Lesson Info
13. Color Management Policies in Photoshop
Lessons
Class Introduction
03:26 2Advantages & Pitfalls of Printing
17:41 3Demystifying Color Management
14:12 4Understanding Bit Depth
13:59 5Best Color Space to Work In
21:33 6Importance of Image Capture
24:59 7Live Shoot: Natural Light
12:31 8Live Shoot: Studio Lights
21:21Why Calibrate Your Monitor?
15:30 10Choosing the Right Monitor
12:56 11Calibrating a Monitor
05:06 12Color Management Policies in Lightroom
13:04 13Color Management Policies in Photoshop
02:13 14Color Management Policies in Camera RAW
06:47 15Luminosity Masks in Photoshop with the Print in Mind
25:09 16Shape the Image in Photoshop with the Print in Mind
17:47 17Edit Skin in Photoshop with the Print in Mind
25:02 18Black & White Conversions in Photoshop
23:28 19Retouch Skin in Photoshop to Optimize the Print
28:16 20Dodging & Burning in Photoshop for Black & White Images
11:40 21Split Tone Color in Photoshop for Black & White Images
05:38 22Gradient Maps in Photoshop for Black & White Images
07:35 23Choose the Right Paper
23:45 24Mechanics of Printing
05:12 25Choose the Right Printer
09:49 26Live Demo: Create Custom Paper Profile
31:16 27Scale Images with the Print in Mind
09:11 28Sharpening Workflows in Photoshop
31:10 29Soft Proofing an Image in Photoshop
22:22 30Print Through Lightroom
08:25 31The Importance of a Print
10:54 32GraphiStudio Albums and Prints
08:00 33Best Practices for Printing
12:24 34Power of the Print: Student Engagement
12:21Lesson Info
Color Management Policies in Photoshop
Okay, in PhotoShop, we'll go, here we are, where are we? Edit And we need to go into... Color settings, there they are. Okay, Color Settings. You choose the color space you want to work with, you know. Now I have two set up. One is ProPhoto RGB. Okay, and another one is for Adobe RGB, depending on what I'm doing. Okay, so assuming it is ProPhoto RGB we're working in, so we're in a large color space because we're working with a lot of color and all that sort of stuff. The most important part of this is in this area here. The color management policies, okay? So convert to working RGB, convert to working CMYK, which we never work in CMYK, and convert to working Grey, which doesn't really concern us photographers. But, these checkboxes down below here are the most important section, okay? We want to be able to tell Photoshop that, if there is a profile mismatch going from one program to another, or one document to another, then Photoshop needs to ask us what do you want to do? Okay? So, if...
there's profile mismatch, we take Ask When Opening, Ask When Pasting. So if we got two images and we're doing a composite and we wanna just put one image on top of the other, and the two images in a different Color Space, which could lead to all sorts of different color problems, we want Photoshop to say, what do you wanna do? Rather than Photoshop making the decision and doing the conversion for you. And then of course, missing profiles. Should you ever get a profile that's not there, or the profile is not tagged into the file, then, you know, Photoshop says, I don't have a profile. Which profile do you want to assign to this particular image? Everything else remains standard. Adobe ACE, the intent we'll leave as perceptual. That's it. So, that's that for Photoshop. It's pretty simple. Now let's have a look at Adobe CameraRoll. I'm just gonna open up a Roll file.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Roberto Valenzuela
I honestly consider many courses to be great, but optional. However, this course by Rocco Ancora is a MUST! It helps the photographer complete the circle of being a photographic artist. Our job doesn't end at the edit, it ends with the print. When your clients can hold and enjoy your creative vision physically, that is when the magic of being a photographer happens. I have been so fortunate to travel the world teaching and meeting some of the best photographers in the world. That being said, I can say with confidence that nobody can teach this combination of Photoshop retouching / fine-art printing better than Rocco Ancora. I believe in this class so much, I traveled to Seattle to attend this course to be part of the live studio audience. I have never done that before. But that's how important I consider this material to be. I am so happy I took the time to go and learn from the man himself. Now, I will get this course to watch it, dissect it, study it, and practice it. Very excited to see how the knowledge in this course will propel my career further. --Roberto Valenzuela
a Creativelive Student
I was fortunate enough to attend this class in person and got to experience Rocco's prints in person. The quality is absolutely breathtaking and a game changer, Learning these skills will really help my business in a number of ways. In the past, I have had a difficult time convincing clients to purchase typical lab prints through my studio, as opposed to buying them through Walmart or Costco where the quality was "close enough." Rocco's method that he shared in this class creates three dimensional images of unmatched quality and images that just jump off the page. The knowledge from this course will empower me to help run a sustainable business and thrive as a photographer. You would be foolish to not learn these methods and incorporate them into your business. Highly Recommend!!
April S.
I have invested time into learning Lightroom and Photoshop, my own gear, and my particular photographic style, but the one thing I am really lacking is a solid understanding about preparing an image for print, and the various print options (e.g., paper types). When I saw this course come up on the CL schedule it caught my eye immediately so I RSVP'd for the live broadcast. I was at work when it started and couldn't watch at that time. I do listen in from work sometimes, but after 2 minutes of listening to this course I realized it was one I really needed to watch closely and focus on. So, I stopped the stream after a couple minutes and bought the course. I have never done that before. I always wait and watch as much as I can in the initial broadcast (or rebroadcast) to decide if a course is one that I really should spend for. I knew right away though that Rocco was presenting the very information I was lacking and needed, and I wanted it! In addition, it was clear to me after looking him up online that he's a consummate professional with lots of experience and his delivery style even in just the couple of minutes that I listened reflected that. I already have X-rite ColorMunki Display and Colorchecker, a good monitor, and I have a photo printer (Canon Pixma Pro-100) but I'm lacking that technical understanding of color and know I'm not using my resources to their fullest. I use my Canon Pixma to test-print images before uploading to the print service I use. My method isn't ideal since the service uses different printers and ink, and paper depending on what I choose, but at least I have a much better idea of what my image file will give me in print form. After Rocco's course I believe I will be much better equipped to prepare my images and choose the options best suited to each image. I'll still test print if only because it's fun to see something on paper, but I expect the results I get from the print service to be much better once I really know how to put this knowledge to work for me.