Color management in Photoshop is a vast topic. And although it may seem to many that there’s nothing particularly new or interesting in it, we’ll say — you're mistaken. At the very least, the application is constantly being updated. At most, choosing a display mode or palette, or a profile, doesn’t mean being a “color god” or knowing all the nuances of working with color.
Today we’ll talk about different modes, settings, how they affect your work, and how to work with a document in one color mode while preserving all data from another. It’s no secret that some clients request design mockups in multiple formats. Moreover, creative people often work not only on websites but also design logos, illustrations, and more. So, overall, we believe this information won’t be redundant for you.
RGB vs CMYK
By default, all visuals on a computer are displayed in the RGB (Red-Green-Blue) color space. Before printing, we also work with a wider range of color shades, making the document more vivid and saturated. But actual printing is done in CMYK (Cyan, Magenta, Yellow, and Black). Naturally, if you convert an image from one mode to another, the color palette will change. In other words, RGB colors will be “lost” in CMYK. Some vibrancy, brightness, and saturation will disappear. The reason is simple: RGB includes significantly more colors and shades.
However, this loss of color can be avoided.
First, let’s convert our palette from RGB (default) to CMYK using Image -> Mode. Then choose the appropriate option. A message will appear stating that the selected profile will be converted, and it will show where you can change this profile.
Below you can see a clear example of how colors get lost or altered in CMYK. We think the changes are quite noticeable, though they are subtle and also depend on how your monitor displays color. Try converting different color-themed images yourself and see surprising results.
Now that you understand color conversion, let’s look into gaining more control over it. You’ll need to configure the color profile of your printer, ink, and even paper. The simplest way is to adjust the profile in printer settings, but if you don’t have the necessary knowledge, there is a more universal method.
To gain more control over color management, open Edit -> Color Settings. A complex window will open, packed with information. If it’s your first time opening it, you'll likely see the default values for your version of Photoshop. These defaults work fine in most cases. However, if you need to prepare images for print (and more, which we’ll cover later), they may not meet all your needs.
Choose a region. Each region description highlights specifics of color sets and paper type dependency. If you're preparing for web rather than print, there are also several options. Since we live and work in Europe, choosing the appropriate region is straightforward.
RGB Color Space. You can leave the default choice or pick an option that’s more optimal for you and better suited to your monitor. Also, note that:
Similarly, you choose CMYK palettes. But keep in mind that some inkjet printer models from Epson, Canon, and HP actually work in RGB, not CMYK, so these settings might have no effect. That’s why a safe and universal choice remains US Web Coated (SWOP) v2.
Strategies
Color management strategies were introduced in Photoshop CS6 and remain available throughout the Photoshop CC line. Some users struggle to understand why these settings are needed and how they impact workflow. Let’s break it down with simpler, more visual examples.
Each color space has the same set of policies, so we’ll summarize using RGB as an example.
Off – Photoshop ignores document profiles. This means when saving an image, the profile will not be embedded, and if it’s opened on another computer or in another application, the colors may look different. If the document already contains a profile that matches the current Photoshop profile, the application will use it automatically and save it with the file.
When pasting from the clipboard, the image won’t adjust to the current color space, so if you paste something into your layout, the result may look completely different.
Preserve Embedded Profiles – this is the default option as it offers more flexibility. If the opened document contains an embedded profile different from Photoshop’s current one, the embedded profile will remain and be used for editing. So, Photoshop won’t attempt to override existing data. The same applies if the profiles match. When creating and saving a new document, the application’s current profile will be embedded and saved by default.
Convert to Working Space – a more complex option, but some designers prefer it. If a document doesn’t have an embedded profile, Photoshop will automatically convert it to the current profile and continue working with it. However, the profile won’t be saved upon export. If the document has a profile that differs from the app's, Photoshop will convert it to the working profile, and the file will be saved using the new settings. When pasting images, their colors will also be converted.
Either way, if color profiles don’t match, Photoshop will display a warning, so you’ll be able to notice the issue and adjust your settings.
Conversion
Click Intent and you’ll see four different options. Most of the time, you’ve likely used Relative Colorimetric. To put it simply, colors common to all devices remain unchanged, while others are shifted and compressed. Colors are matched based on white point on both devices. This is ideal for printing and best for soft proofing.
Perceptual is chosen for working with photographs intended for print, as it preserves color relationships without discarding or compressing them. For web, however, this method is less practical. The more colors, the larger the file size. Plus, in web design, colors should be bold and precise — not “some shade of something with a hint of something else.” If you're working with graphics or illustrations, Perceptual can definitely offer an advantage.
Soft Proofing
Working in RGB space is convenient and familiar. But constantly converting to CMYK or adjusting colors in a separate window is tedious. There’s an easier way.
We’ve created a sketch in standard RGB. Go to View → Proof Setup and select an option, or click “ Custom .” This is where the fun begins!
Depending on the selected space (RGB or CMYK, drawn from the same lists used in color settings), you’ll see how your image changes. The key here is — your RGB color data won't be lost. Moreover, the palette will continue to show RGB colors (deep, saturated, bright). But once you pick a brush and start painting, the color will automatically adapt based on your chosen color profile.
This approach to working with graphics has its advantages. File sizes in RGB are always smaller, and you retain full access to all image editing features in Photoshop.
Also, take note of the option “ Preserve RGB Numbers .” Often this causes severe color distortion. And although we aren’t creating a profile in this window — only simulating it — it’s better to avoid potential issues and leave this box unchecked.
Adobe Bridge
If you have Adobe Bridge installed (usually included with Adobe software packages or as a separate download), you can save your configured color profile and apply it across other Adobe applications. If your work spans beyond Photoshop — say, into Illustrator, InDesign, Muse, or Adobe XD — inconsistent colors can be frustrating.
Note that even the latest Photoshop CC 2017 displays colors quite differently from Photoshop CC 2015 by default. So, you can either save your profile in the Color Settings window, then Load it in another app — if you’re working only in Photoshop.
Or, open Adobe Bridge and go to Edit → Creative Suite Color Settings. A synchronization window will appear. You can then select which settings to apply across all Adobe apps installed on your computer. If you saved your profile in Photoshop, you can load it here by clicking “ Show Saved Color Settings Files ” and synchronize your custom data.
Conclusion
We’ve gathered and summarized the essential concepts of working with color in Photoshop, including profiles and color spaces. That’s why there are no web design mockups, effects breakdowns, or visual tricks in this article. But understanding the fundamentals of color theory is just as important for a web designer.
Here's a simple example of why: you’ve created a layout, logo, or some other image without checking your color settings. Another designer (in your team, for instance) opens the PSD file — or you receive a PSD someone else created. In any case, multiple people access the file. But when it's opened on different machines or MacBooks, everyone sees different colors, with different tones. You might even be accused of choosing poor colors. Why? Color strategy settings, profile mismatches, and lack of sync. You’ll either need to synchronize or embed your custom profile.
If your task is to deliver just the PSD file to a client, you still need to remember that colors might display slightly differently. And if you work not only in web design but also with logos and photography, it's even more critical to configure your profiles for broader gamut and richer tone range.