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vision. I wanted to discuss color management with Greg for this very
reason. Greg is a somewhat recent user of Photoshop and digital imaging
technology. Go back only a number of years and he would likely have
told you that these tools were a fix for sloppy photography. What's so
great about Greg is that he's very open minded about the technology.
Greg jumped head first into digital imaging. Shortly after he was using
not only every state-of-the-art product he could get his hands on, but
beta-testing products well before they were released to the market. Greg
has lived on the bleeding edge of imaging technology and has the scars
to show for it. He never stops pushing the boundaries or shies away from
trying something new. For that reason alone I knew Greg Gorman would
have some useful words of wisdom about color management! I taped this
interview at a recent trade show after sharing a few great bottles of wine
(courtesy of Mr. Gorman).
Interview with Greg Gorman
ADR: Greg, can you give us an idea of how you began working with
color management?
GG: I've been working with ICC profiles and color management since
I started working digitally. I realized that it was critical to have a prop-
erly calibrated monitor and institute profiles while printing out my
images so they would match what I was seeing on my screen. I started
creating my own profiles utilizing GretagMacbeth software and an
EyeOne Spectrophotometer and ProfileMaker 4.0. Being able to create
my own profiles and knowing I had a properly calibrated monitor
afforded me the opportunity of knowing that my images were going to
look like what I saw on the screen. It was exciting to take those images
and sometimes edit them, take them more into the direction I thought
my images needed to look like. Usually a little more contrast, a stronger
black point, and sometimes a little more saturation. Particularly in B&W
it was critical that I managed to achieve the look I got with my silver
gelatin prints, and that usually meant doing some profile editing in Pro-
fileEditor (a module in ProfileMaker Pro) to get the black point that I was
really looking for. Oftentimes that black point was a higher dmax than
normally would be seen in a profile because most profiles tend to leave
a little head room and many times for me, that's not an important issue.
The important issue for me is to maintain a very, very strong black point.
ADR: What's been the up side to implementing color management?
GG: The best part about working with CMS is I'm assured of what
I'm going to get on my output. In the old days when I used to print my
color work and I dialed in a filter pack, I was never really quite sure how
the pictures would look until they came out of the processor. With color
management and working digitally I am much more assured of getting
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