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Having a consistent color management workflow can help you accurately get prints that match the image on your monitor. In this course, follow along with Joe Brady as he takes you through the basics of color management for photography, design, and the web. First, you'll learn about the different color spaces (CMYK, ColorMatch, and sRGB) and how they influence your color workflow, and the tools you need to achieve accurate color. Then learn how and why to calibrate your camera and your monitor, configure the color settings in applications such as the Adobe Creative Suite and Aperture, and choose the best printer and paper for your style of artwork. Along the way, Joe takes you into a typical studio setup for lessons on the gear you need for at-home calibration and printing.
Now it's time to take a look at some of the high end capabilities of the i1Profiler software combined with i1 Pro 2 spectrophotometer. . Now you can see over here on the left. It can do monitors, projectors, printers, and even scanners. We're talking about printers today. Now there's two different modes in this software over on the right hand side here. You see Basic and Advanced. Well Basic would be very similar to what we just saw with the color monkey photos, so let's move on to Advanced and take advantage of what the system can do. We click on Advanced, we get a whole new set of menus.
Again, we have the Epson stylus C88 here. This is a fairly low-end office type printer, but you'd be amazed how good these prints can be if you've got an accurate profile for them. So we choose the printer, and we're going to go to profile. Our first thing offered is, well, how many patches do you want? And you can get an absolutely crazy amount of patches, 6000 patches. Keep in mind, this would print ten pages, as you can see down here. Photoshop actually would have trouble dealing with a profile this large. It's not something you're generally going to want to use.
And to keep things simple, I'm going to get all my patches on one page, which is typically a little under 600 patches with this system. So I'm going to type in 590, and now you can see my test chart is just one page, which is much better. And again, with office printer, it's only got four inks, 590 patches is going to be plenty. Then I click on Next. And it asks you what device you are using. We're using (UNKNOWN) Pro two. We're using 8 1/2 x 11 paper, and you can see there's lots of different choices there. And we're going to use just a default patch layout and inches.
So, typically, you would print this now. I've already got this printed, so lets go ahead and click on Next. And it says the device is not calibrated so we need to calibrate it first. So I'll just click on the side of the i1Pro 2 which is sitting on its calibration tile and we'll go ahead and do its calibration system. The device is ready and now there are different measurement modes. Their spot. Well that mean you actually measure each patch individually. And that will take a long time, and I don't recommend it. Single Scan means it's going to scan in one direction, and that's it.
Double Scan, or Dual Scan, it would read every patch twice. Again, for this type of printer, Single Scan is going to be plenty. We're going to the C 88 And this is actually a luster stock or a pearl stock, but that's considered a glossy stock. So we'll leave that there. And it's telling us go ahead and measure row one on page one. So I just click on the device. I wait for my little sound to tell it its ready, drag across, and if the row has been measured successfully, it'll automatically drop down to the next row.
(SOUND) And wait for the tone. And you can scan in either direction. So here, we see the measurement's been completed successfully. We can click on next. After the patches have been read in, the software asks you what light is going to be illuminating your print? And default is a daylight setting which is D50 here. Now if your print is going to be shown under some other type of light source you may want to adjust the profile so that it reflects that particular light source. Now these numbers and letters are not particularly helpful by themselves if you've never seen them before.
D50 is pretty straight forward. It's day light. But all of these f's are fluorescent tubes. So lets take a quick look. I'm going to jump over to a wikipedia page. And what you see here is a listing of all the f numbers. The different fluorescent tubes. And then on the right hand side what they are. So if you do know that the print you're going to be hanging is going to be under cool white fluorescent tubes you can see that f2 would be the correct choice. Conversely, if it's a daylight fluorescent tube, it's F5. So let's jump back to the software and see what that means.
Take a look at the spectrum here, and if we go to F2, which is cool white, you can see in this particular lighting, there's a very strong spike in this green, and this yellowish green. If you put a normal daylight print under these lights, these colors would counteract their opposites. So if you had a strong green spike, that would cancel out some magenta in a print. By creating a profile based on this particular lighting system, it will actually subtract out some of the green and this green-yellow from the print so that when you put it underneath this type of light, it illuminates correctly for you.
One of the cool options in this software but we're going to stick with the daylight profile for this one. So we tell it daylight. And we'll move on. And by the way another cool thing about this system is after you've done your measurments you can save them. So we can save this data call it our default and we can then go back to it and recreate the profile for different lighting situations. Should we need to create a print that's going to be hanging under some kind of strange lighting. So again we'll stick with all of the default settings. Most people are not going to need to go to the advance settings.
And then you have an option to giving it a name. So in this case this is IlFred's gold fiber silk paper. So I'm just going to call it Illfred GFS. And it was for a C88 printer. Then I just click on create and save profile so Island Profiler is finished generating the profile. It's now ready for us to use in all of our editing applications.
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