User manual CANON DIGITAL PHOTO GUIDEBOOK

$19.95 0055W589 01/06 ©2006 CANON U.S.A., INC. PRINTED IN U.S.A. Contents The purpose of this guidebook . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Switch to Digital Photography Professional digital photography-- . . . . . . . . . . . . . . . . . . . . . . 18 hitting its stride at last Equipment Essential equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 System requirements for digital photo creativity . . . . . . . . . . . 25 Printer selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Storing image data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Software environment for shooting and data processing . . . . . 29 Shooting Hints for professional shooting . . . . . . . . . . . . . . . . . . . . . . . . . 32 Checking with histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 White balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 ISO settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Color matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Selecting the recording format . . . . . . . . . . . . . . . . . . . . . . . . . 39 Image synthesis with image-processing software . . . . . . . . . . 40 TS-E lens series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Averting common problems in digital photos . . . . . . . . . . . . . . 44 Shooting A guidebook for photographers who choose EOS digital cameras as the tools of their trade. Data Processing Data Processing 1 Preparing your image data for commercial printing . . . . . . . . . 48 Monitor settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Monitor calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 The color management system built into Adobe software . . . . 56 Color settings in Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . 57 Data Processing 2 Data processing check sheet . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Picture Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Viewing, adjusting, and developing images with . . . . . . . . . . . 67 Digital Photo Professional ver.2.0 Settings and image selection . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Adjusting and developing RAW data . . . . . . . . . . . . . . . . . . . . 70 Linkages with other software . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Saving image data and accurate communication . . . . . . . . . . 74 Final print simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 The problem of memorized colors . . . . . . . . . . . . . . . . . . . . . . 79 Important points concerning image adjustment . . . . . . . . . . . 80 Appendix Image processing with Adobe Photoshop . . . . . . . . . . . . . . . . 82 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Shooting notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 The purpose of this guidebook Enhancing your understanding of the digital workflow For all professional photographers This guidebook is designed to assist professional photographers in their switch to digital photography. In particular, the guidebook helps explain many of the creative options available when using digital cameras to produce photos for commercial printing. We believe photographers in all fields from advertising to publishing to photojournalism, whether shooting in the field or in a studio, will find this guidebook a source of useful information. This guidebook separates the workflow of digital photography into two sections: The first section covers shooting-related topics, such as lighting techniques, studio photography, and potential outdoor uses for digital cameras. It also describes actual shooting situations to clearly illustrate functional differences between film and digital cameras. The second section deals with data processing; it covers everything from color management and file handling to image analysis and printing preparations. Clarifying the responsibilities of photographers Workflow is a linear description of the path that your digital assets follow The responsibilities of photographers in the digital workflow vary widely with the specific requirements of each job. By taking you through the entire process of digital photography, from shooting and image compensation to editing and printing preparation, we will help you to define and streamline the varying workflow responsibilities and draw the line between your own responsibilities and those of others involved. P.00 Page guide icon · Pages where additional information can be found are indicated using the icon shown above. We recommend that you refer to these pages for a more complete understanding of the processes or techniques discussed. · Nearly every photo in this guidebook was taken with the EOS-1Ds Mark II. (See P.90-91 for details of the photos and their printing preparation.) · This guidebook was produced mainly with the EOS-1Ds Mark II in mind. 2 3 Free your imagination! Capture the new day with EOS digital cameras. Digital definition for crystal clear images. EOS digital cameras have changed the world of photography. 4 5 This page intentionally left blank. Meeting the demands of studio and location portraiture -- natural gradation and color reproduction capture the texture of skin, fabric, and other materials, as well as detailed facial expressions. 6 7 Outstanding gradation accurately reproduces colors and textures. 8 9 Shot with the EOS 20D Canon's unrivaled combination of CMOS sensor and DIGIC Image Processor -- achieves sharp, dynamic images. A symphony of light capturing the full range of visual information from highlights to shadows. 10 Shot with the EOS-1Ds Mark II Shot with the EOS-1D Mark II 11 True reproduction even with minimal light. Reproduction quality possible only with this visually faithful digital technology. Same scene under the same conditions shot with film. Shot with the EOS-1Ds Mark II Photographic film can produce reciprocity failure, resulting in negatives with dark areas that are under-exposed relative to light areas. In long night exposures, the details of shadows are lost, and colors are inaccurately reproduced. In contrast, EOS digital cameras provide proper exposure levels even in minimal light conditions and correctly capture details of the subject. With mixed light sources using film cameras, color balance often gives rise to color seepage. EOS digital cameras address this with white balance settings that result in true color reproduction. 100% crops from digital (left) and film (above). 12 13 EOS-1Ds Mark II 645 film The ability to capture details beyond the reach of film produces true-to-life images. Actual film size 14 15 EOS-1Ds Mark II, TS-E 90mm f/2.8 Rendered in Digital Photo Professional ver.1.6 Up-resed in Photoshop CS2® in 10% increments to 220MB 100% crop Details of the action and the atmosphere show outstanding clarity in full-size digital images. EOS-1Ds Mark II 22 Megapixel Digital Back 6x7 camera w/140mm f/4.5 macro lens Up-resed in Photoshop CS2® in 10% increments to 220MB 100% crop 22 MP Digital Back 100 ISO 120 roll film 16 6x7 roll film camera w/140mm f/4.5 macro lens ISO 100 120 film processed normally Scanned to 220MB on a drum scanner 100% crop 17 Professional digital photography -- hitting its stride at last The speed and efficiency of digital photography are self-evident and widely acknowledged. In the field of photojournalism, where speed and efficiency are all-important, the switch from film to digital photography has already been made. Now, with dramatic improvements in the performance of digital cameras, the wave of change is sweeping into advertising and other fields as well. Digital cameras are evolving, and the emphasis is shifting from efficiency to quality Canon introduced the world's first electronic still/video camera (the RC-701) in 1986, and digital cameras have been evolving rapidly ever since. Low running costs (i.e. through the elimination of film expenses) and the immediate ability to produce and review images made digital cameras the choice of photojournalists from the introduction of the very first professional grade digital cameras. Even so, however, digital camera image quality did not compare to that of film, so those fields in which image quality is a critical business selling point (e.g. advertising, publishing, and photo portraiture) maintained a steadfast dedication to film photography. The arrival of the 11-megapixel EOS-1Ds in 2002, however, significantly changed the performance and perception of digital cameras. The EOS-1Ds accelerated the transition from film to digital with its outstanding resolution, full-size 35mm CMOS sensor, high image quality, and large files. These outstanding performance characteristics, coupled with Canon's superior ergonomic design triggered an explosion in commercial applications of digital photography. The next generation of EOS ­­ the 16.7megapixel EOS-1Ds Mark II ­­ arrived in 2004. With resolution at this level, Canon is now able to address the needs of photographic studios, for whom image quality of high resolution files is paramount. The switch to digital technology is expanding the world of photography Desktop publishing (DTP) is now a fixture in the fields of advertising and publishing; creativity and efficiency have improved dramatically as a result of their influence on the workflow. The switch to digital photo technology in the field of professional photography is creating similar improvements in digital workflow processes. Since advances in digital camera technology have eliminated concerns about the quality of digital images, the domain of the photographer (which film restricts to the act of shooting pictures) has been expanded by the digital · Conventional film camera workflow camera for even greater control over images. Now is the time to take advantage of the power and flexibility of digital photography. Make the switch today! Digital cameras provide greater control over image creation In the age of black-and-white photography, film development and printing were critical aspects of the photographer's domain. With the advent of automated color film processing, much of the control over the final image was given up by the photographer. In this new film-free era, photographers can once again take full command of the entire creative process, thus ensuring that the final images faithfully reflect their original intentions. Shifting to the new digital workflow When shooting, processing and printing come together, the results can be breathtaking Digital cameras provide photographers with greater flexibility and control over image production than ever before. However, specialized knowledge of image processing is required to make the most of this advantage. Even photos taken in the best of conditions can easily lose their quality through incorrect image processing. For best results, photographers should learn how to handle image processing and output proficiently. Where do photographer responsibilities end in the new digital workflow? Defining deliverables requires communication and proofing. Understanding the final output requirements while building your workflow demands an initial investment of time and effort. But that investment will reward you with accurate, predictable color and quality for every image. You can now control the entire creative process from shooting to image data preparation for final output. Digital data transfer has created new rules for the media markets; unfortunately these rules keep changing. Few photographers are familiar with the prepress process. To efficiently produce digital photos of the highest quality, we recommend that you learn about the prepress process to determine the best solution for your clients and their output requirements. There is no single generic workflow that fits every situation. Customer demands and client considerations determine the path that assets follow in the digital workflow. Work backward and plan ahead. Digital images are evaluated on a monitor In conventional plate making, positive film and prints serve as clear guidelines for color reproduction. Even when color tones need adjustment, everyone involved can share a common understanding by referring to instructions made on the positive film or prints. This clarity of communication minimizes gaps between intended colors and actual results. Colors and gradations in digital image data, on the other hand, exist as numbers that are difficult to refer to. This lack of clear guidelines creates various uncertainties and makes it difficult to check if colors and gradations are correct. Images displayed on monitors (which serve the same purpose as positive film and prints in conventional photography) are the common point of reference for digital image evaluation. Color management helps simplify color evaluation When evaluating digital image data, colors can appear different on different monitors. To make matters worse, even when the same image is displayed on the same monitor using the same operating system and application software, the colors can still differ if the settings of the operating system and software are different. The concept of color management was born of the need to minimize differences in color reproduction on different devices and in different environments and ensure the image always appears like the original. In the past, color management was mainly concerned with coordinating color reproduction between the monitor and the printer. However, these days it has become an essential element throughout the digital photographer's workflow. Since photographers, plate makers, and printers each check the colors of digital photos on their respective monitors, they may end up examining the image data in different color tones unless their color environments are coordinated using strict color management. Without color management, the gaps in color reproduction Since the printing process is divided into various steps and different areas of expertise, the photographer's intentions may not be reflected in the final print. · New digital camera workflow A consistent workflow, from shooting to printing, reflects the photographer's intentions in the final print. Photographer-oriented photo creativity becomes a reality. · Image evaluation standards in workflow for commercial printing of film photos 18 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Introduction 19 Photo printing environments rapidly adopting digital technology could result in flawed image evaluations and unintended print results. The simplest method of color management is to use the same image processing software, such as Adobe Photoshop, and apply the same color management settings throughout all processes within the workflow. However, this rudimentary method is not sufficient for realizing the full potential of digital camera data. Too often, photographers are drawn to digital cameras for the ease with which data can be transferred to designers, clients, and plate makers, and a workflow is established without taking proper color management into account. We highly recommend that you avoid this pitfall through appropriate color management protocols. P.50 The importance of color management Photographers must adhere to strict color management principles in order to ensure that accurate, consistent color quality is maintained throughout the entire workflow process for a variety of image endpoints, including: print, world wide web, CD/DVD authoring, across networks, storage media and multiple monitors. A common practice today is to supply a print along with the image data for the plate maker to use as a guide. With the introduction of virtual proofing and modern color-managed workflow, this practice will no longer be necessary. Color management has now come of age! With proper understanding and practice, the photographer can exercise complete control over viewing, editing, and proofing, as well as final print quality. To do this, you must utilize the proofing and color gamut functions of commercially available image editing software such as Adobe Photoshop. Inkjet printers can reproduce a wider range of colors than commercial printing equipment, so the key to image quality is how the plate maker adjusts for areas that cannot be adequately expressed by commercial printing equipment. When you want to see how colors will differ in commercially printed images, you can use Adobe Photoshop or Canon Digital Photo Professional to simulate the conversion from RGB (red, green, blue color spectrum) to CMYK (cyan, magenta, yellow, and black color spectrum). P.77 Photographers who understand the process can improve efficiency and final image quality Color management is necessary at every step of the process that leads to commercially printed digital photos. However, the color management responsibilities of each person in the process is rarely defined. This lack of clarity can burden photographers who take full control in their efforts to ensure quality and efficiency. Conversely, photographers who leave too many responsibilities to others may end up with low-quality results. To prevent such problems and realize the full potential of digital photography, photographers must understand the entire process so they can recognize the factors that affect image quality. Then they should take an active part in defining and delegating the responsibilities for color management. Photo printing environments where digitalization is already forging ahead Even if issues of resolution, dynamic range, and color management are successfully addressed, prints are still ultimately necessary. We turn to prints, not displays or offset printing, when we want to preserve an image. Prints, of course, can be kept for a long time. This quality, as well as the strong demand for depth and density of color and light that only photographic paper can provide, have been traditional reasons for the hesitation to switch to digital photography. In the past, creating prints from digital data was cumbersome and time consuming. First, digital data were burned onto color reversal film using a film recorder, and then a print was created with the color reversal film. Now, however, photo-printing equipment has itself been upgraded to digital technology, and prints can be created directly from image data. Digital printing equipment in high-precision professional labs surpass negative prints As digital cameras have come into wider use, professional labs have upgraded their digital data handling capabilities. The growing use of large format photo printers has been of particular value in providing a greater range of choice for printing digital photos. The Lambda printer, (a commonly used large format printer) exposes conventional photographic paper to RGB lasers and produces colors through a development process. The result is prints of exactly the same quality and texture previously possible only by using photographic paper in the traditional printing process. What's more, with Adobe RGB serving as the color spectrum standard, color expression more vibrant than that possible with traditional printing can be achieved. There are also Lambda printers that use LED technology. This technology permits enlargements to be sharper than those created using traditional optical methods. Strict color management is a must! P.50 Photo studios consider adopting digital technology for portraits The rapid transition to digital technology in professional photo labs has encouraged some photo studios, which until now have used digital cameras only for ID photos, to adopt digital large-format prints. Some of these studios have made a complete switch to digital technology and are now using digital cameras for portraits too. Broadly speaking, there are presently two separate workflows in digital photography. In one, image data are given to a professional lab, which then handles everything from correction to printing. Advances in broadband technology have encouraged an increasing number of labs to upgrade their computing environments, so they can be sent image data over the internet. The ability to easily transfer large volumes of highquality image data makes the simplicity of sending and receiving orders an advantage for this workflow. In the other workflow, the photographer personally corrects the image data and has a professional lab use these data to create prints. The lab and the photographer examine test prints beforehand and, working together in the color management process, create prints that satisfy the photographer. In either case, if care is taken to use the same settings on tools used by both the photographer and the lab from the beginning, prints even · Photo studio/professional lab workflow more stable than those possible with film can be obtained. Active communication with the lab, therefore, is the key to efficiency and high quality. With advances in printing technology, we are seeing the emergence of a creative environment in which the capability of the operator and the senses of the photographer are indispensable. It appears that once there is solid order-sending and receiving know-how among photographers and professional labs, we will see digital cameras used more and more for portraits, as well as other types of photographic projects. Impact of inkjet printer performance improvements Previously, inkjet printers produced images markedly different from those printed on photographic paper. Performance improvements in recent years, however, have produced marvelous granularity that exceeds that of traditional photo printing, and have given us spectrums that have been expanded with 8-ink systems and other technologies. This has resulted in color reproduction that surpasses that of positive film. Additionally, improvements in waterresistance, weather-resistance, and light stability, as well as improvements in inks and printing paper, have made it possible to obtain extremely stable print results. Digital photo processing requires strict color management since there is no central standard for color evaluation. 20 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Introduction 21 Digital camera workflow with plate making Digital camera workflows in the advertising and publishing fields In advertising and publishing, digital cameras are still not used to the extent they are in the creative and printing fields. Color management, in particular, is only now being adopted by plate makers and designers. On the other hand, there is growing demand for greater production efficiency, and we are seeing, as in the case of JMPA Color, clients (advertisers) requesting the use of color management. The key determinant for the future adoption of color management is improvement in the efficiency and precision of color checking made possible by digital transmission of image data and digital proofing. We also anticipate that issues in color reproduction based on digital camera image data will become increasingly important. These critical color management issues are all tied together by the problem of who will convert the RGB data created when a photo is shot to the CMYK data used for printing. This conversion has traditionally been performed by printers, not photographers. However, as mentioned earlier, if photographers, within the realm of RGB, use software to perform simulations when necessary, more consistent results can be achieved. In the fields of advertising and publishing, great faith is placed in film. This will likely result in a longer transition to digital processes. Nevertheless, in fields where digital data workflow has been established, the move to full digitalization is proceeding rapidly. For professionals, who have taken the lead in other ways, it is necessary to adopt the new workflow with even more vigor. EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Equipment · Workflow within the RGB realm The photographer can control RGB-based color management Digital Photo Professional A final print simulation is used to check how the commercial print will appear Photographer Designer Pass on the printed sample for reference Prepress department The commercial printing/prepress company controls CMYK-based color management Topics for the advertising and publishing industries Digital camera workflow will improve the efficiency and consistency of image quality by unifying plate-making systems and photography. Closed conditions will be necessary and, under the present circumstances, there are areas in which open development will be difficult. [1] Achieving both speed and stable quality for photojournalism (Case of Newspaper Company A) In pursuit of both speed and stability of image quality offered by digital cameras, Newspaper Company A adopted a network-based printing system. Data sent from shooting and production locations are printed with colors adjusted by a high-precision DDCP (Direct Digital Color Proofer), and the prints are then immediately sent to the production location where color tone can be checked. With this method, image quality is checked before traditional color proofing, and significant time is saved. [2] Shortening the editing process and improving color reproducibility (Case of Printing Company B) For printed materials, such as mail order catalogs, the difference between printed colors and the actual colors of the items pictured can cause problems. Printing Company B, therefore, implemented the use of a proofer at shoot locations. Armed with the profiles of the printing company and the plate-making company, the proofer, together with a color managed display, made it possible to check colors immediately after photos were taken. Color checks performed with the buyer and designer at shooting locations minimized problems during and after the design process. [3] RGB files converted to CMYK can produce dramatically different results depending upon the profile and conversion method used. A wonderful RGB image can easily be destroyed by the employment of improper conversion techniques. P.75 22 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Essential Equipment System requirements for digital photo creativity Essential equipment Handling the exceptionally high-resolution EOS-1Ds Mark II data requires proper equipment and forethought to achieve an efficient work environment. System requirements for digital photo creativity If you use a digital camera, your workflow is likely to encompass more than just shooting photos. Other components in typical systems used by creative digital professionals include a desktop computer for analyzing and processing photo data, peripheral equipment such as communication devices and printers, and perhaps even a laptop for use in a studio. Handling 16.7-megapixel images requires high-spec hardware. Comfortably handling high-resolution EOS-1Ds Mark II data requires not only fast hardware but also a large amount of memory and high-capacity storage media. The fastest computers currently available are ideal for handling these data files, and you should seriously consider using high-capacity storage media and a dedicated server, particularly if you are interested in processing and archiving a large volume of images. Printer and display color setting will determine print quality. The most important device for evaluating digital camera data is the display monitor. Therefore, it is important to select one that will allow you to perform color management and that can express images with minimal difference from other devices. You should select a high-definition monitor with a large screen. Printers are used for everything from simple checking to the production of finished works, as well as the production of color samples for post-processing. Printers differ in terms of size, printing method, running costs, etc., so you can choose one that best suits your needs. Computer Is the processor fast? Is the OS suitable for your work and operating environment? Is there adequate memory (RAM)? Display Is the image quality good enough to evaluate colors? External memory device/ media Is the external data storage device/media capable of storing large files? Does the device use media suitable for exchanging data with third parties? Network Is the load being shared across multiple machines? Printer Will the printer be used primarily for printing finished works or for checking images for printing? Is it necessary for the printer to perform large-format printing? Photo data handling requires a high-performance computer A single photo taken with the EOS-1Ds Mark II can be 50 to 100MB in size. Once this data file is opened in graphics software and processed in layers, the file can easily grow to become several hundred megabytes. Moreover, users sometimes work on several large files at the same time. Since the handling of RAW data places a heavy load on the CPU, the processing speed of your computer naturally affects work efficiency. To adequately handle photo data created by EOS digital cameras, we strongly recommend using a high-spec model in terms of CPU speed, memory (RAM), hard disk size, etc. Transfer image data with the method that best fits the situation When EOS digital data are processed with a computer, they are usually transferred to the computer using the camera's memory card. When working in a studio or other locations, where it is possible to perform correction work on a computer, or when you would like to reduce the time necessary to transfer data to a computer, EOS digital cameras can be connected directly to a computer using an IEEE1394 cable. Data can also be transferred over a wireless LAN connection. The EOS-1Ds Mark II is compatible with WFT-E1A, an accessory that permits high-speed image transfer over wired/wireless LANs, thus avoiding the hassle of multiple cable connections. Macintosh for unified color control. Windows for cost efficiency When purchasing a computer, you will most likely choose a Macintosh or Windowscompatible computer. Many professionals who handle photo retouching on a computer choose Macintosh, which is particularly well suited for graphics and desktop publishing. Since one company produces both the computer and OS, the color control foundation of Macintosh computers is unified at the basic level, which offers a significant advantage. On the other hand, Windows-compatible computers are typically less expensive. High-performance laptops are an excellent option in many shooting situations Laptops are a convenient choice for outdoor shooting sessions where mobility is important. In some cases, when no AC outlet is available, they may even become a necessity. New high-end laptop models offer performance equivalent to desktop computers and can function as primary computers for photo processing when desired. Laptop displays were previously too small to support digital photo operations, but newer high-spec laptops with large LCD screens are capable of doing the job. Displays are essential for color checking and should be selected with care Since digital cameras don't produce positive film, you must evaluate the colors of your digital photos on a computer monitor. This means the performance of your display may affect the quality of your final output. To select the right display for digital photo operations, we recommend you gain an understanding of displays and select a large, high-quality model. P.49, 54 24 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Equipment 25 System requirements for digital photo creativity Printer selection Printer selection Select the printer most suitable for your needs Printers can be divided into several categories based on printing method, usage and paper size handling capabilities. When selecting a printer, you should consider price, running costs, print quality and capabilities that are necessary to meet your particular needs. Inkjet printers are affordable and offer high image quality Ease of maintenance and affordable prices are not the only benefits of inkjet printers. Due to dramatic improvements in their print quality, they are now powerful tools for printing digital photos. Since the color space of inkjet printers exceeds that of offset printing unless specific procedures are followed ( P .20), their prints are of limited use for evaluating the colors of images before commercial printing unless specific soft-proofing procedures are followed. However, inkjet printers can create finished prints that bring out the full quality of photos taken with digital cameras. Larger models with A3+ sized full-bleed capabilities can even produce 13 x 19 prints that are appropriate for framing on a wall. Laser printers deliver high printing speed Laser printers are ideal for producing photo albums in small volume, lists of photos for use as contact prints, and text documents in large volume. Compared to inkjet printers, laser printers offer lower running costs and faster printing. Their output quality is high even on normal printing paper and during two-sided printing. In addition to conventional laser printers, there are multifunctional products that combine color printer, copier and fax functions in one compact body. If your office space is limited, these space-saving products are an attractive alternative. Large format printers give photos maximum impact Large format printers are recommended for those who often print photos at large size. Even poster-sized printouts of high-resolution images taken with the EOS-1Ds Mark II will offer fine detail when viewed from a normal distance. Large format printer A large-capacity storage device is necessary for storing photo data files When using EOS digital cameras, you may produce over 10GB of photo data in a single day of shooting. It is therefore essential to have data storage and backup systems ready to go before the volume of your image data snowballs out of control. For optimum efficiency and secure data archiving, we recommend using an external hard disk drive. DVD±RW drives, which store data by the gigabyte, are suitable as backup. Other removable media, such as CD-R and MO disks, are handy choices for delivery and exchange of photo data among designers and clients. Portable hard disk drives (HDD) are suitable for temporary storage of large amounts of data Portable HDDs, which are relatively small and lightweight, are particularly handy when shooting in remote locations. Bus-powered HDDs can receive power from a connected computer through a single USB or IEEE1394 cable. No AC adapter is required. However, special care must be taken when multiple devices are connected to the same computer, because an electric power shortage could result in data errors. IEEE1394 and USB 2.0 offer high transfer speeds and are recommended when transferring large amounts of photo data. Choose a high-spec computer and high-capacity data storage EOS-1Ds Mark II images are best stored on high-speed, high-capacity hard disks. To transfer data to a computer, it is worth noting that the latest PowerMacs come standard with high-speed FireWire 800 ports, which are faster than IEEE1394 (FireWire 400) ports and reduce the time needed to transfer large files. You should also consider using RAID storage, which manages multiple hard disks as if they were one. Mac OS X makes using RAID storage simple and, therefore, allows you to build a computing environment with even greater speed and reliability. Share data with multiple machines by utilizing LAN File sharing over a network is almost a requisite for efficient data management. Fortunately, network communications have recently accelerated due to infrastructural improvements and always-on connections have become common with the introduction of ADSL and optical services. Moreover, Mac OS X and Windows XP offer significantly improved file sharing capabilities. These numerous advances now enable file sharing to be handled over the internet with ease. However, the growing demand of digital photo professionals for higher transfer speeds and larger-capacity file sharing often leads to the use of special server OS software within company intranets. In studios or other such locations, a wireless LAN is an effective tool. The IEEE802.11g telecommunications standard currently preferred by professional photographers is relatively fast, at 54Mbps, and removes the nuisance of cables for those who move around a lot in the studio. Color proofing printers enhance the commercial printing workflow Color proofing printers let you make adjustments to match the color tone, ink, and paper of the final commercial print. They are ideal for checking colors before commercial printing but not the best choice for outputting images as finished work. P.77 Color laser printer Color proofing printer Inkjet printer Compact photo printers can be used in place of Polaroids Printing directly from the camera with a portable, low-cost compact photo printer is an effective alternative to using Polaroids. Photographic printers use photo paper and film The photographic printers employed at photo labs and image output centers use RGB lasers to print the images on photographic paper and film. P.21 Multifunction color printer Compact photo printer 26 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Equipment 27 Storing image data Software environment for shooting and data processing Storing image data The higher the resolution or the greater the detail of the shot, the greater the volume of data created. Storing a large number of images without sacrificing quality requires the use of high capacity storage media. Software environment for shooting and data processing The software at the core of the EOS digital workflow consists of Digital Photo Professional and the EOS Viewer Utility. Use these tools to shoot and process image data efficiently. High durability or large capacity? Choose the right media for your needs EOS digital cameras are compatible with CompactFlash (CF) Type I and II cards, and the EOS-1Ds Mark II supports SD memory cards as well. All of these cards store data in a semiconductor device called flash memory. Microdrives are another type of media that contain a super-small hard disk drive. They are the same size as CF Type II cards and can be used in much the same way. Since CF cards and SD memory cards contain no moving mechanisms, they are extremely reliable. On the other hand, Microdrives are an excellent choice for large-capacity data storage. PC card adapter Digital Photo Professional unlocks the full capacity of RAW image data EOS digital data include both JPEG data, which can be manipulated using various image software applications, and RAW data, which allows the adjustment of various parameters set when photos are shot. Canon's Digital Photo Professional software lets you make fine adjustments to RAW data and convert them to a format that can be used with image-processing and graphics software. Never press too hard on a Microdrive. Card reader CF card Protective CF card case Microdrive SD memory card Storage media are precision devices. Please handle them with care Since CF cards, SD memory cards and Microdrives are small and lightweight, some users tend to handle them roughly. However, all are precision electronic devices and should be handled with care while being inserted and removed from cameras. Be sure to avoid static electricity, moisture, and the application of heavy pressure. In particular, dropping a Microdrive could cause irreparable damage. The use of protective cases is advised when delivering your precious photo data. Photo data should be transferred to a hard drive To browse or process photos recorded on CF cards, SD memory cards, or Microdrives, you will need to transfer your photo data to the hard drive of a computer. There are two ways to transfer the data. One is by way of a card reader or PC card adapter installed in or connected to the computer. The other is by connecting a camera containing the media to your computer via cable and transferring the data using special application software. The EOS-1Ds Mark II supports IEEE1394 (FireWire) connection* for especially high-speed transfer. *Some cameras only support USB connection. USB IEEE1394 Digital Photo Professional includes a number of functions for professionals Digital Photo Professional features power functions to edit RAW data and the ability to comprehensively process images captured with the CMOS sensors inside EOS digital cameras. With its exposurecompensation function, it even allows you to recover shadow detail that would be lost in JPEG files. To help professionals boost their productivity, Digital Photo Professional offers tools such as a batchprocessing function for performing the same adjustments to multiple images and a color simulation function for checking images on a display before printing them. P.67 Cards will mount like hard drives via a card reader. 28 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Equipment 29 Software environment for shooting and data processing Basic software applications for everything from shooting to organizing and processing image data are all included in the EOS Digital Solution Disk The EOS Digital Solution Disk contains software applications that can be used with every EOS digital camera. This disk comes with EOS digital cameras and, for the professional, offers everything from the remote control of EOS digital cameras when working in the studio or at other locations, to the organization of image files and simple image correction. EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Shooting The easy-to-use EOS Viewer Utility lets you develop RAW data The EOS Viewer Utility is image browsing, adjustment, and development software that can be used with every EOS digital camera. This software allows you to conveniently check photographic conditions by viewing information such as aperture setting and shutter speed, ISO setting, lens focal length, and focal area. In addition, by connecting an EOS digital camera to a computer, you can fix camera settings such as development parameters, tone curve, white balance, and color matrix to suit your particular purpose. Use EOS Capture to remotely control an EOS digital camera from a computer EOS Capture is remote control software that can be used through either Digital Photo Professional or the EOS Viewer Utility. Using this software, you can adjust camera settings and shoot pictures with an EOS-1Ds Mark II connected to a computer through an IEEE1394 port. When you use EOS Capture to shoot photos, the images you shoot appear on the computer display, where they can be checked. What's more, image data can be stored in both the camera and the computer, so, with a high-speed, highcapacity hard disk, you can enjoy greater efficiency when shooting lots of photos in the studio. 30 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Hints for professional shooting Checking with histograms Hints for professional shooting Digital cameras offer greater flexibility than film cameras for meeting photographic needs in various shooting conditions. They also feature more customizable settings than conventional film cameras. When shooting with a digital camera, you must determine which settings are best for your subject, your shooting conditions, and other particulars of your assignment. Check digital exposure by looking at a histogram With film cameras, lighting and exposure are set, relying on exposure and feel. Digital cameras let you check lighting and exposure immediately with a histogram and create optimal conditions based on precise assessments. You should consider the entire process from setting up the camera to postprocessing your images Expertise will come with experience. Meanwhile, we recommend reading the brief explanations that follow to deepen your understanding of digital cameras and the effects of different settings. We also recommend saving your original RAW format data files, because some of the parameters you set before shooting can be changed in these files to adjust the images. Please keep in mind, however, that not all parameters can be changed after shooting. Only digital cameras provide the advantages of a histogram With film cameras, decisions on lighting and exposure depend largely on experience and guesswork. But EOS digital cameras provide a histogram function for analyzing the exposure immediately after shooting. A histogram is a chart that shows the gradations of an image from shadows to highlights on the horizontal axis and the number of pixels belonging to each gradation level on the vertical axis. The resulting shape typically has various peaks and valleys. While images can be assessed by directly viewing them on the camera's LCD screen, histograms provide an easier way to check for correct exposure and ensure ample gradations have been captured in the highlights and shadows. This histogram has a gently sloping peak in the halftones. There are no extreme gaps between highlights and shadows. A landscape with little variation in lighting. This histogram peaks in the dark range. A small peak in the bright range indicates strong highlights. A night view largely comprised of shadows. A photo mainly comprised of a white background. A typical studio shot. A strongly backlit scene with extreme shadows and highlights. This histogram sharply peaks in the bright range. Blocked-up shadows and blown highlights were prevented by appropriate lighting. All elements are finely balanced within the optimal range of brightness. This histogram indicates strong contrast, with highlights and shadows that went beyond the available range. 32 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Shooting 33 Checking with histograms White balance Ensure rich gradations by using a histogram The wide dynamic range of high-end digital cameras is fast approaching the levels of color positive film. Yet, users must still avoid blocked shadows and blowout -- loss of gradations in the shadows and highlights that image editing cannot compensate for. If you plan on editing your images later, be sure to check the histogram and adjust lighting so your images include rich gradations. Manipulate color temperature and express true colors, or colors you create in your imagination When shooting with film, color temperature is corrected with the selection of film, which relies on the action of delicate color-sensitive chemicals to reproduce colors, and the photographer's use of filters. The white balance function makes all that a thing of the past. Mastery of the white balance function gives you precise color reproduction and greater possibilities for image expression. Dynamic range of photo (range of brightness) Values fit within the available range of the histogram. While lacking in character, such a photo may be the best material for prepress processing. EOS digital cameras can deliver more accurate color reproduction than film cameras To achieve faithful color reproduction with film cameras, photographers must select tungsten or daylight film, depending on the type of lighting, and use a filter if the lighting is mixed. Since even the same type of film may reproduce images differently depending on its age and how it was stored and processed, photographers must manage their film inventory carefully and take test shots to ensure consistent results. Digital cameras, on the other hand, do not suffer from such instability. Once you've mastered the white balance settings, you can quickly and easily use them to fine-tune color temperature and achieve faithful color reproduction or imaginative visual expressions. Accurate color reproduction requires proper white balance White balance can be set in various ways. You can use the Auto White Balance function described later in this guidebook or any of the following three methods: 1. Choose a preset white balance setting optimized for certain lighting conditions, such as daylight or tungsten lamps. 2. Manually input the Kelvin value to an EOS digital camera after measuring the color temperature of the scene with a color meter. 3. Shoot a white card in your scene and have the camera correct white balance automatically. This method (often referred to as custom white balance) is effective at keeping white balance stable over multiple shots in outdoor and other changing lighting conditions. There are numerous products available to ensure proper custom white balance. Whichever product you choose, the most important attribute it must have is truly neutral tone. Popular devices currently include the Gretag/Macbeth White Card, the ExpoDisc Classic Digital White Balance Filter by ExpoDisc, Inc., and WhiBalTM from RawWorkflow.com. · White balance settings 6 preset settings are selectable: Daylight, Shade, Overcast, Tungsten, Fluorescent light, and Flash. Users can select modes, in the same way they would choose film, depending on the light source. Users can manually input the color temperature measured by a color meter to achieve high precision. The white balance setting is acquired by shooting a white or gray object in the scene. This method ensures appropriate white balance with various combinations of objects and light sources. Presets Color temperature Custom · Supported white balance range Light source Daylight Shade Overcast Tungsten Fluorescent Flash Custom Color temperature EOS-1Ds Mark II 5,200°K 7,000°K 6,000°K 3,200°K 4,000°K 6,000°K 2,000­10,000°K 2,800­10,000°K (in 100°K steps) Film Daylight film Daylight film Daylight film Tungsten film Film and filters Daylight film Special film and filters Special film and filters Fill the entire center spot-metering area with a white card. Note: To ensure accuracy, the white card must be in the same lighting conditions as your final shot and must not be reflecting other objects. Shoot the subject one stop over for reflected reading ±0 stops for incident. Note: If the image is overexposed when shooting the white card, accurate white balance may not be obtained. The darkest values are cut off in this histogram (blocked shadows). Details are missing in darker areas of the subject's hair and cannot be recovered through software adjustments. This high-contrast image is attractive as a final photo. But any attempts to soften the look will fail because details in the highlights and shadows are missing. The lightest values are cut off in this histogram (blowout). Details are missing in highlighted areas of the skin and clothes and cannot be recovered through software adjustments. Photo on this page: ©Copyright 2005 Vered Koshlano. 34 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Shooting 35 White balance ISO settings Freely change color characteristics with white balance In addition to using white balance for accurate color reproduction, it can be used to achieve various creative results. Exaggerated settings can produce strong color tones, for example. EOS digital cameras let you adjust color temperature between around 2,000°K and 10,000°K, which is much wider than film cameras will allow. · Results of different settings ISO settings 3,000°K 4,500°K Optimizing flash for digital camera imaging sensors. Some flash units are optimized for use with light-sensitive film and result in unbalanced color when used with digital cameras. The color characteristics of these flash units can be easily determined by taking several shots of a color chart with different light sources and white balance settings. 10,000°K 8,000°K 6,000°K Canon's proprietary technology reduces the visual noise associated with high ISO settings When high ISO settings are selected in a digital camera, the camera boosts signals from the image sensor. This tends to generate visual noise as a side effect that is especially apparent in darker areas of the image. Fortunately, the wide dynamic range of Canon's CMOS sensors limits visual noise to levels that are nearly indiscernible. In addition, Canon image processing technology reduces visual noise when converting CMOS signals to image data. With Canon digital cameras, you can achieve high-quality images even at highly sensitive settings or slow shutter speeds. Wide-ranging ISO settings and Auto Exposure Bracketing Digital cameras let you change the ISO setting for each shot, a major advantage over film cameras. The EOS-1Ds Mark II offers settings ranging from 100 to 1600 (50 to 3200 via menu selection) and lets you take extremely low-noise shots, even at high sensitivity. This is a tremendous advantage, for example, when taking hand-held shots, where steadiness of the camera is a concern, and you want to change the shutter speed without changing the aperture. Auto Exposure Bracketing (AEB), which automatically takes several shots in sequence with different ISO settings but no change in aperture or shutter speed, is a unique shooting mode made possible by the EOS-1Ds Mark II's ISO functions. Noise that easily develops with extreme exposure compensation after shooting Images shot with EOS digital cameras have less visual noise than those shot with film cameras. However, when post-processing RAW images, extreme exposure compensation can result in visual noise. Truly automatic white balance and flexible compensation While studios offer nearly perfect lighting, ordinary indoor shooting environments offer a mixture of natural, tungsten, and fluorescent light sources that make it difficult for film cameras to obtain accurate white balance even when various filters are used. The Auto White Balance (AWB) function on EOS digital cameras can automatically determine the correct white balance in mixed lighting environments and provide neutral coloring even when light sources are changed. A white balance compensation function can also be used to shift white balance toward a blue or amber color temperature in much the same manner as a light balancing filter. Furthermore, with the white balance bracketing function, which produces results similar to those obtained with a color temperature conversion filter, three images -- one with the standard value, one with a negative correction, and one with a positive correction -- can be shot at the motor drive speed setting. ISO 100 ISO 400 Auto White Balance (AWB) Preset -- daylight · WB bracketing Heightened Kelvin (plus adjustment) Standard RAW images shot at ISO 1600 and developed at +2EV exposure compensation. Shot by film-based camera under same conditions Lowered Kelvin (minus adjustment) ISO 1600 36 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Shooting 37 Color matrix Selecting the recording format Choose color characteristics based on usage and preference EOS-1Ds Mark II Color Matrix characteristics · Color Matrix 1 sRGB compatible. Overall natural hues and saturation. · Color Matrix 2 sRGB compatible. Hues and saturation ideal for portraits with natural skin color. · Color Matrix 3 sRGB compatible. Hues and saturation similar to high-saturation slide film. Ideal when vivid colors are desired. · Color Matrix 4 Adobe RGB (1998) compatible. A broad color spectrum with low saturation. Ideal when later fine saturation adjustment or profile conversion is planned. · Color Matrix 5 sRGB compatible. Moderate hues and saturation. Ideal when moderate colors are desired. Selecting the recording format Quality of recorded images When photos are shot with an EOS-1Ds Mark II and stored in the JPEG format, it is possible to adjust the pixel count and image compression percentage. In the highest-quality large/fine mode, you can record image quality equal to the needs of large-format prints and plate making. Selecting a format that requires less data is effective when it is necessary to boost the efficiency of post-processing, when, for example, a large number of shots have been taken in a studio. However, it is generally better to maintain the original image data at the highest possible quality and adjust the pixel count and image compression percentage using image-processing software. sRGB for versatility or Adobe RGB for advanced editing The colors in digital photos are confined to a color range, or color space, that can be handled by monitors and printers and is narrower than the range of colors humans can see. Different monitors and printers have different color spaces. When shooting with a digital camera, you must first decide whether to record your shots in the sRGB color space, which can be displayed by a standard monitor, or the Adobe RGB color space, which is wider and includes colors that cannot be displayed on a standard monitor. The wider color range of Adobe RGB is preferable for images you plan to edit later, and is one of five color matrix settings available on the EOS-1Ds Mark II. Internet/Video The internet presents some significant challenges when it comes to color management, as does digital video. When you print a color document, you know that each print is going to be consistent. First, you use color management to communicate the color intent to your prepress and print partners, and then the press operator uses process controls to keep the color consistent throughout the press run. With the internet and video, you can still communicate your intent, but there is less guarantee that the recipients- those surfing the web and watching digital video-will see the color you intended. The challenge with preparing color for the internet and for digital video is that the quality of the medium -- the viewer's computer display or television set -- is unpredictable. Outside of imaging and publishing professionals, very few computer displays are calibrated, and even fewer are configured for color management. Televisions on which viewers may watch a digital video aren't calibrated at all. This essentially means that each Web surfer and TV viewer may see different colors on the display or screen. Color management for these output media will help to maximize predictability when publishing your color content to the Internet and digital video. RAW or JPEG? Images can be recorded in either the JPEG or RAW formats. The JPEG format reflects various parameters set within the camera, while the RAW format is unprocessed data that serves, in fact, as the base of the JPEG format. With the JPEG format, processing is completed within the camera, so productivity is high. The RAW format, on the other hand, allows parameters to be changed with a computer, so it is possible to use this format to create images with extremely high precision. EOS digital cameras allow you to simultaneously record data in both the RAW and JPEG formats. This may result in the storage of high volumes of data, but for more accurate shots, it is recommended that data be stored in both the RAW and JPEG formats. Set the sharpness to suit your purpose When shooting photos for prints that you will make by yourself, boosting sharpness when photos are shot will allow you to obtain better results. Setting the sharpness on the camera will produce different results from those achieved using Adobe Photoshop or other image-processing software, where the sharpness is adjusted afterwards. In contrast, when shooting photos for commercial printing or plate making, it is better not to boost sharpness on the camera. The optimum degree of sharpness depends on the final print size, and this may change before the production process is complete. Therefore, rather than using settings for optimal results for a given print size, it is better to concentrate on producing image data that are the easiest to handle in post-processing. Images that have been sharpened only slightly or not at all are the simplest to adjust in post-processing. If the images are significantly sharpened when shot, unnaturally highlighted outlines and noise may appear in post-processing. · Color space comparison Image that has not been sharpened and is easy to handle in post-processing Image with the proper degree of sharpness Understanding sRGB Until now, we have avoided using the sRGB profile because it has a limited color gamut and is not suitable for a print-based workflow. sRGB is, however, appropriate for displaybased media, as it is fairly representative of the average computer display in use. When you realize that most people's displays are not calibrated, or even set to a white print other than the manufacturer's default, it's easy to understand why sRGB is a smaller color space than those used in creative applications. When you want to see how images will look when they're on a webpage, you can use the sRGB profile to soft-proof your color content in Adobe Photoshop. Note: If you are creating color exclusively for the internet, you should consider using sRGB as your working-space profile within applications such as Adobe Photoshop. color space and profile, a safe convention to follow is to deliver RGB files in the sRGB color space. This color space is the closest RGB color space to a generic CMYK color space and will generally result in acceptable output quality. Four sRGB color matrix settings enhance productivity The EOS-1Ds Mark II offers four modes in the sRGB color space that each produce slightly different color reproduction characteristics. Selecting one of these modes is similar to selecting a different positive film in film-based photography. Wide Gamut RGB for advanced plate making and archiving The color space of Adobe RGB is wider than that of sRGB, the color space for conventional monitors, but there are still places where the color space of printed matter is slightly wider, and Adobe RGB cannot express 100% of the image data. With Digital Photo Professional, Wide Gamut RGB, which has a color space even wider than that of Adobe RGB, can also be used when developing RAW data. Image that lacks sharpness and looks out of focus Image with excessive sharpness and unnatural outlines High-capacity storage media capable of handling rising image data volumes The 16.7-megapixel high-resolution data files that can be created by the EOS-1Ds Mark II are relatively large and require high-capacity storage media. Even a 1GB (1 gigabyte = 1,000 megabytes) storage medium can hold only slightly less than 50 photos taken with an EOS-1Ds Mark II and recorded in both the RAW and JPEG formats. P.28, 74 Image size estimates If the destination for the image is digital video ­­ say you're going to build a composite into a Final Cut Pro scene -- you will want to choose the NTCS (1953) industry-standard destination profile suitable for video output in the United States. Another valuable use for the sRGB color space is in CMYK printing. If the situation arises where your client cannot supply you with any information regarding final output *Sizes will differ depending on shooting conditions and ISO settings. 38 EOS · DIGITAL PHOTO GUIDEBOOK Shooting 39 Anticipate results when shooting Image synthesis with image-processing software Use exposure stability, remove reflected objects, and shoot without moving the frame When shooting metal or clear subjects as still objects or products, unwanted reflections are removed with synthesis and erasing, performed meticulously by hand, at the retouch stage. When shooting with a digital camera, the position of the camera is fixed and multiple shots are taken, while gradually removing reflected elements. The desired image is then created simply using imageprocessing software to layer shots with no unwanted reflections. cut 1 Synthesis Image after synthesis Lens used for these shots: TS-E 90mm f/2.8 The world's first telephoto tiltshift lens, the TS-E 90mm f/2.8, employs a natural perspective and can be used for a variety of purposes, including product photography, food photography, and portraits. This lens has no faults, excellent delineation, and true background blur. · · · · · · · Focal length and aperture: 90mm, 1:2.8 Lens construction: 5 elements, 6 groups Diagonal angle of view: 27° Image circle diameter: 58.6mm Tilt/shift: ±8°/±11mm Revolving angle: 0±90° Focal adjustment: Manual focus/overall linear extension system · Closest focusing distance/maximum magnification: 0.5m/0.29x · Filter size: 58mm · Max. diameter x length/weight: ø73.6 x 88mm/565g (ø2.9 x 3.5in./1.2lb.) The overall scene is photographed, but the reflection of the metal ball on the glass is undesirable. Image after synthesis. cut 3 cut 2 The flower stem visible through the glass and the blue glass reflected on the glass on its side are removed, and the scene is again photographed to create an image to be used in layering. Synthesis Synthesis The metal ball is removed and the scene is again photographed without the reflection on the glass. This photo will be used as the base image. Using image-processing software, retouched photos are layered over the base image. Image after synthesis 40 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK TS-E lens series TS-E lenses are excellent for obtaining the effect of large-format camera movements, which are a must for photographing products and architecture. They can be accurately focused even on surfaces faced at an angle, and are used for tilt photography, which allows control of depth-of-field, and shift photography to correct distortion that can arise depending on perspective. Furthermore, the high performance of these lenses makes it possible to obtain extremely high image quality when paired with an EOS digital camera. The standard TS-E 45mm lens is optimal for shooting architecture and on other occasions when a natural perspective -- one in which buildings, for example, do not appear to taper inward -- is required. Equipped with a rear focus mechanism with floating effects, sharp, stable delineation can be maintained at all distances from 0.4m upwards, and because the front end of the lens does not turn when focusing, operability is excellent when a circular polarized filter is being used. TS-E 45mm f/2.8 · Focal length and aperture: 45mm, 1:2.8 · Lens construction: 9 elements, 10 groups · Diagonal angle of view: 51° · Image circle diameter: 58.6mm · Tilt/shift: ±8°/±11mm · Revolving angle: 0±90° · Focal adjustment: Manual focus/rear focus system · Closest focusing distance/maximum magnification: 0.4m/0.16x · Filter size: 72mm · Max. diameter x length/weight: ø81.0 x 90.1mm/645g (ø3.2 x 3.6in./1.4lb.) Lens impression A natural angle of view and perspective and delineation that reproduces the texture of the bricks was needed for this photo. The lens that met these conditions was the TS-E 45mm f/2.8. The focal length of 45mm, which approximates the natural viewing angle of human beings, is the best choice when you want to express exactly what you see. The TS-E 45mm f/2.8 can also correct images, so that they look natural, much in the same way that the human eye naturally corrects perspective. The high delineation of this lens reproduces bricks and individual flagstones, and captures the lighted buildings and their aura floating in the mist. The TS-E 24mm f/3.5L features both tilt and shift capability, vastly expanding the scope of expression possible with EOS digital cameras. This lens has the ability to correct distortion resulting from perspective, something that in the past only mediumand large-format cameras could do, and permits free control of the focusing zone. It offers the ability to shoot with automatic exposure using both the Automatic Aperture Setting and Auto Exposure Bracketing. And with its floating element optical system and aspherical lens element, it is excellent for correcting distortion and other types of aberration. The TS-E 24mm f/3.5L offers compact size and high image quality at all distances from 0.3m to infinity. Its strengths are particularly evident when photographing building interiors and exteriors, landscapes, and other subjects for which wide-angle shots are appropriate. TS-E 24mm f/3.5L · Focal length and aperture: 24mm, 1:3.5 · Lens construction: 9 elements, 11 groups · Diagonal angle of view: 84° · Image circle diameter: 58.6mm · Tilt/shift: ±8°/±11mm · Revolving angle: 0±90° · Focal adjustment: Manual focus/overall linear extension system · Closest focusing distance/maximum magnification: 0.3m/0.14x · Filter size: 72mm · Max. diameter x length/weight: ø78.0 x 86.7mm/570g (ø3.1 x 3.4in./1.3lb.) Lens impression With a wide-angle shot, the conventional wisdom is that you should be close to your subject. This is certainly a good way to exaggerate perspective and highlight the subject. In this photo, expressing the presence of the people in the café and the beauty of the rays of light, required the distance between the camera and the subject to be shortened. However, when shooting buildings, walkways that seem to bend or bulge, and other types of distortion, can detract from the beauty of the building's straight lines and even make the building lose character as a structure. The TS-E 24mm f/3.5L is the only lens that allows a subject to be shot like this without these problems. Simply find the best distance from the subject, determine the shift, and you will see in the finder a world only accessible through this lens. 42 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Shooting 43 Averting common problems in digital photos Averting common problems in digital photos Averting common problems in digital photos Advanced sensor technology offers impressive capture capabilities. However, problems still arise at times to affect the quality of your images. To avoid these imperfections, which are unique to digital cameras, you must first understand what they are. Dust on the imaging sensor If dust enters a digital camera while the lens is being changed, it may become lodged on the imaging sensor and show up in your images, especially when shooting subjects close up. Please avoid exposing the camera to dust when changing lenses. If dust enters, carefully remove it with a blower as described in the user manual. Imaging sensors are extremely sensitive devices, so never touch them. If your imaging sensor becomes too dirty to clean by yourself, please take the camera to your nearest service center. Moiré Imaging sensors on digital cameras usually employ evenly arranged rows of red, green and blue light receptors for capturing images. This symmetrical placement of receptors can sometimes cause a striped pattern of interference called moiré to appear if the scene contains rows of narrow stripes. When encountered, moiré can sometimes be eliminated by simply adjusting your perspective or distance when re-taking the shot. Since moiré cannot be seen in the viewfinder, you must check for it by viewing the image on a monitor at 100%. (Moiré can also appear in prints as a result of completely different factors.) An imaging sensor and conceptual rendering of light-detecting elements Shoot the same subject at an angle to prevent moiré. Then rotate the image with graphics software. Photo with moiré caused by shadow mask interference when shooting striped CRT screen with checkerboard light-detecting elements Finished photo f/8 f/32 Dust on the imaging sensor is hard to detect at an aperture setting of f/8, but is clearly apparent at f/32. False colors When capturing subjects with detailed high-contrast geometric patterns, imaging engines sometimes misinterpret the signals from imaging sensors and add colors to the image, called false colors, that were not actually there. False colors can be avoided by using a low-pass filter on the imaging sensor or processing the data before conversion to an image file. EOS digital cameras reduce false colors to negligible levels in most cases. Flares and ghosts Imaging sensors are smoother and more reflective than film. When strong light enters the camera, reflections on the imaging sensor can reflect off the lens and appear as flares or ghosts in your image. This is especially true when using an ultra telephoto lens with flat-surface protection glass or any lens with a filter. Canon's large-diameter IS ultra telephoto lenses employ a meniscus lens that minimizes the effects of reflections on the imaging sensor. False colors tend to appear in areas of high contrast, especially in low-resolution images. False colors are easier to identify when the image is enlarged. An example of a photo with a ghosted reflection. 44 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Shooting 45 Averting common problems in digital photos Degradation of delineation by diffraction Normally, the higher the aperture setting, the greater the depth-of-field. However, beyond a certain aperture value, the aperture becomes too small, and the diffraction degrades delineation. When shooting with a large-format camera, apertures of f/32 and higher are normally used, but with a 35mm camera, the same depth of field can be obtained with smaller aperture settings, so you should use an aperture setting no greater than necessary and take maximum advantage of the lens' capabilities. EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Data Processing Clearer differences and details When using a digital camera, the differences between lenses become more apparent than on film cameras. Part of the reason is that imaging sensors record light more directly than film, which has an emulsion layer. Another reason is that images magnified and viewed on a computer monitor undergo far more scrutiny than 35mm positive film viewed with a high-magnification loupe. This increased scrutiny does not apply to printed output, which lacks high enough resolution to reproduce every single pixel in the image. Digital cameras also tend to be sensitive to hand movement. A movement that would cause little blur with a 35mm camera might cause major blur with the EOS-1Ds Mark II, which has an image resolution equivalent to medium-format film cameras. You must pay more attention to vibration, whether shooting with the camera in your hands or on a tripod. f/22 f/32 · Pixel scale equivalency 46 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Preparing your image data for commercial printing Monitor settings Monitor settings Preparing your image data for commercial printing If your digital photos will be used for commercial printing, they may require some editing first. As a professional photographer, you should understand how digital image data is prepared for commercial printing and establish an environment for carrying out the process on your own. Establishing an environment for image editing Digital images are viewed on monitors, which vary in the accuracy of their image reproduction. It is important that you understand how to select a monitor and properly set it up for accurate image editing. Establish an environment and workflow for image editing To prepare your digital photos for commercial printing, you must first establish an environment for accurate viewing, examination, and adjustment of your images. Such an environment includes a suitable monitor, optimized environmental lighting and image editing software such as Adobe Photoshop. Once a proper environment has been established, you must clarify your needs and responsibilities. Depending on the job, you may find it best to check and edit the images yourself or leave the work to platemakers who have a wealth of printing knowledge and experience. In the following section, we briefly introduce some of the leading issues relating to the environment and workflow of professional image editing. Types of monitors Monitors are available in cathode-ray-tube (CRT) and liquid crystal display (LCD) models. Both types of monitors offer advantages and disadvantages. CRT monitors have long been used for digital image processing, but LCD monitors are gaining popularity as their performance improves. What to look for when selecting a monitor Theoretically, the camera comes before the monitor. In practice, however, it is difficult to evaluate the color accuracy of the input camera or the output image without a color-accurate monitor. When editing digital photos, your decisions will be based primarily on what you see on the monitor. Ideally, you should choose a high-end monitor that you can calibrate to meet the conditions of your final output. Ordinary monitors can display colors in the sRGB color spectrum, but with improvements in monitor technology, there are some monitors that can reproduce colors with larger gamuts. A larger color gamut will help with softproofing and virtual proofing. Modern LCDs and CRT monitors from many manufacturers have met prepress SWOP certification for virtual proofing. Warnings about CRT monitors The performance of CRT monitors deteriorates with time and usage, especially in terms of image quality. We recommend, therefore, that monitors be replaced on a regular upgrade schedule. Proper environmental lighting Lighting is crucial to the accuracy of image assessment. Even if your monitor offers superb color reproduction, improper lighting will make it difficult to accurately assess the colors in your images. Ideally, environmental lighting should be as similar as possible to the lighting used by the printers proofing your images. P.76 LCD CRT Pros and cons of LCD monitors Pros · Space-saving, energy-saving design · Colors stabilize quickly after power is turned on · Less prone to deteriorate over time (long-term stability) · Clear, sharp image when connected digitally Cons · Colors can change considerably depending on viewing angle · Models with excellent color reproduction tend to be expensive Pros and cons of CRT monitors Pros · Wider control range for brightness and contrast Cons · Time is required for colors to stabilize after power is turned on · Brightness varies from center to edges · Color performance deteriorates more rapidly over time · Colors are easily affected by magnetic force Monitor placement · Place monitor away from sunlight, as time of day and weather can affect the lighting and how images appear. · Place monitor where lights do not reflect off screen. · Use fluorescent lights designed for color evaluation if possible. · Use daylight white-type three-wavelength fluorescent lights. · Use lighting that is not too bright or dark for accurate color evaluation. · Use a light-shielding hood to prevent lights from reflecting off screen. · Use gray or other achromatic wall colors if possible. 48 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Data Processing 49 Color management Color management Color management Establishing an environment for image editing Color management is the key to the system's success. Consistency is the key to successful color management. This section is designed as an introduction to color management and not as a guide for color management professionals. The goal of color management is to build an affordable imaging system that can be used to ensure accurate and consistent color as the digital data is repurposed for a variety of different media including print, www, CD/DVD authoring, across networks, storage, and multiple monitors. Color reproduction will vary depending on the media or display device. To enable professional editing of your digital images, a color management system must be used to minimize these differences and ensure consistent color reproduction regardless of the device or media. Imaging systems built around color management ensure accurate and consistent color as the digital data is transferred. How does it all work? Communicating in color is a bit like communicating in multiple languages. Color Management Systems (CMS) act as interpreters. The color profile is like the dictionary for a device's language. Profiles are used by the Color Management Module (CMM), which simply translates data from one device's colors to another via a device-independent color space. The CMM receives the necessary information about a device from the profiles and then uses rendering intents to perform gamut mapping to produce color that is predictable from device to device. The Application Program Interface (API) provides applications with access to all of these functions. Color reproduction To learn about the process of color reproduction, it is necessary to understand basic color theory and concepts of light. Without light there is no color. Color is a visual sensation involving light, the eye, and the brain, as well as the object being viewed -- a light source, an object, and an observer! Understanding the physics of color is more than we will cover in this guide. What we need to grasp to get started is that everything affects the way we see color. The International Commission on Illumination (CIE) established standards of color based on how the human eye sees colors. The CIE developed the familiar upside down but slightly curved, horseshoe shaped color space (CIEXYZ) that is often used in articles discussing color management. This color space is based on what the human eye can see and was first published in 1931. In the 1970s a new mathematical model of color space was developed called Lab (Lab or CIELAB). Lab is a more three-dimensional space than the CIEXYZ color space. The horseshoe shape is still useful for providing a relative comparison between different color spaces. For example, it is still commonly used to reveal what kind of gamut is available from say Adobe 1998 RGB versus sRGB, or CMYK. In 1993, a new organization called the International Color Consortium (ICC) was created to establish standards for vendors and users of color devices such as scanners, monitors and printers and their respective calibration devices. The ICC standards were based on the original CIE standards. This provides a point of reference so that one device can communicate with another to ensure consistency in color throughout a managed system. The devices communicate with ICC profiles imbedded in their software, which can be accessed by an ICC compliant OS or software application (such as Photoshop) to ensure complete, systemwide communication of the ICC standards. The ICC profile tells the OS what kind of color the device is capable of­­its gamut. Gamut is the range of colors available for a particular color space. The necessity of color management Your digital images will be handled by various devices such as monitors and printers that process your image data in different ways and reproduce the colors quite differently. Film is a tangible and viewable graphic that allows you to see the image in a referenced, media-neutral state. With a digital image, however, the studio monitor and color printer provide the only reference. Color management provides guidelines for consistent assessment of colors throughout the work process, enabling consistency similar to that achieved in conventional photography. · Color space comparison · CIELAB Color Space In this example, Mac OS X and multiple software applications were used to display the same image data. If the same color management settings are not used, different software applications will reproduce the same image data with different color tones. For example, with Adobe InDesign CS, color management is turned off in the initial settings, so if it is not turned on by the user, the profile established in Adobe Photoshop will not be applied. 50 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Data Processing 51 Color management Color management Color spaces are three-dimensional models that show you what colors are possible to use in your work. The concept of colorimetrically defined spaces has been around since the development of color television. Since there are a number of different color spaces, it's important to distinguish between those color spaces that are based on color reproduction methods (such as device-dependent spaces, gray spaces, RGB-based color spaces, and CMY-based color spaces) and those that represent all the colors that we can see (device-independent color spaces and CIE color spaces). Gray spaces Gray spaces have a single component: black. Gray spaces are used for blackand-white (grayscale) display and printing. RGB-based color spaces Any color expressed in RGB space is some mixture of the primary colors red, green, and blue. Most color displays use RGB-based color spaces. Color spaces within the RGB spectrum include HSV (hue, saturation, and value) and HLS (hue, lightness, and saturation). These are transformations of the same space that allow colors to be described in terms more natural to an artist. CMY-based color spaces Most desktop color printers and the printing industry use cyan, magenta, and yellow(CMY) based color spaces. There are two groups: CMY and CMYK. CMY is not very common and is used by low-end desktop color printers. CMYK adds black to compensate for the fact that cyan, magenta, and yellow cannot produce a true black when mixed together; black is added to overprint these areas and give the image better contrast. Device-dependent color spaces Different devices have different color gamuts, or ranges of colors, that they can produce. This means that RGB and CMY color spaces vary from monitor to monitor and from printer to printer. Thus they are called device-dependent color spaces. Device-dependent color spaces are described with Lab. Device-Independent color spaces Converting from RGB on one device to CMYK on another can be challenging. This is where device-independent color spaces such as sRGB and Adobe RGB make the task easier. Device-independent color spaces are used for the interchange of color data from the color space of one device to the color space of another. They provide a deviceindependent CIE reference color space (Destination Color Space), also referred to as Profile Connection Space (PCS) in ICC terminology. They are a result of the research work done in 1931 by the Commission Internationale d'Eclairage (CIE) and for that reason are more commonly known as CIEbased color spaces. CIE color spaces The CIE color spaces form the foundation of device-independent color for color management. There are two types of CIE spaces: CIE Lab and CIE LCH. CIE Lab Lab is the most commonly used color space. It is based on human perception of color -- the three color receptors (red, green, and blue) in the eye. This results in three sets of signals being sent to the brain: light or dark, red or green, and yellow or blue. They are opposing in that one receives a red signal or a green one, but not both. This opponent type color space is derived mathematically from the CIE values. L is a measure of lightness of an object, and ranges from 0 (black) to 100 (white). A is a measure of redness (positive a) or greenness (negative a). B is a measure of yellowness (positive b) or blueness (negative b). The coordinates a and b approach zero for neutral colors (white, grays, and black). The higher the values for a and b, the more saturated the color is. CIE LCH This color space is often referred to simply as LCH. The system is the same as the CIE Lab color space, except that it describes the location of a color in space by use of polar coordinates, rather than rectangular coordinates. L is a measure of lightness of an object, ranging from 0 (black) to 100 (white) C is a measure of chroma (saturation), and represents the distance from the neutral axis. H is a measure of hue and is represented as an angle ranging from 0° to 360°. Angles that range from 0° to 90° are reds, oranges, and yellows. 90° to 180° are yellows, yellow-greens and greens. 180° to 270° are greens, cyans (blue-greens) and blues. From 270° to 360° are blues, purples, magentas, and return again to reds. Profiles contain all the unique color characteristics of a device. The color management module (CMM) is the engine that performs the transformation of color data between device-specific color spaces. Rendering intents The ICC profile specification supports four rendering intents used to map out-ofgamut colors: Perceptual rendering works to preserve the visual relationship between colors so that they are perceived as natural to the human eye, even if the colors themselves actually change. This rendering intent is suitable for photographic images. Saturation rendering tries to produce vivid colors and sometimes sacrifices color accuracy to do so. As a result, this rendering intent is suitable for business graphs or charts in which bright, saturated colors are more important than the exact relationship between colors, but it is not suitable for photographs. Relative colorimetric compares the white point of the source color space to that of the destination color space and shifts outof-gamut colors to the closest reproducible color in the destination color space. Relative colorimetric rendering maps whites to the target output space and preserves more of the original colors in an image than the Perceptual rendering intent. Absolute colorimetric leaves colors that fall inside the destination gamut unchanged, and it effectively clips colors that fall out of that gamut. This rendering is based on the source's white point and is suitable for proofing to simulate the output of a particular device. Configuring advanced color controls Adobe Photoshop lets you choose from at least three CMMs, which Adobe calls conversion engines, to convert colors between different profiles. They are as follows: · Adobe (ACE), which stands for Adobe Color Engine, is Adobe's own CMM. It is built into all Adobe professional design applications but is unavailable to nonAdobe applications. · Apple ColorSync tells Adobe Photoshop to use the CMM specified by the ColorSync Preferences. If Automatic is selected as the Preferred CMM in the ColorSync Preferences, ColorSync will use the Apple CMM unless a profile contains a specific instruction to use a different CMM. · Apple CMM tells Adobe Photoshop to use Apple's own CMM, disregarding any specific instructions that may be contained in a profile. Note: You will often find additional CMMs installed ­­ most get installed as part of a scanner installation or profiling software suite (Agfa, Heidelberg, ColorGear, etc.), but remember that consistency is the key. If you work in an environment that uses a mix of Adobe and non-Adobe applications, choose the Apple CMM conversion option to ensure consistent results across applications. This option is better than the Apple ColorSync option, which can be overridden by specific instructions contained in a profile. If you work in an all-Adobe but crossplatform environment, choose Adobe ACE to ensure consistency across platforms. If you work in an all-Adobe, all-Mac environment, you can choose either Adobe ACE or Apple CMM, as you will have access to both conversion options in all of the professional Adobe products you may use. If you work with applications that include their own CMMs and profiles, select Apple ColorSync. The ICC color space profile The ICC profile is a standardized method of describing color space, and is used by both Mac OS and Windows to communicate color space information between devices. For example, your digital camera embeds an ICC profile in each photo to describe the color space used for the shot. When your digital photo is displayed on a monitor, the computer compares the ICC profiles of the photo and monitor and uses the monitor color space that most closely matches the color space of the photo to accurately display it on the screen. If you have not properly set up the color profile settings in your computer, your photos will be displayed inaccurately and you will not be able to achieve the results you desire when editing your images. Mac OS X and ColorSync Both Macintosh and Windows computers offer solutions for color management, but Mac OS X currently offers the simplest, most integrated system level environment via ColorSync. 52 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Data Processing 53 Monitor calibration Monitor calibration Monitor calibration The display monitor is where color professionals spend most of their time viewing color information, and where they evaluate and adjust color data. Attempting to adjust color on an uncalibrated monitor will generally do more damage than good to the data. It is crucial, therefore, that your monitor be calibrated for accurate color editing and reproduction. Modern monitors are manufactured to meet the needs of every standard. It is important to define and calibrate to your industry standard. Monitor calibration Your monitor should be calibrated on a regular basis to compensate for its placement and age, as well as for the lighting in your work environment. In the case of Mac OS X, if you select System Preferences and click Displays, you can make visual adjustments without special devices. Preparing to profile your display · Determine your monitor and computer settings: resolution, refresh rate, geometry, and bit depth, and don't change the settings (either through the display's front-panel controls or through the operating system). If you change the settings, you should re-profile the display. · Set the Desktop to a medium neutral gray. (L50,0,0 or Apple's Medium Gray which has a RGB value of 128,128,128 would be ideal.) · Set the white point to 5000k (D50) or 6500k (D65), if supported by your display. The overall goal is to match the tonal reproduction characteristics of your display to the intended viewing conditions and output. Most professional proofing systems and color-correct viewing booths used by printers and photographers use D50 lights to simulate daylight. D50 was established as the prepress industry standard, although new standards are emerging based on D65. · Avoid bright light directed at the display. Use a display hood, if available. Much like the target gamma setting, the white point differs between Macintosh and Windows systems. Macintosh users will see the best results by setting their displays to a D50 white point and a gamma of 1.8. Windows users will see the best results by setting their displays to D65 and a gamma of 2.2. The exception to this rule is when both Macintosh and Windows-compatible computers are used in the same colormanaged workflow. In this scenario, the best results will be achieved by using a device calibrator set to the same white point and gamma on both systems. Gamma does not affect the size or shape of the gamut. It does affect the distribution of RGB points within the gamut. Gamma values refer to the gradation curves used to represent the mid-tone brightness of the display. Gamma selection determines the relationship between light and dark values, similar to contrast. The higher the gamma number, the darker the mid-tones appear on screen and the more contrast you will see. White point is the color temperature of the display, measured in Kelvin temperature. The challenge is that printed materials and photographs will be viewed under many light conditions. Viewing conditions can be built into custom profiles for Gallery lighting, store displays... a color specialist should be consulted when this is a client requirement. Understanding measurement devices Densitometer ­ An instrument that measures the density of ink on paper (the absorption of light), not color values. Colorimeter ­ An instrument that measures the color value of a sample, using color filters. A colorimeter can determine if two colors are the same, but it does not take into account the light under which a sample is measured. For monitors, a colorimeter is used to measure the brightness, contrast, and white point (color temperature). A colorimeter generally uses three internal filters to simulate human vision. The measurements are calculated by the profiling software to create a new profile. Spectrophotometer ­ An instrument that measures the wavelength of color across an entire spectrum of colors (measures spectral data). It is similar to a colorimeter but more precise because it measures discrete wavelengths of transmitted light measured in nanometers (1 billionth of a meter). Calibration vs. characterization When implementing color management, you often encounter the terms calibration and characterization, which can be confusing, but the difference is really quite simple: calibration changes a device to a standard or known state, while characterization is the process of measuring the characteristics of the device using one of the above listed tools and creating a profile. Calibration steps for Mac OS X If you have a CRT-type monitor, wait for the colors to stabilize. This takes about 30 minutes from the time the monitor is turned on. Once the colors have stabilized, select System Preferences and click Displays, Color, and Calibrate. This will start the Display Calibrator Assistant, which will then interactively guide you through the following steps. Step 1 Adjust the brightness and contrast controls on your monitor as described. (Contrast may be labeled "Gamma" on some monitors. Some LCD monitors have no controls for brightness and contrast.) Step 2 Adjust color temperature and other software settings as instructed. Once calibration is complete, the color space information is saved as a selectable ICC display profile. Calibration = changing a device to a referenced state Characterization = measuring the state of a device and creating a profile Profile = description of a referenced state Color calibration with a calibrator A calibrator can be used to achieve more precise monitor calibration than is possible when relying on your eyes. Various reasonably priced hardware calibrators, such as the Gretag/Macbeth i1 Display 2 are available. The affordable i1 Photo includes a precision spectrophotometer and allow calibration of both your monitor and printer. 54 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Data Processing 55 The color management system built into Adobe software Color settings in Adobe Photoshop The color management system built into Adobe software The Adobe Creative Suite applications, including Photoshop, Illustrator, Acrobat, InDesign and GoLive, all share a color management implementation known as the Adobe Common Color Architecture. This ensures that all of the Creative Suite applications support color management in the same way. Color settings in Adobe Photoshop All steps are performed in a continuous workflow. When the photographer adjusts an image in Adobe Photoshop, it is essential that the color settings be correct. Adobe CMS (Color Management System) Adobe software products like Photoshop, Illustrator, and InDesign are essential tools in the desktop publishing (DTP) industry. These applications offer Adobe's own color management system, Adobe Color Engine (ACE), which lets users work with digital images under consistent color tones regardless of whether they use the Mac OS or Windows. Since settings for ACE are the same on both platforms, color spaces can be shared between Mac OS X and Windows. Sharing Adobe color settings One of the benefits of the Adobe Common Color Architecture is the shared Color Settings file. This enables you to set the preferences once and use them throughout the entire Adobe Creative Suite. Adobe Photoshop Adobe InDesign Standard settings for a workflow excluding plate making The basic settings described here are for cases in which the photographer has shot photos for commercial printing and will have a plate maker deal with the plate-making data. This discussion also applies to workflows in which data are not handed over to others handling the printing process. P.22 Do not change color settings midway The optimum color settings will differ depending on the job, your responsibilities, and how well the plate makers and printers respond to image data with embedded color management profiles. Once your digital photo data has entered the workflow (been edited or passed on to others), you should not alter the color settings again during the job. This is a basic rule that helps prevent various problems. Adobe Color Engine (ACE) · Color Settings Open Adobe Photoshop and select Color Settings from the Edit (Mac OS 9 and Windows) or Adobe Photoshop (OS X) pull-down menu. In the Working Spaces section, select the RGB color space used by your digital camera (we recommended Adobe RGB 1998, but if your camera uses an sRGB setting, choose it here). Adobe Acrobat Adobe Illustrator ACE is common to both Macintosh and Windows versions. For the CMYK color space, select SWOP CMYK. Color calibrate Windows systems with Adobe Gamma The Adobe Gamma control panel is installed when Adobe Photoshop is installed in a Windows environment. Similar to the Display Calibrator Assistant in Mac OS X, the Adobe Gamma control panel interactively guides you through the calibration process and creates an ICC profile. This process is subjective. In order to attain the best color accuracy, a hardware profile such as that made with the GretaglMacbeth i1 Display 2 is recommended. Ignore the settings for Gray and Spot, which concern conversions for monochrome and special-color printing. In the Color Management Policies section, select Preserve Embedded Profiles for RGB, CMYK and Grayscale. (This section defines how to handle the ICC profile embedded in your image and what to do if no profile is embedded.) Next to Profile Mismatches, select Ask When Opening. Set Conversion Options as discussed on page 53. Do not change any other settings in Advanced Options, which only appear if you select the Advanced Mode. (Changing the default settings may drastically change the colors in RGB image data.) 56 EOS DIGITAL · DIGITAL PHOTO GUIDEBOOK Data Processing 57 Data processing check sheet