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Throughout history many artists have had interesting and passionate relationships with color. And it makes sense, right, because color is really quite powerful. And the same goes for photography. Many photographers have always been fascinated with color. And sometimes in photography what happens is color gets kind of complex and it gets complex because there are so many different variables, whether our monitors or cameras or output. Now as a result, an entire industry has blossomed around this idea of color.
And it's called color management. And in this industry or in this field, what the goal is is to try to increase the accuracy of recreating color or working with color. It's trying to help photographers improve the way that we work with color. Well, let's dig into this topic a little bit, so that we can improve our overall color workflow. Now, for starters, if I had to distill color management, what I would say is it comes from this type of a scenario. Have you ever viewed an image on your monitor and you said, wow, this looks really good.
You send it to the printer, and the print doesn't look very good. There is some kind of breakdown in communication. Well, that happens because the color created on our monitor is created via light, versus the color created on our printer is created via ink. So somehow the translation of the color didn't make sense. The translation broke down. So color management is all about adding more clarity to this translation process. Sometimes I find it's kind of helpful to try a little bit different type of an explanation.
So here goes. Let's say for the sake of an argument we are working on this photograph here. And one of these leaves here is a red leaf. And this leaf, let's call it, just for the sake of argument, red number 3. And we decide we are going to print this image. Well, this red 3 can't go directly to the printer; rather it has to go through a translation process. That red 3 needs to become a "red 1" inside of the Lab color space. And then the Lab color space, well, that has to go to the CMYK color space, where that 1 becomes a 6, and then finally the image is printed out and it looks exactly as it appeared or close to as it appeared on our monitor.
So the only way to reproduce red 3 is to go through this translation process, which ultimately gives us really good color. Now, this translation process is really quite interesting, and there are a number of different steps involved in this. Yet to distill it, it really makes sense that we have these different types of color in different context. Well, whether or not that explanation really helps, here is something that I hope does help. Distilling color management really is this. It's about clarifying communication between multiple devices, whether it's our monitor and our printer, or our camera and our monitor, or whatever it is, it's all about clarity.
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