راهنمای عکاس برای مدیریت رنگ: تکنیک‌های حرفه‌ای برای نتایج یکسان

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 Handing film off to the lab for processing and printing has been replaced by uploading, ingesting, tagging, converting, color balancing, processing, scaling, and printing—not to men-tion image archiving.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. Table of Contents 4 Acknowledgments 6 About the Author 7 Foreword 8 Introduction 9 The Challenges of Digital Photography 9 Building a Digital Photography Workflow 9 1. Why Color Management? 12 The Color Problem 12 The Extended Photography Workflow: Working with Clients and Service Providers 13 Relying on Service Providers 13 Working with Clients Who Don’t Understand Color Management 13 The Benefits of Color Management 14 Predictable Color 14 Reduced Waste of Media and Time 17 Improved Communication with Members of the Extended Workflow 17 Real World Expectations: The Colors Will Not Always Match! 17 Certain Devices Cannot Perceive, Display, or Render All the Colors in Your Image 17 Aspects of the Workspace Can Negatively Impact Color Perception 17 Outside Services Cannot Always “Get It Right” 18 The Objective of This Book 18 2. Preview: A Color-Managed Workflow 19 A Typical Workflow: No Color Management 19 A Typical Color-Managed Workflow 20 3. Color-Management Concepts 23 RGB and CMYK Color Models 23 RGB 24 CMYK 24 The Color Space and Color Gamut 25 Device-Dependent Color Space 25 Different Devices Define the Same Color Differently 25 Device-Independent Color Space 26 The Importance of Device-Independent Color 27 LAB Color 27 Profile Connection Spaces 28 ICC Color Profiles 28 Working Spaces 29 Color-Management Methods 32 Application-Level Color Management 32 System-Level Color Management 32 Assigning Color Meaning vs. Converting Color Data 33 Assigning a Profile 33 Converting to a Color Space 34 Rendering Intents 36 Relative Colorimetric 36 Absolute Colorimetric 37 Perceptual 38 Saturation 38 Embedding Profiles 38 4. Software Setup 39 Define a Standard Working Space and Source-to-Destination Conversions 39 Where Do ICC Profiles Come From? 40 Device Manufacturers, Application Developers, Paper Manufacturers 40 Profile Services 41 Build Your Own 41 Where Do ICC Profiles Live? 42 Windows 42 Macintosh 42 System-Level Color Management: Setting Up 42 Macintosh 42 Windows 43 Shortcomings of System-Level Color Management 44 Application-Level Color Management: Setting Up 45 Color Settings in Photoshop CS2 45 Setting Up Phase One Capture One Pro 48 5. Building a Color-Managed Workflow 51 What Is Needed? 51 Hardware for Setting Up Color Management 51 Software for Setting Up Color Management 52 Device Calibration vs. Profiling 52 Calibration 52 Display Calibration and Profiling 53 Types of Displays 53 Display Calibration 54 White Point 56 Gamma 57 Luminance 57 Display Profiling 57 Testing Your Calibration and Profile 58 Creating Input Profiles 59 Digital Cameras 60 RAW Files 60 JPEG and TIFF Files 64 Scanners 69 Creating Output Profiles 72 Inkjet Printer 75 Building RGB and CMYK Output Profiles 77 Media Type 83 6. Walking Through the Color-Management Workflow 84 Inputting Images 84 The Digital Camera Workflow 84 RAW Files 84 JPEG/TIFF Files 84 The Scanning Workflow 85 Outputting Images 88 Graphic Design/Prepress 89 Worldwide Web 89 Inkjet Printer 89 Outputting to a RIP 91 RAW Converters that Print 92 Common Pitfalls 93 Redundant Conversion 93 Printer Presets 94 Assigning the Monitor’s Profile 94 7. Proofing 95 Final Output Device (FOD) Profile 96 Soft-Proofing 96 Gamut Warning 102 Hard-Proofing 105 RIPs that Proof 110 8. The Work Environment 111 ISO 3664 111 Room Lighting 111 Evaluating Prints 114 Practical Appraisal 114 Critical Color Matching 115 The Color-Critical Workstation 115 9. The Extended Workflow 117 Working with Photo Labs 119 Preparing Images for Clients 120 Clarify the RGB Color Space 120 Get an ICC Profile 120 Web Images 121 File Format 121 Converting and Embedding 121 Web References 123 Index 124 1584282045,9781584282044 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

providing Effective Color-management Strategies For Producing Predictable, Repeatable Color In Digital Images, This Sourcebook Expertly Educates Readers On The Complex Relationship Between Cameras, Scanners, Monitors, And Printers. Focusing On Understanding The Full Capabilities Of Popular Color-management Tools, Both Amateur And Professional Photographers Will Learn To Ensure The Proper Handling Of Image Files Throughout The Production Process. From Building A Color-managed Workflow To Properly Setting Up Software, This Authoritative Guide Is A Must For Photographers Wanting To Create Images Of The Highest Color Quality.

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learn How To Maintain Consistent Color Management Of Your Images Throughout Workflow On Multiple Devices-including Cameras, Scanners, Monitors, Software, Printers And More.