$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 vari ...