Graphics Programs Reference
In-Depth Information
photographers are being asked to deal with the preparation of image files
for this print/press portion of the reproduction process. This section is not
intended to turn the photographer into a pressman. It is aimed at pro-
viding a vocabulary and skill set necessary to handle communications
with your client or printer, and at ensuring that your images can be repro-
duced on press with the utmost control over the original intent of your
photographic vision.
The tutorial chapter of this topic is one that might be unique in color
management topics to date. I have placed the tutorials in a single section
because as you read this topic, you might want to work through a tuto-
rial as an aid to understanding the concepts presented. I prefer teaching
using tutorials because I have found my students grasp the concepts
and the correct techniques when
they
“drive.” A companion CD-ROM is
included with sample files and other goodies.
The last chapter of the topic is a series of case studies by working pro-
fessionals that have lived on the “bleeding edge” of digital imaging and
color management. This is the “rubber meets the road” portion of the
topic, and tries to explain what works, what doesn't work, and what
these professionals have to say about the implementation of color man-
agement in their working environments. I hope this will be a reality
check for those who want to understand what color management can
provide, as well as a road map to where the technology needs to evolve.
If I've done my job well, this topic will be somewhat entertaining and
will explain clearly how color management works while examining its
promises and potential pitfalls.
Being a Photographer Isn't Necessary
Why did I call this topic
Color Management for Photographers
? Certainly, the
topic is useful for readers in prepress, print, design, and other areas that
involve digital imaging. I mention this because although my brain (and
my analogies) work in a very photocentric way, I do feel that it is not
necessary to understand anything about photography in order to get the
most out of this topic.
I decided to address the topic toward photographers since my back-
ground and first love is photography. I received a degree in photography
in 1986 from Art Center College of Design and spent 10 years as a
working commercial photographer in Los Angeles, California. My roots
are founded in conventional, analog silver photography. In Photography
school, I had absolutely no training whatsoever in digital imaging, color
management, or Photoshop; none of these technologies existed on the
desktop at that time. I did not truly understand how my images were
handled after turning over my finished film to my clients. If a job printed
well, I patted myself on the back. If the job didn't print well, I knew
enough to blame the “color separation,” not really knowing what a color
separation was!
