Download Color Confidence: The Digital Photographer's Guide to Color by Tim Grey PDF

Download Color Confidence: The Digital Photographer's Guide to Color by Tim Grey PDF

By Tim Grey

Colour self assurance is a pragmatic, results-oriented publication that offers photographers the information they should deal with colour successfully from catch to output. electronic imaging professional Tim gray designed this publication for busy photographers who are looking to get effects with no wading via hundreds information regarding colour science—-distilling crucial suggestions into real-world use. He teaches in simple terms the speculation that photographers needs to comprehend to appreciate how colour administration works, and specializes in the sensible details they should make judgements while operating with their photographs: the particular methods that in achieving the easiest effects possible.

Managing colour images within the electronic age is hard. Is it attainable to get predictable colour with no bogging down in technology?

In this re-creation of the first actual functional consultant to paint administration, electronic imaging specialist Tim gray provides a convincing "yes" and gives the an important details you must get the colour you will have, each time. essentially explaining colour administration workflow, he distills the method for the genuine world—from trap to output.

You'll the way to quick get predictable colour effects throughout all devices—from cameras, screens, and printers, to scanners and raster snapshot processors (RIPs). up-to-date with new info on Photoshop®, RIP expertise, and calibration, this results-oriented publication is a needs to for all critical photographers.

Inside, you'll become aware of how to:

Calibrate your visual display unit speedy and accurately
Configure colour Settings in Photoshop for the output you need
Scan for top effects, beginning with selecting the right scanner
Use a RIP for quicker caliber printing
Select the right kind colour operating space—RGB, CMYK, spot colour, or others
Manage your digicam trap with presets and customized profiles
Adjust colour degrees, curves, and hue
Solve the magenta challenge and different saturation issues
Set up customized, canned, or time-honored printer profiles
Produce color-accurate pictures for printers, the internet, electronic mail, and slideshows
Understand colour workflows—Scan-to-Print, electronic Camera-to-Print, and extra

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Additional resources for Color Confidence: The Digital Photographer's Guide to Color Management

Example text

And at the ends of the day, during golden hour (see below), the intensity of rich, warm sunlight set off against deep shadows gets many landscape photographers excited, particularly those shooting in stark landscapes like the Arizona desert. What hard light does have going for it is hard shadows and an intensity that, with a suitable subject, can deliver a degree of abstraction. Abstract imagery is a move away from the real, turning a scene into something else, at least until the viewer’s eye has settled down to seeing what is really going on.

The best candidate for this turned out to be the Olympeion, also known as the Temple of Olympian Zeus: 2nd-century marble columns set against a 1970s apartment block. It had the added advantage of being graphic— verticals against horizontals. What light would work best? A pretty end-of-day, or something starker and more in keeping with the idea? I used a similar setup for the forlorn traffic junction on the right, which is not, as you may suspect, the scene of recent heavy shelling, but yet another Chinese city block in the process of redevelopment.

The image has structure, and leads the eye. W. Turner, as the illustrations show. A key addition to moving the eye from shade to light was that classical landscape paintings also needed human figures, and both Lorrain and Turner used another special technique to coax the viewer’s attention. They created a pool of light within the foreground-to-middle ground. Two great examples are Lorrain’s “Rest on the Flight into Egypt,” painted in 1644 (his “Moses Saved from the Waters,” 1639 is startlingly similar) and Turner’s “Crossing the Brook” from 1815.

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