Color Management. R. Mac Holbert
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1 Color Management R. Mac Holbert
2 Color Management Is Important! It s Relatively Inexpensive! It s Not Difficult To Understand!
3 What is Color Management? Color Management is the name given to processes and technologies whose purpose is to maintain the consistent color appearance of objects and images as they are reproduced using a variety of different devices such as scanners, cameras, monitors and printers.
4 Color Management Was Designed To Insure Consistent AND Expected Result
5 To Accomplish This Each Step of the Process Must Be Characterized and Calibrated to an Agreed Upon Standard!
6 These Standards Are Determined by the International Color Consortium (ICC)
7 For Each Step in the Process a Profile of the Device Used is Created
8 What Is a Profile? A data file that describes the color behavior of a physical device such as a scanner, monitor, camera or printer. Used by color-management systems to define and match color
9 Common Profiles Used in Digital Photography Capture Camera (Camera Profile) Scanner (Scanner Profile) Image Processing Imaging Software (Color Settings) Display Device (Monitor Profile) Output Printer (Printer Profile) Display Device (Display Profile)
10 Color Managed Workflow
11 Let s Start At the Beginning Capture
12 Human Vision
13 Human Vision ProPhoto AdobeRGB (1998) srgb
14 All the colors in both srgb and Adobe(1998) can be found in ProPhoto srgb Adobe1998 ProPhoto
15 Not all the colors in ProPhoto are available in either Adobe(1998) or srgb srgb Adobe1998 ProPhoto
16 Choosing a Working Color Space
17
18 srgb
19 Adobe RGB(1998)
20 ProPhoto
21 Epson 9900 Exhibition Fiber
22 srgb Mapped Into Epson Exhibition Fiber Profile srgb
23 Adobe RGB(1998) Mapped Into Epson Exhibition Fiber Profile Adobe RGB(1998)
24 ProPhoto Mapped Into Epson Exhibition Fiber Profile ProPhoto
25 Should You Convert All Your Old Files To ProPhoto?
26 NO!
27 Same Amount of Color Information in a Bigger Container srgb Adobe ProPhoto
28 Smaller Working Color Space Cannot Hold All The Data! ProPhoto Adobe srgb
29 Your Working Environment
30 Your Monitor Your Desktop Ambient Light Light Temperature
31 Monitor Calibration
32 Your Monitor is Your Window Into Your Image
33 If Your Monitor Isn t Calibrated You re Not Seeing What You You Need to be Seeing
34 Proper Calibration Can ONLY Be Accomplished With a Hardware/ Software Solution
35 The Human Eye is the Perfect Tool To Navigate A Human Being Through the World
36 It s Probably the Worst Tool For Monitor Calibration!
37 That s Because of Visual Adaptation
38
39
40
41 To Calibrate Properly We Need To Use A Tool That Will Provide Us With Empirical Data
42 This Tool is a Colorimeter or Sometimes a Spectrophotometer
43 Another popular colorimeter: ColorVision - Spyder The Eye-One Display Pro From X-rite
44 Things to consider when calibrating your monitor: The type of monitor The ambient light Placement of monitor Output type - Display or Print Personal preferences
45 Your Desktop
46
47
48
49 Color Persistence
50 Contrast Ratio Monitor -vs- Paper
51 Monitor Rendition
52 Paper Rendition
53 Color Settings In Photoshop
54
55 Common Default Mismatch Messages
56 Assigning -vs- Converting
57 What s the Difference Between Assigning and Converting? Assign does NOT alter the data. It only changes how the image is displayed. It is a non-destructive alteration. Convert changes the actual RGB numbers to match the new color working space. It is a destructive alteration.
58 Assigning a Working Color Space srgb Adobe RGB ProPhoto
59 This is R=167, G=0, B=53 in srgb Working Color Space
60 This is R=167, G=0, B=53 in a ProPhoto Working Color Space The actual data is in srgb color working space but the assigned profile tells the color management engine that it s ProPhoto
61 The Problem...
62 A RGB Color Coordinate in One Working Color Space Does Not Necessarily Refer to the Same Color Appearance in a Different Working Color Space
63 R=255, G=0, B= 255
64 srgb Adobe RGB ProPhoto All three share the EXACT same color coordinates! R=255, G=0, B=255
65 Printer Profiles
66
67
68
69 Rendering Intent
70 There Are Four Common Rendering Intents: Perceptual Saturation Relative Colormetric Absolute Colormetric Only Two Are Important in Image Optimization
71
72 Epson Exhibition Fiber Gamut Projection The Image The Image The Image The Image The Image
73 Selecting a Rendering Intent Informs the Color Engine On How To HandlesThese Out-of-Gamut Colors These Colors Do Not Exist in the Color Space on Epson Exhibition Fiber Paper Printed on the All the Colors Outside of the Black Are Out-of-Gamut
74 For Colors That are Slightly Out-of-Gamut: Relative Colormetric Rendering Intent Epson Exhibition Fiber Gamut Projection The Color Engine Simply Replaces the Color with the Mathematically Closest In-Gamut Color.
75 For Colors That are Radically Out-of-Gamut: Perceptual Rendering Intent In This Case the Color Engine Assigns a New Color That May Not Be the Mathematically Closest, But is More Closely Matched to How the Human Eye Perceives the Original Color
76 Soft Proofing
77 Print Proofing / Final Print
78 Viewing Your Proof
79 I Recommend SOLUX Bulbs
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