Color Management

Lesson 2/7 - Skype Call: Joe Brady, XRite Equipment Specialist

 

Color Management

 

Lesson Info

Skype Call: Joe Brady, XRite Equipment Specialist

Joe brady's a close friend of mine he is an expert with color management and right of equipment joe and I actually teach workshops together zhou works for the mac group and is an expert in a variety of areas he's in a brilliant photographer and sometimes he will put me back in line properly with color management issues that I have but hey has great descriptions wonderful easy to understand descriptions of a few complicated things that we're going to show today how are you today, joe? I'm great buddy how are you doing? Fantastic good to see you it's kind of weird I'm looking at me on the screen I'm looking at the back your head from the camera we'll have to look around to see you so I've been listening to some of the questions coming through and I and I see there's still a lot of um concern about brightness and calibration and stuff so hopefully we can clear a lot of that up go right ahead all right, well um actually you know what before I even get started as you know, I did prepare a c...

ouple of short videos for you and uh I'd like to start with talking about and I haven't seen everything that you've talked about today so some of this may be redundant, but I've got some visuals that kind of supported so if you could play the first video called why calibrate that'll that'll already start to answer some of the questions all right on topic the next two are coming up in the next session so they'll be good pre let's talk a little bit about how important your monitor is to the whole idea of color workflow and eventually getting prints that are going to look like what you saw on your monitor if you really stop and think about it, your monitors the one element that's gonna have the biggest impact on what your prints are going to look like because it's your viewfinder, the world it's your palate it's where you're making your editing decisions. So if the image that's displayed on your monitor is slightly off because the monitors style the off, you're going to try to make edits that it kind of correct for issues that are being caused by the monitor and are not actually part of the image file that's something that happens very commonly is that monitors particularly out of the boxes that we too bright and you look at an image on your monitor and it'll look a little overly bright so you go ahead and you'll make some kind of adjustment so you're going to photo shop and bring the levels or contrast curve down and you then make those adjustments l now it looks great on the monitor but then you go to output that print and that print comes out really dark why well the file was actually ok was your monitor that was too bright not the image file and when you further brought the brightness down of that image file which in reality was actually correct the result is a really dark print and I probably hear this one complaint more than anything one of the reasons for this is because monitors are asked to do a lot of things they're multimedia devices now you're going to watch movies on it you're going to be cruising internet oh you're going to word processing and oh you're going to end its and photographs as well well photographs need a monitor that is accurate not something that's overly bright and overly blue because that makes your videos or your games look good and leading into that overly blue is something that can happen as well because it is fairly common so once again here we have an image seen it looks a little bit too blue so you're gonna have to do some kind of adjustment some in this case while something is overly blue we'll add the opposite color which will be yellow and oh now the image looks perfect but once again we go out to print and we get a print that looks overly yellow again why the same reason we got our dark print we made an adjustment to what the monitor was showing us rather than the data that was actually in the image file so we had an image that was actually okay, but we added yellow to counter the blueness of the monitor and ended up getting a print that was way too yellow. So as you can imagine, the worst case is now both situations you get a dark yellow print we don't want dark prints, we don't want yellow prints we don't want any kind of off color prints our goal is to get prints that are perfect and look exactly like we're expecting and have us closer match to that monitor as possible. All right, so that's the end of that one? Okay, so so real I heard a couple of questions as they were coming through someone asked about what setting should you have your monitor? They've heard eighty and one twenty and sixty percent in all that on just to clarify that though the one twenty default that you see is a compromise for a lot of systems because it assumes that you're in a room that's got, you know it's a cubicle, you've got low overhead lights, you don't have control of it, but if you ever go into, say, an advertising agency or place that's doing high end retouching, they'll generally have their monitors more like it about eighty loomans because at that point or eighty candelas per meter squared, which is the actual number um what they'll actually do let's, bring it down that way because at that point you have kind of the best total range out of your monitor. You've got the best shadow detail. You've got the best highlight detail without blowing anything out. And eddie, like you said, your eyes a depth actually fairly quickly because your eyes air really horrible it judging brightness, they will adapt to the monitor after looking at it. In fact, if you've never calibrated your monitor a lot of times right out of the box, they are a little bit too bright, and they're often to blue because people play games on him and watch videos and things like that, and that looks good for that, but it's, horrible for photography and the first time you calibrate your monitor might look a little dimmer in a little yellow er, but again, your eyes will adapt to that almost immediately did point, excellent point. So what else you got, joe? I know you got a couple more videos here. A couple of things we haven't talked about is the actual conversion process just yet that have been the next session, but you've got some great information here I did want you to touch on equipment if you have anything to say about some color management equipment, do you have anything for that for us on that? Sure a couple pieces well, it depends are you doing your own praying or you're sending all your stuff out to a lab if you if you're sending your stuff out to a lab then you simply need a monitor calibrate er ah I'm a big fan of the x right stuff um I have actually all of them I've got an eye one display pro I have a color monkey display and I have a color monkey photo all of them do phenomenal jobs they're really easy there basically plug in play you put the thing on the monitor let it do its thing. So what happens when you do that is the software is sending up ah seven known colors so it sends up for example say one hundred percent blue and that little device reid would actually shows up on the monitor for argument's sake let's say instead of being one hundred percent blue it sees ninety seven percent blue and there's three percent green in there. So that gets added into the correction which is the monitor profile and really all the profile is it's a long list of set of corrections that say well when the computer or the video card asks for one hundred percent blue if you really want one hundred percent blue using that last example you gotta subtract out three percent green and then one hundred percent blue really shows up on your screen and I'm oversimplifying but that's really what's happening and it just does that for a whole bunch of different colors now if you're going to be doing your own printing then you need to move up from those other devices which are called cholera emitters up to a true specter of atomic and spectra spectra for tom attar can actually read the reflected light coming off of colors as well and that brings you into the for me the color monkey photo and the I one pro which I think is what you generally use eddie you got one now okay, I want pro and by doing that you khun read various amounts of patches anywhere from one hundred with the dollar monkey uh photo up too you can probably actually create a profile that's too big for photoshopped to read using you know, one pro but I typically do four thousand patches or so when I'm creating a profile from my big cannon friend well, we're gonna we're going to create one with four hundred patches today just so we don't just a basic profile that that will do in the next session as well. So we're not going to do that just now, but something we haven't talked about is we have a question yeah any if I could just ask you some questions based on what he just talked about him and daniel online was asking what is then the the difference between the color monkey smile, the color monkey display and the color monkey photo you said you had all of those it kind of has to do with how sophisticated the software's are for each of them the color monkey smile is kind of an entry level system really plug in play for people that are doing nothing and want to get things in a pretty good shape. The color monkey display raises the level is too what it's capable of doing it can it can monitor the ambient light at all times and adjust illuminates of your monitor without doing anything. For example, it can measure the glare coming off your screen and increased the contrast of the profile to counter act that glare. The color monkey photo adds the ability to actually create a printer profile so that's a little bit but the one that was not mentioned excuse me is the I one display pro, which actually is a cholera emitter just for your monitor, but it uses the same software that the island pro that eddie's got their uses s o it's using software the same software that the sixteen hundred dollars, system is using and it has some really advanced features. If you're really into numbers and really into qc, for example, you can actually take readings around different parts of your monitor and see how uniformity is from edge to edge and depending on your monitor, you might be surprised how far off it is safe from the corner to the center and it will also plot that over time, so if your monitor performance starts to degrade, it will tell you that information, but any of them are better than doing nothing fantastic. Thank you so much. A quick question in the audience I talked tio eddie about this earlier today, but um and I know I'm horrible I haven't ever calibrated my screen cause I didn't understand what it did until today, but with the lab I use ice in, for example, I send out holiday cards with one picture on him, and it was the same file that I sent out for to get an eleven by fourteen of that same file on my cards came back looking fantastic, actually, they were a little bit too bright because I tried to compensate for the fact that my prints are always too dark, but it was exact same file, so I don't know I don't know if that's on my labs and or if there's something different, I know I need to calibrate it, but if there's something different, I need to be doing as well. Well, first of all, you definitely need to be calibrating your monitor because your responsibility when you're sending in image out to the lab is to send him a file that's been adjusted based on a calibrated display, and I'm going to guess that your lab wanted either a j peg or a tiff ah in s rgb when they actually went out to print the fact that you've got two different results could have meant to different printers were used or two different printer operators, and one of the keys when you're doing calibrated files is that when you have a calibrated system and you send them out your file, your instructions to your lab are don't touch my files just print them the way they are because then they're going to print the way they look on your screen. It's you mentioned that they come out a little bit super saturated and over color almost cartoony that is something the lab will frequently do if you let them adjust your images you definitely with that, um I do on a pretty regular basis calibrate my monitor, but I have a two hundred dollars monitor. How much does that really have things? Should I really consider upgrading its I need a new camera I need to pay g payments way mean, I understand um this is all right, but I can't minimum importance of a good monitor. I see so many people out there with their seventeen hundred dollar in twenty eight hundred dollars camera bodies and two thousand dollars seventy two, two hundred two point eight lenses and then a two hundred dollars monitor where do you think the weak link in that color workflow chainat um your monitor if you think about it it's your window to your complete world every decision you're making is based on what you've seen on that monitor and if you've got an inexpensive monitor uh even as you just your head up and down you're going to start to see changes in luminous and tone and I can guarantee that a two hundred dollar monitor from the center of the screen off to one edge is going to be very different. So depending on where the area is that you're editing right on your monitor, you're going to get a completely different result now do you have to spend a fortune? No, but you do get what you pay for when you're dealing with monitors and realistically, you're probably going to have to spend at least getting close to around seven hundred dollars before you get what's considered ah professional graphics display for editing and they yes, they go up from there unfortunate to have some really nice monitors that you might work on er uh any since we've done workshops together, you know, my wife diane uh before we got married, I loaned her one of my aides oh displays she had been working on her apple display and the apple displays are good, but they have it tends to be a little overly saturated sometimes a little overly contrast e and I gave her the age so and I had to marry her to get it back actually, I still think that's still had to get another uh but once you get used to seeing what an image looks like a good monitor consider yourself warned, you can never go back because you get used to seeing what we're going to get back from my lab and that's going to get back from my printer and it happens consistently time if you think about it this is the only communication we have with our digital work flow, so this element becomes that important but the least expensive piece of equipment that you get in the digital arena is a device to actually calibrate that when you say joe oh, absolutely you're talking, you know, one hundred fifty bucks or so that gonna save you a lot of headaches, a time and a lot of money. Ah, eddie, you and I both print on some big printers. Ah, I have ah has mentioned either twenty for canada at home and I've been doing some tests on two new papers, which I'll talk to you about later because, oh, man, if I had been having fun but particularly confine our papers and these papers and the yanks are expensive as much as I love my canon printer I think a complete set of ink when it's discounted still costs about nine hundred eighty dollars for the twelve cartridges so not something you want to waste when you learn this color work fluffing and really is not difficult there are concrete steps to take to make this happen I know that the print that's going to come out of my printer is going to be right the first time I don't the printer manufacturers but love you guys dudes I don't if there's any of you out there then enjoy printing five or six times to get one good print I like to get it right first time so do you guys have a second for a question we do ok so melissa joining us online says that she is considering changing tio a laptop for her photo editing she's asking if there some benefits or she should stay away from doing that to you guys have uh uh preference or can you give her some advice on a laptop versus editing on a monitor? Yeah bad idea that your final edits on a laptop you can certainly get your overall tone under control you can do things I get it telephone poles coming out of people's heads kind of that pixel based editing but before you do you send an image out print or out to lab I would really recommend just plugging in your laptop honor you didn't know that over I think you said didn't mention if it was a windows or mac machine on a mac laptop in an external monitor uh you can have profile we're both from your celebration so I would highly recommend doing that great thank you yeah I mean we can keep going with questions but we'll take we'll take your cue as too as if you had more tio more to talk about and then go to questions perhaps or and I just want us just want to say that we have originally had scheduled to goto ten thirty but I got the word that we can go longer to ten forty five before we take our break if if needed ok, this is good stuff that is good stuff and I'll tell you what let's talk about the event of going converting our files from one color space to another because when you go from you're working color space whether it's proof photo rgb or color match our gb or s rgb and you're going to convert your color space into the color space of the printer labs do this when you send your files to the lab they convert what color space you give them into the color space of the printing device that they're printing too and we're going to do that today we're actually going to create a profile and do the conversion and print out the profound see the results so that's going to be very exciting, but I want to talk about that process, and that process can be done in a variety of different places, and when we get to that process, I'll certainly indicate this is where why we're doing that. But just for right now, just because I've got joe with us right now, I mean photo shop, and I have this image that was created by tim olive on the screen, a brilliant image and he's given me permission to use this when I do my calibrations and printed out to see the results. But what I want to do at this point is go over the concept of converting from one color space to another, and even though I don't do this in the work flow, I do it somewhere else photoshopped has the ability just to go to edit and down, to convert to profile and just a little bit. We're going to talk about assigning profile, convert to profile, but right now I just want to go to convert to profile, because when you go to this interface there's several things that show up one is the color space that you're currently working in this file happens to be adobe rgb nineteen ninety eight in the destination space the destination space is going to be whatever printer profile would come to and even that we haven't created a profile yet let me find one down here that might be one that we would go to and boy did you sell this profiles of having there that's a lot of profiles but let's say we're going to uh picks my pro one ilford gold paper so I'm going to convert this fall from adobe are to be into the profile characteristics of the printer so we'll have color matching involved when you do this on the fly and this is generally on the fly and the interface that you're using you have several options here the engine I always used adobe is there's no reason to change that but there's something called an intent and therefore options here perceptual saturation relative color metric an absolute color metric and joe's prepared a video to kind of explain what these different engine intense are and I'd like to play that for you in just a moment so the two that you'll learn that we use and photography is perceptual a relative color metric and we both have different descriptions for these I think joe's description is a wonderful description of really seeing how this works so jodi money if we play that video right now not the redhead and guys are you with me on what we're talking about here so let's take a look at joe's video on the conversion process or the conversion intent? We're going from one profile, which is our working color space like srg be into the color space of a printing device. Another topic that seems tio confused. A lot of folks is the whole concept of rendering intense, so let's take a look at that in a little more detail. Now, what rendering intense are simply is they deal with colors that are currently out of gamut, meaning there beyond the ability of the printer paper combination that you are using tow actually print that exact color it's beyond the color scope of the printer and paper that you were using. So something has to be done with those colors that are beyond that printable area and that's what rendering intent to do, and there were two choices for photographers, relative, color, metric and perceptual. Now relative color metric takes those colors that are at a gamut, as you can see here that are blinking and it's going to move them back into the printable space, which here is illustrated by that circle with all the colors inside. Now in relative color metric, the colors that are already in the circle already printable stay exactly where they are. So in essence, here's, what happens? We've got these a few outlying colors. And what a relative color metric rendering intent does is it takes those colors, and it moves them into a printable space without moving any of the other colors that are already there. Now there's advantages and disadvantages to this, the advantage is there's no real tonal shift in the image when you move these few colors and they get put into inappropriate place. That makes sense. If you don't have a lot of color out of gamut it's a really good choice, because it's going to cause very little color shifting in the image. Now the downside, khun b because these colors air getting moved into gammon and the colors that were already there stay where they are, the relationship between those colors can change and they net result of this is you can end up having some breaks or banding in fine gradations, and I particularly see this in skies. If you have some blues that are out of gamut and they get moved, you no longer have that smooth transition, and you end up being able to see a visible line there now. The other common rendering intent is called perceptual rendering and perceptual running is going to do the same thing, it's going to take those same colors that are out of gamut and it's going to move them back in the difference is the colors that are within gamut that can be printed are going to move so that the relationship between the previously out of gamma colors and the colors that were in gamut remains the same. So, again, using an animation, we have our colors that are out of gamut, and as they move in, the other colors, move out of the way so that that relationship is maintained. Now, once again, there are pros and cons to this, the good part is that it does produce a very natural color rendition. A lot of times doesn't work very well for portrait. Also, if you have a lot of color out of gaman, it will make things look kind of write to your eye. The downside, however, is you can have just a few pixels out of gamut, and once that rendering intent takes place, it can cause a complete total shift in parts of the image. And this is where soft proofing comes in. When you'll get to see that soft proofing is wonderful technique, and we'll talk about that, you get to see the effect that each of the rendering intense will have on that image through that particular papers profile, you can then make adjustments to that image based on the rendering intent and the profile so that the print you get is going to closely match what you see on your screen, the only warning is before you do any of this, you do need to make sure that you've got a calibrated monitor so that you can really see the true effect of that soft proofing description of the rendering intent. So with that being said, we're going to go back to that screen so we could see that once again and photoshopped back to head it, convert to profile and hear the rendering intensive going to convert this fall from at the source profile of this one's a different image from pro photo, rgb, relative and perceptual, you can actually see a change on the screen. Just a za preview this is not soft proofing per se, but here's my little capsule for you if you're going to send your images to a professional lab, use perceptual if you're just printing them to hear use relative color metric joe mayor may not agree with me on that because his description was very, very specific. It makes so much sense is might affect his description is the best description I've seen of rendering intense, however, to make that even more simplified. This is my work flow, and I have a little twist to that that I might mention later when joe can't jump all over me about right, I know where you're living. Eddie, I was just going to ask you to repeat that really quickly so you said if you send it to a lab use perceptual right when we get to that point where we're actually converting for their lab were anything I'm sure that let me go over again to answer your question thank you. I just know that lots of people are going to want to write that down. I want to write that this is my recommendation when you're converting your files from pro photo rgb even two s are jimmy to send to your lab used the perceptual method if you're converting your file in your own work flow you're printing to your cannon absent hp printer use relative color metric as the default okay, now you could switch that back and forth you might even want to do some testing uh but this is my recommendation. Write that down everyone. Thank you. Okay, joe, now you compel me over the head for that? No. By the way, have you guys were enjoying any? I've learned a lot from him and we do have a lot of fun together. And yes, we do beat each other up everyone's to allow as well uh that said any I don't know how how much time you want me to spend in that because the last video I had prepared is about twelve minutes long but it kind of does go into a little more depth about why you would choose perceptual versus relative, and I generally agree with you that if you're going to send out toe lab perceptions, probably a safer, um, rendering intent to use, however, it really depends on how much color is out of gamut when you do that conversion. It kind of depends on what your original capture is. If you're dealing with something that's fairly muted colors, you're not going to have a lot of colorado gamut, so it's going to be fairly safe either way, but if you have something like a commercial image like that one that you brought up before, that has all those really bright, vibrant colors, you might have a little bit more of a violent shift, and when you have a lot of colors out of gamut, um, as wonderful as perceptual is sometimes just having a couple of pixels that again, it can cause an overall tonal shift in the image. So to me, that's where soft proofing comes in and I saw proof not only when I'm going out to my own prayer, but also when I'm going to go out to a lab, because one thing I've picked up from you, eddie, is I'd have made my default workspace pro photo rgb. On and that's where my editing takes place how also as you said uh everything when it goes out of the computer is getting converted down at the s r g big s o I do agree with you on that yes but if I'm going to send an image out to a lab I will soft proof to ship to see with my profile rgb space my destination space is gonna be srg big so I can see which colors air going to move and the reason for going s rgb when sending out to a lab the lab printers technically aren't srg be devices but they're very close and the software is that they used to convert to their space is really sophisticated stuff so if you give them a calibrated accurate srg be file the software they used to convert to their specific printer space eyes very sophisticated and it's a very close spaced srg b which is why we're still asked to use it going out to the printers I will often stay in pro photo rg beak that is we both seen we both become big fans of the ilford gold five or so paper it's got a range that's substantially beyond adobe rgb in certain colors so we don't want to end up clipping anything uh but I found that certain papers and certain images work better with different rendering intense for example if I'm going out tio pearl surface relative color metric might look better, but if I'm going out to a fine art matte paper, I might see perceptual works better because the gamut changes and that's where the whole soft proofing thing and photoshopped comes in. This is extremely important it's soft proofing, and this is a wonderful, wonderful explanation, so let's, take a look and see how the soft proving process is going to let us see what rendering intense do and what we can do to adjust the image before printing. So we don't waste a lot of paper and ink now to do a soft proof that has found underneath you were in photo shop cs six, by the way, view proof set up a custom. What we need to do is under device to simulate we need to dial in our paper profile now I've got a couple of favorite papers that I use a lot. This particular one is ill for dhs, gold, fiber, silk and here's. The profile for my cannon I p f sixty three fifty printer, so I'm going to turn that on and click on preview and look at the image behind and let's see if you can see anything happen here, so I click on preview I'm seeing a very subtle change if you look in the prow of this blue boat and on the aside here of this red boat, you can see a very slight change more noticeable in this blue boat. Now, if we go to perceptual, take a look and see what happens, you can see the entire image lightens up a bit, so in this case, I like relative color metric better, by the way, while we're here, there are two other rendering intense here saturation and absolute color metric. You're not really ever going to use these as a photographer, so somebody affect you might have noticed if you're a light room person that the only choices that you now have in light room our perceptual in relative color metric also a couple other buttons while we're here and again, we had decided like this better in relative color metric, you do want black point compensation turned on up for preserve rgb numbers. You as a photographer dealing with rgb really never want tio touch this box, so leave it alone. In fact, I think it should be hidden on b is in an advanced option also down here display options. Now what this is supposed to do is, as it says, it's supposed to simulate the effect of the paper color on the image or with the black ink, how deep it the d max is really going to be? The problem with these displaced simulations is they're just a little too rough. Let's. Watch to see what happens when we click on simulate paper color. It really lightens up the image a lot. Now this gold fiber silk paper is a pearl surface with a very high d max meaning it really prince very deep blacks. And in this case, it just makes it a little bit too light for me. It's not horrible, but you can see these embassies colors over here. Go kind of gray and to my eye they don't go anywhere near that. So the reality is going to be kind of somewhere in between that same thing. If you do simulate black, you can see it's losing black. And this paper does have a very high d max now, just to see what another paper would do go on to my one of my other favorite papers. This is ilford final relief. This is a matte paper with a nice texture to it. Now. In that case, I expected to lose a little bit it's black density, which it does now. Let's. Take a look at relative color metric versus perceptual here and we could see wow in perceptual rendering at this paper, the image really lightens up, so we do not want to use that, so what is causing this difference? Well, the fact that there is a difference between relative color metric and perceptual rendering means there are colors that are out of gaman jill, how do we find them? Let's, go take a look so again, this is the matte paper it's, a fine art paper with a little texture to it. We're going to keep it relative color metric, and I'm just going to click on ok, since the preview button is checked it's going to stay on so we are now looking at this paper through the printers profile so let's come up to view and you can see it says proof colors, which means we're looking through the printer profile but let's turn on gamut warning and see what happens and you can see this lights up in green. Now the default for this is actually not green it's kind of a gray. I find this lime green very easy to see when I'm looking for out again that colors and by the way, if you want to change it to something like this, if you go under preferences to transparency and gamut, you'll see again warning color and again, the default that you're given is so it's something about, like over here, oh it's kind of this kind of late mid grade which could be kind of hard to find I personally like this really unnatural green just makes it easy to see so you can change that right in there now when you've got an ad a gamut color it simply means that this particular paper printer in combination just cannot print that color it's going to move it so let's turn off that gamma warning because there's nothing we can do to actually make this color print the way we saw it in our original file it's just beyond the ability of the paper what we can do is decide if we want to make local changes to it we can maybe bring up some of the depth darken it down a little bit so for example let me just go ahead and I'll do a an adjustment on here and I don't want to make a mask me back up there so what I'm gonna do is make an adjustment layer and I'm going to do a curves adjustment layer so I'm gonna click on their move this out of the way and I'm gonna use the point of adjustment till here and I'm just going to click on this red and I'm going toe push it down a little bit now you could see it's darkening the entire image that's okay? I'm just looking at the front of the boat I want to get that the way I like and that looks pretty good now you could see as I turn this on and off it makes the entire image lighter and darker so what I'm gonna do is I'm first I'm gonna back off and see what I've done and again here's that curves adjustment actually kind of like in a little bit darker, but I'm going to just make the front of the boats darker so what I'm gonna do is fill this mask with black so I'll come over here put black in the foreground and hit option delete or alta lead to fill that so now I'm back to my original image so now if I zoom in to the front of the boat, get myself a brush and I'll put weight in the foreground now and I'm gonna paint that about those seventy percent so you see, I changed the opacity appear to seventy and now I'm just going to paint with white over the front of the boat here just to bring back a little bit of that depth on this particular prow all right, so let's back off there and now we can turn that on and off we could see we brought a little bit of depth back to the front of that boat now what I would do is I would not necessarily want to have this adjustment made for that gold five or silk paper because they looked very good, so I will actually name the curve fine art. We've all called f a w curve, and that will be an adjustment just for that particular paper for that particular color. So it's going to print the way I like so let's, go take one more, look at the proof set up proof set up custom and again, we're looking at it through the fine art we've under relative color metric on again. We looked at perceptual and it went way too light, so that particular rendering intent does not work for this paper because we had a fair amount of color at a gamut. Let's, take a look back at the gold fiber silk and we can see gold fiber silk. Since it is a glossier surface, it's got a much greater color range, especially for that deep red. So again, if we can turn the rendering intent from relative to perceptual, you could see again. It lightens up the image, so we'll back off to relative column metric, and we can turn this adjustment layer on and off and decide. What do we like now? In this case? It didn't need that adjustment layer we created for the we've paper, so we'll turn that off right there now just to take a look at the gamut warning let's see where the gamut warning is for this image and when you first turn it on when you don't really see anything happen, you have to go look, so I'm actually going to go look, I happen to see them up here and some of these really bright lights and you can see around this light here and also is a media misamore you can see on this bright yellow on these fishing boats, you can see this green right here in fact, I could turn it on and off you can see it there it isthe so it's not a lot of color at a gamma, but notice when we did the perceptual rendering in this case that the image really got a lot lighter with just that little bit out of gaman. So in this case, the image looks pretty good one more time, which turn off the proof colors and with relative collar metric rendering for this paper again, this paper has a very wide gamut we really don't need tio do anything other than no relative color metric is what we want once again if we want to see a fine art paper which is going to have a greater effect we come down to our fine art paper we do lose a lot of that color we did see that perception was not the choice but to bring again the front of this boat down a little bit turn that back down again there's no way to get that quite intense read the way it was you could play around with hugh a little bit fact let's try that let's do a u n saturation adjustment maybe by adjusting just the hugh here and if you really want to see what's going on, turn on the gamut warning and you can adjust the you as you're doing that and you can see as I push this back and forth by changing the u of the front of the boat the amount of gm out shrinks greatly hook fact I can completely turned off by going over to this more bluish red. The other thing you could try would be to adjust the saturation and as I bring the saturation down you can see that out of gamut just completely disappears again. Of course the problem with that is it's affecting the whole image even lightness a lot of times it's the dark colors actually I kind of like the red lighter there and again I'm just looking at the proud off the boat so that's actually kind of handy I think I might like that so I'm gonna close this and again, I'm going to put black in the foreground filled this mask with black with option delete I'm going to turn off the gamut warning so I can see what I'm doing, and I'm going to paint with white once again on the front of this boat so that I can get the color I know is actually going to print with that new shade that I liked. And now when I go to my gamut warning, I can see now I just have a couple of little specks uh, that's. Okay, there they're fringe colors and they will move according to the rendering intent, and they will move is we're seeing them on the screen, but the beauty is now we're getting to see the image on the screen the way it's actually gonna print on a fine art matte paper again, I would name this adjustment for the paper so that I know I will turn these on. When I'm going to print on matt paper, I will turn them off when I'm going to go out to my pearl paper and this particular print. This is another way you can decide which paper is going to work best for the print, you can take a look and see what happens. Ah with the rendering intent and the gamut for each particular paper to make the best paper choice for this particular shot in this case I like the gold five or so best now this image is ready to print and I can just go to in this case it would be an export module but let's go through the print dialog box anyway so I go through the print dialogue and I know that my rendering intent based on what we saw needs to be relative color metric actually here's my printer I don't want printed to manage color I need to tell photoshopped to manage the color I need to tell it which printer profile amusing so let me scroll down to my gold fiber silk for that paper and there it is and relative color metric and black point conversation it shows and click print and then actually beautiful thing happens the print comes out looking like the image on the screen as close as it possibly could it's a wonderful thing by the way as a side you see this little thing here which has match print colors what this is was once again another kind of soft proving just to let you see what it is you've done it's not is useful because it's showing it to you in a small image so if you did do your soft proof beforehand you could ignore this this the's buttons on ly affected this preview they actually have no effect on the actual print so again once again click print and that beautiful thing happens you get an image that is accurate and consistent and looks like the image you've got on the screen so that was that was a lot but again the beauty is if you just follow that procedure, you're going to get a print that matches his closest possible understanding that a print this guy obviously going to be affected by what light sources illuminating it so if you try toe look at your print under tungsten lights that's going to affect the color so the soft proof does assume that you're looking at it under full daylight light be it the artificial or natural there was a comprehensive and great description of soft proofing and very detail so thank you for that brilliant assessment well thank you what exactly I mean that was so comprehensive and I definitely will be watching that again and again and make sure I understand but just for to clarify for kim one s o the display off options under proof conditions for onscreen are for on screen viewing on ly correct so to clarify do I understand that you're only stuff proofing what the print will look like once printed it's not going to actually do any additional conversions? Is that correct that's correct that is going to be applied when the file is sent to the printer the only time you would do any conversion ist of yours kind of creating file that you going to send out to a lab and I'm sure he's going to go in that in detail what I just did there was assumed that my printer was hooked up to that computer, and then when I make those, when I send that print off, all of those adjustments get applied to the file. As it goes into the printer driver, some professional photographers who worked with professional labs, the labs will send them a profile of their printer and it's designed for that self proofing only it's not designed to actually convert to, is designed for them to be soft proofing if they need to, but in my work flow and most work clothes I deal with ninety percent of the images are not with delicate colors that need the type of treatment that joe talked about. However, when you need those delicate colors like he just showed, having the ability to make those type of corrections is a is a wonderful feature. I find it more important is your prince get larger, and when I'm making twenty four by thirty six inch prints on that can, and again, I don't want to waste paper and ink the steps too expensive and when you have those real fine gradations. Going through that soft proofing process and figuring out any adjustment you need to make makes a world of difference on the final print. Great. Well, I think we are meeting to cut to a break pretty soon here, but I just wanted to say thank you to joe brady he's, an ex right color specialist, and he answered a lot of great questions for us today. Where can our audience find you? Oh, you can always help. You could find me on my website, uh, it's, very simply, joe brady photography. Dot com, uh, it's, always in flux. There'll be some these stuff coming along, along with the new blood. But you can find me there, along with a link to our other website, which is kind of a portrait website that my wife run, so feel free to take a look.

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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