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E-grāmata: Color Management & Quality Output: Working with Color from Camera to Display to Print: (The Digital Imaging Masters Series) [Taylor & Francis e-book]

(Associate Chair, Masters of Professional Studies at the School of Visual Arts in New York)
  • Formāts: 456 pages, 6 Tables, black and white; 514 Halftones, color; 6 Illustrations, color
  • Sērija : The Digital Imaging Masters Series
  • Izdošanas datums: 14-Feb-2014
  • Izdevniecība: Focal Press
  • ISBN-13: 9780240821368
Citas grāmatas par šo tēmu:
  • Taylor & Francis e-book
  • Cena: 155,64 €*
  • * this price gives unlimited concurrent access for unlimited time
  • Standarta cena: 222,34 €
  • Ietaupiet 30%
  • Formāts: 456 pages, 6 Tables, black and white; 514 Halftones, color; 6 Illustrations, color
  • Sērija : The Digital Imaging Masters Series
  • Izdošanas datums: 14-Feb-2014
  • Izdevniecība: Focal Press
  • ISBN-13: 9780240821368
Citas grāmatas par šo tēmu:
We have all felt the frustration of wasting time, paper, and effort when our prints or web images dont match the images we see on our monitors. Fortunately, youre holding the resource that will help solve these problems. This book guides you through the hardware settings and software steps youll need to post professional images and make stunning prints that showcase your artistic vision. In Color Management & Quality Output, Tom P. Ashe, a color expert and gifted teacher, shows you how to color manage your files from input all the way through output, by clearly explaining how color works in our minds, on our monitors and computers, and through our printers.

Youll learn to:











properly calibrate your monitor





understand Adobe Photoshop color settings





build and evaluate color profiles for all your devices





navigate the print menu in both Photoshop and Lightroom





appreciate the differences between inkjet prints and C-prints





optimize sharpening for a variety of print media





understand how and why to use RIPs





communicate with creative professionals, clients, and output service providers to ensure the highest quality results.

This book is part of The Digital Imaging Masters Series, which features cutting-edge information from the most sought-after and qualified professionals and instructors in the photography field. Based on the progressive curriculum of the Masters of Professional Studies in Digital Photography created by Katrin Eismann at the School of Visual Arts in New York City, these books are the next best thing to being in the classroom with the Digital Photography Masters themselves.
Foreword xvii
Acknowledgments xviii
Introduction 1(4)
Section 1 Color & Color Management
1 Color & Color Vision
5(14)
Light
6(3)
The Temperature of Light Sources
8(1)
Continuous versus Non-Continuous Light Sources
8(1)
The Object or Stimulus
9(2)
The Observer
11(5)
Color Blindness and Color Deficiency
13(1)
Testing Color Vision
13(3)
Metamerism and Metameric Failure
16(3)
2 Color Measurement, Reproduction & Management
19(22)
Describing and Remembering Color
20(1)
Munsell Color System
20(3)
Hue
20(1)
Value
21(1)
Chroma
21(2)
Color Measurement and Color Models
23(3)
CIE-xy Chromaticity Diagram
24(1)
Cie-Lab
25(1)
Color Measurement Devices
26(2)
Densitometers
26(1)
Colorimeters
26(1)
Spectrophotometers
27(1)
Colorimetry versus Spectrophotometry
27(1)
Additive and Subtractive Color Reproduction
28(3)
Additive Color Mixing Theory
28(1)
Maxwell's Triangle
29(1)
Subtractive Color Mixing Theory
29(2)
What about the K in CMYK?
31(1)
Color Gamut Mismatch
31(1)
Color Management
31(10)
Pantone Swatchbook
31(2)
Closed-Loop Color Management Systems
33(1)
Open & ICC-Based Digital Color Management
34(1)
Calibration versus Profiling
34(1)
Inside the ICC System
34(7)
3 Evaluating Image Quality, Print Quality & Test Pages
41(20)
Evaluation Lighting
42(1)
Analyzing Print and Image Quality
43(8)
Neutrality and Color Balance
43(2)
Lightness and Darkness
45(1)
Contrast
45(1)
Saturation
45(2)
Highlight, Shadow, & Color Details
47(4)
Tonal Quality and Smoothness of Gradations
51(1)
Color Rendering and Reproduction
51(1)
Creating a Test Page
51(10)
Skin Tones
55(1)
Neutrals
55(1)
Memory Colors
55(1)
Saturated Colors with Detail
55(1)
Highlight and Shadow Details
55(1)
Color References (X-Rite ColorChecker)
56(1)
Creating Grayscale, Grayscale Steps, and Spectrum Gradations
56(2)
Grayscale, Grayscale Steps, and Spectrum Gradations
58(1)
Space for Labels
58(1)
Your Own Images
58(3)
4 Display Environments, Technologies, Calibration & Profiling
61(26)
Simultaneous Contrast
62(1)
The Work Environment
63(2)
Recommendations for a Color-Correction Environment
65(1)
Setting Desktop and Application Interfaces to Middle Gray
65(4)
Display Technologies
69(2)
Cathode Ray Tubes
69(1)
Liquid Crystal Displays
70(1)
Choosing a Display
71(3)
Matrix Type
71(1)
Backlight
71(1)
Response Time
72(1)
Resolution
72(1)
Gamut
72(1)
Horizontal/Vertical Viewing Angle
73(1)
Uniformity
73(1)
Bit-Depth of the Internal Processor
73(1)
Hood and Integrated Calibration and Profiling Software
73(1)
Price
73(1)
Calibration and Profiling of Displays
74(7)
Colorimeters and Spectrophotometers
74(2)
Luminance
76(1)
Contrast
76(1)
White Point
76(1)
TRC or Gamma
77(3)
Software Options
80(1)
Digital Projector Technologies
81(1)
Calibration and Profiling of Digital Projectors
82(2)
Display and Projector Quality Verification
83(1)
Display and Projector Profiles at the System Level
84(3)
5 Input Profiling, Scanners & Digital Cameras
87(18)
Scanner Profiling---Photographic Transparencies and Prints
88(8)
IT8 Targets
88(2)
Scanner Settings
90(1)
IT8 Reference Files
90(3)
Better IT8 Reference Files and Targets for Better Profiles
93(2)
Scanning Color Negatives
95(1)
Digital Camera Profiling
96(9)
Targets
96(1)
Building the Digital Camera Profile
96(1)
Applications for Profiling Digital Cameras
97(1)
This is a Very Specific Profile
97(4)
DNG Profiles
101(4)
6 Color in Photoshop & Lightroom
105(24)
Adobe Photoshop's Color Settings
106(7)
RGB Working Color Spaces
107
Creating a Custom RGB Color Space
10(103)
Showing the Document Profile
113(1)
Assign Profile or Convert to Profile
113(8)
Assign Profile
113(2)
Practical Reasons to Assign a Profile
115(1)
Convert to Profile
115(1)
Color Engine or CMM
116(1)
Rendering Intent
116(2)
Black Point Compensation (BPC)
118(1)
Dither
118(1)
Practical Reasons to Convert to a Profile
119(2)
An Analogy
121(1)
Embedding Profiles
121(1)
Color in Adobe Photoshop Lightroom
121(8)
Raw File Format
123(1)
Color Processing in Lightroom
123(2)
Image Editing in Lightroom
125(1)
Benefits of Editing the Raw Image in Lightroom
125(4)
7 Basic Color Correction & Image Rendering
129(24)
Color Correction Philosophies
130(1)
Color Correction in Adobe Photoshop
131(14)
The Info and Histogram Panels
131(3)
Cached Data Warning
134(2)
Adjustment Layers
136(1)
Setting White and Black Points Using a Levels Adjustment Layer
137(1)
Correcting Color Casts and Improving Contrast with Curves
137(5)
Making Local Adjustments Using Layer Masks
142(3)
Color Correction in Adobe Photoshop Lightroom's Develop Module
145(5)
White Balance
145(1)
Basic Tone and Presence
146(1)
Tone Curve
147(1)
Hue, Saturation, and Luminance (HSL)
148(1)
Before and After View
149(1)
Rendering Our Images
150(3)
8 Output Profiling & Soft Proofing
153(36)
Building Custom Inkjet Printer/Paper Profiles
154(16)
Optimize the Printer and Printer Driver
154(1)
Output Profile or Printer Profile or Printer/Media Profile?
155(1)
Head Alignment
156(4)
Print the Output-Profiling Patches
160(1)
More is Not Always Better
161(3)
Leave the Scale Alone
164(1)
Measure the Output-Profiling Patches
165(1)
Wait
165(5)
When to Build a New Custom Inkjet Printer/Paper Profile
170(1)
Photo Black (PK) versus Matte Black (MK) Ink
170(1)
Generic versus Custom Profiles
170(1)
Generic Printer Profiles versus Generic RGB Profile
170(1)
Installing ICC Profiles for Use in Adobe Applications
171(2)
Possible Reason for Missing Profile in Adobe Applications
173(1)
Using Printer/Paper Profiles in Adobe Photoshop
173(9)
Print with Photoshop Print Settings Window
173(4)
Soft Proof the Image
177(4)
Gamut Warning
181(1)
Convert to Profile
182(1)
Using Printer/Paper Profiles in Adobe Photoshop Lightroom
182(7)
Convert to Profile
183(3)
Print
186(1)
Soft Proof
186(3)
9 Output Profile Optimization & Editing
189(20)
Printer Profiling Packages
191(1)
Measurement Devices
191(1)
Spectrophotometers with and without UV Cutoff Filters
192(1)
Number of Patches
192(1)
Printer Configurations and Number of Inks Supported
192(1)
Output Profile Optimization Features
193(7)
Customized Lighting Condition
193(2)
Profile Settings
195(1)
Iterative Profile Optimization
196(3)
Optical Brightener Compensation
199(1)
Output Profile Editing
200(9)
To Edit or Not to Edit?
200(1)
Output Profile Editing Options
200(2)
Output Profile-Editing Tools
202(4)
Profile Editors or Software Containing Profile Editors
206(3)
10 Color Utilities & Troubleshooting
209(30)
Color Utilities
210(15)
ColorSync Utility
210(3)
What About Windows?
213(1)
ColorSync Apple Scripts
213(1)
X-Rite ColorMunki ColorPicker
214(1)
X-Rite i1 Share
215(2)
X-Rite i1 Profiler
217(1)
Older Software and Hardware and the Mac OS
218(2)
PANTONE Color Manager
220(1)
X-Rite ColorPort
220(1)
CHROMIX ColorThink Pro
221(4)
Troubleshooting
225(14)
Identify the Symptom(s)
226(1)
Start with the Basics
227(1)
Investigate
227(1)
Understand Process and Workflow Components
227(1)
Isolate and Test the Components
228(1)
Duplicate the Symptom(s)
229(1)
Determine a Solution
229(2)
Verify the Solution
231(1)
Troubleshooting Examples
231(8)
11 Raster Image Processors
239(18)
Bitmap (Raster) and Vector Graphic Files
240(1)
What is a Rip?
240(1)
How is a RIP Different from a Driver?
241(1)
The Main Benefits of and Reasons for Having a RIP
241(4)
Processing More File Types and Formats
241(1)
Print Quality and Accuracy
242(1)
Improved Workflow and Automation
242(1)
Proofing, Verification, and Halftone Dot Simulation
242(1)
Package Printing and Optimizing Paper Usage
242(1)
Black-and-White Printing
242(1)
Ink Limiting
243(1)
Calibration and Linearization
243(1)
Bypassing Imaging Software/Printer Driver/Operating System Problems
244(1)
Ways Color Management Hardware and Software Interact with RIPs
245(1)
Support for Measurement Devices
245(1)
Support for Custom Profiles
245(1)
Ability to Turn OFF ICC Profiles
245(1)
Output Color Space(s) RGB/CMYK
245(1)
Linearization Function
245(1)
Ink Limiting Function
245(1)
Comparison of RIPs
245(12)
ColorBurst RIP X-Proof
247(1)
Paper Manufacturer Profiles and the RIP
248(1)
ColorByte Software Imageprint RIP
248(3)
EFI ColorProof XF
251(1)
Device Link Profiles
251(1)
GMG ColorProof, DotProof, and FlexoProof
252(5)
Section 2 Digital Printmaking & Output
12 Digital Output Technologies & Print Labeling
257(26)
Criteria for Comparison
258(3)
Longevity
258(1)
Variety of Surfaces
258(1)
Halftone versus Continuous Tone
258(2)
Speed
260(1)
Size Options
260(1)
Optimal Volume
260(1)
Cost
261(1)
Dynamic Range/Gamut/Aesthetics
261(1)
Inkjet
261(3)
Photographic
264(4)
Chromogenic (C-Prints)
264(1)
Silver Dye Bleach or Dye Destruction
264(1)
Silver Gelatin or Black-and-White
264(4)
Dye-Sublimation/Thermal Dye Transfer
268(1)
Fuji Pictrography
269(1)
Electrophotographic or Electrostatic
270(1)
Traditional Graphic Arts Printing Press
271(1)
Hybrid
272(1)
Labeling Prints
273(10)
Inkjet Prints
274(4)
Photographic Digital Prints
278(5)
13 Inkjet Printing
283(20)
Different Types of Inkjet Printers
284(3)
Continuous Inkjet
284(1)
Piezoelectric Drop-on-Demand
285(1)
Thermal Drop-on-Demand
286(1)
Ink Technologies
287(10)
Aqueous Dye
287(1)
What is the Difference between a Dye and a Pigment?
287(1)
Aqueous Pigment
287(1)
Solvent and UV-Curable
288(2)
Paper and Media technologies
290(1)
Uncoated Papers
290(1)
Coated Matte and Fine-Art Papers
290(1)
How do You Find the Coated Side of Matte or Fine-Art Papers?
291(1)
Resin Coated Papers
292(1)
Baryta Papers
293(1)
Canvas Media
294(1)
Polyester and Vinyl Media
295(1)
Fabrics
295(1)
Metal and Rigid Media
296(1)
Printing with Irregular, Thick, or Rigid Media
297(3)
Finding and Setting the Thickness of the Paper
297(3)
Choosing Media for Printing
300(3)
14 Black-and-White Digital Printmaking
303(16)
Problems of Printing Black-and-White Inkjet Prints
304(1)
Lack of Neutrality
304(1)
Cross Curves
304(1)
Metameric Failure
304(1)
Halftone Dots
305(1)
Dynamic Range
305(1)
Black-and-White Digital Printing Methods
305(1)
Image Tinting and Toning
306(2)
Tinting in the Black-and-White Adjustment Panel
306(1)
Toning the image with RGB Curves
307(1)
Converting to Duotone, Tritone, or Quadtone
307(1)
Improving Black-and-White Inkjet Prints
308(8)
RIPs and Gray Profiles
308(5)
Epson's Advanced Black-and-White Printing Mode
313(3)
Near-Neutral and Neutral Ink-Sets
316(1)
Digital Photographic Black-and-White Prints
316(3)
Digital C-Prints
316(1)
Resin-Coated (RC) Silver Gelatin Prints
316(1)
Fiber-Based Silver Gelatin Prints
316(3)
15 Resizing & Sharpening
319(20)
Sizing Images for Output
320(1)
Sizing Images in Adobe Photoshop
320(4)
Pixel Dimensions
320(1)
Document Dimensions
320(1)
Constrain Proportions
320(1)
What do We Mean by Resolution in Sizing the Image and How do We Choose the Correct Image Resolution?
321(1)
Resample Algorithm
321(3)
10% Iterative Method for Increasing Image Size
324(2)
Third Party Image Sizing Software
326(2)
Image Enlargement Factors and Considerations
328(2)
Point of Failure
328(1)
Viewing Distance
329(1)
Depth of Field
329(1)
Types of Sharpening
330(1)
Output Sharpening Methods
330(5)
Unsharp Mask Filter
331(1)
Smart Sharpen Filter
332(1)
High Pass Filter
332(1)
Pixel Genius PhotoKit Output Sharpener
332(2)
Nik Software Sharpener Pro
334(1)
Adobe Photoshop Lightroom
335(1)
Testing Sharpening
335(4)
16 Collaboration with Printmakers & Service Bureaus
339(16)
Collaboration in Fine-Art Digital Printmaking
340(3)
How Do We Define an Artistic Collaboration?
341(1)
Benefits of Collaborative Printmaking
341(2)
Contemporary Collaborative Fine-Art Digital Printmakers and Studios
343(2)
Nash Editions
343(1)
Adamson Editions Atelier
343(1)
Singer Editions
343(1)
Cone Editions Press
343(1)
Laumont Photographics
343(1)
Ribuoli Digital
344(1)
Authentic Vision
344(1)
Communicating with Collaborators, Clients, and Service Bureaus
345(1)
Printing with a Lab or Service Bureau
346(1)
Questions to Ask
346(9)
17 CMYK Output: Printing Presses & Short Run Photo Books
355(16)
Converting to CMYK
356(1)
CMYK Conversion in the Past
356(1)
There Is No Generic CMYK
356(1)
Conversion to CMYK Limits the Color Gamut
357(1)
Client Unfamiliarity with CMYK
357(1)
CMYK Color Separations
357(5)
Paper Type
358(1)
Ink Type and Colors
359(1)
Dot Gain
359(1)
Black Generation
360(2)
Ink Limits
362(1)
Standard CMYK Spaces and Specifications
362(1)
Short Run Digital Printing and Publishing
362(1)
Working with Short Run Digital Publishers and Printers
363(8)
Blurb
363(2)
Lulu
365(1)
HP MagCloud
366(1)
Pikto
366(1)
Modern Postcard
367(1)
4over4.com
367(4)
18 Color-Managing in Adobe inDesign, Illustrator & PDFs
371(20)
Synchronizing Color in the Adobe Creative Cloud
372(1)
Color in Adobe Illustrator
372(4)
Color in Adobe InDesign
376(5)
Color Settings in InDesign
376(1)
Basic Color Structure of InDesign Documents
376(2)
Soft Proofing in InDesign
378(2)
Printing from InDesign and Illustrator
380(1)
Portable Document Format (PDF)
381(1)
Standard PDF Formats
381(1)
Major Benefits of PDF
381(1)
Creating PDF Files
382(9)
Apple Macintosh OS X
382(1)
Adobe PDF Driver
382(1)
Adobe Photoshop and Illustrator
383(1)
Adobe InDesign
383(2)
Adobe PostScript and Acrobat Distiller
385(1)
Analyzing PDF Settings and Files
385(2)
Producing PDF Files for Electrophotographic Short Run Books and Offset Postcards
387(4)
19 Preparing Files for the Web & Tablets
391(14)
Why is Adrienne's Face so Red?
392(1)
Two Basic Steps to Prepare Images for the Web
392(7)
How Browsers Should Work
393(1)
Apple Safari
393(1)
Google Chrome
394(1)
Microsoft Windows Internet Explorer
395(1)
Mozilla Firefox
396(3)
Color on Apple iPads
399(2)
Building a Profile for iPads and Other Tablet Computers
400(1)
Color from Presentation Applications
401(4)
20 Digital Print Permanence & Longevity
405(8)
Factors that Affect Print Longevity
406(1)
Materials
406(1)
Ultraviolet Radiation
407(1)
Temperature
407(1)
Humidity/Moisture Sensitivity
407(1)
Pollutants
407(1)
Testing and Measuring Materials for Print Longevity
407(6)
21 Print Treatments, Editions & Documentation
413(16)
Print Finishing Treatments
414(1)
Protection of the Photograph
414(2)
Light and UV Radiation
414(2)
Pollutants
416(1)
Handling
416(1)
Humidity and Moisture
416(1)
Print Finishing Techniques
416(5)
Before Print Finishing
416(1)
Lacquers and Fixatives
416(1)
Mounting
417(3)
Matting and Framing
420(1)
Lamination
421(1)
Face-Mounting
421(1)
Aesthetic Enhancement
421(1)
Editioning in Fine-Art Digital and Photographic Printmaking
421(1)
Documenting Prints
422(7)
Index 429
Tom P. Ashe, the Associate Chair of the Masters of Professional Studies in Digital Photography at the School of Visual Arts in New York City, is an internationally recognized educator and consultant in digital photography and color management. He received his Bachelor of Science in Photography from the Rochester Institute of Technology in Rochester, NY, and his Masters of Applied Science in Photography from RMIT University (formerly Royal Melbourne Institute of Technology) in Melbourne, Australia. Toms background as a photographer, fine art digital printmaker, and product development specialist for Eastman Kodak, Monaco Systems, and Polaroid, gives him a unique understanding of the aesthetic and technical issues in digital photography today.

Series Editor Katrin Eismann is the Chair of the Masters of Professional Studies in Digital Photography at the School of Visual Arts in New York City. Known as the Photoshop Diva, Katrin is an internationally respected artist, teacher, and author. She specializes in creative digital photography and the impact of emerging technologies upon professional photographers, artists, and educators.