Graphics Programs Reference
In-Depth Information
serve a purpose but not here! If you are the person who wants to get the
job done as quickly and easily as possible, then I believe you are reading
the right topic. In the course of discussing color management and appli-
cations like Adobe Photoshop, unfortunately we will have to discuss some
color theory and learn some new nomenclatures or
color-geek-speak
as I
call it. I will alert you to upcoming geek-speak and move forward quickly.
I've tried to separate the heavier color-geek, color-theory discussions to
sidebars for those that might want more in-depth explanations. In addi-
tion, to save you from having to go into the Glossary to look up what
may be an unfamiliar color-geek term, I'll occasionally place a definition
to one side as seen on page 1.
How the Topic Is Structured
The first chapter of the topic is called “Color Management and Why We
Need It.” I believe it is important for you to understand the complexities
and unique issues we face working with photographic images on a com-
puter. I hope you will grasp some of the reasons why color management
is necessary when working with digital images. I will introduce some
color theory into the mix since this is unavoidable. As I undertook the
job of learning and distilling the concepts of color theory, I have to admit
I found this to be a fascinating topic.
From there, I devote a chapter to discussing Adobe Photoshop
with regard to color management. Adobe Photoshop is the center of
the digital imaging universe. Virtually every image produced, at least at
a professional level, makes a trip into and out of Photoshop. In addition,
Photoshop put color management on the map not only because it is
such a standard tool in digital imaging but also because Photoshop's
color management architecture is so robust and well designed. Many
other applications that implement color management architecture use the
same concepts. Since most users will be working with images at some
point in Adobe Photoshop, this is an appropriate application to discuss in
detail.
Once Photoshop is covered, it is time to examine the various processes
and techniques necessary for the creation of color profiles for displays,
scanners, digital cameras, and printers. I will discuss a few specific prod-
ucts available to build these device profiles. I have no doubt that by the
time the ink dries on the first page of this topic, some newer product or
update will be released. Therefore, these chapters are intended more as
a useful guide to what kinds of tools are available as well as what to look
for in both color management hardware and software.
One area near and dear to my heart is that of producing excellent
quality output to a printing press. I've attempted to make this next
chapter of the topic easily understandable to the photographer who in
the past did not have any real experiences with what is known as
pre-
press
. As more and more images are captured with digital camera systems,
