You are on page 1of 48

$19.

95
0055W589 01/06 ©2006 CANON U.S.A., INC. PRINTED IN U.S.A.
Contents

The purpose of this guidebook . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Switch to Digital Photography


Professional digital photography— . . . . . . . . . . . . . . . . . . . . . . 18
hitting its stride at last

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

EOS digital cameras as the tools of their trade. Data Processing 2


Data processing check sheet . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Data Processing Picture Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Viewing, adjusting, and developing images with . . . . . . . . . . . 67
Digital Photo Professional ver.2.0
Settings and image selection . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Adjusting and developing RAW data . . . . . . . . . . . . . . . . . . . . 70
Linkages with other software . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Saving image data and accurate communication . . . . . . . . . . 74
Final print simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
The problem of memorized colors . . . . . . . . . . . . . . . . . . . . . . 79
Important points concerning image adjustment . . . . . . . . . . . 80

Appendix
Image processing with Adobe Photoshop . . . . . . . . . . . . . . . . 82
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Shooting notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
The purpose of this guidebook

Enhancing your understanding of


For all professional photographers
the digital workflow

This guidebook is designed to assist This guidebook separates the workflow of


professional photographers in their switch digital photography into two sections: The
to digital photography. In particular, the first section covers shooting-related topics,
guidebook helps explain many of the such as lighting techniques, studio
creative options available when using digital photography, and potential outdoor uses
cameras to produce photos for commercial for digital cameras. It also describes actual
printing. We believe photographers in all shooting situations to clearly illustrate
fields from advertising to publishing to functional differences between film and
photojournalism, whether shooting in the digital cameras.
field or in a studio, will find this guidebook The second section deals with data
a source of useful information. processing; it covers everything from color
management and file handling to image
analysis and printing preparations.

Clarifying the responsibilities of P.00


photographers Page guide icon
Workflow is a linear description of the
• Pages where additional information
path that your digital assets follow
can be found are indicated using the
icon shown above. We recommend
The responsibilities of photographers in
that you refer to these pages for a
the digital workflow vary widely with the
more complete understanding of the
specific requirements of each job. processes or techniques discussed.
By taking you through the entire process • Nearly every photo in this guidebook
of digital photography, from shooting and was taken with the EOS-1Ds Mark II.
image compensation to editing and printing (See P.90-91 for details of the photos
preparation, we will help you to define and and their printing preparation.)
streamline the varying workflow • This guidebook was produced mainly
responsibilities and draw the line between with the EOS-1Ds Mark II in mind.
your own responsibilities and those of
others involved.

2 3
Free your imagination!
Capture the new day with
EOS digital cameras.

Digital definition for crystal clear images.


EOS digital cameras have changed the world of photography.

4 5
This page intentionally left blank.

Meeting the demands of studio and location portraiture —


natural gradation and color reproduction capture the
texture of skin, fabric, and other materials, as well as
detailed facial expressions.
6 7
Outstanding gradation
accurately reproduces
colors and textures.

8 9
Shot with the EOS 20D

Canon’s unrivaled combination of


CMOS sensor and DIGIC Image
Processor — achieves sharp,
dynamic images.
A symphony of light capturing the
full range of visual information
from highlights to shadows.
Shot with the EOS-1Ds Mark II Shot with the EOS-1D Mark II
10 11
True reproduction even
with minimal light.
Reproduction quality
possible only with this
visually faithful digital
technology.

Same scene under the same conditions shot with film.

Shot with the EOS-1Ds Mark II

Photographic film can produce reciprocity failure,


resulting in negatives with dark areas that are
under-exposed relative to light areas. In long night
exposures, the details of shadows are lost, and
colors are inaccurately reproduced. In contrast,
EOS digital cameras provide proper exposure levels
even in minimal light conditions and correctly
capture details of the subject. With mixed light
sources using film cameras, color balance often
gives rise to color seepage. EOS digital cameras
address this with white balance settings that
result in true color reproduction.
100% crops from digital (left) and film (above).

12 13
EOS-1Ds Mark II 645 film

The ability to capture details beyond the


reach of film produces true-to-life images.
Actual film size

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

Details of the action and the


atmosphere show outstanding
clarity in full-size digital images.

EOS-1Ds Mark II

22 Megapixel Digital Back


6x7 camera w/140mm f/4.5 macro lens
Up-resed in Photoshop CS2® in
10% increments to 220MB
100% crop

22 MP Digital Back

6x7 roll film camera w/140mm f/4.5 macro lens


ISO 100 120 film processed normally
Scanned to 220MB on a drum scanner
100 ISO 120 roll film 100% crop

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

A consistent workflow, from shooting to


printing, reflects the photographer’s
intentions in the final print.
Photographer-oriented photo creativity
becomes a reality.

18 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Introduction 19


Photo printing environments rapidly adopting digital technology

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.

20 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Introduction 21


Digital camera workflow with plate making

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

made possible by digital transmission of


image data and digital proofing. We also
anticipate that issues in color reproduction
based on digital camera image data will Pass on the printed
become increasingly important. Designer sample for reference
These critical color management issues
are all tied together by the problem of who
will convert the RGB data created when a
photo is shot to the CMYK data used for
printing. This conversion has traditionally Prepress department

been performed by printers, not


photographers. However, as mentioned
The commercial printing/prepress company
earlier, if photographers, within the realm controls CMYK-based color management

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

22 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK


System requirements for
Essential Equipment
digital photo creativity

Essential equipment System requirements for digital photo creativity


Handling the exceptionally high-resolution EOS-1Ds Mark II data requires proper If you use a digital camera, your workflow is likely to encompass more than just shooting photos.
equipment and forethought to achieve an efficient work environment. Other components in typical systems used by creative digital professionals include a desktop
computer for analyzing and processing photo data, peripheral equipment such as communication
devices and printers, and perhaps even a laptop for use in a studio.

Handling 16.7-megapixel images


requires high-spec hardware.
❑ Is the processor fast?
Comfortably handling high-resolution
Computer ❑ Is the OS suitable for your work and operating environment?
EOS-1Ds Mark II data requires not only
fast hardware but also a large amount of ❑ Is there adequate memory (RAM)?
memory and high-capacity storage media.
The fastest computers currently available
are ideal for handling these data files,
and you should seriously consider using Display ❑ Is the image quality good enough to evaluate colors?
high-capacity storage media and a
dedicated server, particularly if you are
interested in processing and archiving
a large volume of images. External ❑ Is the external data storage device/media capable of storing
memory large files?
Printer and display color setting will device/ ❑ Does the device use media suitable for exchanging data with
media third parties?
determine print quality.
The most important device for evaluating
digital camera data is the display monitor.
Therefore, it is important to select one that
will allow you to perform color management Network ❑ Is the load being shared across multiple machines?
and that can express images with minimal
difference from other devices. You should
select a high-definition monitor with a
large screen. ❑ Will the printer be used primarily for printing finished works or Photo data handling requires a to transfer data to a computer, EOS digital High-performance laptops are an
Printers are used for everything from Printer for checking images for printing? high-performance computer cameras can be connected directly to a excellent option in many shooting
simple checking to the production of ❑ Is it necessary for the printer to perform large-format printing? A single photo taken with the EOS-1Ds Mark II computer using an IEEE1394 cable. Data situations
finished works, as well as the production can be 50 to 100MB in size. Once this data can also be transferred over a wireless LAN Laptops are a convenient choice for
of color samples for post-processing. file is opened in graphics software and connection. The EOS-1Ds Mark II is outdoor shooting sessions where mobility
Printers differ in terms of size, printing processed in layers, the file can easily grow compatible with WFT-E1A, an accessory is important. In some cases, when no AC
method, running costs, etc., so you can to become several hundred megabytes. that permits high-speed image transfer outlet is available, they may even become
choose one that best suits your needs. Moreover, users sometimes work on several over wired/wireless LANs, thus avoiding the a necessity. New high-end laptop models
large files at the same time. hassle of multiple cable connections. offer performance equivalent to desktop
Since the handling of RAW data places computers and can function as primary
a heavy load on the CPU, the processing Macintosh for unified color control. computers for photo processing when desired.
speed of your computer naturally affects Windows for cost efficiency Laptop displays were previously too small
work efficiency. When purchasing a computer, you will most to support digital photo operations, but newer
To adequately handle photo data created likely choose a Macintosh or Windows- high-spec laptops with large LCD screens are
by EOS digital cameras, we strongly compatible computer. Many professionals capable of doing the job.
recommend using a high-spec model in who handle photo retouching on a computer
terms of CPU speed, memory (RAM), hard choose Macintosh, which is particularly well Displays are essential for color
disk size, etc. suited for graphics and desktop publishing. checking and should be selected
Since one company produces both the computer with care
Transfer image data with the method and OS, the color control foundation of Since digital cameras don’t produce positive
that best fits the situation Macintosh computers is unified at the basic film, you must evaluate the colors of your
When EOS digital data are processed with level, which offers a significant advantage. digital photos on a computer monitor. This
a computer, they are usually transferred to On the other hand, Windows-compatible means the performance of your display
the computer using the camera’s memory computers are typically less expensive. may affect the quality of your final output.
card. When working in a studio or other To select the right display for digital photo
locations, where it is possible to perform operations, we recommend you gain an
correction work on a computer, or when understanding of displays and select
you would like to reduce the time necessary a large, high-quality model. P.49, 54

24 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Equipment 25


System requirements for
Printer selection
digital photo creativity

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

26 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Equipment 27


Software environment for
Storing image data
shooting and data processing

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.

High durability or large capacity? Digital Photo Professional unlocks the


Choose the right media for your needs full capacity of RAW image data
EOS digital cameras are compatible with EOS digital data include both JPEG data,
CompactFlash (CF) Type I and II cards, which can be manipulated using various
and the EOS-1Ds Mark II supports SD image software applications, and RAW
memory cards as well. All of these cards data, which allows the adjustment of various
store data in a semiconductor device parameters set when photos are shot.
called flash memory. Canon's Digital Photo Professional software
Microdrives are another type of media lets you make fine adjustments to RAW
that contain a super-small hard disk drive. data and convert them to a format that can
They are the same size as CF Type II cards PC card adapter be used with image-processing and
and can be used in much the same way. graphics software.
Since CF cards and SD memory cards
contain no moving mechanisms, they are Never press too hard on a Microdrive.

extremely reliable. On the other hand,


Microdrives are an excellent choice for Digital Photo Professional includes a
large-capacity data storage. number of functions for professionals
Digital Photo Professional features power
functions to edit RAW data and the ability
to comprehensively process images
captured with the CMOS sensors inside
EOS digital cameras. With its exposure-
compensation function, it even allows you
Card reader
to recover shadow detail that would be
CF card lost in JPEG files. To help professionals
Protective CF card case boost their productivity, Digital Photo
Professional offers tools such as a batch-
processing function for performing the same
Photo data should be transferred to
adjustments to multiple images and a color
a hard drive USB IEEE1394 simulation function for checking images on
To browse or process photos recorded on
Microdrive a display before printing them.
CF cards, SD memory cards, or Microdrives,
P.67
you will need to transfer your photo data to
SD memory card
the hard drive of a computer.
There are two ways to transfer the data.
One is by way of a card reader or PC card
Storage media are precision devices. adapter installed in or connected to the
Please handle them with care computer. The other is by connecting a
Since CF cards, SD memory cards and camera containing the media to your
Microdrives are small and lightweight, computer via cable and transferring the
some users tend to handle them roughly. data using special application software.
However, all are precision electronic The EOS-1Ds Mark II supports IEEE1394
devices and should be handled with care (FireWire) connection* for especially Cards will mount like hard drives via a card reader.
while being inserted and removed from high-speed transfer.
cameras. Be sure to avoid static electricity, *Some cameras only support USB connection.
moisture, and the application of heavy
pressure. In particular, dropping a
Microdrive could cause irreparable
damage. The use of protective cases is
advised when delivering your precious
photo data.

28 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Equipment 29


Software environment for
shooting and data processing

Basic software applications for


everything from shooting to
organizing and processing image
data are all included in the
EOS Digital Solution Disk
The EOS Digital Solution Disk contains
software applications that can be used
with every EOS digital camera. This disk
comes with EOS digital cameras and, for
the professional, offers everything from
the remote control of EOS digital cameras
when working in the studio or at other
EOS DIGITAL
locations, to the organization of image
files and simple image correction.
DIGITAL PHOTO
GUIDEBOOK
The easy-to-use EOS Viewer Utility
lets you develop RAW data Shooting
The EOS Viewer Utility is image browsing,
adjustment, and development software that
can be used with every EOS digital camera.
This software allows you to conveniently
check photographic conditions by viewing
information such as aperture setting and
shutter speed, ISO setting, lens focal length,
and focal area.
In addition, by connecting an EOS digital
camera to a computer, you can fix camera
settings such as development parameters,
tone curve, white balance, and color matrix
to suit your particular purpose.

Use EOS Capture to remotely control an


EOS digital camera from a computer
EOS Capture is remote control software that
can be used through either Digital Photo
Professional or the EOS Viewer Utility. Using
this software, you can adjust camera settings
and shoot pictures with an EOS-1Ds Mark II
connected to a computer through an
IEEE1394 port.
When you use EOS Capture to shoot
photos, the images you shoot appear on
the computer display, where they can be
checked. What’s more, image data can
be stored in both the camera and the
computer, so, with a high-speed, high-
capacity hard disk, you can enjoy greater
efficiency when shooting lots of photos
in the studio.

30 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK


Hints for professional shooting Checking with histograms

Hints for professional shooting Check digital exposure by looking at a histogram


Digital cameras offer greater flexibility than film cameras for meeting photographic needs in various With film cameras, lighting and exposure are set, relying on exposure and feel.
shooting conditions. They also feature more customizable settings than conventional film cameras. Digital cameras let you check lighting and exposure immediately with a histogram
When shooting with a digital camera, you must determine which settings are best for your subject, and create optimal conditions based on precise assessments.
your shooting conditions, and other particulars of your assignment.

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 histogram is a chart that shows the


gradations of an image from shadows to
highlights on the horizontal axis and the
A landscape with little variation in lighting.
number of pixels belonging to each gradation
level on the vertical axis. The resulting shape
typically has various peaks and valleys.
While images can be assessed by directly
viewing them on the camera’s LCD screen,
histograms provide an easier way to check
for correct exposure and ensure ample This histogram peaks in the dark range.
A small peak in the bright range indicates
gradations have been captured in the strong highlights.
highlights and shadows.

A night view largely comprised of 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.

32 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Shooting 33


Checking with histograms White balance

Manipulate color temperature and express true


Ensure rich gradations by using colors, or colors you create in your imagination
a histogram
The wide dynamic range of high-end digital When shooting with film, color temperature is corrected with the selection of film, which relies on the
cameras is fast approaching the levels of action of delicate color-sensitive chemicals to reproduce colors, and the photographer’s use of
color positive film. Yet, users must still avoid filters. The white balance function makes all that a thing of the past. Mastery of the white balance
blocked shadows and blowout — loss of function gives you precise color reproduction and greater possibilities for image expression.
gradations in the shadows and highlights
that image editing cannot compensate for.
If you plan on editing your images later, be EOS digital cameras can deliver more • White balance settings
sure to check the histogram and adjust accurate color reproduction than film
6 preset settings are selectable: Daylight, Shade, Overcast, Tungsten,
lighting so your images include rich cameras
Presets Fluorescent light, and Flash. Users can select modes, in the same way they
gradations. To achieve faithful color reproduction with would choose film, depending on the light source.
film cameras, photographers must select
tungsten or daylight film, depending on the Users can manually input the color temperature measured by a color meter to
Color temperature
type of lighting, and use a filter if the lighting achieve high precision.
is mixed. Since even the same type of film The white balance setting is acquired by shooting a white or gray object in
may reproduce images differently depending Custom the scene. This method ensures appropriate white balance with various
on its age and how it was stored and combinations of objects and light sources.
Dynamic range of photo processed, photographers must manage
(range of brightness)
their film inventory carefully and take test
• Supported white balance range
shots to ensure consistent results.
Digital cameras, on the other hand, do Light source EOS-1Ds Mark II Film
not suffer from such instability. Once
you’ve mastered the white balance settings, Daylight 5,200°K Daylight film
you can quickly and easily use them to Shade 7,000°K Daylight film
Values fit within the available range of fine-tune color temperature and achieve
the histogram. While lacking in character,
such a photo may be the best material faithful color reproduction or imaginative Overcast 6,000°K Daylight film
for prepress processing. visual expressions.
Tungsten 3,200°K Tungsten film

Accurate color reproduction Fluorescent 4,000°K Film and filters


requires proper white balance
Flash 6,000°K Daylight film
White balance can be set in various ways.
You can use the Auto White Balance function Custom 2,000–10,000°K Special film and filters
described later in this guidebook or any of
the following three methods: Color temperature 2,800–10,000°K (in 100°K steps) Special film and filters

1. Choose a preset white balance setting


optimized for certain lighting conditions,
such as daylight or tungsten lamps.
2. Manually input the Kelvin value to an EOS
digital camera after measuring the color
temperature of the scene with a color meter.
3. Shoot a white card in your scene and
have the camera correct white balance
automatically. This method (often referred
to as custom white balance) is effective
at keeping white balance stable over
multiple shots in outdoor and other
changing lighting conditions.

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.

Photo on this page: ©Copyright 2005 Vered Koshlano.


34 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Shooting 35
White balance ISO settings

Freely change color characteristics • Results of different settings ISO settings


with white balance
In addition to using white balance for
accurate color reproduction, it can be
used to achieve various creative results.
Exaggerated settings can produce
strong color tones, for example.
EOS digital cameras let you adjust color
temperature between around 2,000˚K and Canon’s proprietary technology
10,000˚K, which is much wider than film reduces the visual noise associated
cameras will allow. with high ISO settings
When high ISO settings are selected in a
3,000˚K 4,500˚K digital camera, the camera boosts signals
from the image sensor. This tends to
generate visual noise as a side effect that
Optimizing flash for digital camera is especially apparent in darker areas of the
imaging sensors. image. Fortunately, the wide dynamic range
Some flash units are optimized for use of Canon’s CMOS sensors limits visual noise
with light-sensitive film and result in 6,000˚K to levels that are nearly indiscernible.
unbalanced color when used with digital In addition, Canon image processing
cameras. The color characteristics of technology reduces visual noise when
these flash units can be easily determined converting CMOS signals to image data.
by taking several shots of a color chart With Canon digital cameras, you can achieve
with different light sources and white high-quality images even at highly sensitive
balance settings. settings or slow shutter speeds.
10,000˚K 8,000˚K
Wide-ranging ISO settings and Auto
Exposure Bracketing
Digital cameras let you change the ISO
setting for each shot, a major advantage
Truly automatic white balance and
over film cameras. The EOS-1Ds Mark II
flexible compensation
offers settings ranging from 100 to 1600
While studios offer nearly perfect lighting,
(50 to 3200 via menu selection) and lets ISO 100 ISO 400
ordinary indoor shooting environments offer
you take extremely low-noise shots, even
a mixture of natural, tungsten, and fluorescent
at high sensitivity. This is a tremendous
light sources that make it difficult for film
advantage, for example, when taking
cameras to obtain accurate white balance
hand-held shots, where steadiness of the
even when various filters are used.
Auto White Balance (AWB) Preset — daylight camera is a concern, and you want to
The Auto White Balance (AWB) function
change the shutter speed without changing
on EOS digital cameras can automatically • WB bracketing the aperture. Auto Exposure Bracketing
determine the correct white balance in
(AEB), which automatically takes several
mixed lighting environments and provide
shots in sequence with different ISO
neutral coloring even when light sources
settings but no change in aperture or
are changed. A white balance compensation
shutter speed, is a unique shooting mode
function can also be used to shift white
made possible by the EOS-1Ds Mark II’s
balance toward a blue or amber color
ISO functions.
temperature in much the same manner
as a light balancing filter.
Noise that easily develops with extreme
Furthermore, with the white balance Heightened Kelvin
(plus adjustment)
exposure compensation after shooting
bracketing function, which produces
Images shot with EOS digital cameras
results similar to those obtained with
have less visual noise than those shot
a color temperature conversion
with film cameras. However, when
filter, three images — one with
post-processing RAW images, extreme
the standard value, one with a
exposure compensation can result
negative correction, and one
in visual noise.
with a positive correction —
can be shot at the motor drive Standard
speed setting. RAW images shot at
ISO 1600 and deve-
loped at +2EV expo-
Shot by film-based camera under same conditions Lowered Kelvin (minus adjustment) ISO 1600 sure compensation.

36 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Shooting 37


Color matrix Selecting the recording format

Choose color characteristics based on usage


and preference Selecting the recording format

EOS-1Ds Mark II Color Matrix


characteristics
• Color Matrix 1
sRGB compatible. Overall natural hues and saturation.
• Color Matrix 2
sRGB compatible. Hues and saturation ideal for
communicate your intent, but there is less portraits with natural skin color.
Quality of recorded images RAW or JPEG?
guarantee that the recipients- those surfing • Color Matrix 3
When photos are shot with an EOS-1Ds the web and watching digital video-will see sRGB compatible. Hues and saturation similar to Images can be recorded in either the JPEG
high-saturation slide film. Ideal when vivid colors
Mark II and stored in the JPEG format, it the color you intended. are desired. or RAW formats. The JPEG format reflects
is possible to adjust the pixel count and The challenge with preparing color for • Color Matrix 4 various parameters set within the camera,
image compression percentage. In the the internet and for digital video is that the Adobe RGB (1998) compatible. A broad color spec- while the RAW format is unprocessed data
quality of the medium — the viewer's computer trum with low saturation. Ideal when later fine satura-
highest-quality large/fine mode, you can that serves, in fact, as the base of the
tion adjustment or profile conversion is planned.
record image quality equal to the needs display or television set — is unpredictable. JPEG format.
• Color Matrix 5
of large-format prints and plate making. Outside of imaging and publishing sRGB compatible. Moderate hues and saturation. With the JPEG format, processing is
Selecting a format that requires less data professionals, very few computer displays Ideal when moderate colors are desired. completed within the camera, so productivity
is effective when it is necessary to boost the are calibrated, and even fewer are configured is high. The RAW format, on the other hand,
efficiency of post-processing, when, for for color management. Televisions on which • Color space comparison allows parameters to be changed with a
example, a large number of shots have been viewers may watch a digital video aren't computer, so it is possible to use this
taken in a studio. However, it is generally better calibrated at all. This essentially means that format to create images with extremely
to maintain the original image data at the each Web surfer and TV viewer may see high precision.
highest possible quality and adjust the pixel different colors on the display or screen. EOS digital cameras allow you to
count and image compression percentage Color management for these output simultaneously record data in both the Image that has not been sharpened and is easy Image with the proper degree of sharpness
using image-processing software. media will help to maximize predictability RAW and JPEG formats. This may result in to handle in post-processing
when publishing your color content to the storage of high volumes of data, but
sRGB for versatility or Adobe RGB for the Internet and digital video. for more accurate shots, it is recommended
advanced editing that data be stored in both the RAW and
The colors in digital photos are confined to JPEG formats.
Understanding sRGB
a color range, or color space, that can be
handled by monitors and printers and is Until now, we have avoided using the sRGB Set the sharpness to suit
narrower than the range of colors humans profile because it has a limited color gamut color space and profile, a safe convention your purpose
can see. Different monitors and printers and is not suitable for a print-based workflow. to follow is to deliver RGB files in the sRGB When shooting photos for prints that you
have different color spaces. sRGB is, however, appropriate for display- color space. This color space is the closest will make by yourself, boosting sharpness
When shooting with a digital camera, you based media, as it is fairly representative of RGB color space to a generic CMYK color when photos are shot will allow you to
must first decide whether to record your shots the average computer display in use. When space and will generally result in acceptable obtain better results. Setting the sharpness
in the sRGB color space, which can be you realize that most people's displays are output quality. on the camera will produce different results
displayed by a standard monitor, or the not calibrated, or even set to a white print from those achieved using Adobe Photoshop
Adobe RGB color space, which is wider and other than the manufacturer’s default, it’s Four sRGB color matrix settings or other image-processing software, where
includes colors that cannot be displayed on easy to understand why sRGB is a smaller enhance productivity the sharpness is adjusted afterwards.
a standard monitor. The wider color range of color space than those used in creative The EOS-1Ds Mark II offers four modes in In contrast, when shooting photos for
Image that lacks sharpness and looks out of focus Image with excessive sharpness and unnatural outlines
Adobe RGB is preferable for images you plan applications. When you want to see how the sRGB color space that each produce commercial printing or plate making, it is
to edit later, and is one of five color matrix images will look when they're on a webpage, slightly different color reproduction better not to boost sharpness on the
settings available on the EOS-1Ds Mark II. you can use the sRGB profile to soft-proof characteristics. Selecting one of these camera. The optimum degree of sharpness
your color content in Adobe Photoshop. modes is similar to selecting a different depends on the final print size, and this High-capacity storage media capable of handling rising image data volumes
Note: If you are creating color exclusively for the positive film in film-based photography. may change before the production The 16.7-megapixel high-resolution data files that can be created by the EOS-1Ds Mark
Internet/Video
internet, you should consider using sRGB as your process is complete. Therefore, rather II are relatively large and require high-capacity storage media. Even a 1GB (1 gigabyte =
The internet presents some significant working-space profile within applications such as 1,000 megabytes) storage medium can hold only slightly less than 50 photos taken with
Wide Gamut RGB for advanced plate than using settings for optimal results for
Adobe Photoshop.
challenges when it comes to color making and archiving a given print size, it is better to concentrate an EOS-1Ds Mark II and recorded in both the RAW and JPEG formats.
management, as does digital video. If the destination for the image is digital The color space of Adobe RGB is wider on producing image data that are the P.28, 74
When you print a color document, you video –– say you’re going to build a composite than that of sRGB, the color space for easiest to handle in post-processing.
know that each print is going to be conventional monitors, but there are still Image size estimates
into a Final Cut Pro scene — you will want Images that have been sharpened only
consistent. First, you use color management to choose the NTCS (1953) industry-standard places where the color space of printed slightly or not at all are the simplest to
to communicate the color intent to your destination profile suitable for video output matter is slightly wider, and Adobe RGB adjust in post-processing. If the images
prepress and print partners, and then the in the United States. cannot express 100% of the image data. are significantly sharpened when shot,
press operator uses process controls to Another valuable use for the sRGB color With Digital Photo Professional, Wide Gamut unnaturally highlighted outlines and noise
keep the color consistent throughout the space is in CMYK printing. If the situation RGB, which has a color space even wider may appear in post-processing.
press run. arises where your client cannot supply you than that of Adobe RGB, can also be used
With the internet and video, you can still when developing RAW data. *Sizes will differ depending on shooting conditions and ISO settings.
with any information regarding final output

38 EOS • DIGITAL PHOTO GUIDEBOOK Shooting 39


Anticipate results when shooting
Image synthesis with image-processing software

Use exposure stability, remove cut 1


reflected objects, and shoot without
moving the frame
When shooting metal or clear subjects as
still objects or products, unwanted reflections
are removed with synthesis and erasing,
performed meticulously by hand, at the
retouch stage. When shooting with a digital
camera, the position of the camera is fixed
and multiple shots are taken, while gradually
removing reflected elements. The desired
image is then created simply using image- Synthesis
processing software to layer shots with no
unwanted reflections.
Image after synthesis

Lens used for these shots: cut 3


TS-E 90mm f/2.8
The world’s first telephoto tilt-
shift lens, the TS-E 90mm f/2.8, The overall scene is photographed, but the reflection
employs a natural perspective of the metal ball on the glass is undesirable. Image
and can be used for a variety of after synthesis.
purposes, including product
photography, food photography,
and portraits. This lens has no
faults, excellent delineation, and
true background blur.

• Focal length and aperture: 90mm, 1:2.8


• Lens construction: 5 elements, 6 groups cut 2
• Diagonal angle of view: 27°
• Image circle diameter: 58.6mm
• Tilt/shift: ±8°/±11mm
• Revolving angle: 0±90°
• Focal adjustment: Manual focus/overall
linear extension system The flower stem visible through the glass
and the blue glass reflected on the glass
• Closest focusing distance/maximum on its side are removed, and the scene is Synthesis
magnification: 0.5m/0.29x again photographed to create an image
• Filter size: 58mm to be used in layering.
• Max. diameter x length/weight: ø73.6 x
88mm/565g (ø2.9 x 3.5in./1.2lb.)

Synthesis

The metal ball is removed and the scene is again


photographed without the reflection on the glass.
This photo will be used as the base image.

Using image-processing software, retouched


photos are layered over the base image.

Image after synthesis

40 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK


TS-E lens series
TS-E lenses are excellent for obtaining the effect of large-format camera movements, which are a must for photographing products
and architecture. They can be accurately focused even on surfaces faced at an angle, and are used for tilt photography, which allows
control of depth-of-field, and shift photography to correct distortion that can arise depending on perspective. Furthermore, the high
performance of these lenses makes it possible to obtain extremely high image quality when paired with an EOS digital camera.

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.

42 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Shooting 43


Averting common problems Averting common problems
in digital photos in digital photos

Averting common problems in digital photos Dust on the imaging sensor


Advanced sensor technology offers impressive capture capabilities. However, problems still arise at If dust enters a digital camera while the lens
times to affect the quality of your images. To avoid these imperfections, which are unique to digital is being changed, it may become lodged on
cameras, you must first understand what they are. the imaging sensor and show up in your
images, especially when shooting subjects
close up.
Please avoid exposing the camera to
dust when changing lenses. If dust enters,
Moiré carefully remove it with a blower as
described in the user manual. Imaging
Imaging sensors on digital cameras usually
sensors are extremely sensitive devices,
employ evenly arranged rows of red, green
so never touch them. If your imaging
and blue light receptors for capturing images.
sensor becomes too dirty to clean by
This symmetrical placement of receptors
yourself, please take the camera to your
can sometimes cause a striped pattern of
nearest service center.
interference called moiré to appear if the
scene contains rows of narrow stripes.
When encountered, moiré can sometimes
An imaging sensor and conceptual rendering of light-detecting elements
be eliminated by simply adjusting your
perspective or distance when re-taking the
shot. Since moiré cannot be seen in the
Shoot the same subject
viewfinder, you must check for it by viewing at an angle to prevent
the image on a monitor at 100%. (Moiré moiré. Then rotate the
can also appear in prints as a result of image with graphics
software.
completely different factors.)

Photo with moiré caused by shadow mask interference


Finished photo
when shooting striped CRT screen with checkerboard
light-detecting elements f/8 f/32
Dust on the imaging sensor is hard to detect at an aperture setting of f/8,
but is clearly apparent at f/32.

False colors

When capturing subjects with detailed Flares and ghosts


high-contrast geometric patterns, imaging
Imaging sensors are smoother and more
engines sometimes misinterpret the signals
reflective than film. When strong light
from imaging sensors and add colors to
enters the camera, reflections on the
the image, called false colors, that were
imaging sensor can reflect off the lens and
not actually there.
appear as flares or ghosts in your image.
False colors can be avoided by using
This is especially true when using an
a low-pass filter on the imaging sensor or
ultra telephoto lens with flat-surface
processing the data before conversion to
protection glass or any lens with a filter.
an image file. EOS digital cameras reduce
Canon’s large-diameter IS ultra telephoto
false colors to negligible levels in most cases.
lenses employ a meniscus lens that
minimizes the effects of reflections on
the imaging sensor.

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.

44 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Shooting 45


Averting common problems
in digital photos

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

Clearer differences and details

When using a digital camera, the differences


between lenses become more apparent than
on film cameras. Part of the reason is that
imaging sensors record light more directly
than film, which has an emulsion layer.
Another reason is that images magnified
and viewed on a computer monitor undergo
far more scrutiny than 35mm positive film
viewed with a high-magnification loupe.
This increased scrutiny does not apply
to printed output, which lacks high enough f/22 f/32

resolution to reproduce every single pixel in


the image.
• Pixel scale equivalency
Digital cameras also tend to be sensitive
to hand movement. A movement that would
cause little blur with a 35mm camera might
cause major blur with the EOS-1Ds Mark II,
which has an image resolution equivalent to
medium-format film cameras. You must pay
more attention to vibration, whether shooting
with the camera in your hands or on a tripod.

46 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK


Preparing your image data for
Monitor settings
commercial printing

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.

Establish an environment and Types of monitors


workflow for image editing
Monitors are available in cathode-ray-tube
To prepare your digital photos for commercial
(CRT) and liquid crystal display (LCD) models.
printing, you must first establish an
Both types of monitors offer advantages and
environment for accurate viewing,
disadvantages. CRT monitors have long been
examination, and adjustment of your
used for digital image processing, but LCD
images. Such an environment includes a
monitors are gaining popularity as their
suitable monitor, optimized environmental
performance improves.
lighting and image editing software such as
Adobe Photoshop.
What to look for
Once a proper environment has been LCD CRT
when selecting a monitor
established, you must clarify your needs
Theoretically, the camera comes before the Pros and cons of LCD monitors Pros and cons of CRT monitors
and responsibilities. Depending on the job,
monitor. In practice, however, it is difficult Pros Pros
you may find it best to check and edit the • Space-saving, energy-saving design • Wider control range for brightness and contrast
to evaluate the color accuracy of the input
images yourself or leave the work to plate- • Colors stabilize quickly after power is turned on Cons
camera or the output image without a
makers who have a wealth of printing • Less prone to deteriorate over time (long-term • Time is required for colors to stabilize after
color-accurate monitor. When editing digital
knowledge and experience. In the following stability) power is turned on
photos, your decisions will be based
section, we briefly introduce some of the • Clear, sharp image when connected digitally • Brightness varies from center to edges
primarily on what you see on the monitor.
leading issues relating to the environment Cons • Color performance deteriorates more rapidly
Ideally, you should choose a high-end over time
and workflow of professional image editing. • Colors can change considerably depending on
monitor that you can calibrate to meet the viewing angle • Colors are easily affected by magnetic force
conditions of your final output. • Models with excellent color reproduction tend
Ordinary monitors can display colors in to be expensive
the sRGB color spectrum, but with
improvements in monitor technology, there
are some monitors that can reproduce
colors with larger gamuts.
A larger color gamut will help with soft-
proofing and virtual proofing.
Modern LCDs and CRT monitors from
many manufacturers have met prepress Monitor placement
SWOP certification for virtual proofing. • Place monitor away from sunlight, as time of day and weather can affect the lighting
and how images appear.
• Place monitor where lights do not reflect off screen.
Warnings about CRT monitors • Use fluorescent lights designed for color evaluation if possible.
The performance of CRT monitors • Use daylight white-type three-wavelength fluorescent lights.
deteriorates with time and usage, especially • Use lighting that is not too bright or dark for accurate color evaluation.
in terms of image quality. We recommend, • Use a light-shielding hood to prevent lights from reflecting off screen.
therefore, that monitors be replaced on a • Use gray or other achromatic wall colors if possible.
regular upgrade schedule.

Proper environmental lighting

Lighting is crucial to the accuracy of image


assessment. Even if your monitor offers
superb color reproduction, improper lighting
will make it difficult to accurately assess the
colors in your images. Ideally, environmental
lighting should be as similar as possible to
the lighting used by the printers proofing
your images.
P.76

48 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 49


Color management Color management

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

Your digital images will be handled by


various devices such as monitors and
printers that process your image data in
different ways and reproduce the colors
quite differently. Film is a tangible and
viewable graphic that allows you to see
the image in a referenced, media-neutral
state. With a digital image, however, the
studio monitor and color printer provide
the only reference. Color management
provides guidelines for consistent assessment
of colors throughout the work process,
enabling consistency similar to that
achieved in conventional photography.

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.

50 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 51


Color management Color management

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.

52 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 53


Monitor calibration Monitor calibration

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.

computers are used in the same color- measured in nanometers (1 billionth of a


Monitor calibration
managed workflow. In this scenario, the meter).
Calibration steps for Mac OS X
Your monitor should be calibrated on a best results will be achieved by using a
regular basis to compensate for its device calibrator set to the same white
Calibration vs. characterization If you have a CRT-type monitor, wait for the colors to stabilize. This takes
placement and age, as well as for the point and gamma on both systems.
about 30 minutes from the time the monitor is turned on. Once the colors
lighting in your work environment. In the Gamma does not affect the size or When implementing color management, you
have stabilized, select System Preferences and click Displays, Color, and
case of Mac OS X, if you select System shape of the gamut. It does affect the often encounter the terms calibration and
Calibrate. This will start the Display Calibrator Assistant, which will then
Preferences and click Displays, you can distribution of RGB points within the characterization, which can be confusing,
interactively guide you through the following steps.
make visual adjustments without gamut. Gamma values refer to the gradation but the difference is really quite simple:
special devices. curves used to represent the mid-tone calibration changes a device to a standard
Step 1
brightness of the display. Gamma selection or known state, while characterization is
Adjust the brightness and contrast controls on your monitor as described.
determines the relationship between light the process of measuring the characteristics
Preparing to profile your display (Contrast may be labeled “Gamma” on some monitors. Some LCD monitors
and dark values, similar to contrast. The of the device using one of the above listed
have no controls for brightness and contrast.)
• Determine your monitor and computer higher the gamma number, the darker the tools and creating a profile.
settings: resolution, refresh rate, geometry, mid-tones appear on screen and the more
Step 2
and bit depth, and don’t change the contrast you will see. White point is the
Calibration = changing a device to Adjust color temperature and other software settings as instructed.
settings (either through the display’s color temperature of the display, measured
in Kelvin temperature. a referenced state
front-panel controls or through the
Once calibration is complete, the color space information
operating system). If you change the The challenge is that printed materials
Characterization = measuring the is saved as a selectable ICC display profile.
settings, you should re-profile the display. and photographs will be viewed under
many light conditions. Viewing conditions state of a device and creating
• Set the Desktop to a medium neutral
can be built into custom profiles for a profile
gray. (L50,0,0 or Apple's Medium Gray
which has a RGB value of 128,128,128 Gallery lighting, store displays... a color
specialist should be consulted when this Profile = description of a referenced
would be ideal.)
is a client requirement. state
• Set the white point to 5000k (D50) or
6500k (D65), if supported by your display.
The overall goal is to match the tonal Understanding measurement
reproduction characteristics of your devices
Color calibration with a calibrator
display to the intended viewing conditions Densitometer – An instrument that
and output. Most professional proofing measures the density of ink on paper
A calibrator can be used to achieve
systems and color-correct viewing booths (the absorption of light), not color values.
more precise monitor calibration
used by printers and photographers use Colorimeter – An instrument that
than is possible when relying on
D50 lights to simulate daylight. D50 was measures the color value of a sample,
your eyes. Various reasonably priced
established as the prepress industry using color filters. A colorimeter can
hardware calibrators, such as the
standard, although new standards are determine if two colors are the same,
Gretag/Macbeth i1 Display 2 are
emerging based on D65. but it does not take into account the
available. The affordable i1 Photo
• Avoid bright light directed at the display. light under which a sample is measured.
includes a precision spectrophotometer
Use a display hood, if available. For monitors, a colorimeter is used to
and allow calibration of both your
measure the brightness, contrast, and
monitor and printer.
Much like the target gamma setting, the white point (color temperature). A
white point differs between Macintosh and colorimeter generally uses three internal
Windows systems. filters to simulate human vision. The
Macintosh users will see the best results measurements are calculated by the
by setting their displays to a D50 white profiling software to create a new profile.
point and a gamma of 1.8. Spectrophotometer – An instrument that
Windows users will see the best results measures the wavelength of color across
by setting their displays to D65 and a an entire spectrum of colors (measures
gamma of 2.2. spectral data). It is similar to a colorimeter
The exception to this rule is when both but more precise because it measures
Macintosh and Windows-compatible discrete wavelengths of transmitted light

54 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 55


The color management system
Color settings in Adobe Photoshop
built into Adobe software

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.

Adobe CMS Standard settings for a workflow Do not change color


(Color Management System) excluding plate making settings midway
Adobe software products like Photoshop, The basic settings described here are for The optimum color settings will differ
Illustrator, and InDesign are essential tools cases in which the photographer has shot depending on the job, your responsibilities,
in the desktop publishing (DTP) industry. photos for commercial printing and will have and how well the plate makers and printers
These applications offer Adobe’s own color a plate maker deal with the plate-making respond to image data with embedded
management system, Adobe Color Engine data. color management profiles.
(ACE), which lets users work with digital Adobe Photoshop Adobe InDesign
This discussion also applies to workflows Once your digital photo data has entered
images under consistent color tones in which data are not handed over to others the workflow (been edited or passed on to
regardless of whether they use the Mac OS handling the printing process. others), you should not alter the color settings
or Windows. Since settings for ACE are the P.22 again during the job. This is a basic rule
same on both platforms, color spaces can that helps prevent various problems.
be shared between Mac OS X and
Windows.
Open Adobe Photoshop and select Color Settings from the Edit (Mac OS 9
and Windows) or Adobe Photoshop (OS X) pull-down menu.
Adobe Color Engine In the Working Spaces section, select the RGB color space used by your
Sharing Adobe color settings
(ACE) digital camera (we recommended Adobe RGB 1998, but if your camera
One of the benefits of the Adobe Common • Color Settings uses an sRGB setting, choose it here).
Color Architecture is the shared Color
Settings file. This enables you to set the
preferences once and use them throughout
the entire Adobe Creative Suite.

Adobe Acrobat Adobe Illustrator

ACE is common to both Macintosh and Windows versions.


For the CMYK color space, select SWOP CMYK.

Ignore the settings for Gray and Spot, which


Color calibrate Windows systems with concern conversions for monochrome and
special-color printing.
Adobe Gamma
The Adobe Gamma control panel is installed
when Adobe Photoshop is installed in a
In the Color Management Policies section, select
Windows environment. Similar to the Display Preserve Embedded Profiles for RGB, CMYK and
Calibrator Assistant in Mac OS X, the Adobe Grayscale. (This section defines how to handle the
ICC profile embedded in your image and what to
Gamma control panel interactively guides
do if no profile is embedded.) Next to Profile
you through the calibration process and Mismatches, select Ask When Opening.
creates an ICC profile. This process is
subjective. In order to attain the best color
accuracy, a hardware profile such as that
made with the GretaglMacbeth i1 Display Set Conversion Options as discussed on page 53.
Do not change any other settings in Advanced Options,
2 is recommended. which only appear if you select the Advanced Mode.
(Changing the default settings may drastically
change the colors in RGB image data.)

56 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 57


Data processing check sheet Picture Style

Data processing check sheet Picture Style


For all photos taken with a digital camera, the steps shown below must be performed. Creative Color Solution
The entire process should be reviewed to ensure that nothing has been left out. Incorporating the know-how of experts who understand the intricacies of color
photographs.

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?

❑ Is this adjustment item the responsibility of the photographer or the plate


maker? The color quality you’ve been seeking Create a wide repertoire of color effects reflect the intent of the photographer.
Resolution/ ❑ Has the resolution been changed to the number of pixels to be used for the is now possible with EOS digital simply by selecting settings Advanced image control possible only with
Sharpness final product?
cameras Picture Style contains a much broader EOS digital cameras will continue to evolve
❑ Has an unsharp mask been used for the final resolution?
Creative color control has undergone preset setting range than what was with further advances in these technologies.
❑ Does the sharpness consider the printed finish?
enormous development and progress since previously available. In addition to the
the advent of EOS digital cameras. The ability to use these presets to meet the RAW images shot with earlier-
❑ Have profiles been included in the stored data? culmination of this progress has been demands of countless forms of photographic generation cameras can be developed
❑ Is the file format appropriate for the work to be performed?
incorporated into Picture Style. expression, Picture Style also allows you to using the preferred Picture Style
❑ If JPEG compressed files are being used, has quality been maintained?
Data storage/ ❑ Have processed data and original data been organized in sets? Previously, in order to control color, you register your own settings. With an expanded The updated RAW image editing software,
Handing data ❑ Have data and prints been organized in sets? had to adjust the Color Matrix and range of settings, you can set the camera to Digital Photo Professional ver.2.0 (DPP2.0),
over ❑ Have files been saved using names that will not cause problems if a different Parameters. Picture Style integrates these produce images with color characteristics lets you use Picture Style with RAW images
OS is used? into a display that is intuitive for professionals that match your original vision. shot with EOS D30 or later EOS digital
❑ Have files been saved on media that others can easily use?
working with digital photographs. Selecting Furthermore, you can expand your palette camera models. By using your preferred
❑ Have the original data files been backed up?
the optimal Picture Style is similar to by downloading additional Picture Style Picture Style to develop RAW images
selecting the best film or desired files via Canon’s website and registering shot with earlier-generation EOS digital
photographic expression for the subject. By them to your camera. cameras, you can build a library of images
making this selection you can create digital in a uniform style.
images with fine-tuned color and other The CMOS sensor, DIGIC II,
characteristics at the moment of exposure. and Picture Style work together
Picture Style is incorporated into the in a highly integrated system
EOS-1D Mark II N, EOS 5D, and later Canon’s proprietary high-resolution, low-
EOS Digital models. Picture Style makes it noise CMOS sensor and DIGIC II Image
possible to produce images with the Processor deliver high-speed and high-
same characteristics regardless of the quality image processing. The stage is now
EOS digital camera used. set so Picture Style can be adjusted to

58 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 59


Picture Style Picture Style

Shooting with Picture Style Standard

The general-purpose setting for sharp


and vivid images
The “Standard” Picture Style is set to offer
vivid colors and contrast level that most
people prefer with general subjects. This
Picture Style provides the optimal sharpness
for printing directly without post-processing
The general-purpose “Standard” and the ability to produce beautiful prints of
Picture Style is the default setting for a wide range of subjects with no retouching.
uniform image characteristics from For everyone from beginners to professional
EOS digital camera models users of present and future EOS digital
On all EOS digital cameras with Picture cameras with Picture Style, the “Standard”
Style, the default setting is the “Standard” Picture Style is the basic setting that
Picture Style, which delivers high saturation ensures uniformity of color across all EOS
and sharpness. This setting will produce digital camera models with Picture Style.
excellent color for nearly all subjects and
themes. It also unifies image characteristics
and parameters. This eliminates color
differences when multiple cameras are used.

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.

Enjoy creative freedom by fine-tuning


sharpness, contrast, saturation, and
color tone
The beauty of an image depends on the
interaction of various factors such as high
resolution, low noise, and rich coloration.
1
Picture Style controls sharpness (clarity),
contrast (the smoothness of gradations and 1 Shooting Notes 2 Shooting Notes 3 Shooting Notes 4 Shooting Notes 5 Shooting Notes
• Camera: EOS-1D Mark II N • Camera: EOS 5D • Camera: EOS 5D • Camera: EOS 5D • Camera: EOS 5D
differences between light and dark areas),
• Lens: EF 17-40mm f/4L • Lens: EF 17-40mm f/4L • Lens: EF 24-105mm • Lens: EF 24-105mm f/4L • Lens: EF 17-40mm
saturation, and color tone (vividness and 2 3 USM USM f/4L IS USM IS USM f/4L USM
hue). The CMOS sensor and DIGIC II Image • Shutter Speed: 1/100 • Shutter Speed: 1/160 • Shutter Speed: 1/4 • Shutter Speed: 1/100 • Shutter Speed: 1/60
• Aperture Value: f/4 • Aperture Value: f/11 • Aperture Value: f/8 • Aperture Value: f/10 • Aperture Value: f/4
Processor work noiselessly in the • ISO Speed: 100 • ISO Speed: 100 • ISO Speed: 100 • ISO Speed: 100 • ISO Speed: 100
4 5
background, correcting image data to a • White Balance: Auto • White Balance: Auto • White Balance: Auto • White Balance: Auto • White Balance: Auto
degree never before possible over a broad • Picture Style: Standard • Picture Style: Standard • Picture Style: Standard • Picture Style: Standard • Picture Style: Standard

dynamic range. 3 Shot with the assistance of the Hotel Negresco

60 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 61


Picture Style Picture Style

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

and contrast settings, resulting in more detail


for effective post-processing.

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

62 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 63


Picture Style Picture Style

Faithful Preset Style Comparison


Another image style designed for
correctability, but through a unique
colorimetric approach
“Faithful” is another Picture Style for
reproducing the colors of the subject
exactly as they are. The “Faithful” Picture
Style is set to record colors that are
colorimetrically the same as the actual
colors of the subject under 5200K lighting
conditions. Like the “Neutral” Picture Style,
it emphasizes correctability. It therefore
employs relatively low saturation and
contrast settings, and the colors that result
are close to those obtained with the
“Neutral” style. Rather than emphasizing
the appearance of the entire image,
however, the “Faithful” style emphasizes
color accuracy for individual subjects. Shooting Notes
This makes it appropriate for shooting • Camera: EOS 5D
• Lens: EF 24-105mm f/4L IS USM
reproductions and still life. • Shutter Speed: 1/500
• Aperture Value: f/4.5
• ISO Speed: 1250
• White Balance: Auto
• Picture Style: Faithful

Setting: Standard Setting: Portrait Setting: Landscape

Setting: Standard

Monochrome Shooting Notes


• Camera: EOS 5D
Sepia tone and filter work with mono- • Lens: EF 24-105mm f/4L IS USM
• Shutter Speed: 1/250
chrome in an age of digital freedom • Aperture Value: f/7.1
“Monochrome” is a mode of expression • ISO Speed: 100
• White Balance: Auto
that creates bold impressions of form, light,
• Picture Style: Monochrome
and shadow. The “Monochrome” Picture
Style is not just image processing with zero
saturation; it’s a faithful successor to silver
halide film. The “Monochrome” style
features a relatively strong sharpness
setting as well as color control in sepia
tone. It also allows red, green, and other
types of filter work. The “Monochrome”
style allows you to achieve the feel of
monochrome photography using a digital
camera without having to compromise.

Setting: Neutral Setting: Faithful Setting: Monochrome

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

64 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 65


Viewing, adjusting, and
Picture Style developing images with Digital
Photo Professional ver.2.0

Viewing, adjusting, and developing images with


User Defined Picture Style settings Digital Photo Professional ver.2.0
With the RAW image format, as opposed to JPEG, photographers can obtain extreme precision and
freedom in adjusting white balance, contrast, exposure, and many other image parameters. Canon’s
Digital Photo Professional, makes it easy to obtain the desired results.
*Digital Photo Professional ver.2.0 for Mac OS X is used for the explanation below.

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

Images can be viewed as small, middle,


The “User Defined” options let you
and large thumbnails or as thumbnails
select preset Picture Style settings
and adjust parameters such as with information. They can be tagged with
sharpness. checkmarks 1, 2 or 3 for easy grouping
and can be sorted by checkmark, file
name, RAW priority, or shooting date and
time. Reorganizing images into various
folders is simple by using a “drag and When light sources and other conditions
are controlled (for example, when
Picture Style files: photographic drop,” “cut and paste,” or “copy and shooting a model in a studio), all of the
expression reaches a higher level paste” method. Single or multiple images images can easily be processed using
only the Main window. To fine tune an
The EOS-1D Mark II N and EOS 5D offer not can be adjusted in the Main window by
image while viewing an enlarged preview,
only presets, but also the ability to add new using the Brightness or White Balance double click a thumbnail image and use
buttons along the tool bar. After selecting the image adjustment palettes to edit
Picture Style settings, which will allow you the image.
to enjoy a wider range of photographic the image or images that you want to
expression. correct, click on White Balance or
Soon you’ll be able to download new Brightness and an adjustment window
Picture Style settings from Canon’s Download Picture will appear.
website. Canon will continue to offer new Style files from
Canon’s website.
Picture Style settings to enrich photographic
expression, just as new types of film have
changed photographic expression in the
Using the Camera Window, transfer This display shows that a Picture
past. downloaded Picture Style files to Style file transferred to your
your camera. camera has been successfully
saved and is ready to use.

66 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 67


Settings and image selection Settings and image selection

Settings and image selection


Rough selection
Let’s look at the RAW development process using Digital Photo Professional ver.2.0. When using the EOS-1Ds Mark II or other
If appropriate color management and other settings are used, image selection and high-resolution digital cameras, minimizing
adjustment can be performed easily and accurately. the number of shots to be processed for
development will make your work more
efficient. Regardless of the development
software used, it takes a long time to
convert RAW data to JPEG or other formats.
General settings Moreover, since a large number of shots
In order to maintain control and high image can be taken with the EOS-1D Mark II
quality, color management and other settings when shooting in continuous mode, it is
must be correct. To begin, select Preferences particularly important in this case to reduce
from the Tools pull-down menu. Preferences the number of images to be processed.
consist of the General Settings, View There are numerous conditions for selecting
Settings, Tool Palette, and Color Management desired photos from among the large
options. You can select any one of these by number taken. To start out, it should be
clicking on the tab at the top of the possible to make a rough selection from
Preferences window. Each is very important, the thumbnails. Using Digital Photo
and how they are set will greatly affect work Professional’s Main window, thumbnails
efficiency. Therefore, if something is unclear, can be displayed in three sizes. Choose
refer to the application’s user manual. the size you prefer and select the images
you want by attaching a check mark.

Detailed check of selected images

Once you have selected the images you


want from among the thumbnails on the
Color management settings Main window, click on the Edit Image
Most settings should provide good results at window button to switch to that window.
their default values (the values at the time the Here, only the images you have selected
software was installed). Color Management will be displayed, and clicking on any one
settings, however, are particularly important, of them will display a larger view in the
so it is a good idea to check them. It is middle of the screen. The higher the
impossible to ignore “Default settings of resolution of the image, the longer the time
working color space” and “Color matching necessary to render a full-resolution image
settings.” Under “Default settings of working on the monitor. When you want to check 50%
color space,” go to the Color Settings and the focus and other details of a particular
select the appropriate “working space.” area, double clicking on the area you want
Under “Color matching settings,” go to the to see will instantly enlarge it to the 100%
“For Display” section and select “Monitor view. Double clicking again will return the
profile.” Next, click on “Browse” and select image to its original size. Buttons at the
the appropriate monitor profile. Windows top of the window give you three choices
users and others who have not specified a for enlargement size.
monitor profile should select sRGB, rather Another way to quickly check the focus
than “Monitor profile.” In either case, check and detail of an image is to choose “Quick
that the image displayed by Adobe Check tool” from the Tools pull-down
100%
Photoshop looks the same as the image menu. The Quick Check tool allows you to
displayed by Digital Photo Professional. view images either full-screen or at 50%
Under “Printing profile,” select the profile of with no time required to render the image
the printer to be used when printing an on screen.
image by using the Print function under the
File menu. For information on “CMYK
simulation profile” refer to P.78.
Refer to P.73 for more information
on “Rendering intents when using
Easy-PhotoPrint.”
200%

68 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 69


Adjusting and developing RAW data Adjusting and developing RAW data

Adjusting and developing RAW data


RGB Image Adjustment Recipes Quick Check tool
For JPEG images, it is essential to use the appropriate white balance, color, contrast, and sharpness settings when shooting. RGB Image Adjustment allows you to Once you have finished adjusting the shot This tool allows for marking images for
With RAW images, however, these settings do not have to be made when the images are shot; they can be set when the images correct images in much the same way you with a chart in it, you can apply the same sorting, ranking, checking focus, and
are being adjusted in Digital Photo Professional prior to processing. Of course, focus and good exposure are still essential when would using Adobe Photoshop. With this Recipe to the other images shot under the rotating. One or multiple images can be
shooting RAW images. feature, you can perform a “Tone curve same conditions. A Recipe is a record of all viewed one at a time at 50% or 100%
adjustment” (to adjust brightness, contrast, the image adjustment settings you made in magnification. Ranking can be done by
and color), “Color adjustment” (to adjust Digital Photo Professional. By selecting clicking the 1, 2, 3, buttons to give one the
the chart. If you would like to further adjust generally used by photographers. hue and saturation) and you can also “Copy recipe to clipboard” and then “Paste ability to prioritize images for editing,
RAW image adjustment adjust “Sharpness.” These adjustments, recipe to all photos” you will not have to making final selections and storage. Left or
the image, you can do so using the Tune Just above this histogram, you have the
Digital Photo Professional can be used to button. If there are no images in which a option of choosing different Picture Style different from changes made in the “RAW adjust each image individually. Recipes can right rotating of the images is also available
correct JPEG images, but with RAW images, chart was photographed, the preset white settings from a pull-down menu. You can image adjustment” palette, could result in also be saved for future use by choosing in 90-degree increments. This is an easy
more image adjustments are possible and balance options and “Color temp.” can be make adjustments within these settings by significant image degradation if used “Save recipe in file” and accessed later by way to organize and prioritize raw images
this flexibility can lead to higher-quality selected from the pull-down menus. When moving the Hue and Saturation sliders. The extensively. Users are cautioned against choosing “Read recipe from file.” prior to conversion, allowing you to convert
images. In the case of JPEG images, for you adjust RAW images, you change only Sharpness slider in this window will allow making major corrections to images with only your favorite images.
example, it is impossible to set white balance the development conditions; the original you to choose an appropriate level of this tool palette.
after the shot is taken. When processing a RAW data remain unchanged, and you can sharpening for each image. Please refer to Trimming tool
RAW image, however, it is possible to always revert to your “shot settings.” P.59 for more information on the Comparison view
The Trimming tool allows you to crop your
choose any of the white balance settings Picture Style function.
This feature lets you see both the pre- and images at the time of conversion. Simply
available in the camera, including the Below the histogram you will find sliders
Color adjustment — “Picture Style” post-correction images on the same screen. select the “Start Trimming tool” from the
choice of setting white balance in degrees to adjust hue, saturation and sharpness.
To do this, go to the View menu and choose tools menu and drag the cursor over the
Kelvin. This process is performed using the Under the “Picture Style” section of the These correspond directly to the adjustments
“Before/after comparison.” If the images area you would like to crop. You can select
RAW Image Adjustment tool palette. Using “RAW image adjustment” palette, you will available in cameras that have “Picture
are vertically oriented, you can use “Change free or preset aspect ratios, adjust the
this palette, you can change brightness and find a histogram that is unlike the histogram Style.” The result of these adjustments can
up/down/left/right” to place them side by opacity of the crop marks, and crop
white balance and make a broad range of displayed on the camera’s LCD screen or be viewed in real time.
side. Both images can also be enlarged. multiple images.
adjustments using the Picture Style function. in the “RGB image adjustment” tool palette.
In this example, let’s begin by correcting This is a logarithmic histogram and
brightness and white balance. While it is represents 4,096 shades from black to
ideal to carefully set exposure when an image white captured by the camera when shooting
is shot, RAW images, similar to those on in the RAW mode. The most familiar type
positive film, can be made to appear as if of histogram (like the one seen on the
they have been shot with slightly more or camera’s LCD screen when reviewing with
less exposure. Adjustments of up to ±2EV the info option on) represents 256 shades of
are possible. Minimal adjustments are gray, or 8-bit color depth, while the camera
preferred because excessive adjustment is capable, in RAW mode, of capturing in
can degrade the image. 12-bit color depth.
For adjusting white balance, it is efficient A unique characteristic of Digital Photo
to include a chart (Macbeth chart, etc.) with Professional is its “Linear” color adjustment
a gray area in your first shot. When several mode seen in this area of the palette. In
shots have been taken under the same general, digital cameras express colors in
conditions, use the Edit Image window to the way that most human eyes see them.
select and enlarge the shot with the chart. “Linear” color adjustment renders the image
Then click on the White Balance button and without application of a tone curve. The RGB Image Adjustment
use the curser, which now appears as a “Linear” mode is appropriate for color
dropper, to click on the gray section b of scientists creating custom profiles but not

Comparison view

70 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 71


Adjusting and developing RAW data Linkages with other software

Linkages with other software


Stamp tool Rename tool Batch processing and exporting

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.

72 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 73


Saving image data and Saving image data and
accurate communication accurate communication

Handing over data for post-processing


Saving image data and accurate communication
When handing over data to the next person in the production process, even small misunderstandings
can bring about unexpected results. To prevent problems, you must clearly communicate with your
associates and follow their instructions accurately on profile and file type.

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.

Ensuring consistency across displays


Yellow Black
The ideal situation is to find a printer that
understands color management and has
custom ICC profiles to which they keep Improper CMYK separations
their presses calibrated.
It is important to keep in mind that with
traditional offset printing, from the moment
Image in which the Adobe RGB profile was reflected Image in which the profile was corrupted and colors you hand your color data to the printer to
all the way through post-processing and properly were not properly reproduced.
converted.
the time the job comes off the press,
getting your document printed introduces
several steps, each of which has its own
• Image formats and characteristics
variables that can affect the final color.
The printer will likely insist that a proof
be made (often called a contract proof).
The press plate will be made from the same
Cyan Magenta
color data as the proof.

Photos shot in Adobe RGB and


improperly converted first to
SWOP then edited and
reconverted to the SWOP
CMYK color space.* Notice the
degradation in image quality.

*This color space is proper for


this publication and may not be
appropriate for your job. The
proper profile must be supplied
by the client.
Yellow Black

74 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 75


Saving image data and
Final print simulation
accurate communication

Final print simulation


JPEG compression and quality • Example of JPEG compression deterioration -detailed pattern in primary colors CMYK conversion and simulation
Saving photos in the JPEG format can CMYK conversion is the most difficult step in the preparation of printing data. Although
reduce them to 1/5 or even 1/100 their part of the proofing process, it can be simulated to a certain extent by photographers
original file size. This is especially convenient
working in the RGB environment who want to preview the appearance of the final print
when files are numerous or you plan to
by simply selecting CMYK simulation in the preferences panel.
send them as e-mail attachments. However,
higher compression ratios result in lower
image quality.
Typical image deterioration caused by The color reproduction method
high image compression includes severe greatly affects the colors
aliasing in gradations, smudging at the Whereas images displayed on a monitor are M
composed of the three primary colors —
R Magenta
borders where bright, highly saturated Red
colors meet, and false colors in highlights. red, green, and blue (RGB) — printed
Since the finest details cannot be images are composed of a combination of
reproduced in print, image compression cyan, magenta, yellow, and black (CMYK).
Compression ratio: low, Image quality: high Compression ratio: high, Image quality: low This use of fundamentally different
of up to 1/10 is normally acceptable for
photos destined for print. • File name rules reproduction methods makes it impossible
for both media to produce exactly the same Y C
Rule Example Reasons
colors. Moreover, many colors viewable on G B Yellow Cyan
Green Blue
Do not include “*” or “/” [Not OK] “Date7/5” Restricted by Windows OS. Tree structure of an RGB display are beyond the range of
in file or folder name [Not OK] Compensation7/12** file or folder location can disappear. CMYK and must be reproduced in print with
Include correct file [OK] 2500.psd Depending on destination disk, certain types substitute colors.
Additive mixing of light’s three primary colors Subtractive mixing of three primary colors
extension [Not OK] 2500.psd’s copy of character strings can be automatically When converting RGB images to CMYK
replaced by other strings. Since Windows images for printing purposes, genuine
OS uses a file extension to associate the file
proofing expertise is necessary to minimize
and supporting application, a missed file
extension may cause confusion. the differences in colors.

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

The true “fingerprint” of a light source. The spectral power distribution is


the key factor in how a light source renders colors. The closer a light source’s
spectral power distribution is to D50 the more consistent and accurate it is.

• RGB monitor vs. CMYK printing color reproduction


The color reproduction ranges of computer monitors and CMYK printers
are different. Generally, the CMYK range is narrower and provides poorer
Metamerism reproduction. When a color viewable on the monitor cannot be reproduced
Have you ever noticed that two different prints, or a print and an original, in print, it must be changed in saturation and/or hue. This color conversion
sometimes match but in different lighting conditions may not. This phenomenon process is best handled by prepress experts using a color profile.

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.

76 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 77


Final print simulation The problem of memorized colors

Correcting your images for commercial reproduction


Check print limitations beforehand on The problem of memorized colors
the screen.
By using Proof Colors and Gamut Warning Color reproduction for commercially printed materials emphasizes natural color perception
displays in Adobe Photoshop, you can over accuracy. When you shoot and correct images, you must keep in mind how colors
check how the colors will change once the will be reproduced in printed materials
photo has been converted from RGB to
CMYK. This feature is especially useful
when handling high-chroma images that
are hard to reproduce in print. Impressions are as important as
accuracy
Pre-printing simulates final printing When checking simulated print Faithful reproduction is an important
results color reproduction, it is helpful to
open another window to compare
consideration. Yet mere color accuracy in
The most common way to simulate final before and after images. print is not enough to satisfy and move
prints is by printing adjusted RGB images people. Regardless of how colors appear in
on an inkjet printer. While this method is real life, people have certain expectations
convenient, it may provide misleading about what colors should be used to
results since the reproduction range of represent the world around us. Professional
offset printers and inkjet printers differs, and photographers, to a certain extent, need to
inkjet prints may include colors that offset consider these “memorized colors” to create
printing can’t reproduce. images that satisfy people’s expectations.
This issue can be resolved by obtaining
the printer's output profile and utilizing this Optimize the colors for commercial
profile for a custom proof (in Adobe Choose Proof Setup to
select the profile you printing
Photoshop's View>Proof>Setup>Custom want to simulate, then Faithful color reproduction using ink on
setting). Then the saturation levels of Proof Colors to view the
simulated appearance of
paper is more difficult to achieve when the
individual colors can be adjusted to bring the print. colors in your photograph are highly
them within the printer's gamut. This is a saturated. Such colors are often printed
complex procedure that requires skill and with lower saturation and altered hues,
experience. resulting in printed images quite different
However, the use of different paper and from those viewed on your monitor.
ink by the two types of printers makes it When using positive film and a prepress
impossible to produce the exact same scanner in a traditional commercial printing
results. Accuracy can be further increased workflow, natural results are achieved
by installing a DDCP (Direct Digital Color through a combination of accumulated
Proof) compatible with CMYK data. know-how and expert development of
optimized positive film. Much of this
Choose Gamut Warning to know-how can also be applied in digital
highlight the colors that
may be altered when
photography. P.77
• Subjects vulnerable to the effect of
converting RGB to CMYK. “memorized colors”

Spectrums expressed on monitors differ from those that can be printed.


When you select a color from the highlights Most extremely bright, highly saturated
of your image and open the color picker in colors (colors of high purity) cannot be
Adobe Photoshop, it displays the full adequately reproduced through commercial
range of the color in terms of value and printing. It is also difficult to reproduce the
saturation. You can then pick any color areas where magenta becomes dark blue
within that range and the color picker will and dark green: colors tend to become
indicate whether or not it can be cloudy and the hue tends to drift.
Selecting “Print with Preview” from the file menu of
Adobe Photoshop opens a window with a preview of the reproduced through commercial printing.
image and various printing, output and color management
options. The Color management options let users
customize the color space for their specific purpose by
selecting the “Source Space” (color space of final print)
and “Print Space” (profile of printer). The image can then
be printed, with the colors of the image adjusted
according to the selected settings.

78 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Data Processing 79


Important points concerning
image adjustment

Important points concerning image adjustment


Data loss is often a by-product of image adjustment, so you should not rely too heavily on
image adjustment. Rather, you should develop the skills to attain desired results in the fewest
possible steps. Never forget that expert shooting is required to obtain excellent images.

Don’t rely too heavily on exposure


compensation
Even with exposure compensation
equivalent to an increase from 2EV to
EOS DIGITAL
3EV or higher, digital cameras retain a
significant level of detail in shadows.
DIGITAL PHOTO
Such adjustments may bring out details GUIDEBOOK
in the shadows, but they will also raise
noise levels and lower color accuracy.
Always remember that rich gradations
can only be ensured by correct exposure.
Appendix
P.83

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.

Use 16-bit images for processing

When you process 16-bit images in image


editing software (such as Adobe Photoshop) Original image Image with optimally raised saturation
image degradation is minimized. Images
should be converted to 8-bit for delivery
to your client. Oversaturation can cause adverse effects, including
the loss of a sense of reality or a waxy, plastic look.
On already highly saturated images, further increases
in saturation can flatten the image, creating a fully
saturated “coloring book” appearance.

Oversaturated image.
Natural quality of photograph is lost.

80 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK


Appendix

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.

Remove blemishes on subjects and As opposed to digital exposure


image sensors compensation, Levels lets you control
On the histogram,
Retouching, or the correction of blemishes, is white, black, and midtone areas it is possible to
independently, so it is possible to boost judge exposure
performed with Adobe Photoshop. Blemishes with this peak.
caused by dust on the image contrast and make other adjustments. You
sensors of digital cameras are not a problem can also click on any area and change the
plate makers typically anticipate, so if the white, gray, and black balance, so the fine
photographer doesn’t perform retouch work, control of white balance is also possible.
Tone Curve makes the fine control of The brightness is controlled Click the area of the
greater attention is required in post- by moving the three sliders at image you want to
processing. brightness possible in more places than the bottom. brighten (highlight)
Among Photoshop’s retouch tools are does Levels. It is, therefore, well suited for the most.
Brush, Blur, and Smudge, but the one used slightly emphasizing shading for specific
tones, without affecting other colors. Click the area of the image you
most is the Stamp tool. This tool lets you Clone Stamp tool want to darken (shadow) the most. Click the area of the image
copy one part of an image to another part of The Clone Stamp tool is the most basic tool for want to make neutral gray.
eliminating blemishes or patterns. To use this tool, hold
the image, and is like a tool to eliminate down the Option key (For Macintosh. For Windows use
power lines from images. This tool is effective the Alt key) and click the part of the image you want to
clone. Then, drag it to the place you want to eliminate. • Tone Curve manipulation
when using a fine-textured pattern or when Adjust to a higher key without
This will cover the undesirable part of the image with losing the details of highlights.
you want to express a color transition in a sky, the part you cloned. To achieve natural-looking results,
with no evidence of retouching, blur the edge of the Improve areas where
or to achieve other natural-looking results. highlights are weak.
brush and stamp several locations.

• Other retouch tools


Reproducing darkroom creativity

It is often necessary, as when shooting Raise areas obscured in shadow.


portraits, to correct the image. With Adobe Blur tool
Using the Blur tool, you can use a
Photoshop, you can efficiently produce function called “Lighten” to blur an
natural results by using a combination of area using the brighter color of an
adjacent area. This allows you, for
tools. When you want to smooth over instance, to use the color of skin to Change the tone of the areas you
details, you can use the Blur tool, but when cover over hair follicles (or, in the Hue/Saturation for controlling color click, similar to the adjustment of
you want to eliminate, for example, a hair case of men, evidence of shaving). and brightness white, gray, and black areas in Levels.

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.

82 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Appendix 83


Achieve a more natural perspective Adjust prepress data
with correction through TS-E lenses with unsharp mask
and Adobe Photoshop Images that appear clear on monitors and
On par with high resolution as an inkjet prints can appear blurred when
advantage of large-format camera systems commercially printed, giving the impression
is the ability to shoot shift-adjusted images. of insufficient data. For this reason, images The level of sharpness. Larger
For images shot with a camera not equipped are almost always adjusted with an unsharp percentages increase the contrast
between pixels.
with a shift mechanism, Adobe Photoshop’s mask filter before commercial printing.
Transform function can be used to achieve This filter sharpens edges and allows
a similar effect. precise control over the strength and range
By using this function together with the of sharpness.
The number of pixels surrounding
functions of TS-E lenses, which have tilt When optimally sharpened for commercial each edge pixel to which sharpness
and shift adjustments, you can get more printing, images tend to appear overly sharp is applied.
natural looking results than those obtained on monitors and inkjet prints. Therefore, it is
with only an optical correction. important that you conduct sharpness tests
Using Adobe Photoshop’s Transform No shift adjustment Moderate shift adjustment Maximum shift adjustment and develop an understanding of how best
function has the disadvantage of reducing to use this filter for commercial prints.
resolution below that of the original image, The amount of contrast between
adjacent pixels required for pixels
but if you shoot 16.7-megapixel images Only use unsharp mask after all other to qualify as edge pixels for
with the EOS-1Ds Mark II, you will have adjustments sharpness adjustment.
For example, at a value of “0”, all
enough resolution even when you make Because unsharp mask affects the outlines pixels in the image are sharpened.
allowances for trimming and generous of objects appearing in your photos, other At a value of “7”, only pixels adjacent
to pixels differing by at least 7 steps
framing. This gives you a lot of freedom to color adjustments following its usage can in contrast qualify as edge pixels.
use Adobe Photoshop’s Transform function. result in extreme deterioration of image Large numbers are recommended
when sharpening photos containing
P.42 quality. a relatively large amount of noise.
Therefore, please be advised that
unsharp mask should only be applied after
all other image adjustments have been
made and the resolution of the image has
been finalized (and in some cases, after the
color mode has been switched to CMYK).
When correcting distortion, it is best to use the Distort function.
This function will give you eight points that you can freely move
to adjust the image, making it easy to match fine vertical and
horizontal adjustments. Use the window ruler to display vertical
and horizontal lines to use as guides. Making only vertical
adjustments will result in a disproportional relationship between
vertical and horizontal dimensions, so both types of adjustment
are necessary to avoid an unnatural appearance.

Shoot at the right resolution for your If Resample Image is checked,


needs you can change the resolution
by entering values directly.
It is best to plan ahead and shoot images Entries are made in terms of
at the resolution that best suits your needs. pixels and percents.
If the resolution of your photo is too low for You can make changes by Here you specify the
entering the dimensions and method for raising or
its intended purpose, you will have to resolution that will be used in lowering the file size. To
enlarge the photo via software, resulting in the end. If Resample Image is increase file size use Bicubic
not checked, the resolution will smoother – to reduce file
reduced image quality. Fortunately, EOS
automatically change when the size use Bicubic sharper.
digital cameras are capable of shooting dimensions are changed. For the best results perform
photos at extremely high resolutions that adjustments in 10%
increments.
are resistant to quality degradation during
enlargement.
On the other hand, using a photo with a
Calculating the optimal dimensions for large-format, no-trimming
higher resolution than necessary requires a
images shot with an EOS-1Ds Mark II (for 175-line screen printing)
reduction in size that will limit the
effectiveness of later sharpness adjustments,
which may even lower the quality of your
printing results. The number of pixels recorded The value for the resolution Proper dimensions when proper
on the longest side of an required per millimeter. Converting resolution has been used. If a This printed image was not adjusted with unsharp This printed image was optimally adjusted with This printed image was overly sharpened with
EOS-1Ds Mark II image. The from 350 pixels/inch gives a figure value larger than the upper limit mask. The image appears clear and natural when unsharp mask. It appears perfectly clear in print, unsharp mask. Such results tend to occur when
value for the resolution required of 14 pixels/mm, so values right of this range is used, it is neces- displayed on a computer monitor at 100% but over-sharpened on a computer monitor. This unsharp mask is applied to photos in which
per millimeter. around that figure will provide sary to look for possible image magnification, but appears blurred in print. difference should be considered when using sharpness was added by the camera. Noise is
proper resolution. deterioration due to enlargement. unsharp mask before printing. evident and edges are overly emphasized,
resulting in an unnatural painting-like image.

84 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Appendix 85


Glossary

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.

86 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Appendix 87


Glossary

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.

88 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Appendix 89


Shooting notes
• Camera: EOS-1Ds • Camera: EOS-1Ds Mark II
• Lens: TS-E 90mm f/2.8 • Lens: TS-E90mm f/2.8
• Shooting Mode: Manual • Shooting Mode: Manual
• Shutter Speed: 1/250 • Shutter Speed: 1/60
• Aperture Value: f/11 with flash • Aperture Value: f/3.2
• Camera: EOS-1Ds Mark II • ISO Speed: 100 • ISO Speed: 100
• Lens: EF 100-400mm f/4.5-5.6 L IS @135mm • Digital Photo Professional/ Adobe • Digital Photo Professional/Adobe
• Shutter Speed: 1/500 RGB/16-bit TIFF conversion from RGB/16-bit TIFF conversion from
• Aperture Value: f/10 RAW RAW
• ISO Speed: 100 • White Balance: Color Temperature • White Balance: Auto
• White Balance: Auto (6,100˚K) • Color Matrix 4
• Color Matrix 4
©Copyright David Sparer
Canon U.S.A., Inc.

P.4-5

P.9 P.9

• Camera: EOS-1Ds Mark II • Camera: EOS-1Ds Mark II


• Lens: EF 24-70mm f/2.8L USM • Lens: EF 135mm f/2.0 L
• Shutter Speed: 1/60 • Shutter Speed: 1/125
• Aperture Value: f/6.3 with flash • Aperture Value: f/10
• ISO Speed: 100 • ISO Speed: 100
• Digital Photo Professional/ Adobe • White Balance: Custom
RGB/ 16-bit TIFF conversion from
RAW ©Copyright David Sparer
• White Balance: Sunlight Canon U.S.A., Inc.
• Color Matrix 1

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

• Camera: EOS-1Ds Mark II


• Lens: TS-E 45mm f/2.8
• Shooting Mode: Manual
• Shutter Speed: 1/60
• Camera: EOS-1Ds Mark II • Aperture Value: f/16
• Lens: EF 50mm f/2.5 Compact Macro • Camera: EOS-1Ds • ISO Speed: 100
• Shooting Mode: Manual • Lens: TS-E 90mm f/2.8 • Digital Photo Professional/Adobe
• Shutter Speed: 1/60 • Shooting Mode: Manual RGB/ 16-bit TIFF conversion from
• Aperture Value: f/11 • Shutter Speed: 1/250 RAW
• ISO Speed: 100 • Aperture Value: f/25 with flash • White Balance: Auto
• Digital Photo Professional/Adobe • ISO Speed: 100 • Color Matrix 4
RGB/ 16-bit TIFF conversion from • Digital Photo Professional/Adobe
RAW RGB/16-bit TIFF conversion from
• White Balance: Color Temperature RAW
(4,000˚K) • White Balance: Color Temperature • Film: 645
• Color Matrix 1 (6,100˚K) • Lens: FUJINON HC 50–110mm
• Color Matrix 4 • Shooting Mode: Manual
• Shutter Speed: 1/60
• Aperture Value: f/16 P.16
• ISO Speed: 100
FUJI RDP III • Camera: EOS-1Ds Mark II
• Lens: TS-E 90mm f/2.8
• Aperture Value: f/2.8

©Copyright Vered Koshlano

P.14-15

P.8 P.9

90 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK Appendix 91


• Apple, the Apple logo, ColorSync, Macintosh, Mac, and Mac OS are registered trademarks of Apple
Computer, Inc. in the United States.
• Windows is a registered trademark of the Microsoft Corporation in the United States and other
countries.
• Adobe, Adobe Acrobat, Adobe Photoshop, Adobe Illustrator, and Adobe InDesign are trademarks of
Adobe Systems Incorporated.
• i1 is a trademark of Gretag-Macbeth Holding AG.
• WAM!NET is a registered trademark of SAVVIS Communications Corp. in the United States and other
countries.
• Canon, the Canon logo, and EOS DIGITAL are registered trademarks of Canon Inc.
• Other company and product names found in the text are the registered trademarks or trademarks of
their respective owners.

Published by:
Canon Inc.
30-2 Shimomaruko 3-chome, Ohta-ku, Tokyo 146-8501 Japan

Canon U.S.A., Inc.


One Canon Plaza, Lake Success, NY 11042 U.S.A.

Copyright 2006 Canon Inc. and Canon U.S.A., Inc.

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.