Graphics Programs Reference
In-Depth Information
ChAPteR 15
Working with Color
Color is a complex
subject, and this chapter will help you work success-
fully with it. You'll manage color workflows, starting with input from digi-
tal cameras to display on your computer monitor, then representation in
Photoshop, and ultimately output made by printers. Sometimes the pictures
you take will have color casts. You'll learn how to use curves to correct color
and employ various adjustments to alter color for artistic effect. Finally,
you'll soft proof color onscreen to get a sense of how it will look prior to pro-
fessional CMYK printing.
Managing color
Correcting color
adjusting color
proofing color
Managing Color
Without color management, it is very likely that the color you see on your
camera's LCD will be different from both the color on your computer moni-
tor and the color of printed output. The reason we need color management
is because every device handles color a bit differently. Recall from Chapter 3,
“Digital Imaging Fundamentals,” how color is stored in grayscale channels.
Color is therefore something that must always be interpreted. The absolute
color is never actually recorded, only intensities in three different wavelengths
of light corresponding to the red, green, and blue primaries.
The range of visible light is called the full color
gamut
. Computers cannot
display, and printers cannot print, the full dynamic range or color gamut
that our eyes perceive. Instead, various color spaces have been standardized
to represent the most common colors. Figure 15.1 shows the full gamut out-
lined in the graph and the Adobe 1998 color space defined within the triangle.
Daylight standard D65 is also indicated.
Certification
Objective
