Color Management in Photoshop
So this lesson's all about Photoshop. And you'll notice I'm wearing glasses because this is a really serious topic, so automatically by wearing glasses, it makes it serious. No, not true, I just can't see that's why I'm wearing glasses. Okay so, ideally what we're gonna really focus on today, folks, is skin retouching, which is an essential tool for the wedding photographer slash portrait photographer. And also I'm gonna share some techniques on perhaps toning or creating split tones through Photoshop as well, which is another technique. And we'll see how we go, but I also want to share with you a little bit of a sharpening technique, or a detail extraction technique, that I have. So there's a lot to cover, so let's get right into it. Now before we begin with Photoshop, we have to set up Photoshop, and we have to tell Photoshop the color space we want to work in, et cetera, et cetera. So we go into our edit color settings. Now our working spaces, from previous lessons you know why we'r...
e working in Adobe RGB 1998. And not Sentenic RGB, or SRGB, as otherwise known. Okay, CMIK is really irrelevant to what we're doing because we're not doing any pre-press stuff or anything like that. And your gray and your spot, really no relevance. This now, this big section here, your color management policies, are extremely important because it basically allows you to control how the images are open in Photoshop when there is a conflict with a color space. So with RGB it is said to convert to Working RGB. CMIK, the same, and grays the same. But the important bit is in the ticked boxes. If there's a profile mismatch want be able to get Photoshop to ask us before it does anything. Hey, there's a profile mismatch, what would you like to do? And it normally will ask you whether you want to convert to profile, or leave as is, or don't color manage at all. Ask when pasting, so if you got two documents open and you're putting one image on top of another image to perhaps create a composite, it'll ask you if there is a profile mismatch. And if there is a missing profile where for some odd reason there is no profile attached to the file itself that you're opening in Photoshop, once again it will ask you. So it does not make decisions on your behalf. You control Photoshop, Photoshop does not control you. Very simple. Now the conversion options, we just keep that to standard. The Adobe ACE engine, the intent is relative colorimetric, black point, et cetera, et cetera, okay? And we don't really play around with anything else. And once again we'll be working, now usually in a color managed environment with a color managed screen, whether it be your Apple monitors or whatever monitor you'd like to use or you know. Or an Izon monitor if you have the money to spend on a high end monitor.