Graphics Programs Reference
In-Depth Information
CHAPTER 10
Case Studies
If you've made it this far and your brains haven't exploded all over the
pages, congratulations! The last chapter in this journey is intended to be
a lighter, kinder, and gentler experience. This chapter is intended as a
reality check about color management Nestled into this chapter I've asked
some highly respected photographers, printers, and color geeks to share
their thoughts on color management, where it is today, and where it
needs to go in the future. The working title was “Color Management: The
Good, the Bad, and the Ugly.” I've learned a great deal from this illustri-
ous group over the years and hope you find their thoughts on the subject
enlightening and educational. What follows is either a transcription of
interviews or simply a compilation of thoughts, “in their own words,” on
the topic of color management.
Joseph Holmes
I first met Joseph at a Seybold seminar in San Francisco in the late 1990s.
I recall being at one of the many social events sitting at a bar with friends
when Joseph came by holding a large portfolio of prints; he proceeded
to show some of the most beautiful fine-art ink-jet prints of his stunning
landscape photography. The quality of the imagery was amazing and so
was the quality of the prints. Print after print of richly saturated color
that seemed to leap off the pages with an almost three-dimensional
quality. I knew Joseph's name but we had never met. I also knew he had
been working with the premier Lightjet printer in the country (EverColor
Fine Art in Worcester, Massachusetts, and later Calypso Imaging,
http://calypsoinc.com/).
EverColor Fine Art at the time was one of the few service providers
who really embraced ICC color management. In those days, few labs
had any idea how color management worked, but Joseph and the
people behind EverColor were really pushing the envelope of color
management and high quality digital printing. In 1997, Joseph developed
his own wide gamut RGB working space to handle the gamut of his
original transparencies. The working space is called Ekta Space. Joseph
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