Graphics Programs Reference
In-Depth Information
When the time comes to edit the document based on the specific
output device, use the soft proof. The data is still in the original working
space and this is the original archive. At this point edit on a copy and
eventually convert to the print/output space. The other option is to use
Adjustment Layers. Name the Adjustment Layer for the output device for
which you are currently editing. Be sure that all the other adjustment
layers (for other output corrections) are turned off. It is possible to have
a document in an RGB working space and have half a dozen different
adjustment layers all specifically created for a particular output device.
Edit using these layers while viewing the soft proof so that the adjust-
ment is tailored to produce the visual appearance you wish based upon
the this soft proof. Note that some RIPs or output devices may not be
able to accept a layered document. Flatten the layers in the document
that are intended for this output device, convert to the print/output color
space, and save the file with a new name to send to the RIP. Prepare doc-
uments going to service providers this way. I would not recommend
sending the layered file with various soft-proof-based edits in the working
space to a printer or service bureau.
There are situations where you might want the
Simulate Paper Color
simulation on or off. Since editing an image usually requires the use of
tools and palettes,
Simulate Paper Color
should be off. The editing tools and
menus that are active will render the soft proof ineffective since the white
of these objects doesn't undergo simulation. When you are viewing the
image with the closest approximation of how it will reproduce, or you
want to compare the image and a printed page side by side, use the sim-
ulations in full screen mode. The
Simulate Paper Color
simulation mode is
useful for showing clients your image. It's always best to show a client
the image in its most accurate simulation. I would refrain from showing
a client a document in an RGB working space since that preview can
never be reproduced. If they see this, they will expect you to produce
this appearance! Use the powerful soft-proofing capabilities of Photoshop
to your advantage.
When editing while viewing the soft proof, realize that there are
colors that no editing will bring back into the original appearance you
saw in the RGB working space. The soft proof is your reality check. If a
saturated red object shows less saturation in the soft proof, trying to
increase the saturation with Photoshop's
Hue/Saturation
command will
not help. Colors that are out-of-gamut can't be reproduced, and nothing
will bring them back. Colors that appear to shift hue or change density
and appear less desirable can be edited. Since the soft proof accurately
shows you the tonal range of the image based on the print/output profile,
you can edit shadow and highlight values. In many situations, the
appearance of the soft proof might be acceptable and no editing is
required. The amount of editing necessary will be highly dependent on
the image itself and the output device. At this point in the Pipeline, with
