Adobe Photoshop CS5 for Photographers - Martin Evening [267]
Figure 11.87 This shows Mini Bridge with the Navigator Pod added to the panel.
If you go to the pod selection menu again and choose ‘Preview Pod’, this adds a large preview just below the Navigator pod, which can be adjusted in size by dragging the pod divider handle. You can magnify this preview by clicking on the image, plus don't forget the +Spacebar shortcut for filling the Mini Bridge panel with a full-size preview.
The Navigator and Preview Pod selection is a toggle action, so by selecting these items again you can add or remove them from the Mini Bridge panel view, or you can simply click on the Close Pod button in the top right corner of each of these pods. You should also notice that as you resize the Mini Bridge panel, the pod layout auto-adjusts to provide the most effective use of the available panel space.
Figure 11.88.
This shows Mini Bridge with the Preview Pod now also added to the panel.
Searching images
Lastly, you can click on the Search button to bring up the Search window, shown below in Figure 11.89, where you can select from whatever search engines are accessible on your computer system. For example, Macintosh users will be offered the Spotlight search engine to use.
Figure 11.89 The Mini Bridge Search menu allows you to choose which search engine you would prefer to carry out the search with and also whether you wish to search locally within the current selected folder, or globally on the whole computer.
Chapter 12. Color Management
Photoshop 5.0 was justifiably praised as a ground-breaking upgrade when it was released in the summer of 1998, although the changes made to the color management setup were less well received in some quarters. This was because the revised system was perceived to be complex and unnecessary. Bruce Fraser once said of the Photoshop 5.0 color management system ‘it's push-button simple, as long as you know which of the 60 or so buttons to push!’ Attitudes have changed since then (as has the interface) and it is fair to say that most people working today in the pre-press industry are now using ICC color profile managed workflows. The aim of this chapter is to introduce the basic concepts of color management before looking at the color management interface in Photoshop and the various color management settings.
The need for color management
An advertising agency art buyer was once invited to address a meeting of photographers. The chair, Mike Laye, suggested we could ask him anything we wanted, except ‘Would you like to see my book?’ And if he had already seen your book, we couldn't ask him why he hadn't called it back in again. And if he had called it in again we were not allowed to ask why we didn't get the job. And finally, if we did get the job we were absolutely forbidden to ask why the color in the printed ad looked nothing like the original photograph!
That in a nutshell is a problem which has bugged many of us throughout our working lives, and it is one which will be familiar to anyone who has ever experienced the difficulty of matching colors on a computer display with the original or a printed output. Figure 12.1 shows two versions of the same photograph. One shows how the Photoshop image looks previewed on the display and the other is an example of how a printer might interpret and reproduce those same colors if no attempt is made to color manage the image.
Figure 12.1 The picture on the left shows how you might see an image on your display in Photoshop and the one on the right represents how that same image might print if sent directly to a printer without applying any form of color management. You might think it is merely a matter of making the output color less blue in order to successfully match the original. Yes, that would