Color Workflow Taking the Mystery Out of Production Consistent Color for Photography

Capture Edit Output Some Capture Tips

• If shooting do not use Auto White Balance; use a Preset • Pay attention to 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 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 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.

• (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 : all devices and working spaces have . 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

• : D65 or 6500k or Native

•Gamma : 2.2

•Luminance : 90 – 140 Setting depends on viewing environment. 100 – 120 for moderate lighting 100 or less for a dim room Also used to match multiple monitors. Test File • A good test file helps evaluate both the accuracy of your monitor profile and your screen to print match.

If You Are Doing Your Own Printing

• Profile the Monitor based on the previous parameters

• Print a Test Print of your Test File

• View the print under 5000K viewing light and compare to monitor

• If there is a difference change Monitor Profile input settings and profile again:

– Print too dark. Monitor is too bright. Use a lower luminance.

– Look at . You will need to change the White Point accordingly.

– The higher the Kelvin value the Bluer your monitor appears. Lower the K – Lower Kelvin values are warmer.

– It is not unusual to have 5500 or 5000K as your setting for warmer toned Natural Papers Kelvin Chart Monitor Profiling

Remember….

If any of the following changes after the profile is created, the profile is invalid.

• Monitor settings (hardware) • Monitor moved to a different computer • Color settings changed. (Software) Monitor Profiling

• Re-calibrate your monitor on a regular basis. • Every four weeks is a good guide.

Software can remind you. Overview of a Digital Darkroom

To help ensure color accuracy, a "digital darkroom" should be illuminated by D50 light sources to levels lower than the monitor brightness. Walls, ceiling, cabinets, and work surfaces should use neutral colors. Window light should be baffled so that a constant level of illumination is maintained throughout the work day. Use Proper Lighting and Watch Your Workspace

• Monitor should be brightest light in room • Consider a monitor hood to cut down on glare • Use a 5000k task lamp or viewing booth to evaluate prints • Room should have consistent light level and color balance • May need to use drapes, shades or cutouts to block light • Room should be neutral

Monitor Hoods

You Might Want to Build Your Own Some 5000k Viewing Options Manufacturing Device Profiles •All based on the same concept: – Start with known color values – Colors are run through the device being profiled – Results are measured – Measurements are compared to initial color values – Differences between expected and measured values are used to compute and save the profile Paper vs AdobeRGB

Wireframe = AdobeRGB Output Profiles • The three main characteristics for a printer profile are the Printer, Ink and Paper combination. Some also add Creation Date • A typical name for a printer profile may read as: SP3800_mk_matte Printer Ink Paper Output Profiles • Output profiles can be obtained from various sources. • Download from manufacturer’s web site. • Have custom profiles created by Calumet. • Create your own using a spectrophotometer. Creating a Custom Profile • Paper manufacturer profiles may be close, but there are still some variables. • A custom profile is specific to your printer and your paper. • As your printer ages, or conditions change you have control over your profiles. Output • Profiling an output device does several desirable things. – Helps ensure consistent color over time. – Helps different printing devices to achieve similar color to each other. – Allows one device to “simulate” the color of other devices. – Will NOT make a device of poor quality perform better than it is capable of. Output Profile • Properly print a manufacturers’ profile target without any Color Management applied • Target will be read in via Spectrophotometer – Datacolor uses a Spectrocolorimeter called SpyderPrint –X-Rite uses the i1Pro One more thing about profiles…

• Creating profiles will improve the match between your printer and your display -- improve but not make perfect Rendering Intents

• Rendering Intents deal with colors that are out of the gamut (range of colors available) of a given device. No device can reproduce all colors and all devices reproduce color differently. Involves the use of a source and a destination profile.

• There are two choices for photographic images – Relative Colorimetric – Perceptual • If no colors are out of gamut then Rendering Intent has no effect. Rendering Intents •Perceptual

– Photographic; preserves color appearance by changing the colors of the source image to fit into the destination space. Any colors that are out of gamut are moved back in. – Sacrifices accuracy to produce a more visually pleasing image. – Any colors that are “in the way” are moved to maintain the relationships between colors – Source with wide gamut/destination with small gamut Rendering Intents •Relative Colorimetric

– Used when color accuracy is the most important concern and is the default rendering intent for Photoshop. – Works well where source and destination gamuts are similar. – Any colors that are out of gamut are moved back in – All colors in gamut stay where they are – May cause problems on fine gradations Miscellaneous • Perceptual Rendering Intent – only use if you have out-of-gamut colors – fast and easy – de-saturates all colors, not just out-of-gamut colors, in all areas of image – maintains correct relationships between colors – proprietary “secret sauce” methods may provide most pleasing image – only works with printer profiles, not with working-space profiles (sRGB, Adobe RGB, etc.) • All conversions between working-spaces are relative colorimetric, regardless of what setting you pick More Information • Convert to Profile, do not Assign – only Assign when there is a missing profile, such as from a scanner or an image from the web • Converting between color spaces keeps the colors the same, if possible – out-of-gamut colors will be pushed from one color space to the next with relative colorimetric or perceptual intent – all colors will be compressed with perceptual, and colors may still be clipped • When converting between working spaces, all conversions are relative colorimetric – for Pro Photo to Adobe RGB or sRGB use Gamut Warning, Proof Colors, and a /Saturation to adjust color, if necessary Questions, Myths and Theories •“Someone said I should convert to ProPhoto or RGB and get more saturated colors.”

– If you shot your images in a smaller color space, then converting to a larger color space will not add more colors. Questions, Myths and Theories • “I know they say I should convert images to sRGB for the web, but I send Adobe RGB because I like my images to be more saturated.

–The web/Internet will throw away the Adobe RGB primaries and use sRGB primaries. Your images will look less saturated than if you had converted them to sRGB. Questions, Myths and Theories • “I shoot in jpg mode with sRGB - why capture colors that you can’t print?”

– sRGB will arbitrarily clip out-of-gamut colors. By capturing in a large color space, you can decide at print time whether to clip them, or modify them in a more controlled, thought-out manner. Questions, Myths and Theories • “I shoot in Raw mode and the Adobe RGB color space.”

– Raw does not have a color space. It is only when you save the Raw file as a .psd, .tiff, or .jpg that a color space is chosen. Questions, Myths and Theories • “My prints are darker than my monitor, and they have a red color cast!”

– Holding the print up next to the monitor often puts it in a dim-light that is tungsten. The dimmer light will make the print look dark and tungsten light will make it look redder than a D65 or even a D50 monitor. Turn down your LCD brightness to lessen this problem. – Use a color-corrected (5000k) print viewing station! – Dark prints usually indicate that your monitor is too bright – Prints that are green and light generally indicate double profiling Some sources • Real World Color Management – Bruce Fraser • Color Management for Photographers – Andrew Rodney • Color Confidence: The Digital Photographer’s Guide to Color Management – Tim Grey • 301 Inkjet Tips and Techniques – Andrew Darlow • Mastering Digital Printing – Harald Johnson

• You Tube – Color Management • Steve’s Digicams (Web) • Luminous Landscape (Web) • ProPhoto Home • Northlight Images by Keith Cooper (Web) • Forums – Apple, Adobe

Fabulous Photoshop Book

“Photofinishing with Photoshop” By John Watts

E-Book or Hard Copy The Answer www.wattsdigital.com For Photographers! Lightroom 4

Great E-Book & Hard Cover Book

Great Lightroom Blog A Must Have! www.lightroomqueen.com PS Variations on an Image •Questions????

Image, Adjustments, Variations Variations

PRINTING? SOFT PROOFING? •Thank you!

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