaces, so the only thing that you might see when you go from light room to photo shop is a question that this image is not in photo shops color space. What do you want to do? And you don't want to do anything you want to keep the color space that you're coming into photo shop with that's one reason I set my photo shopped to pro photo rgb so when I bring my images from light room that aaron pro photo rgb into photo shop, it doesn't ask me that question, yes saves time, good question, so we have one question from the internet, okay, never give up, says let's not get too much into cm like. Hey, can you tell us if you need to print a job in cm like hey, do you convert to see him like a before you process the photo or after they've heard different answers from different people about that? Ok, do we have another day? That's a great question. Cm I ke is a totally different animal, but here's the deal what your images and rgb and the last thing you do is convert them to see him like a and the proof view explanation that joe just went over was in rgb. But when it comes to see him like a that's, what it was really designed for originally was converting from rgb to see him like a. Because going from rgb to seem like a is a huge color, gamut, differential, and that's, where you can lose a lot of color data when you go to printing press, so color management being a different animal. That's why I recommended using the color space color match rgb rather than pro photo are to be, if all you do is digital pre press, because kind of match our job is a closer proximity to a printing press profile, then laver et cetera, so I believe I answered that question, ok, good and good questions, indeed. One more quick question about this menu is from l a photographer photog do you change the size when you are printing a larger print or win would you change that setting that's resolution of what another great question so if you were to ask me that question ten years ago will be talking about ten percent increments of increasing the file size but today I use native resolution that's my back native resolution and what does that mean? That means I used the original file size the original quality of the pixel data that I process is put I used natively now there's two things here number one if I send my images to a photographic lab it goes through something called a rip and that ripped does three important things number one it converts the color space into the color space of the printer is going to number two it sizes it to the size that's going to be printed so it creates the resolution and number three it sharpens it for the size is being printed so that's a very huge element of workflow today where ten twelve years ago that was not the case we had two upsides are images and sharpen them for output and let the lab work with the color as a matter of fact adobe gamma which was a wonderful feature for color management ten twelve years ago we used to have different gammas and maybe fifteen years ago we had to create a different color gamma and our work flow to go from one lab to another which forced us to change the look of the image today it's so much easier but when it comes to using that today is so what we're going to do now is actually create a profile on this printer put it in our work flow and use it so we can get color matching from what we're seeing on our display to the printer and friend you're going to help me today aren't you and x right was kind enough to send us aye aye one photo pro to kit to create the profile so I don't want to do is open up the software which is already open let me actually close it and reopen it and with this device which is a professional device by the way my objective in doing this is so you can see how a profile is created and how we use a profile and printing how it's done some of you I'm sure you're going to want to do this yourself when you see how easy it is, but most of all I just want to show you what's kind of behind the scenes what under the hood when it comes to color matching your workflow so the options here to calibrate displays projector calibration, our printer profiling and we want to go to print or profiling and I'm just going to use the most basic concept of this and select the printer I'm going to select this high p f sixty three hundred cannon was kind enough to provide this printer for us, it's the same kind of printer I used my printer's, a sixty three fifty, which is very much the same type of printer and the paper size will print even though we've got a roll paper will choose eight and a half by eleven at this point, the test charts we can choose small, medium or large and earlier joe mentioned that he creates patches with four thousand different color patches to create a profile. Well, we could do that, but it could take a lunch hour to read those patches with the system here, so we're just going for the fun of it. Create a small patch that has four hundred color patches, and in order to do this, we have to print this out. Now, when it comes to printing, I would get to print module and photo shop are light room and then from the print module would go to the print driver from the manufacturer when I'm using an I p f printer, which is their professional level of printers, I like using their export module out of photo shop because it had it's kind of like its own rib. So instead of printing directly to the printer from here, which you can do, I'm going to do a save as and save this as four hundred patch is going to become a tiff file, and for now I'm just going to hide this um I'm hiding everything uh, excuse me, we get out of a cr here, I'm going to hide everything, but I have a bunch of stuff open here and find that patch the four hundred patch right here let's open this and photoshopped and look what happens when I go to open this image and photoshopped it asked me it reminds me that the color space on this foul there is no color space, it does not have a better profile, so there is not pro photo are giambi or srg b and there shouldn't be any color space when you're creating a profile image. What do you want to do? Well, most of the time we want to assign are working color space or just leave it alone and here we want to leave it along. We don't want to color space involved here we want to print the raw data, so open the cover patches and now instead of going to file print and I will explain file print later I'm going to file export because of the printer that we have we're going to the sixty three hundred printer this brings up the profile are the interface for this printer and let me next mayes the dialog box here and go to the main page anytime he print whether it's this export module or print driver several things you do need to set in place, which is important for us to do one would be the type of media we're printing too, and here we're printing to a premium semi gloss paper and the quality I'm going to use high eight degradation instead of sixteen bet just so it prints a little faster print mode high instead of highest, so it prints faster and the output profile is going to be no color correction, by the way, in today's photoshopped c s six we in the print module, we used to be ableto select this option, which we cannot, but I have a solution for you, so hang in there we'll get to that in just a little bit, but the whole concept when we're printing out the color patches to profile characterized this printer is to print this with no embedded, no interference of a color space involved. Are you with me on that? So choosing no color correction is of course, important the other thing in this particular set up his color settings, and if you go to color settings, there are no color settings everything set to zero these can be changed if needed later uh, but nine out of ten times these air never used and we're not going to use them now, so now we're going to go toe prints set up until it to print on a certain size paper, and even though it's a role sheep, it'll print out these patches at one hundred percent and I'm going to click soon as I hook up the printer, so I don't have the printer hipped up, so give me just a second, okay? The printer said that and just to go over what we're printing were praying at eight point to almost twelve inches in the main set up, we've chosen our media type, the quality and no color correction. Oh there's also something here called set configuration, and I love this particular area with the export module for the I p f printers because here you can set a sharpening and then usually set mind to around one hundred percent sharpening you know what that means and most of my work flow if you're with us the past couple of days, you might have seen where I sharpened occasionally, but most of the time I don't sharpen, I let the rip here are the export module sharpened for me let's go ahead and print out, and now this is going to print out some color patches until the printer so well, this is doing this is take just a few minutes will be a great time for questions. Fantastic, right? So a question from a david eric should you leave your file that the resident file format versus cropping toe a five by seven at six eighty four which is mike camera format to send to the lab for all print size is ok, we've got the printer and always happening here and what I heard the question was had to do with crop into a five by seven to send to the lab. Yeah, and should we do that question was should you? And maybe this is better for later when we're talking about sending things to the lab. That's ok, well, the decision was should you leave your file and a resident file format versus cropping to a five by seven at six eighty four, which is my camera format to send it to the lab for all prince sizes that you might use? I would definitely crop to a five by seven format, but leave the resolution alone never changed the resolution, the crop to the five by seven perspective yes, thank you so and you touched on sharpening a little bit on dh that reminded me that we did have a question about sharpening bali olman from england says, are you suggesting that when going to print, we need not be too concerned about interpellation and sharpening what do you want to go into that any more do you want to know? Is that just a whole another topic for another day now that's a great question and if you ask a photographer how if you ask five photographers howto light a portrait how many answers do you think you'll get about seven so when it comes to sharpening the same thing so but where I'm coming from is about with digital at least twenty years of experience of sharpening and I have my sharpening algorithm I shared with you yesterday which is five hundred percent and half a pixel but for output we might sharpen a little bit more because of the resolution of the lenses today in the cameras today even with seem lost sensors image sharpness is pretty fantastic so rarely the way I think that this on delay so it gives me a ten second delay before coming out but so when it comes to sharpening today I don't sharp my images as much as I used to but when I went to this image are to this particular printer I put this sharpness at one hundred and like joe was mentioning his expensive as it is today to print quite frankly it's not that expensive but as expensive as it is today when you're doing your printing few printing images over and over and over that's when it really gets expensive and in the past years reprinting an image to me for sharpness I just don't remember having to do that however with saying all of that on a few exceptions I will sharpen an image a little more aggressively especially if it's a scenic type of image interesting good to know thank you absolutely so what we've done with printed out these color patches let me just fell this and we're ready to take the color spectrum fit ometer which is this device here which this device can turn around and calibrate a projector it can actually calibrate displays and it can read these color patches to create a profile you know what I like to do is after I print this is to let it cure or dry for maybe thirty forty minutes so instead of doing that actually printed the exact same color patches last night so the prince drying cure so instead using this exact pack I would want to let this cure for thirty forty minutes let's go ahead and use the same patch exactly the same paths that we used last night and friend you're going to help me do that today no no first of all heavy ever used this device before so if you look at this device which is known as a color spectral fit ometer inside this little house a sensor in the center is what's going to read the color patches as this goes across the color patch here a little lights going to beam and reflect so it can see the colors here and it's so easy just do this all we have to do is let me take this out and reposition so here's once again the color patch that we printed out last night and we trended down printed out exactly the same way and we're just going to kind of luck this into the pad here this is a guide for the device itself and when you position this guide down in position it right on the bottom edge of the row of colors and then to use this we need to calibrate the device. So what happens when you calibrated device? What do you do? Basically you white balance it so thiss has a built in white patch for the calibration so let's go back to the software which is the I would profiler and we're ready to create the profile and now I'm going to have to unplug the printer and plugging in the device that's because I have my tablet plugged in the other side so in just a minute it should come up and see the device usb connection in there s o seize the device and in the instructions here it tells you step by step exactly what to do so it's really very simple but it wants us to calibrate and all are all we have to do is position the device on the little pad here and click the mouse there's a little mouse on the side of the button here are betting on side of the device and it will calibrate itself so now it's going through a calibration I think I clicked it here we go it takes it just a few moments to calibrate it's calibrating this we use at home it is for these on yes it is as a matter of fact I have a put that call that uh the io which position this color spectral for tom attar in a device and goes and reads the patches with an armed by itself it's very very convenient so this is exactly the same software in her face and what I'm going to do is read the first patch for you okay? And basically this hooks right into the head here want to make sure we start on the white patch and we're going to click the button on the side and you write to her baby or you don't have to listen well maybe I've got the sound turned down but then you just simply with this all the way across the screen to you get to the other side of white patch then you let go of the mouse and it reads the patch going through this right here so we're actually going to that's going to undo all I want to go back and click on the single scan and do that once again, just click and drag all the way across and now when we see these line's halfway through its reading the patches so we're ready to simply scoot this down and once again click and drag across let go and do that twice click drag across and let go and now we're ready to go to row three fan if you don't mind even for me that's good it down this year yeah, so I'm going to let her do that so we can take some questions if we have questions I have a quick one from the internet tr p says does the paper type matter when you're when you're doing this process? Totally? Absolutely yes, of course the paper whenever you're creating a profile, you're creating a profile for the paper ink combination, and in this afternoon session we're going to have another guest speaker randy hufford, who is a paper expert. Of course he's going to talk about ah a little bit of printing on campus paper and stretching campus paper and but he is a g clay printing expert. Oh very cool, thank you, but this is so easy to create profiles and, you know profiles come in different fashions for instance, when you purchase a printer, an ink jet printer must say and you install the driver for that printer it automatically installs isis he profiles for you to use in your system ready to go automatically you can also go to the manufacturer's web site and download profiles designed for their printers and paper combination better more customized from the website and you can also go to a question is an error message here a message ok it says reference colors do not match the measured values so it's looking for road number four and your own road number three then that's also it kind of knows what to look for so more going to ask more questions absolutely ok so a couple of folks g a photography and fashion tv are asking about our thanks and so does this work with printer that have other kinds of thinks like geico solvent and then also from from fashion tv what are you views on using reputable reputable third party thanks cartridges on printers and plotters is there an obvious difference in your opinion should we always use the same brand as the printer? Well, that is a magnificent question and I've worked with inkjet printer since they first came on the scene some twelve, fourteen years ago and I've gone up and down the scale with different types of inks but in my opinion your best to stick with the manufacturers things because they're designed for the print heads for the nozzles they have the right poor poor isi would help me with that word the right liquidity you know I'm talking about they have the insight are designed for those print heads and nozzles and that's very important so in my opinion you can probably save money with off brand eggs but you can't save a print head that way and once you put a certain type of peak in uh jet printer you can't change it you can't go from an off brand to manufacturer or vice versa so you actually have to start out either way so when it comes to printing photographic quality getting the best prince available in my opinion the manufacturers they are designed to give you that best color gannet process so this is like just creating your profile manually and it's only with four hundred patches now could have given you twelve hundred patches to work with with beef owhali so I had to be back in the mid nineties when I created and started using my first I c c profiles and back then we had a little device that would print out the patches and we would read each patch one at a time and it would one little square so take maybe thirty seconds to create a reading of one patch and we generally had about nine hundred patches to read so you can imagine how long it took to create profiles back down but it was it was good yes I just have a quick maybe clarification question from photo yogi uh he or she says eddie thought you said earlier that printers the's days do not need to be calibrated so this calibration is this is specifically for specific papers okay, wonderful question and what a great catch and I if I said that I didn't mean it but I meant to say was printers today do their own self calibration so we do not necessarily have to calibrate them however there that is today's technology ten years ago that wasn't the case we had to mandate print head alignment and now it's all cleaning and checking which is the means to calibrate printers of this sort today today the printers automatically do their own print head alignment and they do their own nozzle cleaning and checking so that's what that uh statement was all about and I'm glad I was able to clarify that however what we're doing right now we're not creating a calibration we're creating a profile we're creating a characterization of how this printer generates thinks that one pets to go so I finished but just to further clarify that for temple we twenty two so since you say that you are creating a profile for the specific paper are you scanning the colors you're scaring the colors? Does that mean that you have to do this for every type of paper that you use that yes you do and that's a great question so for every type of paper and in combination we need a profile specific to that as a matter of fact, if you print it different quality or resolutions, then you want to create a profile for each resolution. I generally create mind the highest resolution because my images air worth printing it resolution so so I don't think I don't think I realized that so if you're doing it at two forty and you're doing at three hundred that you should create two different profile that is the manufacturer's recommendation that it's correct great I think with, you know, brand go for finished way no when this color spectrum for tom attar was reading the patches that was giving in the literal sense three bits of numeric data one bit was the luminous or brightness of the patch and two or their prominence data. So what we want to do now that we've read that information is to actually create a profile something clicked the next button and we can look at this and create different standards how we how we were going to view this this print you can actually take this device and read the indian light in the room where it's going to be mounted and then create the profile front in that respect so options here standard illumination or we could use daylight temperature or we can actually measure the temperature and I'm just going to use the standard illumination here we can choose the cia illumination which would be d sixty five and this is giving you a scale of information what that's going to do next we're ready to actually create the profile so I'm going to name this profile no see live sixty three hundred and semigloss and the options here to save this profile that the user level the system level is not available right now or I can create a hot phone or what does that mean? I can say that the profile and a folder that I consent to you later right now I'm just going to save it in my system which is going to go in the color sync profile and I'll tell it to create and save profile and if you look at the bottom of the screen is showing you the progress of creating that profile and it's just about done and so to create an actual profile for output for your printer if you do it yourself this is how to do it and this ends up with a three dimensional scope of the profile showing you the different properties of a profile so a very basic sense this is what I wanted to show you the profiles created and the next thing ought to do is use the profile so if you don't create your profiles in a very basic sense this is how they were created to start with just just so you know all right, a question in the audience that he okay? Sure how often do you update your profiles like the paper is getting old desired affected or something random like that? Another brilliant, wonderful question. Thank you. Thank you. Well basically here's the deal when you creative profile for a device you create that profile for device in its calibrated condition and as long as you maintain proper calibration for that device, that profile is going to be on solid ground now if I could go back ten years with the jet printers, the inkjet printers back then did not do self calibration. So when the nozzle started to clog up, it would change and in order and your images would not be consistent anymore and to get that to work, all you'd have to do is go back and do a nozzle cleaning and you're back using the same profile. So as long as your devices maintain calibration, the profile is going to be right on target for you and your photographic labs that you use. They basically will calibrate their devices three, four times a day because they're most of those air chemical based to make sure they're maintaining neutrality and their profile stays on target. However, in that environment because of the change of chemistry and our emotion batch ing, if you will with their papers they do re create profiles, maybe once every two or three weeks once a month for particular printer when it comes to inkjet, the only thing that changes an inch it once you maintain you're calibration is the actual set of geeks so an ink set that you purchase for your printer that might change a year and a half two years from now that green inker that blue ik maybe a different batch and when that happens, you need to re create another profile, but for the most part a profile is going to be on solid ground. What a great question! Thanks for asking that. Okay, so just for now let's go to photo shop are wearing for the shot we're done with this patch, okay? And I'm going to take this printer of this image that tim our have created who's giving me permission to use this to calibrate my devices and let's print this image out to the ivf printer first, we're going to go just as we did a moment ago to export to the printer and they were going to do something quite a bit different uh there's only basically two areas we're going to look at here, the main tab and the page set up tab because we know the color setting tab is all zero we're not going to deal with that in the main tab, we're gonna choose the paper well that's already been chosen the resolution we've decided on that as well, but now we're going to choose the profile for two print out on and we just created a profile and what did we name it? We named it see oh, and I have a lot of cannon profiles here, so I don't have to go down here see live sixty three hundred semi, klaus said there's the profile we just created and now that we have chosen the profile, we have the option to use perceptual saturation few saturation that's more of graphics for if you're creating signs are relative color metrics, so we know from what joe said we're going to either use perceptual a relative color metric and from what I said probably going to use relative color metric and the only reason I'm not use perceptual would be with a different type of them it's so right now we're using relative color metric I've got my configuration set sharpen it at ninety nine points and then the other thing is the page set up here you khun, create your own page size especially if you have she cut sheets we have a role set and it knows that the printer does some of just going to select border blows printing on a twenty four inch wall of paper in the portrait orientation and let's click print check that the printers properly connected oh well that's computers air so smart these days so what I would have to do is lead the printer and said ok, all right and now this is going to take a few minutes to print so we could see our test print and it's another great time for questions so this is a good question time sounds great because we have so many questions good, good okay and where we're going to get next tio sending things toe labs? Is that correct? Yes ok, someone hold those questions everyone because we are going to get there so you see that one is waiting for that question from c squared labs? I'm new to photography and looking for an inexpensive way to print is there any consumer printer out there that you can suggest and I guess then I'll follow up would be if you're looking for the most inexpensive way would you suggest investing in a printer for your home or your studio or using labs? Well, everything depends on your final desire for your output and quite frankly, there's a lot of printers out there very inexpensive that print extremely well and the best way haven't got to the modification for printing just to a printer and I'll do that in just a moment for you, but most printers have two things involved that would be a driver and the quality is when you go to any print driver there are three things that you want to set up the media type that you're printing too, the quality that you want that to be and whether you're going to choose the profile or let the printer choose to profile for you and with today's technology that's one of the reasons it's so easy because you can buy inexpensive printers and asked the printer to do all the work for you and eight out of ten times you're going to like the result two out of ten times it's not going to be at the level of professional that you might expect, but that does bring up the matter of if you want to buy inexpensive printer, you could still get great results today. That's, good news! Absolutely being a professional photographer and absolutely caring about what my images look like and that's not even true, I demand certain thing aspects with my prince, I demand that the proper color, sharpness and tone ality that's what I demanded my printing today and of course I use the right equipment to do that. So even my inexpensive printers yield great results, but nothing that I would sell to a customer and signed my name to a few. Well, you have time for one more question, are you absolutely so our be? Stevens says that they understand the color management explain, as explained so far but I know that you touched on this a little bit earlier but I think there's still a lot of questions about it there are people who are getting prints that are much darker than what they see on their monitor so just kind of going back to that what would you say is the first thing to check out? I know you'll get your turn printer so what would what comes to mind is the first thing that this person should look into when they're finding that their prints are darker than their monitor well, first let me say that that happens most of the time okay? So there's two remedies for that rimini number one this when you go to I mean just in this respect go to this print module or exporting and in the color settings tab there is an ability to create a brighter output and I'm saying this because with some paper not the paper we're using today but with some paper that actually has to be done now the other thing is calibration joe was talking about with the monitor and the luminant scale when you're calibrating a display needs to be at a certain set so um that is something what you calibrate your display if you calibrate it properly and calibrating display properly can be set on the easy mode and let the calibration device and software take over your display and set the density for you um what becomes the most important thing is consistent saying and if you're consistently getting images too dark they look brighter on your screen there is a possibility of going into your brightness settings on your display and making those slightly darker but listen there's always going to be some kind of difference from what you're seeing on illuminated display in a totally different substrate there's always going to be some different so that the best teacher there is experience another possible problem with that is sending images to lab that's not properly calibrate that do not use the color manage workflow that might have an inconsistent help. So if it's consistently darker I would troubleshoot where that's coming from is it your brightness of your display? Do you actually have to add a level of density and we hope that's not the case uh in the print module such as you can do here which would be in my work flow there is a paper it's an art paper that I actually have to bump up brightness to compensate for the inadequacies everything is profile can be uh edited. You can actually edit a profile to yield more density in an image so that's actually a possibility so this paper's curving a little bit but let me look at it to inspect for just a second and I'm looking at the whites, the detail and the color the transitions from shadow to mid tones and the d max in the black and it looks beautiful here so you created a wonderful profile friend but a great job you did yeah I don't know if how much you guys can see this at home but in person it's just stunning yeah it might be a little different on on the internet but now we can go to the images we created the other day and print them out with great confidence knowing they're going to look just as they look on my screen here and so you kind of you did just walk through what it is that we should look for um way do that test print thie different colors the highlights the shadows were looking for detail in the highlights you're looking for d max good blacks and sometimes when the blacks block up that could be a problem with what is known is bronzing in an image looking to paint on the paper if you look at the side of the paper he might see where it's over there's no detail you don't want that to be in place not just a color right now if you look at the color patch here I don't know where my color checker is but if we would have helped the color checker up to this we've probably seen precisely the same colors this image created by tim olive which is actually done almost ten years ago it's still a great color checker when I'm checking different printing and profiles, I print this image on this place gave color in density is that something that you would recommend is always using the same image that has all these different things that check for use that one consistently with whatever the different paper is. It's great idea. Well, what use this one? This one is copy written, so this one is not available. No, I mean, I mean, for people out there, yes, if they were to choose one image and then use that over and over, what would they look for in that image that they're using o color's what? This one doesn't really have skin tone, but skin tone, color, brilliant colors, dark, rich blacks, whites that would be. And by the way, if you do go online and down, maybe look for I surely a color management. Surely you'll find lots of images similar to this that's, the wrong statement, but all kinds of images that you can download and news to do this type of proofing. I have an image of a friend of mine holding a color checker in some toys that I also used that I send out to my students to print out to test their preachers and color management that could be simple didn't have to be complicated. So going back to what you just said he sentences ago, a color? Surely? Is that what you said? I'm not sure what that is. Wait don't know what that is. Really? Ok, uh, color. The color surely came from kodak back in the day when they would create a picture of almost a portrait that had different color patches and different element senate and the model's name was surely so they adapted the name a color surely so and ten, twelve years ago. And there's, probably some labs that still do that they take the actual color. Shirley, which is still available, and send that to a photographer as a file and asked them to match they're monitor to look like the shirley on the print. And I am against that technology. We had to do that some twelve years ago. That was the way. But today, it's. Much easier today, it's, we do what is known as independent device calibration. What does that mean? That means that we calibrate our devices independent of each other. So the calibrate our display to its unknown set of standards, the calibrate the printer to unknown set of standards. And then we use color management to manage the color of our file, which has a known color space. Into this device, so we let color management system do that as a matter of fact, when you look at the schematic that I showed at the very beginning of the session, kind of explains that, but if this is our digital file and this is our print that we're going to all the data that's in here, all the color and information has to go through a color management system in order to get here. So it's in this space, which I might call that color management heaven, this we're all this information is transferred it's, where basically the color is transformed from the color spaces, and to the color space characteristics of the printer. So when it comes out, it looks like what we have on the screen and that's the magic part, if you well, there is no magic and it's all scientific, but to me, it's magic getting predictable results is our job, so what's always been kind of fun to me is to hear one of my students are clients. Come you say, you know, I'm getting exactly what I'm seeing on my screen now, which I think is exciting, but in real life I know that's not possible because we're looking at red, green and blue information, admitting light through here at a totally different substrate, reflecting light over here and the way this is reflected in like can determine on the color temperature of light we're looking in so if these images are going to be presented in a gallery do we want to make sure that we know the color temperature of that gallery whether it's home setting a gallery setting or in here where we have great color lied and in this room we actually want to print for that as well? Great questions good okay, what I wanted to do is just go to photo shops print module right instead of the export module so now let's do that let's go to file print and we'll do the same thing in light room and now we're in photo shops print module as a matter of fact, we're still in photo shot when you get to this window and it's in this window where he choose the printing device that you want to print too of course in click on prints settings and when you click on print settings you're then going to the driver of that printer this happens to be a canon printer in hearing set up the paper size you could manage different custom sizes uh change the orientation there's actually a lot here that you can change color matching whether it's color sinker vendor matching and none of this is actually going to mean anything in just a minute because I'm going to click cancel here hard mean back in the photo shop in her face there's an option to let the printer manage color or to let photoshopped manage color and I'm going to recommend that you let photoshopped manage color because it's been doing it a much longer time than the print module and it does a great job of it so let photoshopped manage color and when you do that then you have to choose the profile that you received from the manufacturer all of these air profiles what we call can profiles from the manufacturer are the profile that we've created so let me is in this back so I can find our profile I didn't know this computer had so many profiles in it but see live sixty three hundred here you can also choose your rendering intent perceptual our relative color metric and now when you're ready to print and pride me once again let's set the orientation here and we can set the actual scale position of the image and if we want it scared let's just go down to eighty percent and I wanna click the print mark there's other options here if such a cz printing marks and post script options they're disabled I'm not going to go there because I just want the basic printing parameters, but when you click print you go out a photo shop and it doesn't go to the printer it goes back to prove me wrong here dead is going directly to the printer, so uh, we're going to get another print of this. I don't remember the size paper I had generally brings up the print uh, print driver and it's in the print driver for you want to make sure to turn off color management? Now I have to say with the cannon printers, the candidate driver will automatically do that, which is a wonderful feature. I really don't want to print this all over again, so, um, I may go to the driver and stop this well, well, maybe not. Don't pay attention to the printer right now. I met to click, print and get to the print driver with for some reason it went directly there so let's now go to light room, select an image we want to print and then click click on the print in her face here in the bottom left you would click on your page set up this is where you would choose your printer and the size you're going to print to the paper size oh good, maybe it was it's not gonna do anything. Also at the very top we can have it rotate the image to fit the paper and you have margins you can use I turned pretty much everything off until we get to the bottom of the options here and the print resolution to forty is perfectly fine for the size we're printing here print sharpening I've got this set to standard and glossy paper it's a semi gloss, but just the same, I'll use that also sorry about the movement here on the screen in the color management tab, you can choose the printer profile now the profiles you see here of profiles that we've recently used here, so they show up for you automatically, and when I click other than it's going to go to that long list of profiles, allowing us to choose the profile that we've created, the sea line, and now we can change our wintering intent to relative color metric and we're ready to print and light room does a brilliant job printing in this respect is more effect there's many printing options for layouts and the way you imprint from might run. But this is how you use color management in light room as well. So now the question is we're going to our lab. How do we do that? And once we've selected are images and let's go back and choose the images that our master images from two days ago, these are the images that we want to print are sent to our land, so I've selected all of these images, and now we're going to go to an export process. And once you've set this up, you want to of course say this is a user preset but we're going to choose a folder and let's just create a folder on the hard drive for now put on the desktop and we'll call this hot folder so going to create a hot folder in our system somewhere and putting it on the desktop so I thought away after the show today found naming if you want to rename your fives that's one thing in the foul settings we're going to use j peg and have the color space convert to s rgb and it does this on the fly when he used the hundred percent quality and I'm not going to resize the files this is for my lab so no image sizing, no sharpening I always keep my end meta data in the files and I'm ready to export before I do that I'm going to click on add and I'm just going to type in hot folder so now the next time I'm ready to export for my lab, I'll just go to the presets choose hot folder and it will preset all these settings forming once all this information has been exported intensity progress bar in the upper left hand corner now I'm ready to upload those images to the lab and we're good to go so the key there was converting these images to srg b on the fly yeah let me mention about color spaces because six, eight, ten, twelve years ago as color mansion person I did a lot of consulting with a lot of the labs around the country as they were kind of making the transition to the digital process and I would do something very unique I would have images and adobe argue b s rgb proferred or to be and I would send those images through their lab and the ones and pro photo and adobe came back always looking off but when I converted all those images to s rgb and sent them back through their color menaced workflow they would all come back right on target right the way they were supposed to love so I learned something from that experience and that is to conform my work my color space into the color space that they could work from to make it easier for them to get predictable results for me so there you have it I know this is a lot of information we're throwing out there and hopefully this experience of creating a profile has been good for you whether you do this or not at least you see how this actually works on a basic level that was my objective to help with that so if we have other questions I'll be happy to take those I don't think we have a few minutes we do we dio and I think this topic the sending images to labs is, I think, is really important for our audience, ok, so I'd love to get some of these questions in before we go to break let's go for it, all right? Do you want to start or let me see? So, um, well, let's see, I got it, I think, but american blonde had asked this earlier who says she really is blond and then said, I'm still not sure when we send our images through rose to a lab, and that is a rose is a management tool that a number of different labs use an ordering tool. So she's saying, when I, when I said miami images to lap through rose, I select a size and then I select no color correction good, but do I consider the type of paper being used if I'm gonna if I'm going to order and metallic? If I'm going to order luster? And how do I think about that? Great? Oh that's, a great question and what I'm going to recommend, and I'm going to include a file in our folder that we send out to our ten days that purchase a grayscale file, and this grayscale follows simply just that it's just different wedges from black to white, and I going to recommend that you send this grayscale file through rose. To your different printer paper and I'm sure your level print that for you for free as a test and what you'll see from that are we getting detail in the blacks and the whites and is it neutral and what you might find out with some of the papers are richer black and brighter whites with some paper times that's an experience that we have said learn through experience but yes, different paper types are going to yield different continents and luminous results and I think that's what the question wass I guess and I think with the lab that I use that they do have available profiles for you to use for soft proofing yes with in front of shop yes in my room on dso and I believe that they are broken out by paper type do you know they have to be yeah, they would have to be so so I guess my recommendation to american blonde would be to that yes, it it does matter even though you are selecting the size you're selecting no color correction but then you will have wanted to use their profile when you were proving it is that when yourself proof e that's mostly true but self proving is not perfect, okay? And it doesn't work with all paper types for instance, if you're using uh canvas paper, for instance and the soft proof your canvas soft proof is going to look washed out and weaken color and that's not the case, it's just the way that profiles rendering the soft proof but when it prints to the canvas it's fine, the some papers were soft proofing is a little awkward just f y I yeah, I think it's a great idea to use soft proofing without a doubt, but to do that test with this great skill that I'm going to include for the class is a great tool to use for three reasons. Mantra calibration, let's make sure you can see all the step wedges and I'll bring that up after in our next break after the right um and it's also great to print out on different paper types seeking start to learn what is the characteristic of this paper? Ok, so one more clarification here I want to hit this one home from at seeing g s o when sending to a lab and working in photo shop do you convert or a sign their paper profile to your s rgb image? That is not a good idea, and the answer is no because number one, they're profile's going to change. They may create new profiles frequently, the profile they send us for soft proofing so you can see the characteristics of what's going to happen and there was no sense yes, she could be converting to their profile from a year ago and it's different so I don't recommend that so then you're just you're still sending it in that s rgb if that's what? That lab takes there's only one exception to that statement and that is, um costco okay uh you can download a profile for costco and you'll have to let that up because at the moment the the name of that this has gone from my memory but you can download a costco profile convert to the costco profile before you send your images there and get better results than not doing that okay, thank you so much that was important for me to understand a swells everybody else out there um so one more question from derek tampa he says at what volume of printing doesn't make financial sense to invest in a printer to print your own things instead of sending it out to a lab do you have an opinion on that? A very low volume I'm totally for having lab is your partner you have to have you have to have a good relationship with your lab. So uh when it comes to volume, you need a lamp for that if you have a high volume, you know this is just part of the process creating a print the other half of this is finishing and as I mentioned the other day, if you're with us the other day judy and I have a finishing lab that we work with I do the printing we have a lab that finishes the prints for us if it's high volume you don't want to spend all your time doing that unless you have staff to do that but on the other hand when we get back for much today we have a very special gas randy hufford who is a fine art reproduction specialist energy clegg joining us and he does do specialized printing and finishing all it in his lab but I recommend if you have a volume business to make sure your lab is your partner there because you don't get bogged down with having too much finishing involved fine art I like to do my own work I like to do judy's work I like to do that we'll let the lab finish it for us I like having that control it's important to me and it's it's a part of crafting your work so to be able to generate an image and then craft it yourself is important the first printer that was ever available for the digital in house printer was kodak with their dice a printer and then absent came along with their photo printer and for the first time in history fourteen fifteen years ago we could create an image in our computer and printed out and see fantastic results so I think absent for bringing that technology to a table for us

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! "

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