Foreword |
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xvii | |
Acknowledgments |
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xviii | |
Introduction |
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1 | (4) |
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Section 1 Color & Color Management |
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5 | (14) |
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6 | (3) |
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The Temperature of Light Sources |
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8 | (1) |
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Continuous versus Non-Continuous Light Sources |
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8 | (1) |
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9 | (2) |
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11 | (5) |
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Color Blindness and Color Deficiency |
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13 | (1) |
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13 | (3) |
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Metamerism and Metameric Failure |
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16 | (3) |
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2 Color Measurement, Reproduction & Management |
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19 | (22) |
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Describing and Remembering Color |
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20 | (1) |
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20 | (3) |
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20 | (1) |
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21 | (1) |
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21 | (2) |
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Color Measurement and Color Models |
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23 | (3) |
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CIE-xy Chromaticity Diagram |
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24 | (1) |
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25 | (1) |
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Color Measurement Devices |
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26 | (2) |
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26 | (1) |
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26 | (1) |
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27 | (1) |
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Colorimetry versus Spectrophotometry |
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27 | (1) |
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Additive and Subtractive Color Reproduction |
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28 | (3) |
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Additive Color Mixing Theory |
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28 | (1) |
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29 | (1) |
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Subtractive Color Mixing Theory |
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29 | (2) |
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What about the K in CMYK? |
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31 | (1) |
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31 | (1) |
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31 | (10) |
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31 | (2) |
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Closed-Loop Color Management Systems |
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33 | (1) |
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Open & ICC-Based Digital Color Management |
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34 | (1) |
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Calibration versus Profiling |
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34 | (1) |
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34 | (7) |
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3 Evaluating Image Quality, Print Quality & Test Pages |
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41 | (20) |
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42 | (1) |
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Analyzing Print and Image Quality |
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43 | (8) |
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Neutrality and Color Balance |
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43 | (2) |
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45 | (1) |
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45 | (1) |
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45 | (2) |
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Highlight, Shadow, & Color Details |
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47 | (4) |
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Tonal Quality and Smoothness of Gradations |
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51 | (1) |
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Color Rendering and Reproduction |
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51 | (1) |
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51 | (10) |
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55 | (1) |
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55 | (1) |
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55 | (1) |
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Saturated Colors with Detail |
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55 | (1) |
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Highlight and Shadow Details |
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55 | (1) |
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Color References (X-Rite ColorChecker) |
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56 | (1) |
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Creating Grayscale, Grayscale Steps, and Spectrum Gradations |
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56 | (2) |
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Grayscale, Grayscale Steps, and Spectrum Gradations |
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58 | (1) |
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58 | (1) |
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58 | (3) |
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4 Display Environments, Technologies, Calibration & Profiling |
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61 | (26) |
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62 | (1) |
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63 | (2) |
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Recommendations for a Color-Correction Environment |
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65 | (1) |
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Setting Desktop and Application Interfaces to Middle Gray |
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65 | (4) |
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69 | (2) |
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69 | (1) |
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70 | (1) |
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71 | (3) |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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72 | (1) |
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72 | (1) |
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Horizontal/Vertical Viewing Angle |
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73 | (1) |
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73 | (1) |
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Bit-Depth of the Internal Processor |
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73 | (1) |
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Hood and Integrated Calibration and Profiling Software |
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73 | (1) |
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73 | (1) |
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Calibration and Profiling of Displays |
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74 | (7) |
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Colorimeters and Spectrophotometers |
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74 | (2) |
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76 | (1) |
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76 | (1) |
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76 | (1) |
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77 | (3) |
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80 | (1) |
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Digital Projector Technologies |
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81 | (1) |
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Calibration and Profiling of Digital Projectors |
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82 | (2) |
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Display and Projector Quality Verification |
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83 | (1) |
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Display and Projector Profiles at the System Level |
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84 | (3) |
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5 Input Profiling, Scanners & Digital Cameras |
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87 | (18) |
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Scanner Profiling---Photographic Transparencies and Prints |
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88 | (8) |
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88 | (2) |
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90 | (1) |
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90 | (3) |
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Better IT8 Reference Files and Targets for Better Profiles |
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93 | (2) |
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95 | (1) |
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96 | (9) |
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96 | (1) |
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Building the Digital Camera Profile |
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96 | (1) |
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Applications for Profiling Digital Cameras |
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97 | (1) |
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This is a Very Specific Profile |
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97 | (4) |
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101 | (4) |
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6 Color in Photoshop & Lightroom |
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105 | (24) |
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Adobe Photoshop's Color Settings |
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106 | (7) |
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107 | |
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Creating a Custom RGB Color Space |
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10 | (103) |
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Showing the Document Profile |
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113 | (1) |
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Assign Profile or Convert to Profile |
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113 | (8) |
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113 | (2) |
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Practical Reasons to Assign a Profile |
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115 | (1) |
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115 | (1) |
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116 | (1) |
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116 | (2) |
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Black Point Compensation (BPC) |
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118 | (1) |
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118 | (1) |
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Practical Reasons to Convert to a Profile |
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119 | (2) |
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121 | (1) |
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121 | (1) |
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Color in Adobe Photoshop Lightroom |
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121 | (8) |
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123 | (1) |
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Color Processing in Lightroom |
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123 | (2) |
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Image Editing in Lightroom |
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125 | (1) |
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Benefits of Editing the Raw Image in Lightroom |
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125 | (4) |
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7 Basic Color Correction & Image Rendering |
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129 | (24) |
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Color Correction Philosophies |
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130 | (1) |
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Color Correction in Adobe Photoshop |
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131 | (14) |
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The Info and Histogram Panels |
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131 | (3) |
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134 | (2) |
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136 | (1) |
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Setting White and Black Points Using a Levels Adjustment Layer |
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137 | (1) |
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Correcting Color Casts and Improving Contrast with Curves |
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137 | (5) |
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Making Local Adjustments Using Layer Masks |
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142 | (3) |
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Color Correction in Adobe Photoshop Lightroom's Develop Module |
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145 | (5) |
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145 | (1) |
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146 | (1) |
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147 | (1) |
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Hue, Saturation, and Luminance (HSL) |
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148 | (1) |
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149 | (1) |
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150 | (3) |
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8 Output Profiling & Soft Proofing |
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153 | (36) |
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Building Custom Inkjet Printer/Paper Profiles |
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154 | (16) |
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Optimize the Printer and Printer Driver |
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154 | (1) |
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Output Profile or Printer Profile or Printer/Media Profile? |
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155 | (1) |
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156 | (4) |
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Print the Output-Profiling Patches |
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160 | (1) |
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More is Not Always Better |
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161 | (3) |
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164 | (1) |
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Measure the Output-Profiling Patches |
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165 | (1) |
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165 | (5) |
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When to Build a New Custom Inkjet Printer/Paper Profile |
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170 | (1) |
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Photo Black (PK) versus Matte Black (MK) Ink |
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170 | (1) |
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Generic versus Custom Profiles |
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170 | (1) |
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Generic Printer Profiles versus Generic RGB Profile |
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170 | (1) |
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Installing ICC Profiles for Use in Adobe Applications |
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171 | (2) |
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Possible Reason for Missing Profile in Adobe Applications |
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173 | (1) |
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Using Printer/Paper Profiles in Adobe Photoshop |
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173 | (9) |
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Print with Photoshop Print Settings Window |
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173 | (4) |
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177 | (4) |
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181 | (1) |
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182 | (1) |
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Using Printer/Paper Profiles in Adobe Photoshop Lightroom |
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182 | (7) |
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183 | (3) |
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186 | (1) |
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186 | (3) |
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9 Output Profile Optimization & Editing |
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189 | (20) |
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Printer Profiling Packages |
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191 | (1) |
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191 | (1) |
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Spectrophotometers with and without UV Cutoff Filters |
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192 | (1) |
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192 | (1) |
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Printer Configurations and Number of Inks Supported |
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192 | (1) |
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Output Profile Optimization Features |
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193 | (7) |
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Customized Lighting Condition |
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193 | (2) |
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195 | (1) |
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Iterative Profile Optimization |
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196 | (3) |
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Optical Brightener Compensation |
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199 | (1) |
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200 | (9) |
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200 | (1) |
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Output Profile Editing Options |
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200 | (2) |
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Output Profile-Editing Tools |
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202 | (4) |
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Profile Editors or Software Containing Profile Editors |
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206 | (3) |
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10 Color Utilities & Troubleshooting |
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209 | (30) |
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210 | (15) |
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210 | (3) |
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213 | (1) |
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213 | (1) |
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X-Rite ColorMunki ColorPicker |
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214 | (1) |
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215 | (2) |
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217 | (1) |
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Older Software and Hardware and the Mac OS |
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218 | (2) |
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220 | (1) |
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220 | (1) |
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221 | (4) |
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225 | (14) |
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226 | (1) |
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227 | (1) |
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227 | (1) |
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Understand Process and Workflow Components |
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227 | (1) |
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Isolate and Test the Components |
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228 | (1) |
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229 | (1) |
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229 | (2) |
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231 | (1) |
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231 | (8) |
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11 Raster Image Processors |
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239 | (18) |
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Bitmap (Raster) and Vector Graphic Files |
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240 | (1) |
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240 | (1) |
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How is a RIP Different from a Driver? |
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241 | (1) |
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The Main Benefits of and Reasons for Having a RIP |
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241 | (4) |
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Processing More File Types and Formats |
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241 | (1) |
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Print Quality and Accuracy |
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242 | (1) |
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Improved Workflow and Automation |
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242 | (1) |
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Proofing, Verification, and Halftone Dot Simulation |
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242 | (1) |
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Package Printing and Optimizing Paper Usage |
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242 | (1) |
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242 | (1) |
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243 | (1) |
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Calibration and Linearization |
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243 | (1) |
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Bypassing Imaging Software/Printer Driver/Operating System Problems |
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244 | (1) |
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Ways Color Management Hardware and Software Interact with RIPs |
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245 | (1) |
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Support for Measurement Devices |
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245 | (1) |
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Support for Custom Profiles |
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245 | (1) |
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Ability to Turn OFF ICC Profiles |
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245 | (1) |
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Output Color Space(s) RGB/CMYK |
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245 | (1) |
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245 | (1) |
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245 | (1) |
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245 | (12) |
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247 | (1) |
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Paper Manufacturer Profiles and the RIP |
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248 | (1) |
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ColorByte Software Imageprint RIP |
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248 | (3) |
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251 | (1) |
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251 | (1) |
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GMG ColorProof, DotProof, and FlexoProof |
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252 | (5) |
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Section 2 Digital Printmaking & Output |
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12 Digital Output Technologies & Print Labeling |
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257 | (26) |
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258 | (3) |
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258 | (1) |
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258 | (1) |
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Halftone versus Continuous Tone |
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258 | (2) |
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260 | (1) |
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260 | (1) |
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260 | (1) |
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261 | (1) |
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Dynamic Range/Gamut/Aesthetics |
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261 | (1) |
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261 | (3) |
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264 | (4) |
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264 | (1) |
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Silver Dye Bleach or Dye Destruction |
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264 | (1) |
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Silver Gelatin or Black-and-White |
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264 | (4) |
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Dye-Sublimation/Thermal Dye Transfer |
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268 | (1) |
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269 | (1) |
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Electrophotographic or Electrostatic |
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270 | (1) |
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Traditional Graphic Arts Printing Press |
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271 | (1) |
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272 | (1) |
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273 | (10) |
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274 | (4) |
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Photographic Digital Prints |
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278 | (5) |
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283 | (20) |
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Different Types of Inkjet Printers |
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284 | (3) |
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284 | (1) |
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Piezoelectric Drop-on-Demand |
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285 | (1) |
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286 | (1) |
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287 | (10) |
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287 | (1) |
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What is the Difference between a Dye and a Pigment? |
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287 | (1) |
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287 | (1) |
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288 | (2) |
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Paper and Media technologies |
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290 | (1) |
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290 | (1) |
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Coated Matte and Fine-Art Papers |
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290 | (1) |
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How do You Find the Coated Side of Matte or Fine-Art Papers? |
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291 | (1) |
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292 | (1) |
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293 | (1) |
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294 | (1) |
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Polyester and Vinyl Media |
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295 | (1) |
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295 | (1) |
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296 | (1) |
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Printing with Irregular, Thick, or Rigid Media |
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297 | (3) |
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Finding and Setting the Thickness of the Paper |
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297 | (3) |
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Choosing Media for Printing |
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300 | (3) |
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14 Black-and-White Digital Printmaking |
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303 | (16) |
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Problems of Printing Black-and-White Inkjet Prints |
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304 | (1) |
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304 | (1) |
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304 | (1) |
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304 | (1) |
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305 | (1) |
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305 | (1) |
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Black-and-White Digital Printing Methods |
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305 | (1) |
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306 | (2) |
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Tinting in the Black-and-White Adjustment Panel |
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306 | (1) |
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Toning the image with RGB Curves |
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307 | (1) |
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Converting to Duotone, Tritone, or Quadtone |
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307 | (1) |
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Improving Black-and-White Inkjet Prints |
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308 | (8) |
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308 | (5) |
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Epson's Advanced Black-and-White Printing Mode |
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313 | (3) |
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Near-Neutral and Neutral Ink-Sets |
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316 | (1) |
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Digital Photographic Black-and-White Prints |
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316 | (3) |
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316 | (1) |
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Resin-Coated (RC) Silver Gelatin Prints |
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316 | (1) |
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Fiber-Based Silver Gelatin Prints |
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316 | (3) |
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319 | (20) |
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320 | (1) |
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Sizing Images in Adobe Photoshop |
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320 | (4) |
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320 | (1) |
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320 | (1) |
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320 | (1) |
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What do We Mean by Resolution in Sizing the Image and How do We Choose the Correct Image Resolution? |
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321 | (1) |
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321 | (3) |
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10% Iterative Method for Increasing Image Size |
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324 | (2) |
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Third Party Image Sizing Software |
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326 | (2) |
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Image Enlargement Factors and Considerations |
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328 | (2) |
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328 | (1) |
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329 | (1) |
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329 | (1) |
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330 | (1) |
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Output Sharpening Methods |
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330 | (5) |
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331 | (1) |
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332 | (1) |
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332 | (1) |
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Pixel Genius PhotoKit Output Sharpener |
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332 | (2) |
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Nik Software Sharpener Pro |
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334 | (1) |
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Adobe Photoshop Lightroom |
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335 | (1) |
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335 | (4) |
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16 Collaboration with Printmakers & Service Bureaus |
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339 | (16) |
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Collaboration in Fine-Art Digital Printmaking |
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340 | (3) |
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How Do We Define an Artistic Collaboration? |
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341 | (1) |
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Benefits of Collaborative Printmaking |
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341 | (2) |
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Contemporary Collaborative Fine-Art Digital Printmakers and Studios |
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343 | (2) |
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343 | (1) |
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343 | (1) |
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343 | (1) |
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343 | (1) |
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343 | (1) |
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344 | (1) |
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344 | (1) |
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Communicating with Collaborators, Clients, and Service Bureaus |
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345 | (1) |
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Printing with a Lab or Service Bureau |
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346 | (1) |
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346 | (9) |
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17 CMYK Output: Printing Presses & Short Run Photo Books |
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355 | (16) |
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356 | (1) |
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CMYK Conversion in the Past |
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356 | (1) |
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356 | (1) |
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Conversion to CMYK Limits the Color Gamut |
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357 | (1) |
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Client Unfamiliarity with CMYK |
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357 | (1) |
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357 | (5) |
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358 | (1) |
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359 | (1) |
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359 | (1) |
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360 | (2) |
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362 | (1) |
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Standard CMYK Spaces and Specifications |
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362 | (1) |
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Short Run Digital Printing and Publishing |
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362 | (1) |
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Working with Short Run Digital Publishers and Printers |
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363 | (8) |
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363 | (2) |
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365 | (1) |
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366 | (1) |
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366 | (1) |
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367 | (1) |
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367 | (4) |
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18 Color-Managing in Adobe inDesign, Illustrator & PDFs |
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371 | (20) |
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Synchronizing Color in the Adobe Creative Cloud |
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372 | (1) |
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Color in Adobe Illustrator |
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372 | (4) |
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376 | (5) |
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Color Settings in InDesign |
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376 | (1) |
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Basic Color Structure of InDesign Documents |
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376 | (2) |
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Soft Proofing in InDesign |
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378 | (2) |
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Printing from InDesign and Illustrator |
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380 | (1) |
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Portable Document Format (PDF) |
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381 | (1) |
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381 | (1) |
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381 | (1) |
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382 | (9) |
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382 | (1) |
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382 | (1) |
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Adobe Photoshop and Illustrator |
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383 | (1) |
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383 | (2) |
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Adobe PostScript and Acrobat Distiller |
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385 | (1) |
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Analyzing PDF Settings and Files |
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385 | (2) |
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Producing PDF Files for Electrophotographic Short Run Books and Offset Postcards |
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387 | (4) |
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19 Preparing Files for the Web & Tablets |
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391 | (14) |
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Why is Adrienne's Face so Red? |
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392 | (1) |
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Two Basic Steps to Prepare Images for the Web |
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392 | (7) |
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393 | (1) |
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393 | (1) |
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394 | (1) |
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Microsoft Windows Internet Explorer |
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395 | (1) |
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396 | (3) |
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399 | (2) |
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Building a Profile for iPads and Other Tablet Computers |
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400 | (1) |
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Color from Presentation Applications |
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|
401 | (4) |
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20 Digital Print Permanence & Longevity |
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|
405 | (8) |
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Factors that Affect Print Longevity |
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|
406 | (1) |
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|
406 | (1) |
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|
407 | (1) |
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|
407 | (1) |
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Humidity/Moisture Sensitivity |
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|
407 | (1) |
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|
407 | (1) |
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Testing and Measuring Materials for Print Longevity |
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|
407 | (6) |
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21 Print Treatments, Editions & Documentation |
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413 | (16) |
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Print Finishing Treatments |
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414 | (1) |
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Protection of the Photograph |
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414 | (2) |
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414 | (2) |
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416 | (1) |
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|
416 | (1) |
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|
416 | (1) |
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Print Finishing Techniques |
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416 | (5) |
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416 | (1) |
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|
416 | (1) |
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417 | (3) |
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|
420 | (1) |
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|
421 | (1) |
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|
421 | (1) |
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|
421 | (1) |
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Editioning in Fine-Art Digital and Photographic Printmaking |
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421 | (1) |
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422 | (7) |
Index |
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429 | |