If you are using Lumenzia, just use the “optimize” utility and it will take care of most of these settings for you automatically. Optimal “Color Settings” values in Photoshop The “advanced controls” section includes a bunch of random options that you should leave alone, but we’ll cover them below as well.While you should avoid converting the profile in your working document, you will likely need to convert copies of it for output to the print or web, so these are important.
HOW TO BLEND COLORS IN PHOTOSHOP CC HOW TO
“Conversion options” tells Photoshop how to manage conversion from one profile to another. “Working spaces” are the ICC profiles that Photoshop will assume when there is ambiguity, such as not having a profile saved with the image. Photographs should always include an embedded profile. Without an embedded profile, you are back to the “2 sugars” scenario above and Photoshop will just guess what to do when it opens the file, which will likely lead to some disastrous results. The “color management” section describes what to do about “embedded profiles”, which refers to saving the ICC profile with your document. The color settings dialog (Edit / Color Settings) in Photoshop refers to ICC profiles in a few different ways: Using the analogy above, skipping this would be like knowing the recipe calls for 2 teaspons of sugar, but you just use some random spoon in the kitchen to get close enough. This is a very deep topic that we won’t cover here, but it needs to be done in addition to the other color management choices discussed here. You’ll need a profiling device such as the X-Rite i1Studio to do this. This ensures that your output device accurately displays the color described in the file. You also need an ICC profile for your monitor or printer. The settings below will help you avoid unwanted conversions. 
You can get deep in the details to consider all the options, but Adobe RGB is a safe and very good choice to use from start to finish in your working files. The other (which is rare and I try to avoid) is when combining images that were created with different RGB profiles, as all layers in an image must ultimately use the same profile (more on pasting with different profiles below). I always do this on a duplicate copy, never my original working file. The first is when outputting an image to the web or for print. There are only a few cases where I convert profiles. Any conversion may cause a loss of quality (and converting from a small gamut to a large gamut won’t bring back lost color). You should open your image the first time with your preferred color profile and then avoid converting the profile in your working file.
When working with an untagged image, Photoshop will add a “#” indicator next to the bit depth in the file name (unless you have set the color management policy below to “off”). If it is missing (“untagged”), the computer has to guess (we’ll get to this below). However, there are other good general purpose “working spaces” (which means they are a standard, but not based on any specific device). This is typically sRGB, Adobe RGB, or ProPhoto RGB. This ensures that your file accurately describes the color in the image.
For color management to work, you need an ICC profile embedded in your image. But there are really only a handful of critical things every photographer needs to know: We could spend weeks discussing how ICC profiles work, how to make them, and so on. 2 cubes? 2 teaspoons? 2 cups? ICC profiles are meant to help resolve that ambiguity so that a pixel with an RGB value of 255, 130, 194 would look the same on your computer as it would on someone else’s phone when they see your image on Facebook. It would be like trying to bake a cake with half a recipe that called for 2 sugars. But 255 what? Even your computer does not know. The pixels in your images are saved as red, green, and blue (RGB) values from 0-255. What are working spaces and profiles?įirst, a quick background on ICC profiles. Hear Jeff Harmon and I discuss this tutorial and the basics of color management on the Master Photography podcast. One of the foundations for that in Photoshop is the “Color Settings” dialog, and in this tutorial you’ll learn what the various settings are and how to set them to help ensure your photos look the way you intend. But if you want your images to look great and consistent on your monitor, the computer you buy next year, printed on your wall, and anywhere you show it on the internet – it’s something you need to get right. I read 10+ books on the inner workings of ICC profiles last year and I still wouldn’t claim to fully get it. I’m not going to sugar coat it, color management is intimidating.
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