january 2007 - Professional Photographer Magazine

More documents

Recommendations

Info

THE GOODS Lightroom offers three options for encoding color space for export: sRGB; Adobe RGB; and ProPhoto RGB. When you export a file in ProPhoto RGB, it will be encoded as a 1.8gamma corrected color space, as defined by Kodak and not Melissa RGB. In the application’s preferences, you can select the color space, bit depth and file type to use upon export.* Adobe recommends choosing ProPhoto RGB to preserve color details when exporting from Lightroom. Since ProPhoto RGB has such a large gamut, Adobe recommends exporting the file in 16-bit color. Lightroom automatically converts images exported from the Web module to sRGB. If you import rendered RGB images to Lightroom and make no edits, the images will retain their original color spaces. In short, Lightroom can be used as a Digital Assist Manager for existing rendered files. If you wish to simply open the file in an external editor like Photoshop, the original color space is retained. However, if you wish to export a file edited in Lightroom, the Export dialog must be set to create a copy first. Lightroom will build the copy of the original rendered image and place it into its database with “edit” appended to the file name (Figure 2). The exported copy will then be converted into the color space you selected Figure 2. Lightroom’s Edit in External Editor command gives you the option to edit an existing rendered image, a copy of that image or, if Lightroom edits have been applied, a copy with those edits. With raw files, the last radio button is the only option*. 68 • www.ppmag.com Figure 3. These preferences control the color space, bit depth and file format when images are edited in an external editor. Online help provides useful guidance about the options*. in the application preferences (Figure 3). Let’s say you want to import a layered TIFF file in ColorMatch RGB and edit it with Lightroom controls. You must choose Edit in Adobe Photoshop CS2 > Edit a Copy. Lightroom creates a flattened copy of the file and exports it in the color space you set in the application preferences, not in ColorMatch RGB. Because the ACR engine applies the edits, the copy is converted from ColorMatch RGB to ProPhoto RGB (linear gamma) and back to the color space set in your preferences. If you use Lightroom to edit rendered RGB images, consider which color space to select upon output. If the original file is in sRGB, Adobe RGB (1998) or ProPhoto RGB, and you want to honor the original color space, be sure that the application color space preferences for exported files matches. Otherwise, Lightroom will not preserve the original color space on edited files in any color space but these three. The current version of Lightroom supports only RGB editing. You can import CMYK, grayscale or LAB documents into the database, but you cannot edit them. When you enter the Lightroom Print Module, you can select any ICC printer profile loaded on your computer for output. Without a soft proof, selecting a rendering intent is a guessing game. In addition, you have access only to the Relative Colorimetric or Perceptual rendering intents as an option for color space conversions; it’s not a major issue, because you probably prefer one rendering intent over the other. I have seen rare cases in which the Saturation intent actually produces a preferable color appearance, but you can’t make such a decision without soft proofing all available rendering intents. Here again, Adobe apparently intends to make Lightroom easy for the user by limiting the options. Time will tell if this approach is viable. We didn’t see much in the way of color management in Photoshop until v. 5.0, nearly 8 years after its initial release, and it was still rough around the edges. For a 1.0 product, Lightroom looks promising with respect to color management, but it’s a delicate balancing act. I can live without LAB or CMYK support, but hope to see true soft proofing in a future version. The lack of multiple working spaces isn’t a serious limitation for me. In fact, if you only work with raw files, all you really have to do is set Lightroom to always export in 16-bit ProPhoto RGB. It will be interesting to see how the market reacts to Lightroom, and how the product will evolve in response to wide user feedback. ■ *The screen captures and options discussed in this article may not necessarily be included in the public release. Digital expert Andrew Rodney presents “Ten Steps to Color Managing Adobe Photoshop” at IUSA <strong>2007</strong> in San Antonio, January 14-16. Don't wait—visit www.ImagingUSA.org or call 888-260-0016 to register today!
Joe Craig, Cr. on the FinePix S5 Pro Digital Camera We live in a world of highlights, shadows and subtle gradations in between. No digital camera I’ve ever held captures the entire spectrum and spectacle quite as faithfully or delicately as the S5 Pro. The Fujifilm FinePix S5 Pro has taken its dynamic range and photography in general to new heights. The FinePix S5 Pro. The Evolution Continues. For more information, visit www.Fujifilmusa.com/FinePixS5Pro ©<strong>2007</strong> FUJIFILM U.S.A., Inc.
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 66 and 67: THE GOODS COLOR MANAGEMENT BY ANDRE
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?