Professional Documents
Culture Documents
95
0055W589 01/06 ©2006 CANON U.S.A., INC. PRINTED IN U.S.A.
Contents
Equipment
Essential equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
System requirements for digital photo creativity . . . . . . . . . . . 25
Printer selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Storing image data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Software environment for shooting and data processing . . . . . 29
Shooting
Shooting Hints for professional shooting . . . . . . . . . . . . . . . . . . . . . . . . . 32
Checking with histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
White balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
ISO settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Color matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Selecting the recording format . . . . . . . . . . . . . . . . . . . . . . . . . 39
Image synthesis with image-processing software . . . . . . . . . . 40
TS-E lens series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Averting common problems in digital photos . . . . . . . . . . . . . . 44
Data Processing 1
Preparing your image data for commercial printing . . . . . . . . . 48
Monitor settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Monitor calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
The color management system built into Adobe software . . . . 56
A guidebook for photographers who choose Color settings in Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . 57
Appendix
Image processing with Adobe Photoshop . . . . . . . . . . . . . . . . 82
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Shooting notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
The purpose of this guidebook
2 3
Free your imagination!
Capture the new day with
EOS digital cameras.
4 5
This page intentionally left blank.
8 9
Shot with the EOS 20D
12 13
EOS-1Ds Mark II 645 film
14 15
EOS-1Ds Mark II, TS-E 90mm f/2.8
Rendered in Digital Photo Professional ver.1.6
Up-resed in Photoshop CS2® in
10% increments to 220MB
100% crop
EOS-1Ds Mark II
22 MP Digital Back
16 17
Professional digital photography — hitting its stride at last Shifting to the new digital workflow
The speed and efficiency of digital photography are self-evident and widely acknowledged. In the field of photojournalism, where
speed and efficiency are all-important, the switch from film to digital photography has already been made. Now, with dramatic
improvements in the performance of digital cameras, the wave of change is sweeping into advertising and other fields as well.
Digital cameras are evolving, and the is now able to address the needs of camera for even greater control over images. When shooting, processing and To efficiently produce digital photos of photography) are the common point of
emphasis is shifting from efficiency photographic studios, for whom image quality Now is the time to take advantage of the printing come together, the results the highest quality, we recommend that reference for digital image evaluation.
to quality of high resolution files is paramount. power and flexibility of digital photography. can be breathtaking you learn about the prepress process to
Canon introduced the world’s first electronic Make the switch today! Digital cameras provide photographers with determine the best solution for your clients Color management helps simplify
still/video camera (the RC-701) in 1986, and The switch to digital technology is greater flexibility and control over image and their output requirements. color evaluation
digital cameras have been evolving rapidly expanding the world of photography Digital cameras provide greater control production than ever before. However, When evaluating digital image data, colors
ever since. Low running costs (i.e. through Desktop publishing (DTP) is now a fixture over image creation specialized knowledge of image processing There is no single generic workflow that can appear different on different monitors.
the elimination of film expenses) and the in the fields of advertising and publishing; In the age of black-and-white photography, is required to make the most of this fits every situation. Customer demands To make matters worse, even when the
immediate ability to produce and review creativity and efficiency have improved film development and printing were critical advantage. Even photos taken in the best and client considerations determine the same image is displayed on the same
images made digital cameras the choice of dramatically as a result of their influence aspects of the photographer’s domain. of conditions can easily lose their quality path that assets follow in the digital monitor using the same operating system
photojournalists from the introduction of the on the workflow. The switch to digital photo With the advent of automated color film through incorrect image processing. For workflow. Work backward and plan and application software, the colors can
very first professional grade digital cameras. technology in the field of professional processing, much of the control over the best results, photographers should learn ahead. still differ if the settings of the operating
Even so, however, digital camera image photography is creating similar improvements final image was given up by the how to handle image processing and system and software are different.
quality did not compare to that of film, so in digital workflow processes. Since advances photographer. In this new film-free era, output proficiently. Digital images are evaluated on The concept of color management was
those fields in which image quality is a in digital camera technology have eliminated photographers can once again take full a monitor born of the need to minimize differences in
critical business selling point (e.g. advertising, concerns about the quality of digital command of the entire creative process, Where do photographer In conventional plate making, positive film color reproduction on different devices and
publishing, and photo portraiture) maintained images, the domain of the photographer thus ensuring that the final images faithfully responsibilities end in the and prints serve as clear guidelines for in different environments and ensure the
a steadfast dedication to film photography. (which film restricts to the act of shooting reflect their original intentions. new digital workflow? color reproduction. Even when color tones image always appears like the original. In
The arrival of the 11-megapixel EOS-1Ds pictures) has been expanded by the digital Defining deliverables requires communication need adjustment, everyone involved can the past, color management was mainly
in 2002, however, significantly changed the and proofing. Understanding the final output share a common understanding by referring concerned with coordinating color
performance and perception of digital cameras. • Conventional film camera workflow requirements while building your workflow to instructions made on the positive film reproduction between the monitor and the
The EOS-1Ds accelerated the transition from demands an initial investment of time and or prints. This clarity of communication printer. However, these days it has become
film to digital with its outstanding resolution, effort. But that investment will reward you minimizes gaps between intended colors an essential element throughout the digital
full-size 35mm CMOS sensor, high image with accurate, predictable color and quality and actual results. photographer’s workflow.
quality, and large files. These outstanding for every image. Colors and gradations in digital image Since photographers, plate makers, and
performance characteristics, coupled with You can now control the entire creative data, on the other hand, exist as numbers printers each check the colors of digital
Canon’s superior ergonomic design triggered process from shooting to image data that are difficult to refer to. This lack of clear photos on their respective monitors, they
an explosion in commercial applications of preparation for final output. Digital data guidelines creates various uncertainties and may end up examining the image data in
Since the printing process is divided into
digital photography. various steps and different areas of transfer has created new rules for the makes it difficult to check if colors and different color tones unless their color
The next generation of EOS –– the 16.7- expertise, the photographer’s intentions media markets; unfortunately these rules gradations are correct. Images displayed environments are coordinated using strict
may not be reflected in the final print.
megapixel EOS-1Ds Mark II –– arrived in keep changing. Few photographers are on monitors (which serve the same purpose color management. Without color
2004. With resolution at this level, Canon familiar with the prepress process. as positive film and prints in conventional management, the gaps in color reproduction
• New digital camera workflow • Image evaluation standards in workflow for commercial printing of film photos
could result in flawed image evaluations including: print, world wide web, CD/DVD from RGB (red, green, blue color spectrum) Photo printing environments where Photo studios consider adopting more stable than those possible with film
and unintended print results. authoring, across networks, storage media to CMYK (cyan, magenta, yellow, and black digitalization is already forging ahead digital technology for portraits can be obtained. Active communication
The simplest method of color management and multiple monitors. color spectrum). Even if issues of resolution, dynamic range, The rapid transition to digital technology in with the lab, therefore, is the key to efficiency
is to use the same image processing A common practice today is to supply a P.77 and color management are successfully professional photo labs has encouraged and high quality.
software, such as Adobe Photoshop, and print along with the image data for the plate addressed, prints are still ultimately necessary. some photo studios, which until now have With advances in printing technology, we
apply the same color management settings maker to use as a guide. With the introduction Photographers who understand the We turn to prints, not displays or offset used digital cameras only for ID photos, to are seeing the emergence of a creative
throughout all processes within the workflow. of virtual proofing and modern color-managed process can improve efficiency and printing, when we want to preserve an adopt digital large-format prints. Some of environment in which the capability of the
However, this rudimentary method is not workflow, this practice will no longer be final image quality image. Prints, of course, can be kept for a these studios have made a complete operator and the senses of the photographer
sufficient for realizing the full potential of necessary. Color management has now come Color management is necessary at every long time. This quality, as well as the strong switch to digital technology and are now are indispensable. It appears that once
digital camera data. of age! With proper understanding and step of the process that leads to commercially demand for depth and density of color and using digital cameras for portraits too. there is solid order-sending and receiving
Too often, photographers are drawn to practice, the photographer can exercise printed digital photos. However, the color light that only photographic paper can Broadly speaking, there are presently two know-how among photographers and
digital cameras for the ease with which data complete control over viewing, editing, and management responsibilities of each person provide, have been traditional reasons for separate workflows in digital photography. professional labs, we will see digital cameras
can be transferred to designers, clients, and proofing, as well as final print quality. To do in the process is rarely defined. the hesitation to switch to digital photography. In one, image data are given to a professional used more and more for portraits, as well as
plate makers, and a workflow is established this, you must utilize the proofing and color This lack of clarity can burden photographers In the past, creating prints from digital data lab, which then handles everything from other types of photographic projects.
without taking proper color management gamut functions of commercially available who take full control in their efforts to was cumbersome and time consuming. correction to printing. Advances in
into account. We highly recommend that image editing software such as Adobe ensure quality and efficiency. Conversely, First, digital data were burned onto color broadband technology have encouraged an Impact of inkjet printer performance
you avoid this pitfall through appropriate Photoshop. photographers who leave too many reversal film using a film recorder, and then increasing number of labs to upgrade their improvements
color management protocols. Inkjet printers can reproduce a wider responsibilities to others may end up with a print was created with the color reversal computing environments, so they can be Previously, inkjet printers produced images
P.50 range of colors than commercial printing low-quality results. film. Now, however, photo-printing equipment sent image data over the internet. The ability markedly different from those printed on
equipment, so the key to image quality is To prevent such problems and realize has itself been upgraded to digital technology, to easily transfer large volumes of high- photographic paper. Performance
The importance of color how the plate maker adjusts for areas that the full potential of digital photography, and prints can be created directly from quality image data makes the simplicity of improvements in recent years, however,
management cannot be adequately expressed by photographers must understand the entire image data. sending and receiving orders an advantage have produced marvelous granularity that
Photographers must adhere to strict color commercial printing equipment. process so they can recognize the factors for this workflow. In the other workflow, the exceeds that of traditional photo printing,
management principles in order to ensure When you want to see how colors will that affect image quality. Then they should Digital printing equipment in photographer personally corrects the image and have given us spectrums that have
that accurate, consistent color quality is differ in commercially printed images, you take an active part in defining and delegating high-precision professional labs data and has a professional lab use these been expanded with 8-ink systems and
maintained throughout the entire workflow can use Adobe Photoshop or Canon Digital the responsibilities for color management. surpass negative prints data to create prints. The lab and the other technologies. This has resulted in
process for a variety of image endpoints, Photo Professional to simulate the conversion As digital cameras have come into wider photographer examine test prints beforehand color reproduction that surpasses that of
use, professional labs have upgraded their and, working together in the color positive film.
digital data handling capabilities. The growing management process, create prints that Additionally, improvements in water-
use of large format photo printers has been satisfy the photographer. In either case, if resistance, weather-resistance, and light
of particular value in providing a greater care is taken to use the same settings on stability, as well as improvements in inks
Strict color management is a must! P.50 range of choice for printing digital photos. tools used by both the photographer and and printing paper, have made it possible
The Lambda printer, (a commonly used the lab from the beginning, prints even to obtain extremely stable print results.
large format printer) exposes conventional
photographic paper to RGB lasers and • Photo studio/professional lab workflow
Digital photo processing requires strict produces colors through a development
color management since there is no
central standard for color evaluation. process. The result is prints of exactly the
same quality and texture previously possible
only by using photographic paper in the
traditional printing process. What’s more,
with Adobe RGB serving as the color
spectrum standard, color expression more
vibrant than that possible with traditional
printing can be achieved. There are also
Lambda printers that use LED technology.
This technology permits enlargements
to be sharper than those created using
traditional optical methods.
Digital camera workflows in the of RGB, use software to perform simulations processes. Nevertheless, in fields where
advertising and publishing fields when necessary, more consistent results digital data workflow has been established, EOS DIGITAL
In advertising and publishing, digital cameras
are still not used to the extent they are in the
can be achieved.
In the fields of advertising and publishing,
the move to full digitalization is proceeding
rapidly. For professionals, who have taken
DIGITAL PHOTO
creative and printing fields.
Color management, in particular, is only
great faith is placed in film. This will likely
result in a longer transition to digital
the lead in other ways, it is necessary to adopt
the new workflow with even more vigor.
GUIDEBOOK
now being adopted by plate makers and
designers. On the other hand, there is growing
demand for greater production efficiency, • Workflow within the RGB realm Equipment
and we are seeing, as in the case of JMPA The photographer can control Digital Photo Professional
Color, clients (advertisers) requesting the RGB-based color management
use of color management. A final print simulation is used
to check how the commercial
The key determinant for the future adoption print will appear
of color management is improvement in the
efficiency and precision of color checking Photographer
Topics for the advertising and sent from shooting and production use of a proofer at shoot locations. Armed
publishing industries locations are printed with colors with the profiles of the printing company
adjusted by a high-precision DDCP (Direct and the plate-making company, the
Digital camera workflow will improve the Digital Color Proofer), and the prints are proofer, together with a color managed
efficiency and consistency of image quality then immediately sent to the production display, made it possible to check colors
by unifying plate-making systems and location where color tone can be checked. immediately after photos were taken. Color
photography. Closed conditions will be With this method, image quality is checked checks performed with the buyer and
necessary and, under the present before traditional color proofing, and designer at shooting locations minimized
circumstances, there are areas in which significant time is saved. problems during and after the design
open development will be difficult. process.
[2] Shortening the editing process and
[1] Achieving both speed and stable improving color reproducibility [3] RGB files converted to CMYK can
quality for photojournalism (Case of Printing Company B) produce dramatically different results
(Case of Newspaper Company A) For printed materials, such as mail order depending upon the profile and conversion
In pursuit of both speed and stability of catalogs, the difference between printed method used. A wonderful RGB image can
image quality offered by digital cameras, colors and the actual colors of the items easily be destroyed by the employment of
Newspaper Company A adopted a pictured can cause problems. Printing improper conversion techniques.
network-based printing system. Data Company B, therefore, implemented the P.75
Printer selection
Select the printer most suitable for Laser printers deliver high Large format printers give photos
your needs printing speed maximum impact
Printers can be divided into several Laser printers are ideal for producing photo Large format printers are recommended for
categories based on printing method, albums in small volume, lists of photos for those who often print photos at large size.
usage and paper size handling capabilities. use as contact prints, and text documents Even poster-sized printouts of high-resolution
When selecting a printer, you should in large volume. Compared to inkjet printers, images taken with the EOS-1Ds Mark II
consider price, running costs, print quality laser printers offer lower running costs and will offer fine detail when viewed from a
and capabilities that are necessary to meet faster printing. Their output quality is high normal distance.
your particular needs. even on normal printing paper and during
two-sided printing.
Inkjet printers are affordable and In addition to conventional laser printers,
offer high image quality there are multifunctional products that
Ease of maintenance and affordable prices combine color printer, copier and fax
are not the only benefits of inkjet printers. functions in one compact body. If your
Due to dramatic improvements in their print office space is limited, these space-saving
quality, they are now powerful tools for products are an attractive alternative.
printing digital photos.
Since the color space of inkjet printers Large format printer
exceeds that of offset printing unless
specific procedures are followed ( P.20),
their prints are of limited use for evaluating Color proofing printers enhance
the colors of images before commercial the commercial printing workflow
printing unless specific soft-proofing Color proofing printers let you make
procedures are followed. However, inkjet adjustments to match the color tone,
printers can create finished prints that ink, and paper of the final commercial
bring out the full quality of photos taken print. They are ideal for checking colors
with digital cameras. Larger models with before commercial printing but not the
A large-capacity storage device is USB or IEEE1394 cable. No AC adapter Share data with multiple machines by
A3+ sized full-bleed capabilities can even best choice for outputting images as
necessary for storing photo data files is required. However, special care must be utilizing LAN
produce 13˝ x 19˝ prints that are finished work.
When using EOS digital cameras, you may taken when multiple devices are connected File sharing over a network is almost a
appropriate for framing on a wall. P.77
produce over 10GB of photo data in a single to the same computer, because an electric requisite for efficient data management.
day of shooting. It is therefore essential to power shortage could result in data errors. Fortunately, network communications have
have data storage and backup systems IEEE1394 and USB 2.0 offer high transfer recently accelerated due to infrastructural
Color laser printer
ready to go before the volume of your image speeds and are recommended when improvements and always-on connections
data snowballs out of control. transferring large amounts of photo data. have become common with the introduction
For optimum efficiency and secure data of ADSL and optical services. Moreover,
archiving, we recommend using an external Choose a high-spec computer Mac OS X and Windows XP offer significantly
hard disk drive. DVD±RW drives, which store and high-capacity data storage improved file sharing capabilities. These
data by the gigabyte, are suitable as backup. EOS-1Ds Mark II images are best stored numerous advances now enable file sharing Color proofing printer
Other removable media, such as CD-R and on high-speed, high-capacity hard disks. to be handled over the internet with ease. Inkjet printer
MO disks, are handy choices for delivery To transfer data to a computer, it is worth However, the growing demand of digital Photographic printers use
and exchange of photo data among noting that the latest PowerMacs come photo professionals for higher transfer Compact photo printers can be used photo paper and film
designers and clients. standard with high-speed FireWire 800 speeds and larger-capacity file sharing often in place of Polaroids The photographic printers employed at
ports, which are faster than IEEE1394 leads to the use of special server OS software Printing directly from the camera with a photo labs and image output centers use
Portable hard disk drives (HDD) are (FireWire 400) ports and reduce the time within company intranets. portable, low-cost compact photo printer is RGB lasers to print the images on
suitable for temporary storage of large needed to transfer large files. In studios or other such locations, a an effective alternative to using Polaroids. photographic paper and film.
amounts of data You should also consider using RAID wireless LAN is an effective tool. P.21
Portable HDDs, which are relatively small storage, which manages multiple hard The IEEE802.11g telecommunications
and lightweight, are particularly handy when disks as if they were one. Mac OS X makes standard currently preferred by professional Multifunction color printer
shooting in remote locations. using RAID storage simple and, therefore, photographers is relatively fast, at 54Mbps,
Bus-powered HDDs can receive power allows you to build a computing environment and removes the nuisance of cables for
from a connected computer through a single with even greater speed and reliability. those who move around a lot in the studio.
Compact photo printer
Storing image data Software environment for shooting and data processing
The higher the resolution or the greater the detail of the shot, the greater the volume The software at the core of the EOS digital workflow consists of Digital Photo
of data created. Storing a large number of images without sacrificing quality Professional and the EOS Viewer Utility. Use these tools to shoot and process
requires the use of high capacity storage media. image data efficiently.
You should consider the entire process and the effects of different settings. Only digital cameras provide the
from setting up the camera to post- We also recommend saving your original advantages of a histogram
processing your images RAW format data files, because some of With film cameras, decisions on lighting and
Expertise will come with experience. the parameters you set before shooting can exposure depend largely on experience and
Meanwhile, we recommend reading the be changed in these files to adjust the images. guesswork. But EOS digital cameras provide This histogram has a gently sloping peak
brief explanations that follow to deepen Please keep in mind, however, that not all a histogram function for analyzing the in the halftones. There are no extreme gaps
your understanding of digital cameras parameters can be changed after shooting. exposure immediately after shooting. between highlights and shadows.
A photo mainly comprised of a white background. A typical studio shot. A strongly backlit scene with extreme shadows and
highlights.
This histogram sharply peaks in the bright range. Blocked-up shadows and blown highlights were This histogram indicates strong contrast, with highlights
prevented by appropriate lighting. All elements are and shadows that went beyond the available range.
finely balanced within the optimal range of brightness.
There are numerous products available Fill the entire center spot-metering area with a white card. Shoot the subject one stop over for reflected
to ensure proper custom white balance. Note: To ensure accuracy, the white card must be in the reading ±0 stops for incident.
same lighting conditions as your final shot and must not Note: If the image is overexposed when shooting
Whichever product you choose, the most be reflecting other objects. the white card, accurate white balance may not
important attribute it must have is truly be obtained.
neutral tone. Popular devices currently
include the Gretag/Macbeth White Card,
the ExpoDisc Classic Digital White Balance
The darkest values are cut off in this histogram This high-contrast image is attractive as a final photo. The lightest values are cut off in this histogram Filter by ExpoDisc, Inc., and WhiBalTM from
(blocked shadows). Details are missing in darker But any attempts to soften the look will fail because (blowout). Details are missing in highlighted areas RawWorkflow.com.
areas of the subject’s hair and cannot be recovered details in the highlights and shadows are missing. of the skin and clothes and cannot be recovered
through software adjustments. through software adjustments.
Synthesis
The standard TS-E 45mm lens is optimal TS-E 45mm f/2.8 The TS-E 24mm f/3.5L features both tilt and TS-E 24mm f/3.5L
for shooting architecture and on other shift capability, vastly expanding the scope
• Focal length and aperture: 45mm, 1:2.8 • Focal length and aperture: 24mm, 1:3.5
occasions when a natural perspective — • Lens construction: 9 elements, 10 groups of expression possible with EOS digital • Lens construction: 9 elements, 11 groups
one in which buildings, for example, do • Diagonal angle of view: 51° cameras. This lens has the ability to correct • Diagonal angle of view: 84°
• Image circle diameter: 58.6mm • Image circle diameter: 58.6mm
not appear to taper inward — is required. distortion resulting from perspective,
• Tilt/shift: ±8°/±11mm • Tilt/shift: ±8°/±11mm
Equipped with a rear focus mechanism • Revolving angle: 0±90° something that in the past only medium- • Revolving angle: 0±90°
with floating effects, sharp, stable • Focal adjustment: Manual focus/rear focus system and large-format cameras could do, and • Focal adjustment: Manual focus/overall linear extension system
• Closest focusing distance/maximum magnification: 0.4m/0.16x • Closest focusing distance/maximum magnification: 0.3m/0.14x
delineation can be maintained at all • Filter size: 72mm
permits free control of the focusing zone. • Filter size: 72mm
distances from 0.4m upwards, and • Max. diameter x length/weight: ø81.0 x 90.1mm/645g It offers the ability to shoot with automatic • Max. diameter x length/weight: ø78.0 x 86.7mm/570g
because the front end of the lens does (ø3.2 x 3.6in./1.4lb.) exposure using both the Automatic Aperture (ø3.1 x 3.4in./1.3lb.)
not turn when focusing, operability is Setting and Auto Exposure Bracketing. And
excellent when a circular polarized filter with its floating element optical system and
is being used. Lens impression aspherical lens element, it is excellent for Lens impression
A natural angle of view and perspective and that the human eye naturally corrects perspective. correcting distortion and other types of With a wide-angle shot, the conventional wisdom is can detract from the beauty of the building’s
delineation that reproduces the texture of the bricks The high delineation of this lens reproduces bricks aberration. The TS-E 24mm f/3.5L offers that you should be close to your subject. This is straight lines and even make the building lose
was needed for this photo. The lens that met these and individual flagstones, and captures the lighted certainly a good way to exaggerate perspective and character as a structure. The TS-E 24mm f/3.5L is
compact size and high image quality at all
conditions was the TS-E 45mm f/2.8. The focal buildings and their aura floating in the mist. highlight the subject. In this photo, expressing the the only lens that allows a subject to be shot like
length of 45mm, which approximates the natural distances from 0.3m to infinity. Its strengths presence of the people in the café and the beauty this without these problems. Simply find the best
viewing angle of human beings, is the best choice are particularly evident when photographing of the rays of light, required the distance between distance from the subject, determine the shift, and
when you want to express exactly what you see. the camera and the subject to be shortened. you will see in the finder a world only accessible
The TS-E 45mm f/2.8 can also correct images, building interiors and exteriors, landscapes, However, when shooting buildings, walkways that through this lens.
so that they look natural, much in the same way and other subjects for which wide-angle seem to bend or bulge, and other types of distortion,
shots are appropriate.
False colors
False colors tend to appear in areas of high contrast, False colors are easier to identify when the image An example of a photo with a ghosted reflection.
especially in low-resolution images. is enlarged.
Degradation of delineation by
diffraction
Normally, the higher the aperture setting,
the greater the depth-of-field. However,
beyond a certain aperture value, the
aperture becomes too small, and the
diffraction degrades delineation.
When shooting with a large-format
camera, apertures of f/32 and higher are
normally used, but with a 35mm camera,
the same depth of field can be obtained
with smaller aperture settings, so you
EOS DIGITAL
should use an aperture setting no greater
than necessary and take maximum
DIGITAL PHOTO
advantage of the lens’ capabilities. GUIDEBOOK
Data Processing
Monitor settings
Preparing your image data for commercial printing Establishing an environment for image editing
If your digital photos will be used for commercial printing, they may require some editing first. Digital images are viewed on monitors, which vary in the accuracy of their image
As a professional photographer, you should understand how digital image data is prepared for reproduction. It is important that you understand how to select a monitor and
commercial printing and establish an environment for carrying out the process on your own. properly set it up for accurate image editing.
Color management
Establishing an environment for image editing
Color management is the key to the system’s success. Consistency is the key to successful color management.
This section is designed as an introduction to color management and not as a guide for color management professionals.
The goal of color management is to build an affordable imaging system that can be used to ensure accurate and consistent color
as the digital data is repurposed for a variety of different media including print, www, CD/DVD authoring, across networks, storage,
and multiple monitors. Color reproduction will vary depending on the media or display device. To enable professional editing of
your digital images, a color management system must be used to minimize these differences and ensure consistent color
reproduction regardless of the device or media. Imaging systems built around color management ensure accurate and consistent down but slightly curved, horseshoe shaped and users of color devices such as
Color reproduction
color as the digital data is transferred. color space (CIEXYZ) that is often used in scanners, monitors and printers and their
To learn about the process of color articles discussing color management. respective calibration devices. The ICC
How does it all work? reproduction, it is necessary to understand This color space is based on what the standards were based on the original CIE
basic color theory and concepts of light. human eye can see and was first standards.
Communicating in color is a bit like Without light there is no color. Color is a published in 1931. In the 1970s a new This provides a point of reference so
communicating in multiple languages. visual sensation involving light, the eye, mathematical model of color space was that one device can communicate with
Color Management Systems (CMS) act as and the brain, as well as the object being developed called Lab (Lab or CIELAB). another to ensure consistency in color
interpreters. The color profile is like the viewed — a light source, an object, and Lab is a more three-dimensional space throughout a managed system.
dictionary for a device's language. an observer! than the CIEXYZ color space. The devices communicate with ICC
Profiles are used by the Color Management Understanding the physics of color is The horseshoe shape is still useful for profiles imbedded in their software, which
Module (CMM), which simply translates more than we will cover in this guide. What providing a relative comparison between can be accessed by an ICC compliant OS
data from one device's colors to another we need to grasp to get started is that different color spaces. For example, it is or software application (such as
via a device-independent color space. everything affects the way we see color. still commonly used to reveal what kind of Photoshop) to ensure complete, system-
The CMM receives the necessary The International Commission on gamut is available from say Adobe 1998 wide communication of the ICC standards.
information about a device from the Illumination (CIE) established standards of RGB versus sRGB, or CMYK. The ICC profile tells the OS what kind of
profiles and then uses rendering intents to color based on how the human eye sees In 1993, a new organization called the color the device is capable of––its gamut.
perform gamut mapping to produce color colors. International Color Consortium (ICC) was Gamut is the range of colors available for
that is predictable from device to device. The CIE developed the familiar upside created to establish standards for vendors a particular color space.
The Application Program Interface (API)
provides applications with access to all of
these functions.
The necessity of color management • Color space comparison • CIELAB Color Space
In this example, Mac OS X and multiple software applications were used to display the same image data.
If the same color management settings are not used, different software applications will reproduce the same
image data with different color tones. For example, with Adobe InDesign CS, color management is turned off
in the initial settings, so if it is not turned on by the user, the profile established in Adobe Photoshop will not
be applied.
Color spaces are three-dimensional produce. This means that RGB and CMY The coordinates a and b approach zero Relative colorimetric compares the white If you work in an environment that uses
models that show you what colors are color spaces vary from monitor to monitor for neutral colors (white, grays, and black). point of the source color space to that of a mix of Adobe and non-Adobe applications,
possible to use in your work. and from printer to printer. Thus they are The higher the values for a and b, the the destination color space and shifts out- choose the Apple CMM conversion option
The concept of colorimetrically defined called device-dependent color spaces. more saturated the color is. of-gamut colors to the closest reproducible to ensure consistent results across
spaces has been around since the Device-dependent color spaces are color in the destination color space. applications. This option is better than
development of color television. described with Lab. CIE LCH Relative colorimetric rendering maps the Apple ColorSync option, which can
Since there are a number of different This color space is often referred to simply whites to the target output space and be overridden by specific instructions
color spaces, it’s important to distinguish Device-Independent color spaces as LCH. The system is the same as the preserves more of the original colors in an contained in a profile.
between those color spaces that are Converting from RGB on one device to CIE Lab color space, except that it image than the Perceptual rendering If you work in an all-Adobe but cross-
based on color reproduction methods CMYK on another can be challenging. This describes the location of a color in space intent. platform environment, choose Adobe ACE
(such as device-dependent spaces, gray is where device-independent color spaces by use of polar coordinates, rather than Absolute colorimetric leaves colors that to ensure consistency across platforms.
spaces, RGB-based color spaces, and such as sRGB and Adobe RGB make the rectangular coordinates. fall inside the destination gamut If you work in an all-Adobe, all-Mac
CMY-based color spaces) and those that task easier. L is a measure of lightness of an object, unchanged, and it effectively clips colors environment, you can choose either Adobe
represent all the colors that we can see Device-independent color spaces are ranging from 0 (black) to 100 (white) that fall out of that gamut. This rendering ACE or Apple CMM, as you will have
(device-independent color spaces and CIE used for the interchange of color data from C is a measure of chroma (saturation), is based on the source's white point and is access to both conversion options in all of
color spaces). the color space of one device to the color and represents the distance from the suitable for proofing to simulate the output the professional Adobe products you may
space of another. They provide a device- neutral axis. of a particular device. use. If you work with applications that
Gray spaces independent CIE reference color space H is a measure of hue and is represented include their own CMMs and profiles,
Gray spaces have a single component: (Destination Color Space), also referred to as an angle ranging from 0° to 360°. select Apple ColorSync.
Configuring advanced color controls
black. Gray spaces are used for black- as Profile Connection Space (PCS) in ICC Angles that range from 0° to 90° are
and-white (grayscale) display and printing. terminology. reds, oranges, and yellows. 90° to 180° are Adobe Photoshop lets you choose from
The ICC color space profile
They are a result of the research work yellows, yellow-greens and greens. 180° to at least three CMMs, which Adobe calls
RGB-based color spaces done in 1931 by the Commission 270° are greens, cyans (blue-greens) and conversion engines, to convert colors The ICC profile is a standardized method of
Any color expressed in RGB space is Internationale d'Eclairage (CIE) and for that blues. From 270° to 360° are blues, purples, between different profiles. describing color space, and is used by
some mixture of the primary colors red, reason are more commonly known as CIE- magentas, and return again to reds. both Mac OS and Windows to communicate
green, and blue. Most color displays use based color spaces. Profiles contain all the unique color They are as follows: color space information between devices.
RGB-based color spaces. Color spaces characteristics of a device. • Adobe (ACE), which stands for Adobe For example, your digital camera embeds
within the RGB spectrum include HSV CIE color spaces The color management module (CMM) Color Engine, is Adobe's own CMM. It is an ICC profile in each photo to describe
(hue, saturation, and value) and HLS (hue, The CIE color spaces form the foundation is the engine that performs the transforma- built into all Adobe professional design the color space used for the shot. When
lightness, and saturation). These are of device-independent color for color tion of color data between device-specific applications but is unavailable to non- your digital photo is displayed on a monitor,
transformations of the same space that management. There are two types of CIE color spaces. Adobe applications. the computer compares the ICC profiles of
allow colors to be described in terms more spaces: CIE Lab and CIE LCH. • Apple ColorSync tells Adobe Photoshop the photo and monitor and uses the monitor
natural to an artist. Rendering intents to use the CMM specified by the color space that most closely matches the
CIE Lab The ICC profile specification supports four ColorSync Preferences. If Automatic is color space of the photo to accurately
CMY-based color spaces Lab is the most commonly used color rendering intents used to map out-of- selected as the Preferred CMM in the display it on the screen.
Most desktop color printers and the printing space. It is based on human perception of gamut colors: ColorSync Preferences, ColorSync will If you have not properly set up the color
industry use cyan, magenta, and yellow- color — the three color receptors (red, Perceptual rendering works to preserve use the Apple CMM unless a profile profile settings in your computer, your photos
(CMY) based color spaces. There are two green, and blue) in the eye. This results in the visual relationship between colors so contains a specific instruction to use will be displayed inaccurately and you will
groups: CMY and CMYK. CMY is not very three sets of signals being sent to the brain: that they are perceived as natural to the a different CMM. not be able to achieve the results you
common and is used by low-end desktop light or dark, red or green, and yellow or human eye, even if the colors themselves • Apple CMM tells Adobe Photoshop to desire when editing your images.
color printers. CMYK adds black to blue. They are opposing in that one receives actually change. This rendering intent is use Apple’s own CMM, disregarding any
compensate for the fact that cyan, magenta, a red signal or a green one, but not both. suitable for photographic images. specific instructions that may be
Mac OS X and ColorSync
and yellow cannot produce a true black This opponent type color space is derived Saturation rendering tries to produce contained in a profile.
when mixed together; black is added to mathematically from the CIE values. vivid colors and sometimes sacrifices color Both Macintosh and Windows computers
overprint these areas and give the image L is a measure of lightness of an object, accuracy to do so. As a result, this rendering Note: You will often find additional CMMs installed –– offer solutions for color management, but
most get installed as part of a scanner installation or
better contrast. and ranges from 0 (black) to 100 (white). intent is suitable for business graphs or Mac OS X currently offers the simplest,
profiling software suite (Agfa, Heidelberg, ColorGear,
A is a measure of redness (positive a) or charts in which bright, saturated colors are etc.), but remember that consistency is the key. most integrated system level environment
Device-dependent color spaces greenness (negative a). more important than the exact relationship via ColorSync.
Different devices have different color B is a measure of yellowness (positive between colors, but it is not suitable for
gamuts, or ranges of colors, that they can b) or blueness (negative b). photographs.
Monitor calibration
The display monitor is where color professionals spend most of their time viewing color information, and where they evaluate
and adjust color data. Attempting to adjust color on an uncalibrated monitor will generally do more damage than good to
the data. It is crucial, therefore, that your monitor be calibrated for accurate color editing and reproduction. Modern monitors
are manufactured to meet the needs of every standard. It is important to define and calibrate to your industry standard.
The color management system built into Adobe software Color settings in Adobe Photoshop
The Adobe Creative Suite applications, including Photoshop, Illustrator, Acrobat, InDesign and GoLive, all All steps are performed in a continuous workflow. When the photographer adjusts
share a color management implementation known as the Adobe Common Color Architecture. This ensures an image in Adobe Photoshop, it is essential that the color settings be correct.
that all of the Creative Suite applications support color management in the same way.
Confirm the order of the steps ❑ Does the monitor have a function for confirming colors?
to be performed and divide ❑ Does the monitor retain all of the capabilities it had when it was new?
responsibilities Monitor and ❑ Are the lighting conditions preventing colors from being correctly viewed on
Between the beginning of image processing lighting the monitor?
conditions ❑ Are the lighting conditions appropriate for checking printed matter and photo
and the time at which a CMYK print is prints?
created, there are several steps that the ❑ Has the monitor been calibrated?
plate maker should perform and that the
photographer should not. Nevertheless, the
❑ Are the software color settings correct?
photographer knows better than anyone Color ❑ If work is being performed on multiple machines and OSs, are the settings
else what colors have been photographed management uniform?
and how they should be reproduced. The ❑ Is the correct profile being used to open files?
photographer’s role, therefore, is very
important, and it is essential that he or she Fine
use color management to view images. The ❑ Are the conditions as the photographer intended?
adjustments
❑ Is the gray balance correct? Are the colors properly balanced?
photographer should also understand how when shooting
each step of the process is performed.
Furthermore, the photographer should be
❑ Is this adjustment item the responsibility of the photographer or the plate
cognizant of the critical difference between Color tone maker?
RGB and CMYK and work with the plate adjustment ❑ Will memorized color elements be added?
maker and designer to produce the most ❑ Has color tone adjustment produced natural-looking results?
effective results.
❑ Is this adjustment item the responsibility of the photographer or the plate
Retouch maker?
❑ Have blemishes and unnecessary elements been removed from the image data?
Preset styles render images with the • Image Characteristics for Each Picture Style
desired effect
Whether you want to capture the deep blue
sky of a landscape or the healthy appearance
of a subject’s skin when shooting a portrait,
Picture Style responds to your demands
with color to suit your individual style. Six
intuitively named style presets allow you,
the photographer, to instinctively select a
Picture Style to match the scene just as
you would select different film emulsions.
Portrait Landscape
In pursuit of healthy, beautiful skin and a Reproducing blue skies and foliage with
fine, soft texture deep and vivid colors
When photographing people, lighting Photographic reproduction of deep blue
conditions and exposure balance will greatly skies and vibrant foliage requires bold and
affect skin color. This makes a person one vibrant color. The “Landscape” Picture
of the most difficult subjects to faithfully Style renders color tones ranging from
reproduce. Compared to the “Standard” green to blue more vividly than the
Picture Style, the “Portrait” Picture Style “Standard” Picture Style.
has been fine-tuned to reproduce pleasing It also uses a higher sharpness setting
skin color. It adjusts magenta, red, and to bring out fine detail in the photograph.
yellow color tones to produce healthy
looking skin. This Picture Style also has
reduced sharpness to avoid the appearance
of skin roughness, a particular concern when
shooting portraits. Reduced sharpness
also serves to maintain softness in the
rendering of hair. Shooting Notes
• Camera: EOS 5D
• Lens: EF 17-40mm f/4L USM
• Shutter Speed: 1/500
• Aperture Value: f/8
• ISO Speed: 100
• White Balance: Auto
• Picture Style: Landscape
Setting: Standard
Shooting Notes
• Camera: EOS 5D
• Lens: EF 24-105mm f/4L IS USM
• Shutter Speed: 1/400
• Aperture Value: f/4 Neutral
• ISO Speed: 100
• White Balance: Auto Just the opposite of the “Standard”
• Picture Style: Portrait
Picture Style; Renders images with an
emphasis on ‘adjustability’; Image data
is optimized for post-processing
Use the “Neutral” Picture Style when
shooting with the intent to use Digital Photo
Professional or other software to process the
image. As “Neutral” emphasizes correctability,
the colors of images without post-processing
colors will appear subdued and dull. When
shooting bright red flowers or cars with the
“Standard” style, excessive color intensity
sometimes results in a flat appearance.
“Neutral,” however, employs lower saturation Setting: Standard
Shooting Notes
• Camera: EOS 5D
• Lens: EF 28-135mm f/3.5-5.6 IS USM
• Shutter Speed: 1/100
With the Color Tone parameter • Aperture Value: f/11
in Picture Style, you can adjust • ISO Speed: 100
color tones over the red-to- When shot with the “Standard” Picture Style, the • White Balance: Custom
yellow range. This is particularly intense saturated colors in the fabric eliminate texture • Picture Style: Neutral
Setting: Standard Color tone adjustment: -2 Color tone adjustment: +2 useful when you want to make and detail. With the “Neutral” Picture Style, the details
with strong reddish reproduction with strong yellowish reproduction fine adjustments in skin color. remain clearly visible. ©Copyright Vered Koshlano
Setting: Standard
Shooting Notes
• Camera: EOS 5D
• Lens: EF 24-105mm f/4L IS USM
• Shutter Speed: 1/100
• Aperture Value: f/5
• ISO Speed: 100
• White Balance: Auto
Setting: Standard
Free customization through “User • Different color tones possible through Picture Style adjustments
Overview
Defined” Picture Style settings
In addition to the six preset settings, the Digital Photo Professional was created with
EOS-1D Mark II N and EOS 5D allow you the rapid development of RAW data from
to register up to three of your own Picture Canon EOS Digital SLRs from the D30 on
Style settings as “User Defined” settings. and the photographer’s workflow in mind.
This function lets you fine-tune the presets With its new, dedicated development
to suit your own tastes or, as an example, engine, Digital Photo Professional offers
enter settings customized for a particular rapid development of RAW data, excellent
subject to easily match your own unique operability, and the ability to process
vision. multiple images simultaneously. It can also
use multiple color spaces and ICC profiles
for color management. Digital Photo Main window
Professional organizes work into four
image-editing windows — the Main window
for checking images with thumbnails, the
Quick Check tool for a fast look at the
details of images, the Edit Image window
for the fine adjustment of single or multiple
“User Defined” menu and “Detail Saturation: strongest adjustment, +4 Saturation: weakest adjustment, -4 images, and the Edit window for adjustment
settings” menu of a single image. In addition, Digital Photo
Professional can be used to print photos
Picture Style settings are adjustable over a broader range than is possible for traditional
Developing Parameters. As a result, extreme settings can result in major changes in tone. either by using any ordinary print driver or
Edit Image window
When adjusting settings, therefore, it is suggested that you shoot a subject with many colors together with Canon’s Easy-PhotoPrint
or light and dark areas, or shoot a color chart, to check color changes.
software.
Main window
Comparison view
The Stamp tool is used to make simple dust The Rename tool is used to sort, copy and Once you have finished adjusting all of your In addition to Digital Photo Professional, image data captured with EOS digital cameras
repairs on images. It has the ability to correct rename raw files. You can sort by file name images in the Edit Image window, You can can be browsed and organized with various other software applications. Using the optimal
simple blemishes and stray hairs as well. or shooting date and time prior to renaming. either export a single image to Adobe software for the task at hand will boost work efficiency.
The tool allows for the selection of large or This is most useful for those who shoot with Photoshop by selecting the Transfer to
small diameter soft edge brushes for broad multiple cameras. You can choose three Photoshop function in the tools menu or
areas and large and small pencil brushes for sets of naming criteria: user selected string, click on the Batch process button to develop
more precise repairs. Having unlimited undos where you input the text of your choice; your images, converting them into either
Printing software for PIXMA printers Digital Photo Professional and
and redos gives the ability to the user to sequence number, where you select a JPEG or TIFF files. If the images are to be Browsing/development software
linkages with Easy-PhotoPrint printing Easy-PhotoPrint settings
have total control over editing and can also starting number and sequential numbers are finished using software like Adobe
Software created by companies other than Easy-PhotoPrint, which comes with When using Digital Photo Professional and
revert to the original image if need be. added to the file name; shooting date and Photoshop, it is a good idea to select
Canon can also be used to display and Canon’s PIXMA inkjet printers, is printing Easy-PhotoPrint together, it is necessary to
In order to repair a light area, double click time, where you can select the format. You “Embed ICC profile.” Development, or batch
develop EOS digital thumbnails. Adobe software designed to let anyone print photos check the preference settings. On the
the Repair Light button, which activates the can choose to overwrite original files or processing, will start a separate software
Photoshop CS and Adobe Photoshop easily, but it is also highly compatible with Digital Photo Professional side, go to the
Select Copy Source button. Clicking first on copy and save the renamed files elsewhere application, called Digital Photo Professional
Elements 3.0 support the development of EOS digital cameras. Color Management window and set the
the Select Copy Source button and then on on your computer. This tool allows you to Batch, and processing will take place in the
various types of RAW data and offer the To use Easy-PhotoPrint with Digital Photo “Default settings of Work color space” to
image, select the area, you want to use to sort and rename raw files before you convert background. While development is being
advantage of handling everything from Professional, select “Print with Easy- “Adobe RGB” and the “Rendering intents
repair from in the photo. Once you select them, maintaining the naming convention performed, you can return to the Digital
browsing to development and retouch PhotoPrint” from the Digital Photo when using Easy-PhotoPrint” to the default
the area, the tool turns from a + sign to a for all your files and archives. Photo Professional screen and continue
work with a single software application. Professional File menu. Color spaces setting, “Colorimetric.”
circle and you may proceed to correct the your work.
Other options include C1Pro (Capture edited in Adobe RGB can be displayed as On the Easy-PhotoPrint side, go to the
image. You can use either a soft edged
One Pro) by Phase One and SilkyPix by is in Easy-PhotoPrint. And since RAW data Preferences window and uncheck “Optimize
brush or a hard-edged brush to make the
Ichikawa Soft Laboratory. Each offers can be printed directly, Easy-PhotoPrint is images automatically.” Under the default
repair by clicking the brush or pencil option.
unique adjustment functions and works at handy when you want to automatically print settings, image processing will be handled
The diameter of the brush is controlled by
its own development speed. multiple images. on the Easy-PhotoPrint side, so the colors
the radius slider, directly below the Brush &
Each of these applications uses its own of printed images will be different from
Pencil buttons. Double clicking the Full
unique RAW data conversion method and those checked using Digital Photo
Screen button makes the menus and the
produces development results that are Professional. When using the “Print with
image visible. The escape button returns to
different from those obtained with Digital Easy-PhotoPrint” function, CMYK simulation
the default screen mode. The procedure to
Photo Professional and the EOS Viewer settings are not reflected. When you want to
repair a dark area is the same once one has
Utility. Each should be used only with an print with CMYK simulation colors, go to
selected the Repair Dark button.
adequate understanding of its characteristics the Digital Photo Professional File menu
and development tendencies. and use the “Print” function.
Conclusion
We have given you a rough explanation of
the RAW development flow. The greater
your familiarity with this software, the
more efficient your RAW development
work will be. Taking advantage of this
software will also allow you to realize the
full performance potential of EOS digital
Easy-PhotoPrint preference settings
cameras and easily produce the photos
you imagine. Although not addressed Adobe Photoshop CS file browser
here, Digital Photo Professional also plays
an important role when EOS Capture is
used to connect your camera to a com-
puter. With EOS Capture, images can be
displayed on a computer monitor for
easier viewing immediately after they are
shot. To do this, go to Preferences and
set the “At EOS Capture startup” setting
to “Edit Image window enabled at EOS
Capture startup.” This capability makes it
easy to check images immediately after
they are shot.
Adobe Photoshop CS RAW development window
Note: For additional information about the latest
version of Canon software, please visit
Digital Photo Professional preference settings
www.photoworkshop.com/canon.
Use the same working color profile Select the best image file format for excellent results at High to Best quality Proper CMYK separations
CMYK conversion from RGB files
from start to finish the job settings, which reduce Photoshop files to
The working color profile you use to check Various file formats are acceptable in a about 1/10 to 1/6 their file size. When a client asks the photographer for
your digital photos should always be saved production environment. However, CMYK files, there are certain questions
with the photos themselves. Moreover, you professionals tend to use the JPEG, he/she needs to ask and information that
should ask others involved in the production Photoshop, and TIFF file formats. The needs to be ascertained.
process to employ that profile when making Photoshop (.psd) format contains complete Conversion to “Generic” CMYK profiles
image adjustments. information on all layers and is ideal when is not recommended but conversion to a
If your plate makers have a policy of you expect the plate maker to handle color printer-specific or industry-standard
ignoring profile data and working only in the conversion and other adjustments. reference profile should be part of defining
sRGB color space (because images are 16-bit images offer richer gradations than the deliverable CMYK file. If this information
received from multiple sources, etc.), you 8-bit images but result in larger files and is not available, the photographer should
need to prepare an adjusted sRGB version take more time to process. You should deliver a final retouched RGB file. Cyan Magenta
of the image data for their use. Simply therefore consult with others in the project Building the workflow demands a
discarding profile data from Adobe RGB before using 16-bit data files. significant initial investment of time and
images will result in murky images with low JPEG compression lowers image quality effort, but that investment will reward you Photos shot in Adobe RGB
and properly converted to the
saturation. at high compression ratios, but offers with accurate, predictable color for every SWOP CMYK color space.
image you print.
RGB files converted to CMYK will produce
different results depending upon the profile
and technique used.
Limit file name to [Not OK] Since longer names are not supported by Choosing the right settings
31 characters 20030705studio_model_ Mac OS, the end of the character string may
requires expertise
adjusted_final be replaced.
It is possible to convert RGB to CMYK by
simply using the “color settings” option in
Adobe Photoshop. However, changing
Keep the light source in mind when What is the viewing standard? even one item in the menu can significantly
evaluating prints. Viewing conditions – for graphic technology and photography alter the color.
When evaluating prints, the light source will The standard is a technical document that is written with engineers and If you do not have a high level of
influence the judgment of photographers and lighting design companies in mind; it is not a road map for users who wish expertise in color management and gamut
those in the proofing division. This is especially to build or set up their own viewing area; rather it is a highly technical set of compression, you should leave CMYK
true when printing from inkjet printers, which use specifications that enables conversion to experts. However, if you do
Spectral Power Distribution
paper with a fluorescent component that affects lighting manufacturers to design, have the expertise necessary to perform
Approximate CIE D50
printed colors depending on the light. test, and certify color viewing selective gamut compression and CMYK
Spectral Irradiance
The relationship between prints and light is the systems. The standard specifies a conversion, you can deliver finished CMYK
same as the traditional relationship between set of five conditions which ALL files and maintain total control over offset
positive film and light boxes. Standardization must be present in order to assure reproduction.
beforehand is vital to ensuring accurate evaluation. the benefits of the standard. Wavelength
is called metamerism.
A metameric pair is two colors that look the same under one lighting
condition but different under other lighting conditions. To minimize the effect
of metamerism, color should be viewed and judged under an industry
standard viewing condition.
Resist raising saturation too high Original image Image brightened by exposure compensation.
Noise appears in shadow areas.
Since photos often look best when highly
saturated at first glance, there is a tendency
to keep raising the saturation during editing.
This tendency is increased by familiarization
with the image after long hours of viewing
the monitor: step by step you lose sight of
the natural quality of your photo and raise
saturation to unnatural levels. As a preventive
measure, you should frequently compare
your adjusted image with the original image
during editing to see if your efforts have
heightened the natural allure of your image
or simply made the colors look artificial.
Oversaturated image.
Natural quality of photograph is lost.
Image processing with Adobe Photoshop Control brightness and contrast with • Levels
Levels and Curves
We recommend that you use Adobe Photoshop for the detailed processing of images. The first function that a photographer
Here, we give a simple introduction to some of its basic correction functions. should master is Levels. As with EOS digital
cameras and Digital Photo Professional,
Levels allows you to change the brightness
Channel is corrected with “RGB”
using a histogram while observing the when the brightness for an entire
image. image is adjusted.
that appears over an area in great detail, Even if color reproduction is true to the
you can do so effectively with the Healing subject, it can sometimes appear inadequate Specify the target for
hue/saturation adjustment.
Brush. Moreover, you can simultaneously in printed matter and commercial photo
“Master” allows you to
control color and brightness to achieve Healing Brush tool prints. Adjustments to Saturation can adjust all colors. You can
also make fine adjustments Change the purity of the
more natural-looking color results like those The Healing Brush tool is used improve the appearance of these images. colors. The further to the
much like the Clone Stamp tool and to six ranges from red to
previously obtained through the edge- Hue/Saturation is one of the most frequently magenta. right you move the slider,
hides traces of retouch work even the more vivid the colors
burning and burning-in techniques used in more naturally. This tool lets you used controls and can produce color become. The further to the
efficiently remove blemishes due to
the darkroom. dust, etc., on the image sensor.
emphasis stronger than that possible with left you move the slider,
Colors, themselves, are the more monotone the
the color matrix used with EOS digital image will appear.
changed based on the red,
cameras. You can also control specific yellow, green, cyan, blue,
hues, so it is possible, for instance, to and magenta hue circles.
For example, by inputting
increase the brightness of red only. –180 or +180, you can
move the hue circle 180 Change the brightness of the
Burn tool, Dodge tool degrees and change the colors. The further to the right
These tools let you achieve results selected color to its com- you move the slider, the brighter
exactly like those you could obtain plementary color. the colors will become; the
in a darkroom. By changing the results will differ from those
ranges for highlights, midtones, and attained with Levels.
shadows, you can control colors on
naturally lit images.
16-bit Automatic Aperture Setting a CD-RW (rewritable CD) upon which data Color profile Device Floating effects
P.74 P.43 can be erased and rewritten. P.50 P.24 P.42
An image with a 16-bit gradation per RGB Method for changing the aperture on lenses Data showing the color reproduction settings Generic term for computer peripherals Aberration fluctuates depending on focusing
channel (216 or 65,536 colors). It has not only for single-lens reflex cameras. Automatically CF card of an imaging device. This enables the color (display, printer, imaging device, etc.) with distance. With floating effects, this is corrected
twice the data capacity of an 8-bit image, but reduces the aperture to the designated setting P.28 management system to function. [See ICC occasional reference to the computer itself. by changing the distance between certain
also superior color gradation characteristics when the shutter button is pressed and the Also called “CompactFlash Card.” Recording Profile.] parts of the lens, depending on the degree to
that allow for finer adjustment. mirror is raised. Once the film is exposed, the media using a flash memory device. CF cards Digital delivery which the lens is extended.
aperture is returned to its open position. are often used as digital single-lens reflex ColorSync
645 Film camera media because they support fast data P.53 Delivering the picture draft (picture data) to
P.15 Auto White Balance (AWB) transfer and can record large volumes of data. A color management system that uses a color production or prepress processing.
One type of medium-format film. Image size P.36 Two kinds of card, type I and type II [See profile to make color reproduction processes G
is 6 x 4.5cm. [See AWB.] Microdrive], can be identified by their thickness. of different devices work compatibly. Digital proof GB (Gigabyte)
Developed for the Mac OS by Apple Computer. P.22 P.26
CMOS (sensor) System for directly proofing the colors A unit of data equaling 1,024MB. In precise
P.18 Color temperature obtained from prepress data without making terms, 1GB equals 1,024MB, but it is calculat-
A B Complementary Metal Oxide Semiconductor. P.35 prepress film. ed as 1,000MB for convenience. Precisely
ACE Blocked shadows The image sensor used with photodiodes. Light color specified on a linear Kelvin scale. calculated: 1MB = 1,024KB, 1KB = 1,024B,
P.56 P.34 CMOS consumes less power and processes Blue is the higher color temperature and red Dynamic range and 1B = 8 bits.
Adobe Color Engine. A core program in color This is the portion of a picture where lower faster than a CCD, which is an analog sensor. the lower, as based on sunlight (5,200˚K). P.37
management systems that doesn’t rely on an brightness values obscure all details and The range of brightness reproduced. Gamma
OS and enables compatible color reproduction make it appear entirely black. Adjusting the CMS Contrast P.55
between different Adobe Systems software. brightness can sometimes bring out the P.56 P.33 Gradient of a straight portion of a curve when
details. [See Color Management System.] One factor affecting photo clarity, it is the showing the logarithmic relationship of
AWB (Auto White Balance) perceptible difference between bright and E input/output signals. Reference values for a
P.36 Block noise CMYK dark portions of a photo. When the distinction EXIF gradient curve showing image data on a
Auto White Balance. A function that P.22 between black and white is clear, contrast is display are 1.8 on Mac and 2.2 on Windows.
automatically adjusts camera color Refers to block-shaped compression noise Acronym for cyan, magenta, yellow, and black “high”; when unclear, the contrast is Exchangeable Image File format. Records
temperature. AWB uses the white value in typically found in JPEG data. inks used in commercial color printers. CMYK considered “low.” shot information like date/time/hour of shot Gradation
the picture as the criterion for adjusting data is picture data converted for print use (in and data settings of the digital camera in the P.19
the color. [See White balance.] Blowout a prepress department, for example). These JPEG or TIFF file. Change in photographic density and contrast
P.34 colors result from absorbing light rather than levels.
Aberration Brightness beyond the dynamic range of a emitting it, as happens in RGB data. D Electronic still/video camera
P.43 picture. Appears white in the image. Because DDCP P.18
Caused by various types of lens error factors. this highlight is out of range and therefore CPU P.22 This camera recorded analog image data
The difference between the image captured contains no data, adjusting brightness will not P.25 Direct Digital Color Proof. This system generated by an image sensor on a still/video H
and the ideal image. restore details. Central Processing Unit. Performs basic enables proofing of colors without making a floppy disk and was the precursor of digital Hardware calibration
mathematical functions and controls the prepress film. This may also refer to the cameras. P.54
Achromatic color Bracketing central functions of a computer. Also referred proofer system used in Bubble Jet printers. Calibration by adjusting an imaging device
P.36 to as a “processor.” The CPU is a major Electrophotographic color printer utilizing specialized hardware.
The non-color shades of white, gray, and A picture-taking function that changes the determinant of processing speed. DTP P.50
black. exposure or white balance in preset P.18 Color printer that uses a beam of light to Histogram
increments. CRT Desktop Publishing. Publication method using illuminate a photo conductor to produce and P.33
Adobe Gamma P.25, 49 a computer for design and prepress processing, print an image on paper with toner. A graph used to confirm exposure and identify
P.56 Bus-powered hard disk drive Cathode-Ray Tube. Also called “Braun tube.” in contrast to offset or hot-lead publishing. the gradation range in highlights and shadows
The display calibration utility bundled with P.26 “CRT” often refers to a CRT monitor. External data storage device of an image. Gradation levels appear on the
Adobe Systems software. Running a device connected to a computer DVD (recording media) P.24 horizontal axis with the number of pixels per
with either USB or IEEE1394 while power for Calibration P.26 Generic term used for data storage devices gradation on the vertical, typically generating
Adobe RGB the device is supplied via connection cables. P.54 A recording media the same physical size as a outside a computer. It refers to disk media peaks rather than bars.
P.38 Adjusting the color reproduction capability of CD but of higher data capacity (up to 4.7GB such as external hard disks and CD-Rs, as
Refers to the “Adobe RGB (1998)” color an image device (or between devices) for the per side). Data can be rewritten and erased on well as photographic media.
space. Adobe RGB generates a much wider purpose of color management. Color a DVD-RW but not on a DVD-R. Other writable
range of colors than the general purpose C measurement devices and systems are DVD media include DVD+R/RW and DVD-RAM. I
sRGB and therefore is better suited for CCD (sensor) known as “calibrators.” Dual Layer DVD can hold over 8GB. ICC profile
prepress processing.
F P.53
Charged Coupled Device. Originally referred Color Management System Data processing Firmware Color profile created in accordance with the
Angle of view only to the charge-coupled device but has P.19, 50 P.2 format established by the International Color
P.42 come to mean the entire light-detecting A system that integrates color reproduction The process of adjusting and correcting Software that is built into digital cameras and Consortium (http://www.color.org). The ICC
The angle at which images can pass through component that captures images in some between several imaging devices, such as recorded picture data and producing it as other electronic devices and allows them to Profile was established to standardize the
the lens without losing sharpness. digital cameras. cameras, monitors, scanners, and printers. prepress data. function. device profile formats of different image
devices within a specific color management
Aspherical lens element CD-R Color matrix Development File sharing architecture. [See Color Profile.]
P.43 P.26 P.38 P.30 P.26
Suppresses color bleeding due to spherical Compact Disc-Recordable. One of many Color reproduction settings used when Originally referred to the chemical process of Environment or process in which the same IEEE1394
aberration. Highly advanced polishing writable storage media, this CD can be generating images. The EOS-1Ds Mark II developing images from a conventional film data can be handled between different P.26
technology places Canon’s aspherical lens written once but cannot be erased or offers Adobe RGB and four sRGB color space camera. For digital cameras, dedicated computers via a network like a LAN or the A high-speed, serial bus input/output standard.
elements at the top of their class. rewritten. With a maximum capacity of settings. development software converts RAW data to internet. There are two types of terminal configurations:
700MB, it is an inexpensive and widely used JPEG or TIFF data. 6-pin, which supplies power and transfers
data transfer and storage media. There is also data; and 4-pin, which only transfers data.
Higher standards have been recently Layer Plate-making data The image data of digital cameras and sRGB
developed at transfer rates of 800Mbps as well P.25 computers is usually RGB. P.38
V
as 400Mbps. The proprietary versions of these Refers to the act of stacking a photo with Data converted by the plate-making unit of a A color space that can be reproduced on a Visible spectrum
standards are also called “FireWire” and many image layers or to the photo layers printing company to CMYK for printing Reciprocity failure computer and is the standard gamut for P.38
“i.LINK.” themselves. purposes. P.12 Windows. The standard color profile is sRGB The range of colors that the human eye can
Even at different combinations of shutter IEC61966-2.1. recognize.
IEEE802.11g Low-pass filter Platform speed and aperture setting, properly exposed
P.26 P.44 P.52 images can be obtained with a certain level of Standard exposure
Wireless standard specified by the Institute of Filters located on the front of an image The environment consisting of a combination exposure. Reciprocity failure is a phenomenon
Electrical and Electronics Engineers in the processor that filter out high frequency of the OS and hardware needed to run in which film is under exposed because shutter Exposure value calculated by a built-in
W
United States. Uses the 2.4GHz band and, signals from a CCD to reduce false colors and software. speed or aperture size exceed certain limits, exposure meter. White balance
with a maximum transmission speed of color moiré. and their reciprocal relationship is lost. P.12
54Mbps, is one of the most popular Prepress A function for correcting RGB values
high-speed wireless transmission standards. P.74 Revolving mechanism regardless of light source so that white
Generic term for DTP and prepress printing P.40 T objects in view faithfully appear white.
Imaging sensors M processes. Allows changing from horizontal to vertical TIFF [See AWB.]
P.44 Mac OS X format by turning a lens about its axis, P.74
In digital cameras, these are equivalent to P.26 Preview without changing the axis. Tagged Image File Format. A general use, Wide gamut
film. Area sensors are composed of multiple The operating system for Macintosh computers, P.59 image recording format of larger data size P.38
lightsensitive elements that are laid out which is designed based on UNIX. This OS is Displays photos to confirm their content. Release time lag than a compressed JPEG file. Color profile newly established by Digital
horizontally and convert received light into significantly different from Mac OS 9 and earlier Photo Professional. Covers a wider range
electrical signals that vary depending on the systems. Processing speed The amount of time that has elapsed from the Thumbnails than sRGB and AdobeRGB.
strength of the light. P.25 moment the shutter button is pressed to the P.67
[See CCD (sensor), CMOS (sensor).] Memory The data processing speed of a computer is moment actual exposure begins. Reduced images used on digital cameras and Wireless LAN
P.24 determined by a combination of several personal computers to show what images P.26
Install Main memory of a computer. [Same as RAM.] components such as the CPU and RAM. Resolution have been taken. A LAN connected by using radio waves of a
P.56 Processing speed is often measured as “clock P.24 certain frequency. [See IEEE802.11g.]
The act of installing software on a computer Microdrive speed,” expressed in Hertz (Hz). The higher the Image density when printing and displaying Tilt
to prepare for various operations. P.28 number is, the faster the processing speed will be. image data in dpi (dots per inch) or ppi (pixels P.42 Work space
Super-compact hard disk the same size as a per inch). A photographic method in which a lens with
CF card (Type II). As of 2006, the current Proofer its axis perpendicular to the image plane is Originally referred to the actual workplace of
version has a maximum capacity of 8GB. P.22 intentionally tilted. a photographer, but here refers to the working
J A color proof output device. environment — including the computer’s
JPEG (data) Mount S Tone curve installation environment and color management
P.18, 39 P.28 Saturation P.30 settings.
Compressed image data using the method To make an external data storage device P.38 Displays picture gradations on input/output
created by the Joint Photographic Experts accessible to the OS of a computer. R One of three color attributes. The amount of graphs. Brightness and contrast can be
Group, established by the ISO (International RAID color. adjusted by manipulating the curve within a
Organization for Standardization) and CCITT P.26 graph.
(Comite Consultatif International Redundant Arrays of Inexpensive Disks. SD memory card
Telegraphique et Telephonique), which N Technology for managing multiple hard disks P.28 Tone jump
reviews how to compress static images. An Network as a single hard disk. Improves safety and One type of storage medium using flash
image can be compressed to decrease the P.26 speed through distributed data storage. memory. Smaller than the CF card, the SD card A condition when gradation lacks smoothness
data amount. But once the image is A structure like a LAN or the internet through is also made to the miniSD and other standards. and has gaps.
compressed, the quality before compression which multiple computers communicate, send RAM MultimediaCards (MMCs) have the same height
cannot be restored (“compression loss”). The and receive data. P.24 and width, but have a different thickness. Trimming
compression ratio can be adjusted depending Random Access Memory. It is the primary yet P.71
on the objective. A lower compression ratio volatile memory of a computer that temporarily Shadow Removing portions of an image.
can compress image data while maintaining stores data from software and the file being P.33
higher image quality. P used. Generally, the larger the RAM is, the An area of extremely low brightness in a
Perspective faster will be the processing of simultaneous photo, contrasting with “highlight.”
P.42 tasks. U
Spatial relationship between foreground Shift USB 2.0
L objects and background objects. RAW (data) P.42 P.26
LAN P.18, 39 Method for correcting image distortion by A new Universal Serial Bus standard for
P.25 Pixel Output data from an imaging device that has moving the axis of the lens horizontally connecting peripherals to a computer. Has a
Local Area Network. A network connecting P.46 not been processed in a digital camera. To without changing its perpendicular relationship transfer rate up to 480Mbps, which is faster
computers and servers with cables and wires The smallest picture element in a printed or use RAW images, the data must be to the image plane. Effective for correcting the than previous standards.
within a limited area — a building, office, displayed digital image. Image size is usually processed after capture with dedicated distortion that arises with wide-angle lenses.
room, etc. [See Wireless LAN.] referred to in terms of number of pixels. software so that it can be adjusted without Unsharp mask
corrupting an image. Software calibration P.85
LCD Pixel scale equivalency An image processing function in Photoshop.
P.25 P.46 RGB (data) The act of calibrating devices with a computer’s Blurring of the original picture causes an
Liquid Crystal Display. A display often used When an image is displayed on a screen at P.22 calibration software. Color calibration of a unsharp reverse image. Alignment “masks”
for notebooks because it is thin and 100% magnification. Acronym for color image data consisting of monitor adjusts the video card settings in the the original image onto the reverse image to
consumes much less power than a CRT. the colors red, green, and blue generated by computer. increase edge contrast and sharpness.
emitted light (monitors or LCDs) rather than
absorbed light, as with printed ink in CMYK.
P.4-5
P.9 P.9
P.12-13
• Camera: EOS-1Ds Mark II • Camera: EOS-1v
• Lens: TS-E 90mm f/2.8 • Film: 35mm
• Shooting Mode: Manual • Lens: TS-E 90mm f/2.8
• Shutter Speed: 8 • Shooting Mode: Manual
• Aperture Value: f/8 • Shutter Speed: 10
• ISO Speed: 100 • Aperture Value: f/8
• Digital Photo Professional/Adobe
RGB/16-bit TIFF conversion from RAW
P.6 • White Balance: Auto
P.10
• Color Matrix 4
P.14-15
P.8 P.9
Published by:
Canon Inc.
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Except as permitted by law, this guidebook may not be reproduced (copied), either in whole or in part, without the express
written consent of Canon Inc. and Canon U.S.A., Inc.