Chapter 5. Anger Management Color Management Step-By-Step

Okay, there are entire books written on the subject of color management in Photoshop, so how am I going to condense everything you need to know into one chapter? It's easyI'm not. You see, color management is like quicksandthe more you try to understand it, the deeper it sucks you down into the muck. What we need (you, me, us, we, you again, then me) is less about color management. That's right, this chapter puts a new spin on color management by actually giving you "less." Less about all the different color spaces (in fact, I don't even mention them), less about color gamuts (same here), less about soft proofing (I don't cover that at all), less about profiles, less about warnings, less about theory (there is none), less graphs and charts (there are none), and less about all the stuff you really don't care about. In fact, not only do we need a chapter that has less pages, we need one with less words, less ink, less spell checking, less editing, less royalties (less royalties?), less paper fiber, and less bindingand doggoneit, I'm just the guy to do it. (For the record, I've never used the phrase "doggoneit" in print before. This is the kind of groundbreaking stuff I'm talking about.) Anyway, here's my plan: If it's not a part of Photoshop's color management (that you're not directly going to change, adjust, or otherwise mess with in some meaningful fashion), I'm just gonna ignore it. That way, we can focus on just one thing: setting Photoshop up so the prints that come out of your personal color inkjet printer match exactly what you see onscreen. One thing. That's it. See, less is more. More or less. I think.