You’ll commonly see this as CMYK, as the mixture of colors will not always produce a reliable black without the addition of black (or K) itself. In these cases, you can sometimes request a customized color profile that is specific to their printing process. That’s because, when printing an image, the ink (or pigment, as we called it earlier) is producing colors that work in a completely different way from what you’ve been seeing in your editing software. Such publications may have more specific submission requirements. Especially so if you opt in for the color management option that most pro printers offer, and pro labs often have recommended settings for optimal results listed on their websites.įor magazines and other printed media, however, RGB may not always cut it. The colors may not be 100 percent true, but generally you’re not going to send an RGB picture of a cow to a professional printing lab and receive a blue cow back (unless the animal was, in fact, blue to start with). You will probably get satisfactory results for run-of-the-mill prints with an RGB file. Some printing services are optimized for RGB files, and that’s fine. Your computer screen emits light, and light and pigment behave very differently, which is why it is in situations involving light where RGB (forgive a pun) shines. Your computer screen is not a Crayola product, though. Most people have been taught from their first elementary art class that the combination of all colors is black (or black-ish), and that’s certainly true when you’re mixing paint. If you fill each pixel with the most saturated version of all three colors, you will get white. RGB color mode combines the primary colors of light (red, green, and blue) in different combinations to produce the colors you need. When you view your images on a screen, that screen is producing colors in the form of light. The first thing to remember is that light is additive, while pigments are subtractive. These color modes serve different purposes and it’s necessary to know which one will yield the desired result depending on the project you are undertaking. The two major color modes we’ll talk about today are RGB and CMYK. Color Modesīefore we dive into working spaces, it’s important to take a refresher on the different color modes (sometimes called color models). Finding the correct color management setup for the work you do will give you a good start to every project, so let’s get started with a basic overview of working spaces and what they can do for you. When setting up a workflow, this little pocket of Photoshop is a great place to start, since it can affect the appearance of your image from the moment you open your file. Fortunately, there’s an easy starting point for gaining basic knowledge of the right color settings for your files, and we’re ready to walk you through it!Ĭolor spaces may seem complex at first, but they are one of the most powerful color management tools in a photo editor’s arsenal. A few different things can cause this to happen, and without a firm understanding of post-processing color management you may feel at a loss. When you get that perfect edit, it’s a euphoric feeling that can only be deflated by the frustration of seeing your save file inexplicably desaturated, bearing a mysterious color cast, or looking just plain “off”. Color can be a Photoshop user’s best friend or their worst enemy.
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