Colour Management Pro PDF e-Book for Photographers

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description:Colour management made easy for photographers. A modern e-Book with HD video tutorials by X-Rite Coloratti Pro Ashley Karyl covering Photoshop, Lightroom...
Colour Management for photographers made easyStart LearningThis eBook makes colour photography simple, reliable and stress free.Colour Management Pro

“There is a great deal of confusion about colour management among photographers, so I am really pleased to see Colour Management Pro break it down to a concise, useful and readable format that is easily understood.”

David Grover, Phase One

“The Colour Management Pro Guide is a great resource to learn how to consistently achieve the best possible color from all your devices. This easy to understand guide is essential for any photographer who is a color perfectionist.”

Liz Quinlisk, Global Photo Video Marketing Director, X-Rite

Perfect Colour Every TimeTake Back Control

The first step in any colour photography workflow is to shoot images that are correctly exposed and White Balanced, because this can save hours in post production, while delivering huge benefits in image quality.

Imagine what it would be like if you knew exactly how your images would appear because you had a fully colour managed workflow.

Display Calibration

Display calibration should be at the centre of your colour workflow, so we show you how to obtain optimal results on your computer and tablet devices.

Your colour images will never be accurate or consistent until your display is calibrated and profiled according to industry standards. Luckily this is easy to achieve with the right knowledge and doesnt have to cost a fortune.

Working Environment

Discover how to set up a correct working environment, either at home or in the studio with practical solutions to ensure your colour perception is not influenced by your work area.

From choice of room lighting to wall colour and the desk area; there are simple steps that can drastically improve the speed accuracy of colour editing.

Practical Advice

Filled with information based on real world experience, so you can prepare your images for the web, photo labs, inkjet printing or even dealing with prepress printers on the other side of the world. All of this can be done reliably and consistently because good colour management makes it possible.

Colour Settings information for Mac and Windows

Photoshop

Elements

Pixelmator

Lightroom

Capture One Pro

And so much more…

This PDF eBook is available for immediate download and formatted for easy viewing on computer or tablet devices with links to websites plus extra content. As an added bonus it comes with 1080 HD video tutorials.

Join the thousands of photographers, designers and others who are already benefitting from this information, because effective colour management is the single best investment you can make in photography.

Sample Chapter Content

Preface

6 - Setting The White Balance

11 - The Working Environment

34 - Rendering Intents

Summary of contents Click the toggle icon to open the summary of contentsSummary of contents (620 pages - 52 chapters)1 - Colour Management Introduction

Overview

Saving money

Saving time

Colour management and consistency

Summary

2 - Managing With Colour Blindness

Statistics

Age effects

Tritanopia

Deuteranopia

Protanopia

Cone monochromacy

Achromatopsia

Red X-Chrome contact lenses

Preventative steps

Testing your colour vision online

Munsell FM100

Eizo Color Universal Design

Simulating colour blindness in Photoshop

Colour blindness in art

Summary

3 - The First Steps Towards Colour Excellence

Introduction

Lighting

Lenses

Camera calibration

Zooms vs Primes

Lens hoods

4 - Exposure

Dynamic range

LCD histograms

Exposing to the right

Handheld meters

Sekonic L-308S

Sekonic L-758D

Sekonic L-478 LiteMaster Pro

18% Grey card

Testing the limits

5 - Raw vs Jpeg

The limitations of Jpeg

Why you should shoot Raw

Future proofing your images

DNG vs Proprietary Raw

6 - Setting the White Balance

Neutral vs Warm

Colour temperature scale

Colour temperature Raw file adjustments

Daylight colour temperature

Understanding different colour temperature scenarios

Auto vs Custom White Balance

White Balance presets

The importance of accurate White Balance when shooting Jpeg

The advantages of shooting a custom White Balance

The importance of correct exposure for accurate White Balance

The value of using a high quality grey card

The ExpoDisc 2.0

7 - Colour Meters

Why a colour meter is helpful

Modern vs Old colour meters

Sekonic C-700R

Different spectrum curves in lighting types

Colour meters for landscapes

Using colour meters for precise control and understanding of the scene

8 - X-Rite ColorChecker Passport

White Balance target

Correcting the White Balance of Raw files in post production with a grey card

The importance of an accurate White Balance when shooting Jpeg

The Classic target

Custom vs Generic camera profiles

Matching colours with different camera types

Creating camera profiles for different scenarios

The Creative Enhancement target

Practical uses of the Creative Enhancement target

9 - Summary Of First Steps

Retouching anecdote

Lost skills

The camera is not important

Keep it simple

10 - Apple Vs Windows For Colour Management

Some history

A modern comparison

11 - Setting Up The Working Environment

How our environment affects our colour perception

Munsell N8

Ambient considerations

The desktop area

Room lighting

The computer desktop background

Monitor hoods

Proof lighting

12 - Choosing The Right Monitor

Monitor uniformity test

Verifying the display gamut against your image

Effective life expectancy of a new display

The best manufacturers

Different display technologies (IPS, TN Film, MVA and PVA)

Minimum sizes and resolution requirements

Contrast ratios

Matte vs Glossy displays

Understanding bit depth on displays

Standard Vs Wide Gamut displays

NEC MultiSync P232W

NEC SpectraView Reference 242

SpectraView II calibration software

BenQ SW2700PT

Laptop monitors

13 - Dual Monitors

Size considerations

Colour variation

Video card considerations

14 - Monitor Maintenance

How proper maintenance can affect the life expectancy of your display

The effects of heat

Controlling humidity

Dust is your enemy

Hard objects damaging the screen

Avoiding shocks and vibration

Electromagnetic interference

Excessive usage and the screensavers

Establishing a stable power supply

Cleaning the monitor

15 - Colour Models

RGB

CMYK

Lab

16 - Colour Spaces

Reasons for applying a colour space

Identifying a colour space

Raw files and exporting to a colour space

sRGB

Why sRGB became so popular

The limitations of sRGB

Situations where sRGB is the best option

Adobe RGB 1998

The benefits of Adobe RGB

When you should avoid Adobe RGB

Coverage of Adobe RGB with a professional wide gamut display

ColorMatch RGB

Why ColorMatch RGB was created

Modern use of ColorMatch RGB

ISO TC130 committee colour space recommendation

Pro Photo RGB

The benefits of Pro Photo RGB

The problems with Pro Photo RGB

8-bit vs 16-bit files in Pro Photo RGB

Practical considerations with Pro Photo RGB

A practical comparison in print between sRGB, Adobe RGB and Pro Photo RGB

17 - Converting Colour Spaces

Reasons for converting a colour space

Choosing a Rendering Intent when converting a colour space

Previewing changes when converting a colour space

Assigning a colour profile

18 - Calibration Profiling

Calibration profiling to achieve accurate colour all over the world

The difference between calibration and profiling

ICC profiles

19 - Camera Calibration

Basic camera calibration

Controlling colours with Jpegs

Humphrey Bogart would have chosen Raw

Generic camera profiles

Restoring correct relative colour values with a custom camera profile

Consistent colour between different cameras

The 3 step process of custom camera calibration

Creating camera profiles for different light sources

Additional points to consider with custom camera calibration

Photographing the ColorChecker target

Camera profiling using Adobe DNG profile editor

Camera profiling using X-Rites ColorChecker Passport software

Basic rules for creating excellent camera profiles

Further refinements using the creative enhancement targets

20 - Monitor Calibration Profiling

The importance of hardware calibration for your display

An explanation of the benefits from display calibration

Selecting the active monitor profile in OS X and Windows

Differences between a display and a printed image

The perception of colour accuracy

A few pearls of wisdom for best results

How often should you calibrate your display

Humidity with older calibrators

Avoiding calibration software conflicts

The correct settings

The display White Point

The correct gamma setting

Luminance settings

ICC version

Contrast

21 - The Calibration Process

Points to check before you start

Attaching the calibrator to the display

Regulating the calibrator

Basic vs Advanced calibration modes

ADC and DDC automated adjustments

Advanced options

Reviewing the results

Saving the display profile

22 - Monitor Calibration Test

Checking your monitor for defects

Identifying banding issues

A quick fix for image file banding in tonal transitions

Checking for colour bias and variation across the display

A practical summary

23 - Display Calibration For Video

PAL

NTSC

SECAM

REC 709

Calibrating the display for video using i1Profiler

24 - Tablet And Mobile Device Calibration

Introducing ColorTRUE

ColorTRUE availability

Connecting the calibrator to your tablet or smartphone

Calibrators: ColorMunki Smile, ColorMunki Display, i1Display Pro, i1Photo Pro 2

The calibration process

Viewing images with calibration enabled

Setting the White Point for the tablet or smartphone display

Setting ambient light compensation

Soft proofing CMYK on a mobile device

25 - Printer Profiling

A basic explanation of printer profiling

Typical lifespan of a printer profile

The three types of printer profile

Matching profiles to print conditions

Checking your printer before making a printer profile

Downloadable printer test sample

The perils of double profiling in Windows

Judging a good printer profile

Troubleshooting printer profiles

Viewing conditions to assess printer profiles

Printer profiles supplied by the manufacturer

Custom profiles through 3rd party suppliers

Preparing test prints for remote profiling

26 - Making Your Own Custom Printer Profiles

Its no longer complicated creating your own printer profiles

Allowing time for the test chart to dry properly before profiling

Using the ColorMunki Photo wizard to create a printer profile

Advanced profiling options on the i1Publish Pro 2

Profile naming

27 - Scanner Calibration Profiling

Self-calibrating scanners

Typical colour bias in films

The first step in scanner profiling

Using the ColorChecker Digital SG with i1Profiler

Verifying the scanner profile in Photoshop

Scanner profiling service

The problem of scanner profiling with colour negatives

VueScan Professional

Coloraid IT8 calibration targets

Fine tuning your scanner profile

Verifying the scanner profile using iprof profiler

Establishing the limits of your scanner

28 - Projector Calibration

The reason why projector calibration is essential

The projector calibration process

Selecting the correct White Point for scanner calibration

Setting the profile

29 - Recommended Calibration Devices

What sort of calibrator do I need?

DataColor Spyder4Elite Vs X-Rite i1Display Pro

i1Display Pro

ColorMunki Photo

i1Display Pro vs ColorMunki Photo for display calibration

ColorChecker mini

Summary of printer profiling on ColorMunki Photo

i1Publish Pro 2

30 - Display Calibration Software

How display calibration software works

Eizo ColorNavigator SpectraView II

Troubleshooting tip

basICColor Display

31 - Printing Introduction Paper Types

Printing overview

Paper types at photo labs - Fuji Crystal Archive

Hahnemühle, Innova, Moab, PermaJet, Canson, Tetenal, St Cuthberts Mill and Harman

Matte vs Glossy

Choosing the right paper

Downloadable printer test image

32 - Printing With Photo Labs

Common complaints with photo labs

When it makes sense asking the labs to correct your colour

Main advantages disadvantages of photo labs for printing

Preparing images for printing through photo labs

Choosing the correct colour space for photo labs

Saving files in the correct format

A bit more technical… soft proofing with photo lab paper profiles

The photo labs you should avoid

Inkjet printing through a photo lab

Testing different paper types

The practical case for using photo labs

33 - Printing With Inkjet Printers

The emergence of inkjet printing in the digital age

Dye vs Pigment inks

Expected life time of inkjet prints

Drying time for inkjet prints

OEM vs 3rd party inks

The four golden tips for saving money and stress

Continuous ink systems

The dangers of mixing ink types

A big change in inkjet costs is imminent

Refillable ink cartridges

34 - Rendering Intents When Printing

The purpose of Rendering Intents

Soft proofing the effects of Rendering Intents

Relative Colorimetric

Perceptual

Choosing the right Rendering Intent

35 - Soft Proofing Images For Print

What is soft proofing?

Suitable displays for soft proofing images

The limitations of soft proofing

The correct soft proof settings

Soft proofing as a method to save on material costs

Selective layer adjustments for advanced users

Obtaining printer profiles for soft proofing

36 - Page Setup

An explanation of what Page Setup does

Working around layout limitations

37 - The Printer Driver

When do we need the printer driver?

What happens when we use the printer driver

Deciding where to handle the colour management

Applying the printer profile

Disabling all colour options inside the printer driver

Selecting the media type

The quality setting

Being patient for the print

38 - Print Troubleshooting

Most common problems

Stop printing until you find the problem

Checking that your display is properly calibrated

Viewing your print under suitable lighting

Avoiding snap decisions when viewing print colours

Checking for clogged printer nozzles

Checking ink levels

The printer profile

Quality limitations with certain materials

Checking with photo labs

Looking again at the original image

39 - Recommended Printers

A4, A3 and large format printers

Epson 1500W using Claria dye inks

Canon Pixma iX6550 using Chromalife100+ dye inks

Epson Stylus Pro 4880 using Ultrachrome K3 pigment inks

Contract colour proofs in prepress

40 - Preparing Files For Prepress

What is prepress?

Practical realities and handing over control

Display calibration settings for prepress

Soft proofing on your display

BenQ PG2401PT

Remote Director cloud based soft proofing

The number rule for working with clients and printers

Digital vs Litho

Work in RGB

The advantages of an RGB workflow

The problem colours for CMYK conversion

Choosing the right profile

The advantage of soft proofing with the correct paper profile

ISO Coated V2 and Fogra 39

International convergence in CMYK profiling

US Web Coated (SWOP) v2

Soft proofing with the correct profile while editing

Custom proofing options

Knowing the paper limitations for maximum highlights

Hard proofing

The dangers of printing without an hard proof

Signing off a contract proof

Equipment and materials used for hard proofing

Insist on a Fogra control bar

Forget hard proofing with your desktop printer

RGB or CMYK

Tiff or Jpeg and appropriate quality settings

Correct file naming

Supplying images on CD or DVD

Including copyright information

Image sharpening

Ensuring the files are clear of defects

Supplying images in the correct format and colour space

File dimensions

Resolution settings for different print media from newspaper to stochastic

PPI vs DPI

Online CMYK conversion

Summary of key points

41 - Pantone Matching System

Who uses Pantone?

How the Pantone Matching System works

Pantone Plus Colour Guides

The myPantone App for Android and iOS

Using Pantone to correct images for specific colours

Pantone swatches inside Photoshop

Using Pantone to help match tricky colours and black white in CMYK

42 - Preparing Images For The Web

Accepting the unmanaged reality of the internet

Choosing the right colour space

The best web browser for colour management

Fixing colour management inside Firefox

The right image format for web usage

Resolution for web images

Retina resolution web images

Save for Web in Photoshop

JPEG-OPTIMIZER

JPEGmini

Jpeg quality settings

43 - Colour Management For Video

First steps

Setting the White Balance exposure

Shooting a clip with a ColorChecker or Grey scale card

Advice on working with more than one camera

Keep your sensor clean…

Post production tweaks to shadow, mid-tones and highlights

44 - Colour Grading In Video

A brief explanation of colour grading

DaVinci Resolve

The media area

Using an X-Rite ColorChecker Passport to create a custom profile

Creating a colour profile when the light is different in another location

Creative enhancements using Color Wheels

45 - Photo Editing Software

Introduction

Capture One Pro

Lightroom

Photoshop

Photoshop Elements

Pixelmator

46 - Capture One Pro

Capture One Pro introduction

A direct comparison with Lightroom at default settings

The Capture One Pro interface

Raw file colour space and exporting to smaller colour spaces

Capture One Pro ICC profiling

The exposure tab

Exposure warning preferences

High Dynamic Range settings

Levels Curves

Color tab White Balance presets

Skin tone adjustments

Colour temperature adjustment and tint control

The Color Balance wheel adjustment for technical and creative enhancement

Non destructive black white adjustments inside Capture One Pro

Using the Color Picker tool inside the Color Editor for narrow spectrum adjustments

Soft proofing images inside Capture One Pro

Rendering Intents inside preferences

Processing images

Process Recipe options when exporting images

Printing in Capture One Pro using a Mac

Instructing Capture One Pro to handle the colour management in OS X

Soft proofing the image prior to print

Choosing the Rendering Intent while previewing the image

ColorSync inside the the OS X printer driver

Choosing the correct print settings inside the printer driver

Printing in Windows

Page Setup in Windows

Letting Capture One Pro handle the colour management when printing in Windows

The Print Settings menu

Printing Preferences

Disabling colour management inside Windows Printing Preferences using Epson or Canon

47 - Adobe Lightroom

Lightroom Introduction

Lightroom management of Raw files

Colour spaces in Lightroom

Exploiting the full data of Raw files in Lightroom

Lightroom external editing preferences

Presets in the Develop module

Activating solo mode in the Develop module

Lens calibration

Camera calibration

Lightroom process versions

Basic editing

Altering the White Balance

Adjusting the exposure

The clarity slider

Vibrance Saturation

Tone curve adjustments

Hue, Saturation Luminance controls

Advanced edits using the adjustment brush

Exporting digital files

Printing in Lightroom overview

Soft proofing in the Develop module

Histogram changes when a printer profile is applied

Soft proofing using a virtual proof copy

Soft proofing to view Rendering Intent differences

The Print module

Print to Jpeg settings for colour space, resolution, sharpening, size and Rendering Intent

Print to Printer

File ppi resolution for inkjet printing

Print sharpening media type

16-bit print output

Avoiding key errors applying the printer profile

Printing with a Mac

Page Setup in Lightroom

Print Settings…

Ensuring ColorSync is enabled inside the printer driver

Choosing the correct quality settings and media type

Printing in Windows

From Page Setup to Properties

Turning off colour management inside the Windows printer driver on Canon and Epson

Going to print

Lightroom summary

48 - Adobe Photoshop

Photoshop Introduction

Colour management differences between CS6 and Photoshop CC

Photoshop Color Settings

Color Settings in Photoshop CC and CS6 compared

Accessing color settings

Choosing a preset in color settings

Saving custom presets

Pro Photo RGB in color settings

Color management policies with color settings

Mismatched profiles

Use embedded profile

Convert to working space

Discard embedded profile

Setting appropriate colour management policies

Ways inside Photoshop to discover the colour space of an image

Images with missing profiles

Conversion options in color settings

Adobe Camera Raw (ACR) engine

Adobe Camera Raw preferences

Sidecar .xmp files

Sharpening preview images only

Default image settings

The cache size in Adobe Camera Raw

DNG preferences with Adobe Camera Raw

Jpeg and Tiff handling in Adobe Camera Raw preferences

Processing Raw files in Adobe Camera Raw

Similarities with Lightroom

Lens calibration

Camera calibration and process version

Adobe Standard vs Custom camera calibration

Basic editing in ACR

White Balance adjustments

Exposure

The clarity slider

Vibrance saturation

Tone curve adjustments

Hue, Saturation and Luminance in ACR

Advanced edits in ACR

Exporting digital files in ACR

Saving for web in Photoshop

The file format options when saving for web

The quality setting when saving for web

Blur and Matte

Progressive Jpeg option

Optimized file size savings and compatibility

Embed color profile

Preview options for assessing your optimised web image

Metadata when saving for web

Resizing images for web usage

File resolution when saving for web

Assessing the previewed image

Printing in Photoshop

Photoshop Print Settings

Profile risks for Windows users

Printer setup

Color management within Photoshop Print Settings

The source colour space

Choosing Photoshop for Color Handling

Selecting the printer profile

16-bit printing

Normal printing vs hard proofing

Rendering Intent choice

Black point compensation

Previewing Match Print, Colors, Gamut Warning and Show Paper

Changing the preview border area

Description tool tips

Position and size

Print Marks Functions

PostScript Options

Printing on a Mac

Page Setup

Color Matching and ColorSync

Print Settings or Quality Media

Ensuring the quality settings match the printer profile

Checking the ink levels

Saving a preset

Saving your settings

Printing on Windows

Print Settings….

Printer properties

Matching the correct quality settings and media type to the printer profile

Disabling colour management inside Printer Properties

Patience is a virtue when printing

Photoshop Summary

49 - Adobe Photoshop Elements

Introduction

Colour settings options

Raw processing

Opening a Raw file

Camera calibration process version

Basic Raw adjustments in Adobe Camera Raw (ACR)

Setting the White Balance

The tint slider

Auto vs Default settings

Sharpening noise reduction in ACR

Exporting a Raw file

Saving for web

Quality settings for web usage

Optimized Progressive options

Web image resolution

Printing in Photoshop Elements

Main print settings on Mac OS X

Telling Photoshop Elements to handle the colour management in Mac OS X

Applying the printer profile and choosing the Rendering Intent

ColorSync settings

Quality paper settings

Printing in Windows

Main print settings in Windows

Telling Photoshop Elements to handle the colour management in Windows

Printer preferences

Disabling colour management in the printer driver on Epson Canon

Summary

50 - Pixelmator

Introduction

Pixelmator features

Colour management through Apple ColorSync

Soft proofing CMYK

Pixelmator handling of Raw files

Converting colour space

Image adjustments with layers

Pixelmator tutorials

Exporting images for web in Pixelmator

Printing in Pixelmator with colour management

Applying the printer profile

Setting the quality and media type

Rendering Intents in Pixelmator

51 - Troubleshooting Colour Corrections

Karyls law of colour management

Lost causes; a pig in lipstick is still a pig…

The easy fixes

Using curves in Photoshop to colour correct

52 - Final Thoughts

You dont need to be a colour geek

Concentrate on one area at a time

Colour management is widespread nowadays

Final acknowledgement

About the author

Glossary

Close

“Colour Management Pro explains in simple language how accurate exposure and using a colour meter can really improve the quality of your photography”

Yasuko Kuroi, Product Manager, Sekonic

“Colour Management Pro is an excellent guide to practical colour management that will help any photographer obtain fantastic results”

Erik Sowder ExpoImaging, manufacturers of the ExpoDisc

“Colour Management Pro offers clear practical advice on preparing your images for photo labs, as well as covering the importance of choosing a lab which has the flexibility to deliver your work as befits a bespoke piece of art. Following these steps will lead to the best possible results.”

Marieke Goethe, WhiteWall (Tipa Award – WhiteWall: Best Photo Lab Worldwide)

Colour Management ProAvailable For Immediate Download

US $27

UK £21

EU €23

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“With the information in this book I created a completely color managed photography workflow in under a day

Gemma Smith

“Monitor profiles, printer profiles, working colour spaces… Color management could confuse anybody until now, but Ashley Karyl has produced a book that is easy to follow with enough depth to cover everything youre ever likely to need when it comes to color management”

Simon Plant Photographer

“Color Management Pro is witty, interesting and always practical”

Michael Fraser

“All our photographic productions are fully color managed and Colour Management Pro provides superb practical information”

Luca Fazzi; Director of PH.Crew productions

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Colour management made easy for photographers. A modern e-Book with HD video tutorials by X-Rite Coloratti Pro Ashley Karyl covering Photoshop, Lightroom...

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