Color Management Policies in Camera RAW
I'll open this up in Adobe Camera Raw. There it is. Okay, this one I've already adjusted. The way we set the color policies for Adobe Camera Raw happens down here at the bottom of the screen, where we hit that little, it says the color space you're working in, and the workflow options. This is what is going to come up. Okay, so the color space. Pro Photo, do you wanna work in SRGB, do you wanna work in Adobe RGB. Now, let's have a look at something. Let's pick the SRGB color space, and let's have a look at the histogram on the right hand side. We seeing the histogram? Now, let's have a look at that histogram mapped out at, say, Pro Photo RGB. See how much more color we have, and the spike has gone up, because we're mapping colors over a greater area, okay? So, you know, Pro Photo RGB, if we wanna work that way, the bit there, 16 bit, we never do any resizing. We leave it to the default of what the camera's actually capturing, and here I've got the option of opening in Photoshop as a sm...
art object, which we'll deal in the next section. We'll just open it up as an image. See, if I leave it as a smart object, when I hit okay, on the right hand side, it says "open object." Okay, and if I change that to don't open in Photoshop as a smart object, what I get is Open Image, okay? So, that button's a real tell-tale sign of what you have already put in. So, assuming we're working in Pro Photo in Photoshop setting two into Pro Photo, and I've done the necessary adjustments, I'll then hit Open Image and it'll open in that particular color space, and so everything is working the way it's meant to work. One of the other things that we do when we're converting raw files is always click our profile corrections for our lens, because not all lenses are perfect. Okay, so it just takes care of aberrations, and you can see there any distortion in the image. Okay, and should I need any more vignetting removed, I can dial it in manually around the edges, but this is pretty good, and I think we don't have anything to worry about there. Okay, so very simple the way we handle color in Photoshop, but you gotta be setting it right, okay? So if not, then you could be thinking you're working in a particular color space, and you're working with a color that you're not. So, if you are adopting an Adobe RGB color space because you're mainly shooting weddings and you just want nice skin tones in that, then, you know, Adobe all the way, okay? Adobe, Adobe, Adobe, and if you are doing things like landscapes where, you know, it's about vibrant sunsets, and saturated skies, and incredible clouds, and all that sorta stuff, and you are working in a wider color space like Pro Photo RBG, then what happens is everything has to match that. It's gotta be a Pro Photo RGB workflow, if you like. So, Lightroom output to Pro Photo RGB, your presets, your settings in Photoshop have to be setting Pro Photo, and then of course, Camera Raw, if you're coming in that way, you know, it happens the same. 'Cause you might have an image that comes in from Lightroom in Pro Photo RGB, and then you might wanna add, just say you'd, once again, you're coming back to replacing your sky in a landscape, and the second image comes from a library that you've got somewhere else, and you just wanna take that image and bring it via Photoshop through Adobe Camera Raw, then you gotta make sure Camera Raw is speaking the same color language as Photoshop, and then as Lightroom, and et cetera, et cetera. So, it's very simple, and once you've set that, you stick to it, and you don't break it. You just don't. One thing you need to be careful of is that, a lot of the times, you might come in and set a color space in Photoshop, and then something happens and your machine crashes before you've had a chance to officially check out of Photoshop. Those settings aren't saved, so it'll come back and it'll open to some default color space. You might be back to SRGB. Okay, so be very careful that, sometimes I'll just, if I'm doing color critical work, I'll always come in and check and go, yeah, I'm in the right color space, thank God, and it's all good.
"So, if I've already set "all the color profiles in Lightroom "and everything's calibrated, do I still have to check "the color space in Photoshop, "or can it be assumed to carry over?"
No, you still have to set the color. If you're not doing any editing in Photoshop, then it doesn't matter, but if you are continuing, like, I know my wedding workflow, I'll do all the color adjustments in Lightroom, and then obviously everything that ends up in an album's gonna be beautifully retouched as far as skin, and removing things, bits and pieces. So, I will take those images into, you know, an Adobe RGB in a Photoshop setup, which is an Adobe RGB output setup out of Lightroom. So, that has gotta reflect that, so you're retaining that, you know? But if you set those color management checkboxes, the minute you go into Photoshop and Photoshop is not in the color space that you're sending those files through, it'll tell you "Hang on a minute, something's not right." So yeah.
Sean's asked, "If you aren't sure yet "which printer you'll print on, "do you recommend 300 DPI or 360 DPI "for your master file?"
At the end of the day, it doesn't really matter, as long as you're not resampling. We're gonna be talking about sizing images in lessons to come. But as long as you're not resampling the image, and if you wanna output at 300, that's fine. Just remembering though, that when we do go to an Ibsen, we have to go to native, which is 360, and I'll explain how to do that in other sessions coming up. So yeah. But you can stay 300 if you like, if the output's gonna be 300. Like, you know, for me for my album work, my output is at 300 because I know that I'm not going to, the majority of my files like all the album pages and all the little bits and pieces that go with it are gonna be shipped via the internet to Graphy at 300 DPI, so that's pretty much what we do.
Gordon asks, "Can't I make some presets "for each of the lighting conditions "so that I can apply them without using the color checker "for every shot, will that work?"
Yeah, you could, absolutely. Yeah, yeah, yeah. You could click onto the checker, right, save that color balance as a preset, and then apply that color balance preset to all the images. Yeah, that's another way of doing it, and that's actually a good way of doing it.
"If you have questions or concerns about the printing process, you'll find your answers here."
- CreativeLive Student
To be able to see and hold a photograph you’ve taken can be a powerful experience, especially if the image looks exactly as you envisioned when clicking the shutter. International photographer and master printer Rocco Ancora joins CreativeLive to show how to capture and edit your image so that it translates perfectly to print. Whether printing on your own or using a third party printing service, Rocco will have you confident in everything from calibrating your monitor to choosing the right paper for your product.
In this class you’ll learn how to:
- Pre-visualize your print before you capture the image
- Learn how to keep the print in mind during a live photo shoot
- Techniques for calibrating your monitor
- Color management policies in Adobe® Lightroom® CC
- Manipulate your image in Adobe® Photoshop® CC
- Choose the right paper for your print
- Print through Adobe® Lightroom® CC, Adobe® Photoshop® CC or a lab
- Print for an album
Knowing how to understand color and how that translates from a digital file to a print is essential to selling your prints, albums or creating art for your home. Join Rocco Ancora and CreativeLive to simplify your print workflow while enhancing your end product.
"Once in awhile, there is a class that just blows you away and increases your photographic knowledge by orders of magnitude."
- Bob Wheaton, CreativeLive Student
"I wish I had found Rocco before I spent hours and hours googling, reading, (crying!) and wasting so much time and ink"
- CreativeLive Student