Photoshop Basic 2 - Color Correction (Settings and Profiles) | John Ross | Skillshare

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Photoshop Basic 2 - Color Correction (Settings and Profiles)

teacher avatar John Ross, Professional Retoucher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 1m)
    • 1. Introduction

    • 2. Color Picker

    • 3. Bit Depth

    • 4. Color Modes

    • 5. Color Profiles

    • 6. Color Settings

    • 7. Gamut

    • 8. Proof Colors

    • 9. Rendering Intent

    • 10. Convert vs. Assign Profiles

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About This Class

Your Upper Hand

This class will give you an in-depth knowledge of how to use settings and profiles. This will focus more on Photoshop’s back-end settings. While not the most glamorous of classes, it does uncover some key fundamentals that you should have a full grasp of. Color Profiles, prep for printing, monitor and printer calibration, and other technical issues will be addressed.

Some topics include:

  • 8-bit vs 16-bit
  • Bitmap, Grayscale, Duotone, Index, Lab, Multicolor
  • sRGB vs Adobe RGB vs ProPhoto vs CMYK
  • Colors of Skin as applied to retouching
  • Color Settings and Profiles
  • Convert vs. Assign Profiles
  • Proof Setup
  • Proof Colors

Meet Your Teacher

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John Ross

Professional Retoucher


View my other Skillshare Videos at: ___

My name is John Ross, and I specialize in high-end Portrait, Product, and Scenic Retouching. I've been working in the printing, photography, retouching, marketing, and graphic design fields for more than 20 years.


Most recently, my retouching work has been seen in Advanced Photoshop Magazine and Photoshop Creative Magazine.


Photoshop Perfection - Portraits, Camera Raw, and Smart Objects ___


Photoshop Perfection - Basic Retouching for Photographers See full profile

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1. Introduction : At this point, I'm going to be teaching you about color corrections. From the point of view of the settings and options within Photoshopped, the thing is, way back in the very first class was digital fundamentals, and the digital fundamentals was about bit depth and color spaces and color profiles and all the basic things you needed to know before getting started inside a photo shop. This section is a bookend to it, so digital fundamentals was before photo shop, and then this is going to be after Photoshopped. Basically, this is going to continue on with the digital fundamental topics introducing more color sections. But basically I'm gonna be going into, ah, more detail about back into photo shop and how color corrections work and bit depth and color spaces and gamut, errors and things along those lines. So this goes above and beyond the photo shop training that you've been having. So once again, this is all extra information that will benefit you in the long run and will definitely give you the opportunity to Nome or than the guy sitting next to you and anyone else who might be your competition 2. Color Picker: I just wanted to quickly talk about the color picker. If I click on this color down here that is currently black, it will open up color picker, foreground color. If I click, double click the white. In this case, it opens up the color picker background color. Basically, it just works like this. You picked the color that you want, and there it shows up inside of this window, saying that that's your new color. If you click the blues, then you can slide through the blue hues or green through the green hues. Get the idea when you stay down here in this general range, you don't see anything here, but if you come up here, you will see something, this little exclamation point in another color. Basically, it's saying that this color is out of gamut and out of gamut. We'll talk about in another video. But for this very quick explanation, it saying that this color of green can't be printed here is the nearest match. That's all it say. This one below it, it says, warning. Not a web. It's safe color. Well, what's Web safe color? Not so much anything these days. Our ah Web browsers handle all the colors that we can throw at them, really. But if we click on Lee Webb colors, here you go. It just goes to show you it limits the amount of colors that it actually has to choose from . But again, today's day and age not really a problem. So we have a whole bunch of numbers down here, and basically they all represent the same color up here. Okay, so if I have this green cranked all the way up to the corner in orderto reproduce that it's 2 55 green zero red zero blue. Another way of telling that value in HSB color mode is 1 21 101 100 I've never used HSB. Don't worry about it. This is for lab. I've never used lab. Don't worry about it. And then here is the breakdown for seem like a which you may need one day. But basically all it's saying is that to achieve this color, your nearest match is going to be green to 55 or science 63 100 that's all it is. And then down here at the bottom, this is a hex number which you can use four Web graphics. Let's say use Dreamweaver, for example. You can assign the text hex number and it will reproduce the color. This is just a way that you could make the pixel graphics and the text graphics match within you. The Web browser if you were doing that type of thing, We also have an ad to Swatch and we say it's watch one. Okay, I'm gonna cancel and then bring up my swatches. And there it is, Swatch one. And then lastly, we have color libraries and this shows, for example, Pantone color books. If you don't know what a Pantone is, you're not a graphic designer. But anyway, these are just some more, um, color libraries that you can choose from you specific numbers that will give you specific values than everyone knows what you were talking about. So basically, that is how you use the color picker 3. Bit Depth: the first time around, we talked about bit, depth and why it was so important to use 16 bit as opposed to eat it. Well, I'm just gonna elaborate on that topic a little bit more. This image is saved as a JPEG and J pegs use eight bit information. And just to remind you, an eight bit image is comprised of 256 shades of gray within the tonal range. So it is 256 in the red, 256 in the green and 256 in the blue. And the way that it works is to 56 times to 56 gives you 16.7 million colors that are possible within this image. By itself, that's not a problem. And in the case of this image, that's probably not a problem. And the reason is because there's a lot of different textures going on and things were happening and pixels or moving, and it's not going to attract attention to your eye. However, if we change the actual image and we go with something like this, where it has this Grady int that goes across the image from dark to light. What ends up happening is those 256 steps can create a banding effect where you'll actually see the lines because there is too much math for to give a nice, smooth Grady Int so it may look. Oh can screen, but you may have a problem when printing it. It's kind of hard to tell. Sometimes it's totally obvious. Other times it is not. But now, like I say, this is also an eight bit image because I'm saving it as a J pic. When you are working with J pegs in your camera, they will always be eight bit. If you are working with raw files, those are generally 12 bit but can be 14 minutes. And when we bring them into photo shop and we make them 16 bit, well, that's just a little jump, and everything works out in the yet. But to specifically show you what happens when you take the picture with the camera. Even if it is eight bit, you know the camera's gonna do a pretty decent job with it. However, at the point that we bring in the photo shop, we really want to immediately turn it into a 16 bit image, which is image mode, 16 bits per channel. When we do that, even though it was an eight bit at one point, we aren't doing further damage to it. And by further damage, I mean, let's say we open up a curves adjustment layer and I do this, okay, So because he went to 16 bit, this curve is now going to use the 16 bit math and enhance the image instead of going backwards instead of struggling with an eight bit image, we've actually given its 16 which is twice as much space, and it can calculate that Grady int much more effectively. So if we continue to build off of this single curve and add, for example, a hue saturation now, once again, the saturation gets to use this 16 bit math instead of the eight bit math to introduce one new piece of information. If you go under image mode and it right below 16 we now have 32. Actually, 32 has been there for a long time. The problem is, 32 is too much math. These images are going to be huge. Okay, so let me just give you a very quick, real world example. I'm gonna close that up and close that up. Now, instead of working with Jay Peg, I'm going to be working with the raw image. Okay, now we have all the possible colors that can possibly happen once I introduce the levels and the coup. Good. There's no curves. There is saturation, but there's no selective color. So just by jumping up to the 32 bits right off the bat, we've just lost two of our four mean color correction tools. And so this is just a very good reason why we aren't going to be working in 32 bit. Additionally, if we were able to actually work in it, it's gonna take him so much. Memory and system resource is to calculate the higher bit depth that the machine just slows down and chugs, and it becomes an extremely painful way to work. The only things that actually do use 32 bit are certain HDR programs, if not all HDR programs, the ones that are doing the high dynamic range so that they are trying to extract every bit of data and calculate every bit of data before they present it back to you. And that's about the only time the 32 bit should actually be used. And depending on the program, even that becomes a painful exercise when it gets brought back in the photo shop. So in the end, basically all we're really trying to do a split. The difference between what is not enough and what's too much and 16 bit, which supports 65,000 colors, just seems to be a nice middle of the road. And that's going to help you with an image like this that may introduce bandit. And that's simply what it's for. And even if you happen to start with an eight bit image by converting it over immediately to 16 bit allows thes new adjustment layers to take advantage of the added bit depth. Now, one of the questions that has come up in the past for me is should see him like a B eight bit, 16 bit or 32 bit. And the answer to that is you can work in 16 bit RGB but since seem like a is, in fact, the last step before printing. It is at that point that they would be converted to eight bit for printing, so you can technically make an image seem like a 16 bit. However, since it has to print a pet, you might as well just make that conversion at that point and make it a bit. And then you least have half an opportunity and screen to see if there is potentially a problem that you need to address now if you do happen to have a need to address it at that point, for example, let's say this image has some banding that we couldn't quite get rid of. The trick to getting rid of it would be to, ah, select the layer and or a copy of the layer like this, and then go filter noise. Add noise. Now it seems a little silly to be adding noise to the image. But if you can take a look at this, you can see that this noise is going to remove that clean look and gives it a pattern, and it breaks it up and so effectively by doing it this way, with a noise amount of three ghazi in and monochromatic. By the way, the amount of three is a guestimation. I will say this that one or two looks okay on screen and three looks like it's too much. However, when it comes to printing, three is the 1st 1 the printers actually going to see. So if you do one and look so can screen, you haven't actually got rid of banding problem on the printing side of it. That's just my experience, so I would probably make it three and see how it works. And again, Ghazi and monochromatic click OK, and now when you zoom in, you can see that it has given us all this noise in the image. However, as I just said, it looks worse here than it will when you print it. Quite honestly, when you printed, it'll look just fine. So that's my recommendation to train. Break up the noise Should it happen? MM esta. Why, if 16 bit is better than eight bit y photo shop the false to eight bit? Well, that's a good question, because photo shop should be defaulting to 16 bit. If it's not, then give me a preference to change it, you know, like right here. Default 16 Bitter default. A pit, I would say 16 bit because I don't work in a bit, but I don't have that option. However, the best answer I have for you is if I go back into the history palette and this is a 16 bit image. If we go filter, a lot of our filters are gone. The Filter gallery, which has a couple dozen in their distort pixelated I don't miss them is a photo retouch er , but they have disappeared. Ah, there is also lighting effects that's going and several of the stylized. So they're making it a bit for compatibility type of thing so that it's better for the designers and the people that don't even know what they're doing. But now you do know what you're doing now, Even though this video has been a little long in the tooth, I think it is good information for you to know what bit depth he used and also why you are using it. And the last question in this topic that I'm gonna answer is when should you use a bit images? Well, if you go file, save as and you say J. Peg immediately doing that, even though this is a 16 bit that we were working on. As soon as we save a JPEG, it's gonna make it an eight bit. It doesn't say it anywhere in this dialog box. It doesn't give you any clue, but when you open it again, it will be a bit. So the only time you should be working in a pit is if you were working with J pegs, which were the only ones that are going to force you to use it. So I hope I was able to clear up some of the very basic questions about bit depth that you might have had so that you now have confidence in knowing what you're doing and why you're doing it. And I'm big on the why. I really hate falling back on the because I said so, which is one of the things that the beginners do. If they say, How do I do this? And I say, Go left and they go, OK, but the intermediate class, they say, Why? So I would rather give you the Y up front so that you know exactly what you're getting into and why you're getting into it. 4. Color Modes: this section is gonna be talking about color modes. Now the most familiar color mode you would be RGB. There is also seem like a Those are the two most familiar ones that you probably know about , and those can be accessed from image mode. And there is RGB, and there is seem like a now every image has a color mode. These modes differ and how many channels are used to represent them and the channels as you've seen me before, going window channels. And again, these modes different how many channels they have to represent the color and these modes different how many channels or used to represent the color. As I said, the most popular ones are RGB and seem like a and those air full color modes, meaning that it displays full color. There is another one that used to be popular. Maybe people still use it somewhere. Somehow I'm not quite sure. Maybe it's just legacy stuck in photo shop like what else is new with that? But I personally I have never in my entire printing or photographic career used the lab color and others that have, But I never did. I had never had a need to, so I'm not going to go into any detail about it because I'm certainly no authority on it. Uh, so ultimately, I'm gonna say, don't worry about it. Multi channel is another case of Don't worry. Don't worry about it. That they'll make this more complicated than it needs to bay. However, I do want to show you what some of these other color modes are the next available one. And I'll talk about this in a second. But right now, the next available one is gray scale, which, as you can imagine, when I click gray Scale and it's gonna ask me what to do with the extra color I'm going to say discard. And now it's simply a black and white image. Now, very briefly talk about this topic. This is the worst possible way to make in black and white image. And the reason it's the worst possible ways, because what you see right there, that's it. We just lost all of our control over that. If I was going to make a black and white image, I'm gonna undo this for a second, and the way I would actually do it is to use the black and white adjustment layer, and now it made it black and white. However, now I can use different options. Use different sliders to pull out the color match in a much more accurate way, and I would be doing that by hand. There are third party programs that try and help you with this, but to me, if all it takes is moving sliders around until I'm happy than I'll just move sliders around until I'm happy at this point, if this is the way that I like it, then I can go mode gray scale and say, OK, flatten, discard. Now it's the same as what I just improved. Okay, so this is a better way to make black and white images, if that's what you're looking at. But ultimately what we have here is channels Gray. There's only one okay, it's a grayscale image now because it's a 16 bit grayscale image that means that we have the 64,000 shades of gray. If this was mode eight bits per channel, then it is going to be 256 shades of gray, and I'm gonna go back to 16 bits for a moment, and I want to show you that when I click an image mode, I only have great scale. And then the RGB seem like a lap colored multi channel. I don't have access to bit map, duo tone or index color, and the reason I don't is because they don't like this 16 bit mode. All right, so I'm gonna go back in the history palette, so I'm gonna go back to this image before, and it's a 16 bit, so I'm gonna go image mode eight bit. So now I have access to index color bear with me for a second by changing 16 8 we now have access to index color in grayscale that we had before. So for the moment, I'm gonna talk about index color. I click index color. What this one's going to dio is it's going to convert this image into 256 colors, not tonal range, not shades of gray, literally just 256 colors. The only reason you would ever want to do this is if you're going to save a GIF image, which is G I f. And use that for the Web that would be the only time to do this. However, I wouldn't even do it in here like this. Personally, I would use file save for Web and this saved for Web dialog box if I select gift colors 256 and these are the colors that it's choosing to use for me, and this is how I would just make 256 color gift Personally, however, you can do it this way, and you can also lower the colors like you can just make them 16 for example, which again it's easier doing it with the other dialogue because then you can see what's going to happen in real time. Like if I make this 16 I don't know what's gonna happen until I click. OK, and there you see how bad it looks because it only has 16 colors to choose from. However, if I went to say for Web no, I can do the pull down to 16 and now I can just visually see how good or bad it's going to turn out. Well, that's bad. What happens if I use 32 colors? That doesn't help it all. Well, 64 a little bit better. 1 28 Okay, here we're at least starting to have a conversation of a decent image. You need 128 colors to try and do this, but it still breaks up under her chin, so this is a totally different topic. But in general, this is This is what it does. Now I'm going to click and gray scale, and after I click on Gray Scale with eight bits per channel. Now I have access to bit map and do it now. Bit map. I have a couple different choices. Let's do 50% threshold and go OK, 3% threshold says a 50% gray. If it's darker than 50% gray, it's black. If it's lighter than 50% gray, it's what It's just a very stark image. However, if you would just using Thea Black and White Adjustment Layer and you've changed with this in mind, you could create a better balance, and it would ultimately give you a better looking image. If you wanted to do this, I wouldn't, but different people would. So I'm gonna go mode bit map again and just his example. I'm gonna try diffuse dither and go OK, And then now when you zoom in, you can see how the entire image is made up of all these little dots. Yeah, again, Not something I'm using. But it's there now. When would I actually use bit? Map? Because it looks like that. Well, at that point, you would be using it for signature. For example, if you did a signature on a piece of paper, you skinned it in. You would then take that signature image mode bit map. You would make it 1200 pixels per inch, which sounds really high, but that's what you need to hold the crispness of the signature the fine line, and then you would do 50% threshold and go OK, and when you do that, it's gonna give you a nice black and white signature that you can then put into pdf sor in design Illustrator, whatever. So that is the purpose of bit map in a more realistic production. Workflow, the other one that we have from Gray scale is duo tone Now by making a duo tone were telling it. Right now a monotone is black and nothing. It's black and paper is really what it's trying to convey to you monotone. It's one color black. I can change this to do a tone, which is two colors. So we have black and and when I click on it, I can choose another color say here and OK, now you can see that it has this blue tint as well as the black. Or I can change that to read, for example. And now it has a red tint to it. And here we would give it a name read. However, if you're gonna be going this far for some reason, more than likely you would be clicking on that, going to color libraries and you would be choosing a Pantone color of this and go OK, so Pantone five a one c which may not mean anything to you, but it definitely means something to a graphic designer who sends work off to a printer, and the printer needs to know 501 see what that means. So this is a way to designate two different colors. I can also do a tri tone and I can introduce another color. Okay, so you get the idea and you would then use this as a curve to say where you want the most of that ink to be If you remember back from our curves class were saying that in the lighter areas we want mawr of this pink color and in the dark areas we want less of the pink color and say OK, we can click on the black and we can say in the blacks we want less, which is going to lighten it. Okay. And then in the greens we want less on a little more and there we go. So not that I'm really expecting you to use this. I'm simply explaining it and showing how it works. Now, if you remember back to the previous color class a way that we could achieve a similar result to this other than doing it this way, which is more for a printing and printing press reason we can otherwise come to here and simply click on black and white. And then here we can click out a tent, intent it this way. This is one way to do it. I'm not saying it's the best way. I'm simply saying this is one way to do it, but that's giving us the option of one color over this is just simply one way to do it if it meets your need, because that's an easier way to achieve the results. You can otherwise go with, uh, perhaps one of these color look up tables or even ingredient map, and here you would end up getting a similar result. And simply this is another way that we might be able to achieve the result that we're looking for again. It's just different ways to Rome. If if I could do this way, I would, because this gives me the option to turn it off and hide it to enhance it, change the opacity of it and just gives me overall more control than doing the mode. Do a tone. OK, but in general you get the idea. Now. It's kind of funny, because the color modes don't even stop here, because if I was to double click on color, you can see H S and B huge saturation brightness, which is another color mode, even though it's not up there in the pull down menu. It is here, inside of the color picker, and we also have the option for lab color. We'll be talking about this color picker in a later video 5. Color Profiles: now that you've had a chance to absorb different color spaces and color profiles from back in the beginning of the course, I want to bring up the topic again, only this time going to a little bit more detail with you. The two most well known RGB in C m y que. A vast majority of the world uses RGB printers on a printing press are going to be using CM like a largely. You don't need to worry about what the printers air doing unless you're involved in that world. So I'll just get this out of the way right off the bat by saying, If we go to image mode seem like a and immediately neuters the color that you see on the screen, I'll undo that. This is the RGB, and then this is the C. M I. K. So basically, when you go to printing for printing, press, all that color that you struggled over gets thrown out the window and you get very muted colors. So, for example, these break greens or bright reds, for example, from a street light you know, the red yellow green, basically, as soon as it goes to print those just get completely golden muted. So the only reason that you would ever need to know about C. M Y K's if you're gonna print with it and then you need to know what's going to happen to your images, but we'll talk about this a little bit more in the subsequent video. Right now, when we look at channels, we see the red we see the green and we see the blue. When it was the seem like a we saw the same the magenta, the yellow and the black. Let's just stick with the RGB right now, so we know that you're going to be using RGB. The question is whether you're gonna be using s RGB, Adobe RGB or pro Photo. Now, we've talked about this previously in the first class, but it's at this point that you need to make a decision Which one of these color profiles your images are going to be following going forward from here. This way, if you establish that every time you're going to be using SRG be, then you will always be s rgb and you can configure photo shop to always apply that color profile. If you know that you always want adobe RGB. You can configure Photoshopped. Always use the adobe RGB color profile. Now, as I had said previously, s RGB is roughly going to fit within this orange triangle with adobe RGB, you have the option to have more colors, which is probably what you want unless you work in a closed loop environment, meaning between your monitor and your printer, in which case and you could go with pro photo of pro photo has so many colors, any conversion that anyone else needs to make after you it may do exactly what you saw. What that RGB were just throws away colors when somebody else makes that conversion. This is why you're probably better off sticking with Yes, RGB or even the adobe RGB, or another option is you can leave the pro photo, but if you ever send it out to somebody, it's at that point you need to make the extra step in converting. It is something that they can use because this just comes down to you. Don't know the person after you, so you don't want to let them make the conversion for you and decide what's important. What's not important. And quite honestly, it's probably just some automated process and no one's even looking at, to be honest. So what? That said after I explain all this to my students, I would say 99.9% of them end up choosing Adobe RGB. When you are taking a picture with your camera and you set your camera to J. Peg, you often have the choice of which color profile to attach to that JPEG. And in your camera you probably have the option of S RGB or Adobe RGB, and at that point you make that selection. However, the camera probably doesn't actually say that it's only being attached to the apex. Okay, it just probably just says color profile and then lets you choose Adobe RGB. However, it is talking about exclusively the J pegs because Raw doesn't actually use a color profile . It's simply the ones and zeros. It just captures the data and passes it along. Its not doing a profile when you open up inside of light room or any of these other raw processors there immediately applying a pro photo, and the reason that they do that is so that it has something to display to you and you would make your color corrections and whatever you want to do. And at that point, it is up to you on output whether you want to make it s rgb, adobe RGB or even keep the pro photo as part of the J peg or the tip that you were out putting. But when you are inside of light room, it is using pro photo. One last thing about the color space of RGB I've mentioned before I cannot color correct in RGB I don't know what yellow and purple make and blue and scion and it just all hurts my head and makes so little sense to me. So I need to work with selective color, which is giving me the same magenta, yellow and black sliders to make sense so that I can adjust just the reds by using magenta or yellow or one of the other color. I would like to introduce you to one little trick that might help you when making your color corrections. If we look at the info palette, you'll notice that over here on the left we have red, green and blue and on the right. We have saying magenta, yellow and black, But notice there across from each other. Okay, so because there across from each other, they are related. So let me give you an example. If I open up a curve and I select red and I slide the white point this way if you look, you can probably see the whites change from a cooler toe a redder. You can also see it inside of here where I'm sliding it this way and it makes it more red. However, if I come down, the entire thing goes science. I notice you have read over this way and sigh in that way. So if we then choose green I go one way it's going to go more green. But if I go the other way, what's it gonna turn to Magenta? And lastly, if we go to blue this way is gonna turn and take over with blue in this way is going to turn it exactly yellow. All right, so when you are working with these other adjustment layers, just keep in mind that once we go in here and we just the reds just keep in mind that if we're on the Red Channel, we do one change and it's changes into the red. The other one is going to change it to the science. And again, they're just mates here. And it's just good to know and to understand that correlation. It says something super important. It's not something that I ever really use, but on some odd occasion, I need to know that information. It's really good to know what is on the opposite side, which was, if you remember from green, it was magenta. Okay, all right, so that wraps up some color spaces and a little bit of a trick on how to read the info palette with the colors in relation to each other. 6. Color Settings: There is another set of preferences, however, that deals specifically with color and that is under edit color settings. Now this is the photo shop installed default for May. This is what came up. Is my default of North American general purpose to What does that mean to me? Absolutely nothing. But here's what does mean something. It is saying that the default working space by default giving Photoshopped no extra direction, that it's the fault working space is going to be S rgb for the RGB color space for Sam Y K . It's going to use us Web coded swap V two by default, which again means nothing. Then we have a gray gained 20% in a spot dot gain 20%. All right, so let me make sense of this little chunk for you first before moving on RGB. It's saying s rgb Well, if you've taken my earlier comments and you've decided to use Adobe RGB, here is the place that you're gonna make that change. So let's click at SRG be and go Adobe RGB 1998. So now, by default, it's going to use that larger color profile Now notice when I click this ticked down. I only have a couple options. Okay, there really isn't a lot going on in here. If you have a printer, let's say an Epson printer. Epson, after you install the drivers and whatever is going to install its own set of color profiles. If you have a monitor that a Windows or the Mac identifies, it gives those color profiles in here. If you have a color, tell a braiders those settings get put in here so this particular window can get very, very, very long. However, ultimately, if you want to use Adobe RGB, there you go when it comes to see him like a this is the default, and I don't necessarily agree with it. Basically, basically, what it's saying is that it's being designed for a Web Press and Web press are giant newspapers. You know, they come off these huge machines that just go a 1,000,000 miles an hour from from Poom, Poom, Poom, poom, poom and because it's usually cheaper paper, you use less ink, and this profile is not going to be unnecessarily as representative of seem like a workspace that you might otherwise expect out of a magazine cover Okay, So in order to compensate for that, I personally I would change this to B. U S. Sheet fed coated. Basically, all it means is it's going to be a single sheet, and it's gonna be a coated sheet of paper that that's all it saying, which is like a magazine cover the magazine insides, whatever. So that's probably going to give you a better representation of what is going to happen in seem like a Unless, of course, you're actually going to be sending things for quick circular flyers. And in those cases, you know, you'd be better off with that Web, that Web coding. But as I've said previously, if you know that it's going to a print house than see him like a is actually one of these seem like a profiles probably wouldn't even use because each print house has their own for each of their pretty printing devices. So because of that, if you really need to know what it is, they're going to give you something special. Uh, so you if you know that you're going to a press, you're gonna ask about what profile you should be using and in which case you would change it here, gray and spot saying dot game 20%. Well, basically, what that's trying to say is, it's making an assumption for you. If you were making something gray scale, it's going to be used in a newspaper. And because newspaper uses a cheap paper, it's going to assume that 20% is going to be absorbed by the paper. It's going to, ah, muddy up in otherwise put too much ink on so that that gained 20% means that actually pulls back 20% of the black value. So instead of being 100% black, it will actually be 80% black or instead of an 80% black. It's really 60% black. You get the idea. Basically, it makes all your images look weak inside a photo shop and then ultimately would probably be changed again once it deals with the print house A to that point, but this is simply, uh, default Example. If you actually do need to use this, then consult with the printer. Otherwise, don't worry about it. All right. The next section down here, Ah, color management policies which want to set is preserved embedded profiles which is the default. But then check. Ask when opening. Ask when opening and ask when opening. Basically, it's going to say that you want to use Adobe RGB, but if it comes across an S RGB image, it's going to alert you to that fact. This way, you don't have to do anything you may want to start to be in my world and dealing that started to be and Pro Photo and Adobe RGB. So I got all these different ones coming back and forth. But it just alerts me when I opened the image so that I know what color space I'm actually so that I know which color profile I'm actually working with. That's all in its now. There is a more options button, but when you click on it, it opens up more options that you really don't need to know about. This falls under print houses and what settings that they want you to use more or less so largely you don't have to worry about it. The default settings are absolutely fine. However, I will say this intent of relative color, metric perceptual saturation and absolute color metric. I will be talking about this in a different section. So it's not that that's not important. I'm just saying for right now, closed fewer options. So just just leave it like this, and you're good to go. So these are my recommended settings. However, you can set it anyway that you choose based off of your own personal needs and your workflow. 7. Gamut: Let's talk about gamut and out of gamma. Basically, gamut represents the amount of colors that can be printed within the given color profile. Everything inside of this circle is within gamut, meaning that your color profile will print it. Everything on the outside of this circle are brighter colors that fall out of gamut within that very specific color profile, meaning If you have SRG, be more colors are gonna fall outside of that gamut van. If you had Adobe RGB with Adobe RGB, more colors fit within this gamut with pro photo all colors fit within the gamma of the color profile of Pro photo. Basically, all that out of gamut means is colors that can't be printed. That's all it is out of. Gammon errors show up in a variety of different places. Within photo shop, for example, the color picker, this little triangle says that this color is outside of gamut and will not print. In order to get the closest match, we would click this little square, and that would be selecting an in gamut color. Now that's a huge shift clearly, but if I come up higher, we can play with it a little bit, but you'll notice that we don't actually come much closer. Maybe a little bit closer up, right? A game it again. They can click that, and it's just gonna pull it back down. So there are tolerances, and basically, this is designed to let you know that something is falling outside of gamma, and it's not gonna print the way you expect. Now, I do have a quick way of showing you what's in gamine out of gamut. But this is gonna open up several different cans of worms at once. This is one of those cases where I have to show you in pieces. Okay? So just bear with me if I click on view gamut warning. What just happened here is all the colors that are inside of the gamut are still colors. Everything that fell outside of the gamut went to Grey. I'll show you again, dammit! Warning off gamut warning on. Okay, that's one thing. The first question that might come to your mind is, Well, where is this great coming from? Why is a gray that is under preferences, which is either edit preferences or the PS preferences on a Mac? But there's an option transparency in gamut. And then get warning right here. Color of gray. I click on it. Let's say I make it bright red. Okay. Okay. And then now they turned bright red, which may or may not be more helpful. Kind of depends. I'm gonna open that back up again. Change it to maybe lime green this time. Go. Okay. Okay. Okay. You know, whatever. It's ah, kind of to you what color you want it to be by default. It's just a simple gray. Okay, so now it's telling us that these colors were out of gamut, but out of what? Damn it. Okay, what information is it basing that information on? Well, as I said, Adobe RGB is the existing color profile. However it's getting it's gamma warning coming from proof colors and proof set up. However, proof colors improved set up opens up a whole other topic that I'm going to address in the next video 8. Proof Colors: now, as I showed in the last video. If I click on view gaming warning everything out of gamma is going to turn grey. If I take this image here and I go view gamut warning all of it just straight up turns gray because outside of that printable space, if I take this one and go view gamut warning in this case, only these four actually went out of gamut. I'll show you again views of the brightest colors. And when I do that, they fall out of gamut. And the last image I'm going to be working with here is the view Game it warning. And then you could see everything that went grey. It falls outside of the printable space. Now, unlike the color picker where this gamut warning here is coming from the color space this gray that comes from view gamut warning actually comes from the proof set up. And in this case, we've told the proof set up to be working seem like a Okay, so bear with me a second. I'm gonna turn the gamut warning off so we can just see the bright colors. If I click view proof colors, you'll see those bright colors became them once again. Gamut warning and then proof colors. Those became dim. They've fallen within the printable profile game it warning proof colors. And that's what happened. And then, lastly, this one game it warning proof colors you with me. So far, it gets the proof color based off of the proof set up. And currently the proof set up is working. Seem like a the working seem like a is coming from at it. Color settings, the working color space. Is she fed coated V two? If I were to change this to the default of Web coated, could you see the subtle change that happened? I didn't say it was going to be drastic, but it was a change. I'll do it again and I'll pick a different one this time. Okay? Mostly I see it up in this green. I was gonna cancel. Okay? So if we wanted to get an idea of how this is going toe look in C m y k, we can use proof colors with the working Sam, like a selected, and that will give us an idea, literally. Just an idea of where the problems Maybe if we were to change this to custom. We can tell it well, instead of this working seem like a let's change it to adobe rgb Now suddenly all that color came back How about over here? If I change it to s rgb look the same No change How about pro photo while pro photo is all colors So that's going to include all the colors. So if I leave it, I'm pro photo and go OK? And then we have the proof colors on Basically it will never do anything is what's gonna happen. It's always gonna look great it exactly as you would expect it to look. That's why the general intent is to leave. This is working same way k so that you could see where the major shift is. However, it is very possible that if you're using s rgb that you may see a shift that leaves you concerned. So custom s rgb okay. And then view proof set up custom. Yes, sir Jubei. Okay, So it's simply a guide, nothing more. All right, so now that you understand that we can go view proof set up change it to what we want to compare with. Then we could turn on proof colors and then we can see it getting a shift or not. And then we can also go to the gamut warning, which is going to make it clear as day were the problem area lives. Because if this proof set up was up here under s RGB and I go, okay, there is no out of gamut because it's all within. Now there are some more settings up here in the proof set up dialogue box for custom. Here we have a whole assortment of different devices to choose from. That literally just runs right off my screen. So most of those you won't even need. But now this preserve RGB numbers and relative color metric. Well, this is going to be another topic that I'm gonna pull up in another video. And like I had said previously, these are all little pieces parts, and I need to put give you all this loose information. But lastly, black point compensation. Ah, what that's going to do is if I take this image, okay, here we go. So if I go proof set up custom and we have working seem like a and I check this Notice how it changed. Basically, it allowed a lot more of these greys to come through and depending on the image can make it look better or worse, is what it tends to be. So by and large, you should just leave the black point. Compensation on the problem that people have is with simulate paper color and simulate black ink. If I check that the entire image flattens out and that may or may not be what you are looking to see. But again, it depends on the paper and, um, in the ink used in whatever. So you may or may not need those check boxes on or off, but in general this is how the standards settings would be, and they're perfectly fine the way they are. 9. Rendering Intent: rendering intent shows up in a couple different places. Within Photoshopped, we click on view proof set up custom. You'll see the rendering intense right here with your four options. And also, if you click on and it color settings and click on more options, you will also see intent and again, thank you Photoshopped for not being consistent with your naming. This is otherwise the rendering intent with the same four options. Now what do these options actually meet? Well, if we take this image that has our gimmick and are out of Gammon, if I go custom saturation, you're never going to use. So you can basically just ignore that one absolute color metric. From what I understand, people don't really use that one, either. The two that are used, our perceptual and relative color metric. Here's what they mean. Photo shops. Default of relative color metric is probably going to be your best bet. Basically, what that saying is all of these colors that are out of dammit are simply going to be pushed into gambit literally. It's just gonna take them and squeeze them in side of the printable space. Okay, understand the colors that are out of gamut are simply pushed into game it, that's all it is. That's why your relative color metric is probably your best option. The other option you have is perceptual and perceptual. What that does is it takes all of the colors from the in the most inside to the most outside, and it takes them all, and it crushes them all inside of gamut equally okay, so again, the colors that are out of gamut are pushed inside of gamut, but the colors that are already in gamut are pushed closer inside. So basically what will happen is with relative color metric. The outside colors are going to become more muted, as you would expect, and they're just gonna fall in. And that's that. But if we make it perceptual than the entire image is going to have a color shift, that Mayor may not be better. More than likely will be worse. But that's just my guess. Okay, from from what I have seen during testing some images or better one way or the other, however, if you don't ever want to worry about this topic again, put it on relative color metric, which is photo shops the fault. And don't worry about it 10. Convert vs. Assign Profiles: Now, I've already shown you that this image, which is an adobe RGB color profile, can be viewed inside of s RGB color profile without any shift to the color. Right. If I click preview off preview on preview off preview on nothing changes within this image because the colors can perfectly fit within that color profile. I'm going to click, okay? And then I'm gonna turn off proof color. Now, this brings up our current topic, which is going to be at it a sign profile or convert to profile if I assign a profile that is more than likely, very, very bad. The reason that it would be very, very bad is because as soon as I click on profile of s RGB, it goes completely out to lunch. It completely muted all those colors. The reason that it did that is because all these different color profiles they'll have specific values assigned to specific numbers. So let me show you here. If I look under the info palette and I come up under this orange this orange says that this displayed value in Adobe RGB of 204 and I'm looking up here right now of two up okay of to a 1 63 and 41. That is the color that it is going to display when it uses that value. You with me. So it's all ones and zeroes. And with RGB it goes from 0 to 255. So it doesn't matter if it's s RGB, which has the least amount of colors Adobe rgb, which has some more colors or pro photo, which has the most amount of colors they're all using from zero, 22 55. Because of this, they have mathematical values attached to the specific colors. So if we go to assign a profile and we tell it s rgb, it is saying that that color and those numbers, that's what it should be in its look up table, which, as you can see, changed it down from the two. A one from the 21 to the 1 73 Okay, so it's just doing some math thing. I can't tell you what it is. All I know is that all I know is that this is not what I want. So I'm gonna hit cancel until you don't ever assigned a profile which you actually want to dio is that it convert to profile. And if I do convert to profile and they change this profile to S RGB when I turn it off, turn it on. You can see that the colors have not shifted because rather than matching numbers in some look up table, what it's really doing is it says this pixel is this color. This pixel is that color. That's the nearest match. We're going to use that this pixel and this picture near matches were going to use that it does a much more true to life comparison than assigning a profile. Now. Also, notice down here that we have our rendering intent once again perceptual or relative color metric and I recommend just leaving it relative color metric. We do have more advanced options which just basically took the other screen and made it a lot more accessible here. Eso weaken, select RG bees weaken select seem like a Z which, by the way, converting the c m y que is something that is not even an option inside of assigning eso a once again convert And I'm just going to show you quickly. This is adobe rgb If I opened a new document and instead of adobe rgb a changes to Esser GB and I go okay And I take this image and I take this and I drop it into the other image So this one is adobe rgb This one is s rgb When I drop different color spaces onto each other , it comes up with profile mismatch Adobe rgb s rgb What would I like to do? Convert which is preserved the color appearance or don't convert preserve color numbers which is exactly what I said. This one is converting which is good and this one is a signing which is bad. And again thank you Adobe, for not being consistent throughout the entire program in a click convert and go OK and once again it's giving me a warning saying Are you sure you want to do this? That the sources Dobie rgb the destination is s rgb and the working which is the color settings from up under edit is the working and I say OK and when I move this over you'll be able to see that these oranges air Justus bright as they worse or the Reds and so are the blues. And so there you go