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Learning Photoshop CS3 | Chapter 10

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Learning Photoshop CS3 | Chapter 10 Advanced Color 10 Correction Techniques Learning Objectives After completing this chapter, you will be able to: • Explain how a computer monitor displays color. • Describe how color is created in the printing industry. • Differentiate between an additive and subtractive color system. • Understand the purpose of Photoshop’s color modes. • Explain how Photoshop measures both RGB and CMYK color. • Describe the various settings on the Color Picker. • Explain what out-of-gamut colors are. • Use the Channels palette to view color information or save a selection. • Describe what a histogram is. • Use the Threshold command to find highlights in an image. • Mark highlights in an image with the Color Sampler tool. • Adjust an image with the Levels command. • Adjust an image with the Curves command. • Use the Camera Raw dialog box to adjust a Camera RAW, JPEG, or TIF image. • Explain bit depth. • Explain the purpose of the Info, Color, and Swatches palettes. • Describe the recommended sequence you should follow when adjusting color in an image. • Summarize the basic steps of color management. • Use the settings in the Print… dialog box to print an image on a desktop printer. Introduction The previous chapter focused on color-correction tools and techniques that are not too difficult to use. Before introducing you to some of Photoshop’s more advanced color-correction tools, this chapter will provide you with some background knowledge about color. 409 410 Learning Photoshop You have learned that Photoshop can be used to create projects that will be displayed either on a computer screen or in printed form. There are some significant differences between the manner in which a computer monitor and a printing press produce color, and Photoshop users must understand these differences. Different Shades of Color Computer monitors and television screens create color by shining light at our eyes. Most of these display screens are capable of producing millions of shades of colors, an impressive number. Some video displays, such as certain high-end plasma-screen tele- visions, are even capable of producing billions of different shades of color! Printers and printing presses use inks to create color on a page. By mixing four different shades of ink, printing presses are able to produce as many as 6,000 different shades of color. This number may seem insignificant when compared to the millions (or billions) of colors that monitors or televisions can display, but think about it—a printing press can produce hundreds of different shades of red, hundreds of different shades of blue, and so on. This level of color detail is more than enough to produce printed mate- rials that contain photo-realistic images. Red, Green, and Blue Light (RGB Color) A computer monitor or television screen is made of thousands of tiny, glowing squares. Each of these squares is capable of displaying a different color. How is this done? Within each tiny square, there are actually three different elements that emit light—a red, green, and blue element. Using different combinations of red, green, and blue light, each tiny square on a typical computer monitor or television screen can display over 16 million different shades of color. Using light to create colors is called an additive color system, simply because wavelengths of light are added together to create color. White light is created when red, green, and blue light are added together at full strength. You can begin to see how additive color works by placing a red, green, and blue light source so that their beams overlap. See Figure 10-1. Cyan, Magenta, Yellow, and Black (CMYK Color) Color is created differently in the printing industry. If you are creating color by applying inks to white paper, you must use cyan (a light blue), magenta (a purplish- pink), and yellow. Mixing cyan, magenta, and yellow ink does not create black (instead, a dark brown color is produced), so black ink must be added to the other three colors to properly reproduce dark areas in an image. Note The letter K in CMYK represents black, because the letter B is used to represent blue in RGB. Using CMYK inks, around 6,000 different colors can be created on a printed page. Next time you change the printing cartridges in your inkjet printer, you will notice that CMYK inks are used, Figure 10-2. Many consumer-level printers use more than the four standard CMYK inks so that more shades of color can be produced. Chapter 10 Advanced Color Correction Techniques 411 Figure 10-1. When red, green, and blue light mix, other colors are created. Figure 10-2. Consumer-level and professional-level printers both use CMYK inks. In the professional printing industry, if a project requires a color that cannot be represented by CMYK inks (such as fluorescent orange or metallic silver), a separate, premixed ink called a spot color is used. Spot colors must be added separately during the printing process. An additional printing plate must be created for the spot color and each page with spot color must pass through the printing press again. This causes a printing project to become more expensive. 412 Learning Photoshop Creating color by applying inks to paper is called a subtractive color system, because of the way our eye perceives color when we look at an object. For example, when you look at a red apple (either a picture of an apple or a real apple), the apple’s color causes the red wavelengths of light to be reflected back into your eyes. Other wavelengths of light, such as blue and green, are absorbed (or subtracted) by the color of the apple and they do not reflect into your eye. As a result, your eye sees red. Color Modes In Photoshop, you can create files in differentcolor modes. Color modes determine which shades of color are available for your image. As a general rule, if you are a begin- ning or intermediate-level Photoshop user and you wish to create a full-color project, it is recommended that you create it in RGB color mode. As mentioned earlier, the RGB color mode creates color by combining red, green, and blue. This color mode is capable of producing all shades of color that a computer monitor can display. If your project was created in RGB color mode but will be printed on a commercial printing press, it can be converted to CMYK mode before printing. The CMYK color mode produces color by combining cyan, magenta, yellow, and black. These are the same four colors that are used by most printing presses. Since this color mode is primarily used for projects that are intended to be printed, it permits the image to contain only those colors that are reproducible by a printing press. If an image was created in RGB mode and converted to CMYK, Photoshop will locate any colors in the image that cannot be printed and substitute the closest printable color instead. Furthermore, the Color Picker will warn you if a color cannot be printed. See the “Non- Web-Safe and Out-of-Gamut Colors” section later in this chapter. The grayscale color mode uses only combinations of black and white to create numerous shades of gray. If your project is black-and-white or grayscale, it should be created in (or converted to) grayscale color mode to minimize file size. While in gray- scale color mode, you can choose from only white, black, and shades of gray when selecting a color. Color modes are assigned to images in one of two ways. When creating a new image file, you can select a color mode from theColor Mode: drop-down list in the New dialog box, Figure 10-3. You can also convert an existing file to a different color mode by choosing a color mode from the Image > Mode submenu. When you change color modes in your image, Photoshop automatically adjusts the colors in the image. So, to preserve as much color detail as possible, you should only change color modes when absolutely necessary. In addition to the RGB, CMYK, and grayscale color modes already discussed, you will find several additional color modes in the Image > Mode submenu, Figure 10-4. Most of these are used in specialized printing situations. Figure 10-3. The New dialog box lets you choose a color mode for your new file. Color modes Chapter 10 Advanced Color Correction Techniques 413 Figure 10-4. These color modes are not used as frequently as RGB, CMYK, or grayscale. Color Mode Brief Description Converts a file in grayscale mode to black and white dots. All shades of gray Bitmap are replaced by either black or white. The duotone mode is used for projects that will be printed in 2 colors. However, once the duotone mode is selected, the Duotone Options dialog box opens. From this dialog box, you can choose to convert the image to monotone Duotone format (for printing with 1 color), tritone format (for printing with 3 colors), or quadtone format (for printing with 4 colors). You also specify the ink colors in this dialog box. Limits the colors in an image to 256. Used in situations where file space must be small, such as multimedia projects and web pages. When an image in Indexed Color indexed color mode is active, a color table (that shows all 256 colors) can be displayed by choosing Image > Mode > Color Table. An alternative to RGB and CMYK color modes, this mode separates an image into three channels: a lightness/darkness channel (L), a red-green channel (A), LAB Color and a blue-yellow channel (B).
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