Soft Proofing

Started Jan 11, 2013 | Discussions thread
technoid Senior Member • Posts: 2,009
Re: Soft Proofing

The main reason to have two windows open and edit in the proof window is to make the print come out looking as close to the actual image as. Printing, especially to Perceptual, intentionally distorts (re-maps, if you prefer) colors to match the specific printer/paper combo and the profile maker's idea of what looks good. By editing the proof alongside the original you can adjust it to produce a similar "look" to the original.  If you only edit an image in "proof" mode you produce an image that cannot easily be changed back if, for instance, you wanted to distribute it to the web.

soloryb wrote:

I agree with your assessment of the situation and your soft proofing workflow. I do the same as you but in PS and in LR and still can see no benefit to opening two side-by-side (original and soft proof) copies.

If there's anyone here who can point out the benefits of the side-by-side method, I'd really like to hear it. I've been curious about this for a few years now and have yet to hear a logical reason for employing it as opposed to just editing a soft proofed image directly and then outputting it to my printer.

rpenmanparker wrote:

soloryb wrote:

Howard Moftich wrote:

generally, you get the image to the way you want, then do a Duplicate Image in PS and turn on softproofing on the duplicate. Then start modifying (usually curves and/or HSL) the duplicate till it matches the original

I read the same thing in Martin Evening's PS CS5 book and it puzzled me as to why it would be more beneficial to adjust the softproof duplicate until it matched the original. Why not turn on softproofing from the get-go and do all the editing directly? Is there something I'm missing?

I use After Shot Pro and Paint Shop Pro, not Lightroom and Photo Shop, and since starting my own printing have always done all editing with soft proofing turned on. Why would you do it any other way. Yes, that means you will need a separately edited file for each printer profile you will be using (different printer or paper), but to me that only makes sense. I first learned about soft proofing during a tutorial I was taking from a professional, He demonstrated it on PS according to the workflow that Howard described above, and honestly I was so confused by the need to duplicate the image and the back and forth gyrations that I vowed to find a better way. In PSP I just turn on and leave on the soft proofing function.

Admittedly, if you have only the file edited with soft proofing the screen image may be a bit less than ideal, e.g. say when editing for printing on a matte paper. But if printing is your primary output method, this should not be a problem. And if you like the matte look on paper, perhaps that is what you want to see on a screen show too.


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