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Followed by the color conversion, when you want to preview the output file, you need to complete the conversion of two colors - one from the color space of the image to the color space of the output device to preview, the second is the conversion from the device's color space The color space of the display - while in the 5.5 version, the same color settings are used for these two conversions.
Workpiece conversion from image to output device usually adopts Perceptual conversion or Relative Colorimetric conversion method when black point compensation is selected, ensuring that the black range of the original image can be mapped into the space of the output device. . None of these two methods are suitable for conversion from an output device to a display. The Perceptual conversion converts the file space to the display and compresses the gamut, while the Relative Colorimetric using the black point offset shifts the position of the white point and expands the output of most processes. Black tone.
It is hoped that the two color conversions will be separated during the actual operation, and this function is included in Photoshop 6.0.
Convert from Image Space to Output Device Space Select Proof Setup from the View drop-down menu and select the Custom command from its lower menu. (Note: The Proof Colors command is also in the View menu. It has the same function as the CMYK Preview in the previous version: it provides a more accurate preview of the files you want to convert to CMYK mode. The new Custom Proof Setup is even more useful for CMYK output, and you can also preview RGB output files.) After selecting the Proof Setup > Custom command, a Proof Setup dialog will pop up as follows: 
Figure 1: The Proof Setup dialog box. A small, unassuming dialog contains powerful features.
In the submenu of the Setup menu in the upper part of the dialog box, there are already saved proofing settings. These settings are saved in a fixed folder. If you are using the Windows platform, the folder address is: Program Files /Common Files/Adobe/Color/Proofing; If using a Mac platform, the folder address is: System Folder/Application Support/Adobe/Color/Proofing.
In the next Profile (Device Description File) menu, you can select the profile of the output device that you want to emulate on the screen. In which you can select almost any device, you may not find description files for some input devices (such as some scanners or digital cameras). This is normal because soft proofing is performed on the screen of an input device file. There is no point in it. In this menu, you can select RGB, CMYK, or grayscale printers; you can also select displays, etc.
The function of the Preserve Color Number radio button is to help the user see what happens if an unconverted file is sent to an output device that specifies the profile. This function is only available if the output file and output device description file share the same color mode, such as an RGB file and RGB output device description file, or CMYK file and CMYK output device description file. It can show how a CMYK file prepared for a printing process is output in another printing process. In this case, using this box is especially useful: it can help you decide that for a selected output device, Does it need to be properly converted or edited to work properly.
Select the Preserve Color Number radio button and the Intent menu under it will be grayed out because you are actually telling Photoshop that you don’t want to convert the image so you don’t need to apply any of the conversions. method.
From the Intent menu, you can choose how to convert, which is how to convert the file space to the proofing space. You can see how the different conversion methods affect the image. Menu items usually default to the default conversion of the device description file (not always Perceptual), so make it a habit to check this setting every time you open the Custom Proof Setup dialog.
The conversion from the proofing space to the display space next sets the transition from the proofing space to the display space. By default, the Ink Black and Paper White checkboxes at the bottom of the dialog box are closed. At this time, Photoshop automatically completes the conversion from the proofing space to the display space by using the Relative Colorimetric conversion method that includes black point compensation. This is the same operation as the old version of Photoshop. It only works in two cases. Accuracy can be maintained: one is that no paper is displayed on the image, and the other is that the dynamic color compression that occurs during printing is not displayed.
The Relative Colorimetric (relative colorimetric) conversion method calibrates the whiteness of the destination (the white of the proofing space is the whiteness of the paper when printing on paper). The calibration of the black point compensation is also the black of the destination (in this case, the blackness of the display). In most cases, the white of the monitor is brighter than the white of the paper, and the black of the display is darker than the printed black, especially when printing on less-smooth paper. 
Figure 2 shows a manuscript and a soft proofing image. The equipment was Epson Stylus Photo 1270. The paper used was Epson Heavyweight Matter, Epson's heavier matte paper, Ink Black and Paper. The white box is closed.
Comparing the two images, it is found that there is no difference between the two figures, except that the saturation of the soft-proof image is slightly lacking.
Figure 2 above for the original, the following picture is a soft proofing image
Select Ink Black and turn off Black Point Compensation. You will see that the black color in the image has become bright. The dark part of the image has a feeling of being washed, as shown in Figure 3, but this is the case. It is more similar to the effect printed on paper. However, unless you specifically want to keep the details of the dark part, this setting is not recommended: because it can accurately show the details of the dark part, it does not show that it is included when printing on paper. Color drift and compression of highlights. 
Figure 3 Turn off Black Point Compensation to make the image brighter
With Paper White selected, Photoshop executes the Absolute Colorimetric method to convert the proofing space to the monitor. Ink Black is not selectable when the Paper White box is checked. This is because Black Point Compensation cannot be applied to Absolute Colorimetric: because it is Absolute, so no matter what the black value is printed, it will be displayed directly on the screen. The Absolute Colorimetric conversion method also shows the paper color and dynamic compression range when printing, as shown in Figure 4. 
Figure 4 uses the Paper White control tool to introduce the color of the paper into the image for the most accurate soft proofing.
This is the most accurate proofing for printouts, but it takes time to become familiar with it. When Paper White was selected, the image was not as vivid as it was because the dynamic range of the image was compressed in the process. This is often frustrating for users. There is a very useful technique for dealing with this situation. When selecting Paper White, do not stare at the image. If you don’t actually see the image change, You can easily accept the effect of soft proofing.
Using soft proofing can optimize the output to a specific device file, such as adjustment of the gradation, saturation adjustment, and sometimes can adjust the hue. You can use the Adjustment Layers menu to create a unique output layer and combine it into the main file. This can use the same master file, different output layers output to a variety of different devices.
When you need to output a soft-proofed file to an actual device, do not use the space in the Proof Setup dialog as the source space. Instead, use the document space and set the Print Space to the following two device description files: 1. The device description file selected in Proof Setup (to confirm the print driver at this time) All color conversions are turned off.) 2. Device description file in the printer color management (This is to confirm that the color conversion on the print driver is on).
There is only one case where the space in the Proof Setup dialog is used as the source space, that is, when other output devices need to be modeled as output devices selected in soft proofing, such as simulating the final CMYK printer with an inkjet printer. . To realize this process, you need to first soft proof the CMYK file of the printer, and then set the space set in the Proof Setup dialog box as the source space, and proofing by the inkjet printer.
Once you have mastered how to use Photoshop 6.0 for soft proofing, you will find that the output is surprisingly less and less, the image is more predictable, and you can save a lot of costs.
Soft Proofing with Photoshop 6.0
With the addition of many new features in Photoshop 6.0, soft proofing is one of the most exciting features. Soft proofing in Photoshop 5.5 may encounter two major problems: The first is simple, 5.5 does not have the function of soft proofing RGB files, if you want to send the file to the output device such as laser imagesetter or inkjet printer At that time, soft proofing could not be achieved.