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COLOR MANAGEMENT the Color Management Challenge

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COLOR MANAGEMENT the Color Management Challenge Color Workflow Taking the Mystery Out of Production Consistent Color for Photography Capture Edit Output Some Capture Tips • If shooting jpegs do not use Auto White Balance; use a Preset • Pay attention to Exposure and Histograms • To capture all that your dSLR can capture use RAW and process as ProPhoto 16 bit (more dynamic range) • Have a consistent way of doing things in terms of file naming and archiving. Programs like Lightroom 4, Aperture, Image Ingestor Pro, ACDSee and Media Pro (Capture One) can help • Need for redundant backup. Images on main hard drive will slow the CPU down • Follow UPDIG Guidelines – covered later Bits / bitdepth • A bit is the smallest piece of information recorded. • Bits per pixel refers to the number of colors available. • 8 bit files (common to jpegs) = 256 colors;16 bits = 65536 colors • As noted, a digital camera in RAW can capture more color than current output methods can reproduce. Most cameras actually record in 12 – 14 bit now. Why lose the color? • 16 bit files allow more editing flexibility – Photoshop uses 12 – 14 bit files as 16 bit files. Neat RAW Tool XRite Color Passport $99 Hardware and software. Stand alone or Lightroom plug-in Care and Feeding of Your Memory Cards MEMORY • Always format your cards in the camera they will be used in. • Never delete images from your card in the computer. • Always turn off the camera before inserting or removing a card. • When shooting never fill the card completely – images can get corrupted. • Make sure batteries have enough charge • Store properly • Use a card reader. What Happens When We Don’t Respect Our Memory • Recovery is necessary • Various Software Programs may help - $39 and Up • A Professional Service ($100/mb) may be necessary if card is not recognized by your computer Inside a CF Memory Card COLOR MANAGEMENT The Color Management Challenge • Color Management is the key to knowing that what your mind saw, what your camera (or scanner) recorded, what your monitor shows you and what your lab or printer delivers are all the same - repeatedly and predictably. Basically… Simply put, Color Management allows us to better control the translation of color from one device to another The process is device dependent. Each device sees color differently. Through proper color interpretation all devices will “speak” the same language according to RGB data. If I am color managed and send you a file which you view on your color managed equipment, we will both see the file the same way. In Other Words “Buy me some blue paint” Without RGB numbers for all colors we would be unable to match standards 1 2 3 4 5 If I said to you “Please pick up a gallon of #2”, we could utilize a standard blue we picked up at Home Depot or a private paint company selling the same paint from the same manufacturer. In photographic applications color management uses numbers for each device. Calibration & Profiling allow standardization so we all see the same way. Key Words • ICC: the International Color Consortium. Group which establishes color standards. • COLOR SPACE (WORKING SPACE): Defines what is possible. They are containers for color. • CALIBRATE: The process of adjusting specific devices to ensure that they produce the most accurate color possible. Can involve monitor adjustments and/or the use of external hardware & software to precisely measure the output of a monitor’s phosphors. Calibration is intended to make a device produce colors that are as close as possible to an objective standard. This process will allow one to create an accurate ICC profile which is saved and loaded each time the CPU starts. • PROFILE: Defines how a device deviates from a Color Space • COLOR GAMUT: all devices and working spaces have gamuts. Device colors outside the working-space gamut are clipped to nearest color in working-space. RENDERING INTENT converts colors outside of a device or color space’s gamut to handle colors out of that gamut. • WORKING ENVIRONMENT: physical space where color work is done. The ICC – International Color Consortium • Provides the keys to maintaining uniformity in digital color reproduction across multi- platforms so that color you see and want others to see is the same. Each piece in the color management chain needs to be calibrated and work in tandem with an appropriate profile. Why is Color Management Important? Consistency What will it do for you? A) Save time - Make each print you need just once B) Save money - Reduce wasted paper and ink C) Save your Sanity - Eliminate problems before going to print or sending files No Color Management in Place Color Management System in Place Color Management System – Another View NO Color Management Color Managed Every System Device has to be Color Managed What We Want to Accomplish • Accurate viewing and editing of images • Consistent and reproducible color across all applications • The ability to create consistent and reproducible prints from our files • Universality so other users see what we see Color Space A Color Space is a Description of the Ranges of Colors that can be Represented • Common Color Spaces include: • sRGB • AdobeRGB • ProPhoto RGB •CMYK - Press Graphic Description of Color Spaces “Color is like a sack-o-potatoes” Adobe RGB Pro Photo RGB sRGB 5 lb. 10 lb. Scene Color Gamut 100 lb. Potatoes Gamut = Range of Colors Available “Color is like a sack-o-potatoes” Epson Premium Luster Adobe RGB Pro Photo RGB sRGB 5 lb. 7 lb. 10 lb. Scene Color Gamut Putting 5 lbs of potatoes in a bigger sack doesn’t mean that I have more 100 lb. potatoes! Potatoes Profiles • Profiles “describe” the color of a given device • In order to make a profile, the device must be in a “known” or “measured” state • If an element, such as ink or paper changes, then the profile is invalid sRGB Color Space • The color space is small, but it is a commonly used space. • If you use an outside lab, and don’t print on an inkjet printer, this is the color space you will need to use. The computers for labs will mostly accept sRGB images. This is especially true for the wedding/portrait market. • Verify that the lab you use is in the sRGB color space. sRGB Color Space continued •If you output your images to web devices, web sites, blogs or on-line social networks, the files will look the best in sRGB. Additionally, they will be converted to sRGB for posting. So it would be better if you corrected the images than letting the upload change them. Some browsers are now color managed. •Due to the nature of this color space, most images will lose the saturation you captured. Adobe RGB • Maintains most of the inkjet printer color range • Completely covers CMYK • Is a good place to convert down to sRGB • Is now available on professional graphics monitors • Allows problem-free use of 8-bit files ProPhoto RGB • The only space that maintains all the color that DSLRs are capable of capturing • Today’s best coverage for color gamut • Great for fine art large format printing COLOR THINK COLOR SPACE DEMO Profiles • Your display and printer each use profiles that describe how to create color. • When you print an image, the printer profile looks at the profile used by your monitor and translates the colors into the closest matches available. Basic Working of Color Management • When a file comes in from an image source (camera or scanner) and is opened in Photoshop or when printing from Photoshop, a color transformation is taking place. • When transitioning from one color space to another, it goes through a connection, to get to its intended space. • All devices and work spaces have a gamut (range) described by the ICC profile. Implement a Workflow Where the Color is... • ICM is the “engine” on a PC. *Windows/system32/spool/drivers/color folder - Or you can Right click and Install Profile • Color Sync is the “engine” on a Macintosh *HD/Library/Color Sync/Profiles Profiles •Three main types: –Monitor (LCD/LED) –Input (Scanner/Digital Camera) –Output (Printer/Proofer) REMEMBER THIS? CRT Monitors used in very dim light! Heavy! Bulky – Lots of Real Estate Needed! Types of LCD Monitors • TN – Poor Viewing Angle; Shallow Gamut and Bit Depth • PVA – Loved by Gamers; not as accurate as IPS but used by many photographers. EIZO Flexscan is a good example. • IPS – preferred for serious, accurate editing. Highest pricing but units are getting less expensive Monitor Background • Buy a “Photographic” Quality Monitor – Controls for Contrast and Brightness as well as RGB – Good Angle of View – Many offer dedicated software – LaCie, Eizo, some NEC. $$$ but “smart monitors”. DCC! AdobeRGB coverage – Apple Cinema and iMacs are pretty but not accurate – brightness control only – Goal is to have a good “Screen to Print” Match! Current Suggestions for Photographic Monitors • EIZO Flexscan SX2262 – 23”, AdobeRGB Capable - $899 • EIZO Coloredge CG223W – 23” = AdobeRGB Capable - $1450 • NEC PA Series – 23” – 30” – AdobeRGB Capable - $700 - $2200 • EIZO Coloredge CG243W – 24” – AdobeRGB Capable - $1999 • EIZO Coloredge CG303W – 30” – AdobeRGB Capable - $5100 • Lacie 526 – 26” – AdobeRGB Capable - $1589 • Apple iMacs – Various Sizes – sRGB only! - $1100 - $1999 Monitor •Reasons to Profile a monitor – Brings monitor to a “standard” (ICC) – Monitor will be similar to other monitors using the same standard. – Laptops are not accurate Laptop vs Eizo CG22W Laptop AdobeRGB & Eizo CG22W Eizo Profiling Devices…Hardware & Software • X-Rite Eye-One Display Pro • X-Rite ColorMunki Photo • Datacolor Spyder 4 $449.99 $114 - $249 $249.00 Monitor Only Monitor, Projector, Print Monitor Only Profile Creation Monitor “Standards” Suggestions for Mac or PC •White Point : D65 or 6500k or Native •Gamma : 2.2 •Luminance : 90 – 140 Setting depends on viewing environment.
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