Back in the early 1980s you had to be in the design or publishing business to recognize terms like “font” or “kern.” Today, the ubiquity of person-al computers and word-processing applications has made these terms com-monplace. As individuals tackled the arduous task of learning how to work with a personal computer, they also learned much of the terminology of pub-lishing and typesetting, perhaps without even knowing it. Today, names like Helvetica are known to just about everyone who has spent any time with a PC, and terms like typeface, typestyle, and line spacing are as common as fleas on a dog. It will be interesting to see if the astounding popularity of digital photography will have the same impact on color management. The Challenges of Digital Photography Over the past five years, as digital photography has rolled over film photog-raphy like a tsunami, it has placed much of the image-processing responsibil-ity back in the hands of the photographer. Handing film off to the lab for processing and printing has been replaced by uploading, ingesting, tagging, converting, color balancing, processing, scaling, and printing—not to men-tion image archiving. As photographers have made the transition from film to digital, it has become quite apparent that many of the benefits of digital pho-tography are overshadowed by a demanding digital “workflow,” the term used to describe the system of digital image management from capture, to output, to archiving, as well as the subsystems that make up the entire process. Without a well-defined and functioning process, moving tens, hun-dreds, and even thousands of digital images from camera, to computer, to print can be a very time-consuming undertaking. Digital photographers who have taken it upon themselves to master this process have had to tackle everything from how to assign a copyright to understanding the proper method for converting a RAW image. There are image ingestion workflows that involve renaming and applying metadata to files. There are RAW conversion workflows for turning camera RAW photo-graphs into standard imaging files. There are image processing workflows, image sharpening workflows, printing workflows, archiving workflows. And, of course, there is the color-management workflow.Building a Digital Photography Workflow.
Author(s): Phil Nelson
Year: 2007
Language: English
Pages: 128
Tags: Библиотека;Досуг;Фотография;Обработка фотоизображений;
Table of Contents......Page 4
Acknowledgments......Page 6
About the Author......Page 7
Foreword......Page 8
Building a Digital Photography Workflow......Page 9
The Color Problem......Page 12
Working with Clients Who Don’t Understand Color Management......Page 13
Predictable Color......Page 14
Aspects of the Workspace Can Negatively Impact Color Perception......Page 17
The Objective of This Book......Page 18
A Typical Workflow: No Color Management......Page 19
A Typical Color-Managed Workflow......Page 20
RGB and CMYK Color Models......Page 23
CMYK......Page 24
Different Devices Define the Same Color Differently......Page 25
Device-Independent Color Space......Page 26
LAB Color......Page 27
ICC Color Profiles......Page 28
Working Spaces......Page 29
System-Level Color Management......Page 32
Assigning a Profile......Page 33
Converting to a Color Space......Page 34
Relative Colorimetric......Page 36
Absolute Colorimetric......Page 37
Embedding Profiles......Page 38
Define a Standard Working Space and Source-to-Destination Conversions......Page 39
Device Manufacturers, Application Developers, Paper Manufacturers......Page 40
Build Your Own......Page 41
Macintosh......Page 42
Windows......Page 43
Shortcomings of System-Level Color Management......Page 44
Color Settings in Photoshop CS2......Page 45
Setting Up Phase One Capture One Pro......Page 48
Hardware for Setting Up Color Management......Page 51
Calibration......Page 52
Types of Displays......Page 53
Display Calibration......Page 54
White Point......Page 56
Display Profiling......Page 57
Testing Your Calibration and Profile......Page 58
Creating Input Profiles......Page 59
RAW Files......Page 60
JPEG and TIFF Files......Page 64
Scanners......Page 69
Creating Output Profiles......Page 72
Inkjet Printer......Page 75
Building RGB and CMYK Output Profiles......Page 77
Media Type......Page 83
JPEG/TIFF Files......Page 84
The Scanning Workflow......Page 85
Outputting Images......Page 88
Inkjet Printer......Page 89
Outputting to a RIP......Page 91
RAW Converters that Print......Page 92
Redundant Conversion......Page 93
Assigning the Monitor’s Profile......Page 94
7. Proofing......Page 95
Soft-Proofing......Page 96
Gamut Warning......Page 102
Hard-Proofing......Page 105
RIPs that Proof......Page 110
Room Lighting......Page 111
Practical Appraisal......Page 114
The Color-Critical Workstation......Page 115
9. The Extended Workflow
......Page 117
Working with Photo Labs......Page 119
Get an ICC Profile......Page 120
Converting and Embedding......Page 121
Web References......Page 123
Index......Page 124
