We have all felt the frustration of wasting time, paper, and effort when our prints or web images don’t match the images we see on our monitors. Fortunately, you’re holding the resource that will help solve these problems. This book guides you through the hardware settings and software steps you’ll 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.
You’ll 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.
About the Author
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. Tom’s 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.
Table of Contents
SECTION 1: COLOR and COLOR MANAGEMENT
CHAPTER 1: COLOR and COLOR VISION
CHAPTER 2: COLOR MEASUREMENT, REPRODUCTION, and MANAGEMENT
CHAPTER 3: EVALUATING IMAGE QUALITY, PRINT QUALITY, and TEST PAGES
CHAPTER 4: DISPLAY ENVIRONMENTS, TECHNOLOGIES, CALIBRATION, and PROFILING
CHAPTER 5: INPUT PROFILING: SCANNERS and DIGITAL CAMERAS
CHAPTER 6: COLOR IN PHOTOSHOP and LIGHTROOM
CHAPTER 7: BASIC COLOR CORRECTION and IMAGE RENDERING
CHAPTER 8: OUTPUT PROFILING and SOFT PROOFING
CHAPTER 9: OUTPUT PROFILE OPTIMIZATION and EDITING
CHAPTER 10: COLOR UTILITIES and TROUBLESHOOTING
CHAPTER 11: RASTER IMAGE PROCESSORS
SECTION 2: DIGITAL PRINTMAKING and OUTPUT
CHAPTER 12: DIGITAL OUTPUT TECHNOLOGIES and PRINT LABELING
CHAPTER 13: INKJET PRINTING
CHAPTER 14: BLACK-AND-WHITE DIGITAL PRINTMAKING
CHAPTER 15: RESIZING and SHARPENING
CHAPTER 16: COLLABORATION WITH PRINTMAKERS and SERVICE BUREAUS
CHAPTER 17: CMYK OUTPUT: PRINTING PRESSES and SHORT RUN PHOTO BOOKS
CHAPTER 18: COLOR MANAGING ADOBE INDESIGN, ILLUSTRATOR, and PDFS
CHAPTER 19: PREPARING FILES FOR THE WEB and TABLETS
CHAPTER 20: DIGITAL PRINT PERMANENCE and LONGEVITY
CHAPTER 21: PRINT FINISHING, EDITIONS, and DOCUMENTATION
Most Helpful Customer Reviews
Are you photographer or printmaker? If you are, then this book is for you! Author Tom P. Ashe, has done an outstanding job of writing a book that helps you avoid the frustration of prints and monitors that don’t match, by helping you gain control over this process; and, gives you the ability to produce excellent digital output. Author Ashe, begins by exploring the three basic components needed for color to exist: light, object and observer. Then, he examines how colors are described, measured, reproduced and managed. The author continues by looking at images and prints, for the inevitable problems they might have, and the opportunities for improving them. Next, he looks into the window of the digital world: the display. Then, the author discusses the tools and methods used in characterizing scanners and digital cameras. He continues by looking at Photoshop’s Color Settings window, explains the options, and gives suggestions on the optimal settings to use depending on your applications. Next, the author discusses color correction philosophies. Then, he shows you how output and printer profiles are created. The author discusses how to build higher-quality output profiles and how to improve those profiles. Next, he reviews tools and utilities that will help you to objectively evaluate your profiles and colors in different parts of the workflow, especially the ones that let you examine and fix profile and image tags; take spot measurements; and, view the gamuts of your devices. Then, the author discusses what RIPs are, how they are different than drives, the reasons you would use RIPs, and finally reviews some specific RIPs. He continues by taking an overall view of the different types of digital output you could be using. Next, the author looks at the different types of inkjet printing and ink technologies. Then, he discusses the different methods and algorithms used to resize your image in Photoshop and third party image sizing software packages. The author continues by examining the collaboration in fine-art digital printmaking, specifically looking at the influence of the collaboration in traditional printmaking techniques. Next, he looks at preparing CMYK files for going to the printing press. Then, the author discusses how to set up color and use the ICC profiles in other applications within Adobe’s Creative Cloud, specifically InDesign and Illustrator. He continues by looking at a specific case of an image looking strange through an Internet browser, which will lead to a discussion of how different browsers handle color management and the best practices to use when preparing your files for viewing on the greatest variety of browsers and displays. Finally, the author looks at the final steps of the process of making your high-quality output. Each chapter in this excellent book includes resources and exploration activities and exercises for you to further your understanding of each topic and build your skills. Hopefully, throughout this great book, there will be an opportunity for you to learn, explore, experiment, refine, and make excellent quality prints and output.