Download Color Management for Digital Photographers For Dummies by Ted Padova, Don Mason PDF

Download Color Management for Digital Photographers For Dummies by Ted Padova, Don Mason PDF

By Ted Padova, Don Mason

* indicates electronic photograph lovers tips to make sure that the colour in a picture dossier is thoroughly represented and reproduced, from digital camera or scanner to watch or printer* choked with colour administration suggestions that would support newcomers create picture-perfect photographs* Discusses the most parts of colour administration together with figuring out mild, matching electronic photographs to monitors and prints, operating with colour areas, calibrating a printer, and utilizing colour administration instruments* Familiarizes readers with a few of the colour administration instruments that support calibrate constant photograph caliber

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Extra resources for Color Management for Digital Photographers For Dummies

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The backlight is always bright — very different from a CRT. We worked long and hard to create a foolproof way to visually calibrate an LCD monitor. If you decide to use a visual calibration tool, check out the section “Adjusting Hardware Controls on an LCD Display,” later in this chapter, and you should get a result that matches your print outputs much more closely than the monitor default settings. Just keep in mind that you need to use a hardware calibration device for the very best results. An LCD monitor that’s calibrated for print work always looks darker and warmer in tone than with the factory default settings.

On Windows, Adobe provides you with the Adobe Gamma control panel when you install Photoshop Elements. These software tools allow you to make visual monitor settings as you work through steps in a wizard window. 33 34 Part I: The Basics of Color Editing Before you can use the visual calibration tools on a Windows machine or a Mac, you need to do a little work making some hardware adjustments. Without making some hardware corrections, your software calibration tools won’t get your monitor to closely match your printed output for color and brightness.

Unlike a camera, we tend to see colors as normal no matter what kind of light is illuminating a scene. Set your camera to daylight balance, however, and that department store interior most likely photographs with a strong, yellowgreen colorcast from the indoor fluorescent lighting. Your eyes see no cast at all. That’s because your brain figures out a real white point and adjusts your internal white balance in an instant — pretty amazing. This property of your eyes is very important when it comes to editing images on a monitor and viewing the resulting print outputs.

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