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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.
- Sales Rank: #180167 in Books
- Published on: 2014-02-14
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.20" w x 8.90" l, 3.06 pounds
- Binding: Paperback
- 456 pages
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.
Most helpful customer reviews
10 of 11 people found the following review helpful.
More Than Most Photographers Need
By Conrad J. Obregon
Color Management is the process by which the colors of image outputs are adjusted so that they all look the same. For example it is the process by which the colors of a print are made to look the same as those of a monitor. Due to the nature of the various outputs, the colors are rarely the same but can be adjusted closely enough to satisfy the photographer. As a wildlife photographer, I achieve this just by calibrating my monitor and using print profiles from the manufacturers whose papers I print on. I know an artist who complains that the difference in colors between my monitor and prints is so far apart as to be different images. To satisfy the "close enough" requirements of different users a variety of tools are available that can allow for more precision in color management. (The idea of "close enough" is mine, not the author's.)
All of that is by way of explaining why "Color Management & Quality Output" may provide more information than many photographers want or need.
After describing the nature of color in photographs, the book explains how to calibrate a monitor, and then how to profile scanners and digital cameras (although, with exceptions, the author is not a strong proponent of camera profiling). There is a brief review of how to adjust color in both Photoshop and Lightroom and then the author turns to output profiles with an emphasis on creating custom profiles, although he acknowledges a place for generic profiles. Ashe then explains how to further adjust profiles to make them even more accurate as well as use other color utilities. He visits raster image processors (RIPs) and explains their usefulness for some photographers. The second half of the book deals with printmaking, including not just inkjet printing but also the use of outside labs, printing presses, and short-run photo books. There is an exploration of color management in the rest of the Adobe Creative Cloud, as well as outputting to the Web and tablets. The author finishes by discussing longevity and finishing.
The book is well written and understandable. Not every piece of software and tool is described in detail, but enough information is given to understand the principles. Even if not covered in detail, the manufacturer's instructions provide the nuts and bolts information to do a good job.
One of the things that the author reveals is that going beyond profiling one's monitor and using a paper manufacturer's profile is a costly and time consuming process that may not be worthwhile for many photographers for whom this basic color management may be "close enough".
There are a few tricks of color management that are not mentioned like creating a duplicate image for soft proofing (the process of adjusting the image on screen so that it looks like the printed output) for comparison purposes and to allow adjusting the image to overcome changes like reduced gamut.
Most photographers will probably get all they need to know about color management from a good book on printing. But for those who need the utmost of precision in the colors they output, this is an excellent reference.
10 of 11 people found the following review helpful.
Great book - skip the kindle, buy the book
By Rk
It's great to see another book out on Color Management and the info is well presented. I made a mistake in buying the kindle version - most illustrations and diagrams are so small and compressed that you can't read them (enlarging them just brought up blurry images)! I've tested it on my Kindle FireHD and Kindle Reader for Mac with the same result. If you are thinking of buying - get the actual book!
8 of 9 people found the following review helpful.
The most exciting book on Color Management ever to be color managed!
By David B. Neff
Tom Ashe fills in the blanks (blank facial expressions) left behind in your product user manual PDF's. Color Management & Quality Output takes you step by step through the science and procedures of getting what you see or want in reality from your source to your output or from the camera to the press in my case. As a bonus, sprinkled in are some tips and techniques for Lightroom and Photoshop users to streamline the process of getting from A to LAB and back again.
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