■ Choose Edit ^ Color Settings (Shift+Ctrl+K) to display the Color Settings dialog box shown in Figure 6.3. If you don't see the bottom portion of the dialog box that includes Advanced Color Controls, click Advanced Mode. Besides giving you Advanced Color Controls, you also get a few more choices in some of the pop-up menus.
■ As we are going to create new settings and save them under a new settings name, it doesn't matter what is currently shown in the Settings name box.
■ Click the RGB box in the Working spaces section to see the available options. Based upon our earlier assumption that you are primarily editing digital photos and are printing them out on a consumer level printer, such as those made by Canon, Epson, or HP, select Adobe RGB (1998).Notice after you make a selection, as you move your cursor over the pop-up menu, the Description box offers short descriptions of the profile that you selected.
If you chose to open up the sample photo suggested in Step 1, look at it now while clicking the Preview on and off. This shows you the difference between the original setting and the setting that is currently selected. For example, if your original setting was Adobe RGB (1998) and your current setting is sRGB, you can see that the sRGB space is a much narrower color space. If you experimented with these settings, make sure you set the RGB setting back to Adobe RBG (1998).
■ As the CMYK setting is of no use for our agreed upon purposes, you may leave the setting as it appears.
■ If you are using Windows, select Gray Gamma 2.2 as the setting for Gray. If you're using a Mac, use Gray Gamma 1.8. Once again, you can use the Preview feature to view the differences between these settings.
You have now correctly set up your working space. The next section determines color management policies, in other words, how you want Photoshop 7 to prompt you to handle files that you open up if they have an embedded color profile that does not match your current working space.
■ Set RGB to Convert to Working RGB. There can be a good reason to use the Preserve Embedded Profiles too, so if you have an opinion or work flow that gives you a reason to use one over the other — do so.
■ While you're not likely to work in the CMYK or Gray settings, you can leave them as they are.
■ Make sure that the box for Ask When Opening is checked in the Profile Mismatches area. This sets Photoshop 7 to ask you each time you open up an image file with an embedded profile how you want to handle any mismatch between your current working space and the file's profile.
■ Turn on Ask When Pasting. This ensures that you are asked how you want to handle any mismatch between a copied image and the image that you want to paste it into.
Conversion Options is the next area in the Color Settings dialog box. This is where you define how you want Photoshop 7 to convert your images when you have a profile mismatch. In other words, if you open a file with an embedded color profile and it does not match your working space — how should Photoshop 7 convert colors.
■ For the Engine setting use Adobe (ACE). This selects the Adobe (ACE) engine as the module that makes the conversions from one color space to another color space.
■ Set Intent to Perceptual.
■ Leave Use Black Point Compensation turned on. This option determines how the darkest image information is handled during a conversion. If this option is off, the darkest neutral colors will get mapped to black, thereby making the overall colors out of balance.
■ Leave Use Dither (8-bit/channel images) on as it blends and combines some values in digital photos better than if it is off.
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