Out of Gamut Colours

When Soft Proofing an image prior to printing and viewing the Gamut Warnings my question is what action should I take (if any) prior to printing if there are Out of Gamut colours?

Well, that depends. How much do you care about the image?

If it doesn’t bother you that the colors on your screen will not match the colors on your printout, then you need not take any action at all–just hit Print.

If you want to control precisely what your printout looks like–if you want what you see to match what you get, at least to within the limits that that’s possible–you need to use the color correction tools to make sure you have no out-of-gamut colors.

What are you doing with the image? Are ou printing it on a consumer inkjet printer? Sending it to a printing press?

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

I am outputting to an Epson 2100 printer

—
Regards Colin Ackerman
Check out my Web site at www.aboveusthewaves.com
Now available my Dive Trip report to Dominica ‘Nature Island of the Caribbean’ – May 2004

"Tacit" wrote in message

When Soft Proofing an image prior to printing and viewing the Gamut

Warnings

my question is what action should I take (if any) prior to printing if

there

are Out of Gamut colours?

Well, that depends. How much do you care about the image?
If it doesn’t bother you that the colors on your screen will not match the colors on your printout, then you need not take any action at all–just

hit

Print.

If you want to control precisely what your printout looks like–if you

want

what you see to match what you get, at least to within the limits that

that’s

possible–you need to use the color correction tools to make sure you have

no

out-of-gamut colors.

What are you doing with the image? Are ou printing it on a consumer inkjet printer? Sending it to a printing press?

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

Here is step by step method from Deke McClelland’s PS Bible. You would only need to use this if you were going to a commercial cmyk printer and there are a lot of out of gamut colors or if the print you get on your Epson was unaceptable.

1 Make a copy of your image. Choose image>duplicate then choose view>proof setup>CMYK. This is just a reference for what the image would look like if you just sent it to print.

2 Return to your original image and choose Select>color Range, then select Out of Gamut from the pop up, then press enter.

3 Choose view>Gamut Warning and press Ctrl + H (cmd + H on Mac) to show out of gamut colors as gray and stop marching ants.

4 Press ctrl + U (cmd + U on Mac) to display Hue/saturation box.

5 Lower the saturation in selected colors (don’t use master). the colors should change from gray to color.

6 Once you get most of gray out, click on OK, then choose Image>Mode>CMYK. PS will shift all colors into gamut.

You may get some hard edges with this method. If so, feather the selection between steps 2 and 3.

dp

Colin Ackerman wrote:

I am outputting to an Epson 2100 printer

—
Regards Colin Ackerman
Check out my Web site at www.aboveusthewaves.com
Now available my Dive Trip report to Dominica ‘Nature Island of the Caribbean’ – May 2004

"Tacit" wrote in message

When Soft Proofing an image prior to printing and viewing the Gamut

Warnings

my question is what action should I take (if any) prior to printing if

there

are Out of Gamut colours?

Well, that depends. How much do you care about the image?
If it doesn’t bother you that the colors on your screen will not match the colors on your printout, then you need not take any action at all–just

hit

Print.

If you want to control precisely what your printout looks like–if you

want

what you see to match what you get, at least to within the limits that

that’s

possible–you need to use the color correction tools to make sure you have

no

out-of-gamut colors.

What are you doing with the image? Are ou printing it on a consumer inkjet printer? Sending it to a printing press?

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

What’s the difference between this method and using "Convert to CMYK" with "Relative Colorimetric" setting?

To cite the manual:

"… Out-of-gamut colors are shifted to the closest reproducible color in the destination color space. Relative colorimetric preserves more of the original colors in an image than Perceptual." (Handling colors with a rendering intent)

"bogus" wrote in message

Here is step by step method from Deke McClelland’s PS Bible. You would only need to use this if you were going to a commercial cmyk printer and there are a lot of out of gamut colors or if the print you get on your Epson was unaceptable.

1 Make a copy of your image. Choose image>duplicate then choose view>proof setup>CMYK. This is just a reference for what the image would look like if you just sent it to print.

2 Return to your original image and choose Select>color Range, then select Out of Gamut from the pop up, then press enter.

3 Choose view>Gamut Warning and press Ctrl + H (cmd + H on Mac) to show out of gamut colors as gray and stop marching ants.

4 Press ctrl + U (cmd + U on Mac) to display Hue/saturation box.
5 Lower the saturation in selected colors (don’t use master). the colors should change from gray to color.

6 Once you get most of gray out, click on OK, then choose Image>Mode>CMYK. PS will shift all colors into gamut.

You may get some hard edges with this method. If so, feather the selection between steps 2 and 3.

dp

Colin Ackerman wrote:

I am outputting to an Epson 2100 printer

—
Regards Colin Ackerman
Check out my Web site at www.aboveusthewaves.com
Now available my Dive Trip report to Dominica ‘Nature Island of the Caribbean’ – May 2004

"Tacit" wrote in message

When Soft Proofing an image prior to printing and viewing the Gamut

Warnings

my question is what action should I take (if any) prior to printing if

there

are Out of Gamut colours?

Well, that depends. How much do you care about the image?
If it doesn’t bother you that the colors on your screen will not match the
colors on your printout, then you need not take any action at all–just

hit

Print.

If you want to control precisely what your printout looks like–if you

want

what you see to match what you get, at least to within the limits that

that’s

possible–you need to use the color correction tools to make sure you have

no

out-of-gamut colors.

What are you doing with the image? Are ou printing it on a consumer inkjet
printer? Sending it to a printing press?

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

I believe that the quoted statement on relative and perceptual rendering intents are intended (no pun intended} as guidlines only. I have found that some printer media profiles do not go along with these guidlines.

Branko Vukelic wrote:

What’s the difference between this method and using "Convert to CMYK" with "Relative Colorimetric" setting?

To cite the manual:

"… Out-of-gamut colors are shifted to the closest reproducible color in the destination color space. Relative colorimetric preserves more of the original colors in an image than Perceptual." (Handling colors with a rendering intent)

What’s the difference between this method and using "Convert to CMYK" with "Relative Colorimetric" setting?

In theory, selecting the out-of-gamut colors and individually adjusting them gives you more control over the final image.

In practice, using Deke’s heavy-handed approach of just grabbing the out-of-gamut colors and reducing their saturation, you don’t really get any benefit. Squeezing the best possible results out of out-of-gamut colors requires more than just using Hue/Saturation to reduce their saturation; it’s sometimes necessary to reduce their saturation but also use Selective Color, Curves, or other color commands to preserve contrast within the out-of-gamut area. For example, a bright blue object with lots of subtle detail will tend to become flat, losing its detail, if you simply reduce its saturation.

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

That sounds more reasonable. Are there any tutorials on the Web?

"Tacit" wrote in message

What’s the difference between this method and using "Convert to CMYK" with
"Relative Colorimetric" setting?

In theory, selecting the out-of-gamut colors and individually adjusting them
gives you more control over the final image.

In practice, using Deke’s heavy-handed approach of just grabbing the out-of-gamut colors and reducing their saturation, you don’t really get any
benefit. Squeezing the best possible results out of out-of-gamut colors requires more than just using Hue/Saturation to reduce their saturation; it’s
sometimes necessary to reduce their saturation but also use Selective Color,
Curves, or other color commands to preserve contrast within the out-of-gamut
area. For example, a bright blue object with lots of subtle detail will tend to
become flat, losing its detail, if you simply reduce its saturation.
—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html