About color modes and models (Photoshop)

About color modes and models (Photoshop)

A color mode determines the color model used to display and print images Photoshop bases its color modes on established models for describing and reproducing color. Common models include HSB (hue saturation brightness) RGB (red green blue) CMYK

(cyan magenta yellow black) and CIE L*a*b* Photoshop also includes modes for specialized color output such as Indexed Color and Duotone ImageReady uses RGB mode to work with images.

In addition to determining the number of colors that can be displayed in an image color modes affect the number of channels and the file size of an image.

You can set up the Info palette so that you can select any tool position the pointer over any part of an image and determine the color value under the pointer. You can

customize the Info palette and color samplers to express color values using HSB RGB, CMYK Lab or Grayscale modes without changing the mode of the image itself (See

"Seeing the color values of pixels (Photoshop) on section 133 and the procedure to change

Info palette options in "Using the Info palette (Photoshop) on section 32

HSB model

Based on the human perception of color the HSB model describes three fundamental characteristics of color:

Hue is the color reflected from or transmitted through an object It is measured as a location on the standard color wheel expressed as a degree between 0 and 360.

In common use hue is identified by the name of the color such as red orange or green.

Saturation sometimes called chroma, is the strength or purity of the color Saturation represents the amount of gray in proportion to the hue measured as a percentage from 0% (gray) to 100% (fully saturated) On the standard color wheel saturation increases from the center to the edge.

Brightness is the relative lightness or darkness of the color usually measured as a percentage from 0% (black) to 100% (white).

Although you can use the HSB model in Photoshop to define a color in the Color palette or

Color Picker dialog box there is no HSB mode available for creating and editing images.

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HSM model:

A Saturation B Hue C Brightness D All hues

RGB model

A large percentage of the visible spectrum can be represented by mixing red green and blue (RGB) colored light in various proportions and intensities. Where the colors overlap, they create cyan magenta yellow and white.

Because the RGB colors combine to create white they are also called additive colors. Adding all colors together creates white-that is all visible wavelengths are transmitted back to the eye Additive colors are used for lighting video and monitors. Your monitor, for example creates color by emitting light through red green and blue phosphors.

Additive colors (RGB)

RGB mode

Photoshop s RGB mode uses the RGB model assigning an intensity value to each pixel ranging from 0 (black) to 255 (white) for each of the RGB components in a color image. For example a bright red color might have an R value of 246 a G value of 20 and a B value of 50. When the values of all three components are equal the result is a shade of neutral gray. When the value of all components is 255 the result is pure white when the value is 0, pure black.

RGB images use three colors or channels to reproduce up to 16.7 million colors on-screen; the three channels translate to 24 (8 x 3) bits of color information per pixel (In 16-bit-per- channel images this translates to 48 bits per pixel with the ability to reproduce many more colors.) In addition to being the default mode for new Photoshop images the RGB model is used by computer monitors to display colors. This means that when working in color modes other than RGB such as CMYK Photoshop uses RGB mode for display

on-screen.

Although RGB is a standard color model the exact range of colors represented can vary, depending on the application or display device Photoshop s RGB mode varies according to the working space setting that you have specified in the Color Settings dialog box.

(See About working spaces on section 106

CMYK model

The CMYK model is based on the light-absorbing quality of ink printed on paper As white light strikes translucent inks certain visible wavelengths are absorbed while others are reflected back to your eyes.

In theory pure cyan (C) magenta (M) and yellow (Y ) pigments should combine to absorb all light and produce black For this reason these colors are called subtractive colors. Because all printing inks contain some impurities these three inks actually produce a muddy brown and must be combined with black (K) ink to produce a true black (K is used instead of B to avoid confusion with blue.) Combining these inks to reproduce color is called four-color process printing.

The subtractive (CMY ) and additive (RGB) colors are complementary colors. Each pair of subtractive colors creates an additive color and vice versa.

Subtractive colors (CMYK)

CMYK mode

In Photoshop s CMYK mode each pixel is assigned a percentage value for each of the process inks. The lightest (highlight) colors are assigned small percentages of process ink colors the darker (shadow) colors higher percentages For example a bright red might contain 2% cyan 93% magenta 90% yellow and 0% black In CMYK images pure white is generated when all four components have values of 0%.

Use the CMYK mode when preparing an image to be printed using process colors. Converting an RGB image into CMYK creates a color separation. If you start with an RGB image it s best to edit first and then convert to CMYK In RGB mode you can use the Proof Setup commands to simulate the effects of a CMYK conversion without changing the actual image data (See "Soft-proofing colors on section 113 You can also use CMYK mode to work directly with CMYK images scanned or imported from high-end systems. Although CMYK is a standard color model the exact range of colors represented can vary, depending on the press and printing conditions Photoshop s CMYK mode varies according to the working space setting that you have specified in the Color Settings dialog box (See About working spaces on section 106

L*a*b model

The L*a*b color model is based on the model proposed by the Commission Internationale d'Eclairage (CIE) in 1931 as an international standard for color measurement In 1976 this model was refined and named CIE L*a*b.

L*a*b color is designed to be device independent, creating consistent color regardless of the device (such as a monitor printer computer or scanner) used to create or output the image.

L*a*b color consists of a luminance or lightness component (L) and two chromatic compo- nents the a component (from green to red) and the b component (from blue to yellow).

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L*a*b* model:

A. Luminance =100 (white) B. Green to red component C. Blue to yellow component

D Luminance = 0 (black)

Lab mode

In Photoshop Lab mode (the asterisks are dropped from the name) has a lightness component (L) that can range from 0 to 100 In the color picker the a component (green- red axis) and the b component (blue-yellow axis) can range from +128 to -128 In the Color palette the a component and the b component can range from +120 to -120.

You can use Lab mode to work with Photo CD images edit the luminance and the color values in an image independently move images between systems and print to PostScript Level 2 and Level 3 printers. To print Lab images to other color PostScript devices convert to CMYK first.

Lab color is the intermediate color model Photoshop uses when converting from one color mode to another.

Bitmap mode

This mode uses one of two color values (black or white) to represent the pixels in an image Images in Bitmap mode are called bitmapped 1-bit images because they have a bit depth of 1 (See "Specifying 8-bit color display (Photoshop) on section 91

Grayscale mode

This mode uses up to 256 shades of gray Every pixel of a grayscale image has a brightness value ranging from 0 (black) to 255 (white) Grayscale values can also be measured as percentages of black ink coverage (0% is equal to white 100% to black) Images produced using black-and-white or grayscale scanners typically are displayed in Grayscale mode.

Although Grayscale is a standard color model the exact range of grays represented can vary, depending on the printing conditions In Photoshop Grayscale mode uses the range defined by the working space setting that you have specified in the Color Settings dialog box (See About working spaces on section 106

These guidelines apply to converting images to and from Grayscale mode:

You can convert both Bitmap-mode and color images to grayscale.

To convert a color image to a high-quality grayscale image Photoshop discards all color information in the original image. The gray levels (shades) of the converted pixels represent the luminosity of the original pixels.

You can mix information from the color channels to create a custom grayscale channel by using the Channel Mixer command.

When converting from grayscale to RGB the color values for a pixel are based on its previous gray value A grayscale image can also be converted to a CMYK image (for creating process-color quadtones without converting to Duotone mode) or to a Lab color image.

Duotone mode

This mode creates duotone (two-color) tritone (three-color) and quadtone (four-color) grayscale images using two to four custom inks (See "Printing duotones on section 479 Indexed Color mode

This mode uses at most 256 colors. When converting to indexed color Photoshop builds a color lookup table (CLUT ) which stores and indexes the colors in the image If a color in the original image does not appear in the table the program chooses the closest one or simulates the color using available colors.

By limiting the palette of colors indexed color can reduce file size while maintaining visual quality-for example for a multimedia animation application or a Web page Limited editing is available in this mode For extensive editing you should convert temporarily to RGB mode (See "Converting to indexed color (Photoshop) on section 97

Multichannel mode

This mode uses 256 levels of gray in each channel Multichannel images are useful for specialized printing.

These guidelines apply to converting images to Multichannel mode:

Channels in the original image become spot color channels in the converted image.

When you convert a color image to multichannel the new grayscale information is based on the color values of the pixels in each channel.

Converting a CMYK image to multichannel creates cyan magenta yellow and black spot channels.

Converting an RGB image to multichannel creates cyan magenta and yellow spot channels.

Deleting a channel from an RGB CMYK or Lab image automatically converts the image to Multichannel mode (See About color channels" on section 93 for more information on channels.)

To export a multichannel image save it in Photoshop DCS 2.0 format.

Color gamuts (Photoshop)

A gamut is the range of colors that a color system can display or print. The spectrum of colors seen by the human eye is wider than the gamut available in any color model. Among the color models used in Photoshop L*a*b has the largest gamut encompassing all colors in the RGB and CMYK gamuts. Typically RGB gamuts contain the subset of these colors that can be viewed on a computer or television monitor (which emits red green, and blue light). Therefore some colors such as pure cyan or pure yellow can t be displayed accurately on a monitor.

CMYK gamuts are smaller consisting only of colors that can be printed using process-color inks. When colors that cannot be printed are displayed on-screen they are referred to as out-of-gamut colors-that is outside a CMYK gamut (See "Identifying out-of-gamut colors (Photoshop) on section 136

Important: The gamut for an RGB or CMYK image depends on its document profile.

(See About color management" on section 102

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Color gamuts:

A A Lab color gamut B An RGB color gamut C A CMYK color gamut