january 2007 - Professional Photographer Magazine

More documents

Recommendations

Info

THE GOODS COLOR MANAGEMENT BY ANDREW RODNEY To a color geek, Adobe Lightroom has limited color management options, but it greatly simplifies the user experience. The missing functionality is a trade-off. Color management in Lightroom When Adobe set forth to build Lightroom (called Shadowland before the public beta), the team of engineers started with a clean slate to design a product for digital photographers. The engineers have gone to lengths to create a product with a short learning curve. Just look under the Help menu and select The Five Rules. Color management in Lightroom is quite different from Photoshop in many respects. The goal in the design of Lightroom was to make color management nearly invisible. When you compare Lightroom’s color management options and preferences to Photoshop’s, you’ll see some similarities, some differences and some omissions. Like Photoshop, Lightroom is ICC aware, meaning it requires a calibrated and profiled display. But Lightroom works only with raw files or rendered RGB images. At its heart, Lightroom is a raw processor. Yes, there is database functionality that makes it quite different from Adobe Bridge, a simple file browser. Yes, there are Print and Web modules, and you can import existing rendered images such as TIFFs, PSDs and JPEGs to the database. I prefer to think of Lightroom as a tool primarily for organizing and converting raw data into a rendered RGB image. The raw processing pipeline is based on the Adobe Camera Raw processing pipeline. The products share many of the same controls, and will eventually have complete interoperability with each other, as well as Bridge and Photoshop. It’s important to remember that raw images are essentially grayscale data. The role of a converter is to produce a full-color 66 • www.ppmag.com image from this raw data. At some point, all raw processors need to produce a color image, which is encoded into some color space. Then the user can render the image using various controls to produce a desired color appearance. In the case of Lightroom and Adobe Camera Raw (ACR), the color space is partially based on ProPhoto RGB (Figure 1). This extremely wide-gamut color space is necessary with the enormous color gamut that’s possible with digital capture. Since raw data is encoded linearly, the internal color space used to apply rendering edits with both products is also linearly encoded. Think of the underlying internal color space as having the RGB primaries and white point of ProPhoto RGB, but instead of 1.8 gamma encoding, this new Figure 1. In this 2D gamut plot in ColorThink, you can see the huge gamut of ProPhoto RGB—so big that the blue primary falls outside the range of human vision, as represented by the horseshoe plot. space uses a 1.0 gamma encoding. (See “Linearity and Gamma” in the December issue of Professional Photographer.) All processing within Lightroom, raw or rendered, takes place in this linear encoded color space based on the ProPhoto RGB chromaticity and white point values. A histogram of linear encoded data would look quite strange, with most of the values pushed to one side. The numeric values may also be difficult to decipher due to this linear data handling. For this reason, the histogram and numeric values provided in Lightroom are based on ProPhoto RGB, using the sRGB Tone Response Curve (primarily based on a 2.2 gamma with a tweak to the tone curve in the shadows). Therefore, behind the scenes, Lightroom uses a linear encoded ProPhoto RGB space, but the numbers (represented in percentages in Lightroom) and histogram reflect a gammacorrected version of ProPhoto RGB matching the Tone Response Curve of sRGB. The color space used for these numbers and the histogram is known within Adobe as Melissa RGB, a.k.a. Love Child RGB. No matter which encoding color space the user selects upon export, Lightroom will provide numbers and a histogram based on Melissa RGB. Adobe Camera Raw updates the numbers and histogram when the user selects the output color space. Sadly, Lightroom’s Develop and Print modules lack a true soft proof that’s based on an output device. You cannot select an output profile and produce an on-screen simulation as you can in Photoshop. I suspect this was done for two reasons: It would add greatly to the complexity of the product, and greatly delay the release of what is unquestionably a 1.0 product. I hope to see full soft proofing capabilities in future versions of Lightroom. Editing images for output without this capability is a leap of faith.
©2005 Alex Eaton Hunter Freeman HUNTER FREEMAN KNOWS THE ROAD AHEAD CAN BE A ROUGH ONE. HE ALSO KNOWS FRIENDS CAN HELP SMOOTH THE WAY. “Each day is different, and presents different problems and challenges,” says pro shooter Hunter Freeman. His ultimate triumph over these problems and challenges is best evidenced in a solid body of work full of sly humor and fresh, inviting visuals. Hunter’s photos for heavyweight clients like United Airlines, Apple and MSN are infused with inventive scenarios that not only impress, but inspire. He readily admits that “the most important qualities for success are honesty and love. They’re vital.” Another vital element to Hunter’s success is Calumet. It’s not only where he gets his photo gear, but it’s also where he talks to photo experts who understand him and how to help with the day-to-day challenges. We talked with Hunter about life, love, photography and much more. You can enjoy the complete story, along with a gallery of his images, on our website at www.calumetphoto.com/freeman. 1.800.CALUMET [225.8638] www.calumetphoto.com New York Boston Philadelphia Chicago San Francisco Los Angeles Santa Barbara Santa Ana San Diego Belfast Glasgow Birmingham Liverpool London Manchester Amsterdam Rotterdam Antwerpen Berlin Düsseldorf Essen Hamburg München VISIT US AT IMAGING USA • BOOTH #835 • JANUARY 14-16, 2007 ©Hunter Freeman
Page 1 and 2:
©Gregory Heisler JANUARY 2007 | WW
Page 3:
Announcing GP Albums After 73 years
Page 6 and 7:
CONTENTS PROFESSIONAL PHOTOGRAPHER
Page 8 and 9:
Enhanced Webshow New look, larger i
Page 10 and 11:
EDITORIAL Celebrating 100 years KIC
Page 12 and 13:
12 • www.ppmag.com Professional P
Page 14:
©Tom McDonald from the files of th
Page 18 and 19: ©Dennis Craft DENNIS CRAFT While v
Page 20 and 21: Welcome to the Most Comprehensive W
Page 22 and 23: CONTACT SHEET What’s New, Events,
Page 24 and 25: CONTACT SHEET (continued from p. 23
Page 26: CONTACT SHEET Building a Dream Calv
Page 29 and 30: After a couple of decades on the jo
Page 31 and 32: interpreted as too intense; too lit
Page 33: PROFIT CENTER Think about flirting.
Page 36 and 37: PROFIT CENTER Clients often get the
Page 38: PROFIT CENTER I recently had an ama
Page 42 and 43: The award winning Premira album dig
Page 44 and 45: THE GOODS PRODUCT CLOSEUPS BY KAREN
Page 46: If you want a less pricey album tha
Page 50 and 51: THE GOODS: PRO REVIEW The shooting
Page 52: THE GOODS: PRO REVIEW Epson ups the
Page 55: tray, so there’s just one layer o
Page 59 and 60: Watch your business grow by leaps a
Page 61: THE GOODS: PRO REVIEW Image stabili
Page 64 and 65: an adjacent vessel. Both yachts wer
Page 68 and 69: THE GOODS Lightroom offers three op
Page 70 and 71: THE GOODS: TUTORIAL You find the pe
Page 72 and 73: THE GOODS: TUTORIAL tint. When you
Page 74: ‘‘ THE GOODS: TUTORIAL All you
Page 77 and 78: about storing and backing up images
Page 79 and 80: architecture and modern design, Lit
Page 81 and 82: True Black & White Prints from Digi
Page 83 and 84: ‘‘ another person’s thought p
Page 86 and 87: All images ©Jeff Lubin Flashy tren
Page 88: PORTRAITURE kind of other artwork o
Page 93 and 94: Regular BY STEPHANIE BOOZER All ima
Page 95 and 96: He borrowed his dad’s 35mm camera
Page 97 and 98: on the region’s residents. “It
Page 99 and 100: Workfl ow. Image Management. Busine
Page 101 and 102: PEOPLE PERSON BY STEPHANIE BOOZER A
Page 103 and 104: magazines and book covers. Staying
Page 105 and 106: Photoshop World is coming to Boston
Page 107 and 108: WIN A$3000 HOT ONE SHOPPING SPREE!
Page 109 and 110: (Continued from p. 106) pumped on t
Page 111 and 112: All images ©Hollye Schumacher
Page 114: get married outdoors it’s because
Page 117 and 118:
My association with PPA has been an
Page 119 and 120:
alance
Page 123 and 124:
was a success, but the patient died
Page 125 and 126:
painted, very funky looking portrai
Page 127 and 128:
TOOLS FOR PHOTOSHOP PROFESSIONALS P
Page 129 and 130:
March 17-21 C: PPSNY, Conference Ce
Page 132:
January 28-February 1 Lamarr Willia
Page 136 and 137:
Gary Meek was in the wedding busine
Page 138 and 139:
Today Association News for Members
Page 140 and 141:
07 EVENTS IMAGING USA Henry B. Gonz
Page 142 and 143:
07 EDUCATION MERIT & DEGREE PROGRAM
Page 144 and 145:
© Bruce Belling © Carol Ann Dwyer
Page 146:
ppa= propels protects guides opens
Page 149 and 150:
January 2007 • Professional Photo
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
ProductMall SOMETHING PixPen The Pe
Page 161 and 162:
UNITED PROMOTIONS, INC. • FULL SE
Page 163 and 164:
January 14-16, 2007 San Antonio, T
Page 165 and 166:
Thank You to the IMAGING USA SPONSO
Page 167 and 168:
IMAGING USA JANUARY 14-16,2007 SA
Page 169 and 170:
» TUESDAY - JANUARY 16, 2007 7:00a
Page 171 and 172:
© Eastman Kodak Company, 2007. Kod
Page 173 and 174:
Clients get emotional. Create slide
Page 175 and 176:
Mark Ridout Duane Sauro M.Photog.ME
Page 177 and 178:
PASSION WITH POWER PERFORMANCE WITH
Page 179 and 180:
{ BOOKMARK } Professional Photograp
Page 181 and 182:
DriveSavers Booth: 859 400 Bel Mari
Page 183 and 184:
Miller's Professional Imaging Booth
Page 185 and 186:
SuccessWare Inc. Booth: 958 11800 F
Page 187 and 188:
Bumper Stickers Century Marketing 7
Page 189 and 190:
Natural Color Imaging 418 Noritsu A
Page 191 and 192:
Canon USA 725 Epson America, Inc 11
Page 193 and 194:
Exhibitor Spotlight www.ImagingUSA
Page 195 and 196:
Welcome to the Most Comprehensive W
Page 197 and 198:
Photo by Fotoquintero.com We bring
Page 199 and 200:
13. Carry a notepad and pen to jot
Page 201 and 202:
COMMERCIAL PHOTOGRAPHY CONFERENCE @
Page 203 and 204:
Don’t MISS January 14-16, 2007
Page 205 and 206:
General INFO Imaging USA January 14
Page 207 and 208:
Adobe Photoshop and Lightroom for P
Page 209 and 210:
2007
show all

january 2007 - Professional Photographer Magazine

Create successful ePaper yourself

Delete template?

Save as template?