May 24th, 2007, 13:32 | 只看该作者 #45 |
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Example work flow If you have not already installed the profile(s) on your system, you need to do so before proceeding. 1。Open the image in Photoshop. 2。Assign your scanner or camera profile to the image (Image→Mode→Assign Profile). We've now told Photoshop how to interpret the image colors. If you do not have a profile for your input device, use the closest suitable working space (usually Adobe RGB or sRGB). 3。Convert the image to a suitable editing color space. If you don't have other preferences, Adobe RGB is a reasonable choice. You do not want to edit the image in the device color space — it describes how your camera or scanner sees the world, which does not translate into a well behaved editing space. Note: If you do not have a scanner or camera profile, simply ignore the first three steps. 4。Edit until you are happy. Save the file. 5。Make a duplicate of the image. The original should be saved as a master copy, suitable for printing on any printer. We'll now work on the duplicate, and tune it to optimize the colors you get on your printer. 6. Now it is time to soft proof to see how the print will look. Choose the duplicate image, and select View→Proof Setup→Custom. 7。Select the profile to use from the drop-down list in the Proof Setup dialog box. 8. Check the Preview box and turn on Black Point Compensation to accurately scale the black level in your image to the printer's black. 9. Do not select Preserve Color Numbers. This shows how your image would look if you did not do a color space conversion — just the opposite of what you want. 10. Experiment with rendering intent. You can quickly switch between rendering intents in the Soft Proof dialog - just have the Preview option checked. Relative Colorimetric often gives the best results. Perceptual or Saturation can be better if your image contains many out-of-gamut colors. Absolute Colorimetric rendering is often used for mid-stage print proofing; if you are familiar with this, you don't need this document. 11. Simulation options: 。。。。。 12. If you do not see significant changes when soft proofing, this is OK. This means your image contains colors that mainly lie within the printer's gamut. If the images do not match well enough, the following steps can help. 13. Set the highlight and shadow points in the Levels dialog box. In Photoshop, hold down Alt/Option while adjusting the level sliders. This will show any shadow or highlight clipping that occurs. The ideal setting is usually the point right before clipping occurs. 14. Any color casts or lack of saturation can usually be fixed by minor curves tweaks. See the references for links to editing techniques. If you can't seem to get one or more colors right, the problem may be that your monitor is not capable of displaying the colors correctly. To check for this, soft proof using your monitor profile, and turn on the gamut warning (View→Gamut Warning). This is a useful technique in other cases, and is a good check when your prints do not match your monitor. 15. If you are not familiar with how your printer responds, or do not trust the profile, it is a good idea to check for out-of-gamut colors (View→Gamut Warning). Using a selected color range, you can (in order of preference) reduce the lightness, tweak the hue, or very slightly reduce the saturation to bring the problem colors within gamut. Note that all your edits are being performed in the file's editing color space rather than in the printer color space. This makes edits more predictable and controllable. 16. At this point, you may want to convert the image to the output color profile (Edit→Convert to Profile for Photoshop CS2 or Image→Mode→Convert to Profile for previous versions). This is particularly true if you are sending the image to be printed on a device such as a Fuji Frontier or other digital lab printer. These machines do not read embedded profiles, so without the conversion, all your hard work will be wasted. 17. Our preference is to archive both versions of the image — the original and the converted and profiled duplicate. To print the image on a different printer, start with the original rather than performing endless series of profile conversions that will slowly degrade the image. Printing with ICC Profiles: If you are printing directly from Photoshop, you want to ensure that your printer is set up exactly as it was when you printed the profiling target. In most cases, this means turning off all printer color management and automatic image enhancements. You are letting the profile and Photoshop's conversion do the color work rather than relying on some image-dependent algorithm. If you are using a CMYK printer, the details of CMYK separations are beyond the scope of this brief list. In most cases, this is not terribly difficult — get a good reference book. It is essential to avoid applying the profile twice. This typically happens when printing to desktop printers with drivers that are all too happy to try their hand at color management. Use the Print With Preview dialog in Photoshop 7.0 and later to gain access to all the color options. Be sure to check the "More Options" button to see the color settings. (These are available in the Print dialog in Photoshop 6.) Detailed print settings for Photoshop CS2. Print settings for Photoshop version 6 through CS. If you are sending the image out to be printed, either talk with the print operator first or give written instructions. You usually want to provide a file that has been converted to the printer profile. Tell the operator not to monkey with your image or apply any automatic enhancements. For more Fuji Frontier and Noritsu specific information, refer to our profile usage instructions. 完整版,看这里: http://www.drycreekphoto.com/Learn/profiles.htm |
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May 24th, 2007, 13:49 | 只看该作者 #49 |
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