Ever wonder how you should set up your color settings in Photoshop CS3/CS2? What are color settings you say? This video is for you. In it we’ll cover: What RGB color space to use and why, what a color space is, and where to set custom CMYK color settings to get the best results when converting your images to CMYK for printing on a commercial press.
View this video at Veoh.com
To be sure, there is much discussion about working color spaces and which of them is best. My recommendations in this video tutorial are based on my experience as a commercial photographer. Your particular circumstances may dictate a different choice. You really can’t go too wrong with Adobe 98 as your setting. Fine art photographers are increasingly starting to turn to ProPhoto RGB with it’s extremely wide color gamut to get the most out of their images. But if you don’t understand color management in general adn color spaces in particular, ProPhoto RGB could do you more harm than good. Want to learn more? See below.
[Warning: if you are new to all of this, the following information can cause a splitting headache]
If you’d like to read about all the sordid details, here are three articles to get you started:
sRGB vs. Adobe RGB at cambridgeincolour.com
Introduction to Color Spaces at drycreekphoto.com
If you are looking primarily to get the best output from conventional photographic prints ordered online, you might find this article on Smugmug entitled Getting great prints: sRGB vs Adobe 98 to be interesting.
Finally see Why Use the ProPhoto RGB Color Space? if you are wondering about the ProPhoto RGB space I mentioned.
Knowing how limited my own time and brainpower are, I’ve been thinking of ways to you learn or advance with Photoshop with whatever limited time you have available. With that in mind I decided to produce a series of short screencasts covering various topics in Photoshop. With the imminent release of Photoshop CS3 I’ve decided to focus on CS3 and to start with some basics for those who may be upgrading or getting started with this version. Keep in mind that you can download the CS3 beta right now from Adobe’s site if you can’t wait for the release of the official version later this spring.
In this first screencast, I cover important preference settings. I know it’s not the most exciting topic, but it helped me learn screencasting and hey, you might learn something. This isn’t meant to be an exhaustive account of Photoshop’s preferences. As I said before these are meant to be quick, over-a-coffee-break sessions that will help you get more familiar with Photoshop and with the more advanced episodes, speed up your workflow. As always, I’d love to hear from you about what you might like to see in these tutorials. Enjoy!
[update: despite what the veoh player below says, this is the full video (it runs less than 5 mins.) I'm not really happy about the supposed 5 minute limitation, and though their quality is better than Utube, I'm going to have to see what can be done about it.]
In this video well cover: How to allocate more RAM to Photoshop to help it run smoother, what a scratch disk is, how to add scratch disk space, and why you should care.
View this video at Veoh.com
Ever have to strip the backround out of an image that was so complex and detailed you didn’t know where to start? Let me share with you a great technique for masking very complex areas like hair that would take forever to mask using more traditional techniques. This tutorial is excerpted from my upcoming book, 10 Keys to Photoshop CS2 . [Note: Link points to a pre-release version of the book, the final release will likely have a lower price tag.]
Here’s the image we will use as an example. In this case the hair creates a complex area to mask out that is complicated by the short depth of field which gives it sharp edges in some places and softer edges in others. Let’s say we wanted to place this subject on another background. How do we make this easier?
With your image open, go to your Channels palette and click on each individual channel in turn (Red, Green, and Blue for an RGB image) and examine them (your image will turn to black and white when you do this). What you are looking for is the channel that has the most contrast between the area you want to mask (or select) and the background it’s on.