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E-raamat: Understanding Color Management

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An accessible but technically rigorous guide to color management for all users in all market segments

Understanding Color Management, 2nd Edition explains the basics of color science as needed to understand color profiling software, color measuring instruments, and software applications, such as Adobe Photoshop and proofing RIPs. It also serves as a practical guide to International Color Consortium (ICC) profiles describing procedures for managing color with digital cameras, LCD displays, inkjet proofers, digital presses and web browsers and tablets. Updates since the first edition include new chapters on iPads, tablets and smartphones; home-cinema projection systems, as well as, with the industrial user in mind, new additional chapters on large-format inkjet for signage and banner printing, flexography, xerography and spot color workflows.

Key features:

  • Managing color in digital cameras with Camera Raw and DNG.
  • Step-by-step approach to using color management in Adobe Photoshop CC.
  • M0, M1, M2 instrument measurement modes explained.
  • Testing of low cost, iPhone color measuring instruments.
  • Updated to include iccMAX (Version 5.0) ICC profiles.
  • G7 calibration explained with practical examples.
  • Conventional printing conditions described - SNAP, GRACoL, SWOP, Fogra, CRPC.
  • New sections on Pantone EXTENDED GAMUT Guide.
  • Introduction to XML for color management applications.

Understanding Color Management, 2nd Edition is a valuable resource for digital photographers, keen amateurs and end-users, graphic designers and artists, web masters, production and prepress operators and supervisors, color scientists and researchers, color consultants, and manufacturers. It is a must-have course text for college and university students of graphics arts, graphic communications, digital photography, print media, and imaging arts and sciences.

The Society for Imaging Science and Technology (imaging.org) is an international professional society whose mission is to keep members and others aware of the latest scientific and technological developments in the greater field of imaging. A major objective of the Wiley-IS&T series is to advance this goal at the professional level. The broad scope of the series focuses on imaging in all its aspects, with particular emphasis on digital printing, electronic imaging, image assessment and reproduction, image archiving and preservation, color science, pre-press technologies, and hybrid imaging systems.

Foreword to 1st Edition xv
Foreword to 2nd Edition xvii
Preface xix
Acknowledgments xxvii
1 Introduction
1(36)
1.1 Why Do We Need Color Management?
1(2)
1.2 Closed-loop Color Control
3(1)
1.3 Need for an Open System
4(1)
1.4 A Color Management System
5(3)
1.5 Color Management Workflows
8(2)
1.6 ICC -- International Color Consortium
10(3)
1.7 RGB and CMYK Color Specification
13(3)
1.8 CIE 1931 Yxy and CIE 1976 L*a*b*
16(1)
1.9 Color Conversions
17(2)
1.10 Three Cs of Color Management
19(1)
1.11 Profile Types
20(4)
1.11.1 Custom Profiles
20(1)
1.11.2 Generic Profiles
21(1)
1.11.3 Standard Profiles
22(2)
1.12 Color Gamuts
24(2)
1.13 Rendering Intents
26(2)
1.14 Color Accuracy
28(1)
1.15 Late-binding Workflows
29(1)
1.16 Spot Colors and Proprietary Systems
30(1)
1.17 Benefits of Color Management
31(3)
1.18 Summary
34(3)
2 Principles of Light and Color
37(28)
2.1 Introduction
37(1)
2.2 Light Source -- Object -- Human Observer
38(1)
2.3 Electromagnetic Radiation
39(1)
2.3.1 The Visible Spectrum
39(1)
2.4 Specifying the Light Source
40(1)
2.41 Spectral Power Distribution
40(6)
2.4.2 Color Temperature
42(1)
2.4.3 CIE illuminants and Standard Sources
43(2)
2.4.4 Viewing Booths
45(1)
2.4.5 "Warm" and "Cold" Colors
46(1)
2.5 Measuring the Sample Spectrum
46(3)
2.5.1 Practical Color Samples
47(2)
2.6 Quantifying Human Color Vision
49(4)
2.6.1 CIE Standard Observer
50(1)
2.6.2 Trichromatic Vision
51(2)
2.7 Changing the Light Source
53(1)
2.7.1 Chromatic Adaptation
53(1)
2.7.2 Yellow Sodium-Vapor Street Lighting
54(2)
2.7.3 Metamerism -- Matching Jacket and Trousers
56(2)
2.7.4 PANTONE® D50 Lighting Indicator
58(1)
2.8 Vision and Measurement
58(5)
2.8.1 Viewing the Invisible -- Infrared
59(1)
2.8.2 Ultraviolet Fluorescence
60(1)
2.8.3 Color Illusions
60(1)
2.8.4 Color Appearance Modeling
61(2)
2.9 Summary
63(2)
3 Color by Numbers
65(30)
3.1 Introduction
65(1)
3.2 Basic Attributes of Color: Hue, Saturation, and Lightness
66(1)
3.3 Munsell Color System
67(1)
3.4 CIE Color Specification
68(1)
3.5 XYZ Tristimulus Values
69(1)
3.5.1 Calculating XYZ
69(2)
3.5.2 XYZ Example Colors
71(1)
3.5.3 XYZ for Light Sources
72(1)
3.6 CIE 1931 Yxy System
72(2)
3.6.1 Advantages of the Yxy Chromaticity Diagram
74(1)
3.6.2 Disadvantages of the Yxy Chromaticity Diagram
75(2)
3.7 CIE 1976 L*a*b* System
77(3)
3.7.1 L*a*b* Practical Examples
80(2)
3.7.2 L*a*b* vs. Spectral Data
82(1)
3.8 CIE 1976 L*C*h
83(1)
3.9 Quantifying Color Difference
84(9)
3.9.1 Calculating ΔE
85(3)
3.9.2 Improved ΔE Equations
88(3)
3.9.3 Which ΔE Should I Use?
91(1)
3.9.4 ΔE and Images
92(1)
3.10 Summary
93(2)
4 Measuring Instruments
95(26)
4.1 Introduction
95(1)
4.2 Instrument Types
96(1)
4.3 Instrument Filter Bands
97(1)
4.4 Densitometers
98(3)
4.4.1 Density Equation
99(1)
4.4.2 Status Densitometry
99(1)
4.4.3 Density and Process Control
100(1)
4.5 Colorimeters
101(3)
4.5.1 Filter-based Colorinietry
101(2)
4.5.2 Improvements in Display Colorimeters
103(1)
4.6 Spectrophotometers
104(10)
4.6.1 Spectrophotometer Features and Functions
106(3)
4.6.2 Ever Popular X-Rite ilPro2
109(1)
4.6.3 OBA and UV Fluorescence
110(1)
4.6.4 M0, M1, M2, M3 Measurement Modes
111(3)
4.7 Smartphone and Other Low-cost Systems
114(1)
4.8 Inter-instrument and Inter-model Agreement
115(1)
4.9 Instrument Repeatability vs. Accuracy
116(1)
4.10 Instrument Calibration
117(3)
4.11 Summary
120(1)
5 Inside Profiles
121(26)
5.1 Introduction
121(1)
5.2 ICC Profile Specification
122(1)
5.3 Hexadecimal Profile Encoding
123(1)
5.4 Structure of an ICC Profile
124(1)
5.5 Profile Header
124(13)
5.5.1 Preferred CMM
125(1)
5.5.2 Specification Version
125(1)
5.5.3 Profile Class
126(1)
5.5.4 Data Color Space and PCS
127(1)
5.5.5 Flags
128(2)
5.5.6 Rendering Intent
130(1)
5.5.7 PCS Illuminant
130(1)
5.5.8 Profile Creator
130(7)
5.6 Tag Table
137(3)
5.6.1 Profile Description Tag
132(1)
5.6.2 XYZ Primaries Tag
132(1)
5.6.3 Tone Reproduction Curve Tag
133(1)
5.6.4 Media White Point Tag
133(1)
5.6.5 Chromatic Adaptation Tag
133(2)
5.6.6 Lookup Table Tags
135(2)
5.6.7 Target Tag
137(2)
5.6.8 Gamut Tag
139(1)
5.6.9 Optional Tags
139(1)
5.6.10 Private Tags
140(1)
5.7 Version 2 and Version 4 Profiles
140(1)
5.8 Version 5 Profiles and iccMAX
141(1)
5.9 How Does a Lookup Table Work?
142(2)
5.10 Summary
144(3)
6 Managing Color in Digital Cameras
147(18)
6.1 Introduction
147(1)
6.2 Scanner Profiling
148(1)
6.2.1 Making a Scanner Profile
148(1)
6.3 Paradigm Shift from Scanners to Digital Cameras
149(3)
6.4 Color Management for a Digital Camera
152(1)
6.41 Bayer Color Filter Array
152(7)
6.4.2 In-Camera JPEG Processing
153(1)
6.4.3 Camera RAW Processing
154(1)
6.4.4 Camera RAW Color Management
155(2)
6.4.5 Creating a Camera RAW Profile
157(1)
6.4.6 Digital Negative -- DNG
157(2)
6.5 File Formats for Digital Cameras
159(3)
6.5.1 JPEG Lossy File Format
160(1)
6.5.2 TIFF Lossless File Format
161(1)
6.6 Studio Color Management
162(1)
6.7 Summary
162(3)
7 Monitor Profiles
165(22)
7.1 Introduction
165(2)
7.2 Three Cs of Monitor Profiling
167(1)
7.3 Monitor Profiling Solutions
167(5)
7.3.1 Free Utilities
167(1)
7.3.2 Commercial Profiling Software
168(1)
7.3.3 Integrated Soft Proofing Solutions
169(1)
7.3.4 Hardware Calibrated Monitor Systems
170(1)
7.4 Monitor Basics
171(1)
7.4.1 External Brightness and Contrast
171(1)
7.4.2 RGB Primaries
172(2)
7.4.3 White Point
174(1)
7.4.4 Monitor Gamma
174(1)
7.4.5 Luminance Levels
175(1)
7.4.6 The Dingy Yellow Effect
175(2)
7.5 Making a Monitor Profile
177(1)
7.6 Checking a Monitor Profile
178(1)
7.7 Monitor Profiles and Windows
179(1)
7.8 Monitor Profiles and Web Browsers
180(2)
7.9 Monitor Profiles and Mobile Devices
182(1)
7.10 Soft Proofing in Adobe Acrobat
182(1)
7.11 Standards for Viewing Booths
183(1)
7.12 Summary
184(3)
8 Press and Printer Profiling
187(46)
8.1 Introduction
187(1)
8.2 The Three Cs in Printer Profiling
188(1)
8.3 Calibration in Inkjet Systems
188(4)
8.3.1 Ink Limiting
189(1)
8.3.2 Ink Hooking
190(1)
8.3.3 Ink Splitting
191(1)
8.4 Calibration in Digital Presses
192(1)
8.5 Calibration in Offset Printing
193(4)
8.5.1 G7 Calibration
194(2)
8.5.2 Shared Neutral Appearance vs. Full Color Match
196(1)
8.6 Printer Test Charts
197(3)
8.6.1 Commonly Used Printer Test Charts
197(2)
8.6.2 Visual vs. Random Layout
199(1)
8.7 Printing and Measuring the Test Chart
200(6)
8.7.1 RGB or CMYK or Halftone Printer?
200(2)
8.7.2 Printing with "No Color Management"
202(2)
8.7.3 Layout for Different Measuring Instruments
204(1)
8.7.4 White Backing
205(1)
8.7.5 Examining the Measurement File
205(1)
8.7.6 Averaging Measurement Files
206(1)
8.8 Making a Printer Profile
206(4)
8.8.1 Black Channel Generation
206(3)
8.8.2 Profile Quality
209(1)
8.9 Checking the Printer Profile
210(3)
8.9.1 Quantitative Checking
210(2)
8.9.2 Qualitative Checking
212(1)
8.10 Reference Printing Conditions
213(8)
8.10.1 Developing Reference Printing Conditions
214(1)
8.10.2 American and European Reference Printing Conditions
215(2)
8.10.3 Using Reference Printing Conditions in Prepress and Press
217(2)
8.10.4 "Printing to the Numbers"
219(2)
8.11 Rendering Intents
221(1)
8.11.1 Perceptual Rendering Intent
222(1)
8.11.2 Relative Colorimetric Rendering Intent
223(1)
8.11.3 Absolute Colorimetric Rendering Intent
224(1)
8.11.4 Saturation Rendering Intent
225(1)
8.12 Device Link Workflows
225(2)
8.12.1 ICC Device Linking
225(1)
8.12.2 Proprietary Device Linking
226(1)
8.13 Process Control in Printing
227(3)
8.14 Summary
230(3)
9 Spot Colors & Expanded Gamut Printing
233(26)
9.1 Introduction
233(3)
9.2 Specifying a Spot Color -- Pantone Matching System®
236(7)
9.2.1 PANTONE Guides
236(3)
9.2.2 Pantone Digital Color Libraries
239(2)
9.2.3 PANTONE Ink Formulation Recipes
241(1)
9.2.4 Advantages and Disadvantages of the PMS System
242(1)
9.3 Printing a Spot Color
243(3)
9.3.1 Printing with a Spot Color Ink
243(1)
9.3.2 Simulating a Spot Color in CMYK
244(2)
9.4 Spot Colors and Digital Presses
246(3)
9.4.1 Creating a Swatch Book on a Digital Press
247(1)
9.4.2 Spot Color Matching in Digital Presses
247(2)
9.4.3 Spot Color Editor for a Digital Press
249(1)
9.5 Expanded Gamut Printing
249(4)
9.6 Software Solutions for Spot Colors and Expanded Gamut Printing
253(3)
9.6.1 Gamut Warning in Adobe Photoshop
253(1)
9.6.2 Using PANTONE Color Manager
253(1)
9.6.3 Color Conversion with Esko Equinox
254(1)
9.6.4 Gamut Calculation in Esko Color Engine Pilot
255(1)
9.7 Summary
256(3)
10 XML and Color Management
259(16)
10.1 Introduction
259(1)
10.2 Markup Languages
260(1)
10.3 XML Design Principles
261(1)
10.4 Basics of XML
262(1)
10.41 Declaration
262(5)
10.4.2 Elements
263(1)
10.4.3 Attributes
263(1)
10.4.4 Schema
264(1)
10.4.5 Private Schemas
265(1)
10.4.6 Validation and Conformance
265(2)
10.5 Working with XML
267(5)
10.5.1 iccMAX
267(1)
10.5.2 Windows Color System (WCS)
268(1)
10.5.3 Color Exchange Format (CxF)
269(2)
10.5.4 X-Rite ilProfiler
271(1)
10.5.5 JDF
272(1)
10.6 XML not-best Practices
272(2)
10.7 Summary
274(1)
11 Color Management in Photoshop
275(22)
11.1 Introduction
275(1)
11.2 Photoshop Through the Ages
276(2)
11.3 Photoshop's Color Management Rules
278(2)
11.3.1 Rule 1: Image + Profile
279(1)
11.3.2 Rule 2: Profile -- Connection Space -- Profile
279(1)
11.3.3 Rule 3: Real vs. Simulated Conversions
279(1)
11.4 Photoshop's Working Space
280(1)
11.5 Menus in Photoshop
281(9)
11.5.1 Opening an Image
282(1)
11.5.2 Image Status
283(1)
11.5.3 Color Settings
284(2)
11.5.4 Assign Profile
286(1)
11.5.5 Convert to Profile
287(2)
11.5.6 Soft Proof Setup
289(1)
11.6 Photoshop and Printing
290(3)
11.6.1 Photoshop's Print Settings
290(2)
11.6.2 Hard Proofing
292(1)
11.7 Putting It All Together
293(2)
11.8 Summary
295(2)
A Appendix 297(8)
Index 305
Abhay Sharma has a BS in Imaging Sciences from the University of Westminster, UK, and a PhD in Physics from King's College London, UK. Sharma developed color products as a Senior Research Scientist at FujiFilm Electronic Imaging, UK, before accepting a position as Associate Professor at Western Michigan University, USA. Dr Sharma is now a Professor in the School of Graphic Communications Management, Ryerson University in Toronto, where he teaches color management to students on the only degree program in print media in Canada. Sharma is well known in the industry via his involvement with the ICC and major Idealliance color evaluation projects for color proofing, color in digital presses, ink optimization, large-format inkjet printing, etc.
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