Join Joe Brady for an in-depth discussion in this video Adjusting profiles for viewing conditions, part of Advanced Color Workflows for Photographers.
…All of the profiles we've created and used so…far have assumed that the light illuminating the print is daylight.…But what if the primary light source on the print is another light, and…it has a very different spectrum than the relatively continuous spectrum of the sun?…There is some changes in the light spectrum that you can easily see.…Dim, Tungsten bulbs obviously take on a yellow cast.…But what about other light sources?…Bulbs of every kind have a different spectrum of light that they put out.…That means that there are peaks and…valleys in the amount of each wavelength of light produced by each bulb.…
Standard flourescent tubes have very strong spikes in both green and…blue, and fall off in deep reds and violets.…Your eyes automatically adapt to this, and the light seems normal.…Your prints, however, aren't so lucky because they depend on reflected light for…your eyes to see the color of the inks.…Here's an example of what can happen.…Using the fluorescent bulb that we just spoke about,…imagine that you have a print containing a lot of magenta and…
In this course, Joe Brady builds on his Color Management Fundamentals course, focusing on color-management issues of specific interest to photographers. After a review of digital-color concepts, the course explores creating color profiles for each device in the digital photography workflow, from monitor to printer, to camera. Joe demonstrates the tools and techniques behind color profiling, even covering tablets—ideal for photographers using iPads or Android tablets as wireless remote controls.
- What gear can and should be profiled?
- Comparing color spaces
- Choosing a monitor
- Profiling your monitor
- Paper-profiling devices
- Profiling iOS and Android devices
- Soft proofing