Real World Color Management

BESTSELLING REFERENCE NEWLY REVISED
REALVWORLD
Management
If
Color
SECOND EDITION
DUSTRIAL-STRENGTH PRODUCTION TECHNIOUES
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.echnilpies.
accurate, consistent
color reproduction
Color
management in
popular graphics apps
Expert advice on
building, evaluating,
and
editing ICC profiles
BRUCE FRASER, CHRIS MURPHY, and FRED BUNTING
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Real World
Color Management,
Second
Real World
Color Management,
Second Edition
Industrial-Strength Production Techniques
Bruce Fraser
Chris
Murphy
Fred Bunting
Peachpit Press
&
Bruce
To Angela,
my angel, for every reason

Chris
To
in the world.
Mom and Dad.

Fred
To Yolanda,
and to Emily,
my mother, who epitomized an intense desire to write, my daughter, who seems to have inherited that desire even
without (or perhaps despite)
my help.
Real World Color Management, Second Edition

Bruce Fraser, Chris Murphy, and Fred Bunting
Copyright 2005 by Bruce Fraser, Chris Murphy, and Fred Bunting
Peachpit Press
1249 Eighth Street
Berkeley,
CA 94710
510/524-2178
Fax: 510/524-2221
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at:
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send a note to errata@peachpit.com
Cover Design: Aren Howell Cover Illustration: Jeff Brice Cover Production: Mimi Heft
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The information in this book is distributed on an
"As Is" basis, without warranty.
While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit Press shall have any liability to any person or entity with
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by the instructions contained in this book or by the computer software and hardware products described in it.
ISBN 0-321-26722-2
987654321
Printed and
bound
in the
United States of America
Overview
The Big Picture
pREFA^^^WvolOT Management Conundrum
PART I Introduction to Color Management
ONE
xix
1
What
Is
Color? 3
51
TWO
THKKE
Computers and Color

Color
All
Management 79
Profiles
FOUR
About
99
Profiles 111
113
PART
II
Building
and Tuning
nvE
SIX
SEVEN
Measurement, Calibration, and Process Control

Building Display Profiles 125
Building Input Profiles 147 Building Output Profiles 163
Evaluating
EIGHT
NINE
and Editing
Profiles
209
PART III Applications and Workflow 269

TEN
Color
Color
Management Workflow
Management
in
271
ELEVEN
the Operating System 305
TWELVE
THIRTEEN
The Adobe
Cok>r
Common
In
Color Architecture 341

11
Management
MacTomedla ReeHand 10 and
381
FOURTEEN
FIFTEEN
SIXTEEN
Color
Color
Management Management
in in
CorelDRAW
10 393
QuarkXPress 405
Color
Management and PDF 423

Scripting 457
SEVENTEEN
Automatlon and
EIGHTEEN
Bulldlng Color-Managed Workflows 483
PART IV Appendices 509

APPENDIX A APPENDIX B
Profile
Anatomy
511
Workflow Templates 523
Contents
What's Inside
Overview: The Big Picture

Contents: What's inside
Preface:
v
vii
The Coior management Conundrum Why Did We Do This?

Understanding the Big Picture
Sweating the Details Making It Flow
xix
xx
xx
xxi
xxi
xxii
Why Did We Think We Could Do This?

How the Book Is Organized Thank You! Contacts and Resources
xxii
xxiv
xxvi
i
PART
Introduction to Color
1
Management
Chapter
What
Is
Color? Reflections on Life Where Is Color? Light and the Color Event
Photons and Waves
4
6
6
7 9 10
11
The Spectrum
Spectral Curves
Light Sources Illuminants
VUI
The Object and the Color Event

Reflection
12 13 13 15
and Transmission
The Color of White

Fluorescence
The Observer and the Color Event

Trichromacy: Red, Green, Blue
16 16
Opponency: Red-Green, Blue-Yellow
22
Metamerism
Non-Linearity: Intensity and Brightness
25
31
Achromatic Component: Brightness What's a Logarithm, and Why Should I Care?
32
33
Chromatic Components: Hue and Saturation Measuring Color
34 37 37 38
40
We Cannot Truly Measure Color, Only Light

Densitometry
Colorimetry
Spectrophotometry
44
45
Where the Models Fail

Color Constancy
Psychological Factors: Color
46
Names and Memory Colors
48 50
51
Lessons for Color Management
Chapter 2
Computers and Color: Color by the Numbers

Color by the Numbers
52 53
53
WhyCMYK?
Analog Origins
Pixels, Dots, and Dithers
56 57 59
61 61
Digital Evolutions
How the Numbers Work Why 256 Levels?

Millions of Colors
Color Definitions and Colors
63
63
Why the Numbers Vary

Colorants (Primaries)
64
65
White Point and Black Point
Tone Reproduction Characteristics Device- Specific Color Models

Device-Independent Color Models CIE LAB
66
67
69 70
71
LAB Limitations
Alphabet Soup
72
Contents
ix
Mismatching
the Limits of the Possible Device Limitations Gamut and Dynamic Range
72 72
Tone and Gamut Mapping

Color is Complex
74 78 79
81
Chapter 3
Color Management: How It Works The Genesis of Color Management The WYSIWYG Myth The Components of Color Management The PCS
Profiles
83 83 84 84
The ICCSome Historical Perspective The CMM What Does CMM Stand For?
85 86 86
87 88 93
Why Do We Need CMMs At All?

Rendering Intents Color Management in Action
Assigning and Embedding Profiles Converting with Profiles
93
94
How Conversions Work

Conversions and Data Loss
96 97 98
98
The High-Bit Advantage

Color Management
Is
Simple
Chapter k
All
About
Profiles: Describing Devices What Are Device Profiles?

Profile Classes
99 99
100
103 104 107
Matrix- Based vs. Table-Based ICC Profiles
Stimulus and Response Profile Limitations
Using Profiles
Source and Destination
108 108
109
Generic Profiles
Color Space Profiles
Good Profiles
110
111
PART
II
Building
and Tuning
Profiles
Chapter 5
Measurement, Calibration, and Process Control: "The Map is Not the Territory"
Keeping Track of Device Drift
Stimulus and Response
Controlling Variables Controlling Variability
113
114 115 115 119
Real World Color Manasement, Second Edition
The Multiple Roles of Measurement

Evaluating Devices Calibrating Devices
119
120
121
Monitoring Devices Working Outside the System
122 123
Chapter 6
Building Display Profiles: Your

Display Calibration
Window
to Color
125
126
127
What to Adjust Calibration and Profiling Tools

Muddying
the Waters
128
129 132 133
Instruments
Choosing Calibration Settings Target White Point

Target
134 135 136 136 136
Gamma How Often Should I Calibrate?
Before Calibration
Warm-Up Time
Resolution, Refresh,
and Other Monitor Settings
137
Cleaning the Screen

Precalibration
Setting the Analog Controls
137 138
138 140 142
Setting White Luminance Setting Black Level Setting the Color Temperature
Calibration and Profiling Saving the Monitor Profile
144
144
Visual Calibration
145 146
Piece of Cake
Chapter 7
Building Input Profiles: Starting

Input Profile Basics
Input Profiling Targets Input Device Variables
Out Right
147
148
148 152 153
Building Scanner Profiles

Stabilizing the Scanner's
Response
153 154
Optimizing the Scanner's Response
Scanning the Target Building the Scanner
154
Profile
156
Building Digital Camera Profiles
157
Contents
xi
Controlling the Camera's Response
157
Capturing the Target

Building the
158
Profile
Camera
159
161
Starting Out Right
Chapter 8
Biiildins
Output
Profiles: Final Destinations
les
164
The Moving Target and the Rubber Ruler

Measuring Instruments
165 165
Measurement Geometry
Aperture Size
Filters
166
167
Backing
168
168
Handheld Instruments
XY Plotters
Strip
170
171 171
Readers
Profiling Paclcages
Instrument Support
Profile Creation
172
173
175
Targets
Data Averaging
Linearization
178 178
179 182 182
Parameter Controls
Profile Editing
Getting Good Data
Opening and Printing the Target

Opening the Target
Printing the Target
Profiling RGB Inkjet Printers Before Profiling RGB Inkjets
182 183
184
184 185
Comparing Colors
Creating RGB
Profiling True
Inkjet Profiles
186
190
191
RGB Printers
RGB Printers RGB Printer Profiles
Dye-Sub Printers
Before Profiling True
191
Creating True
192 192 193
Profiling Three-Color
Profiling Composite CMYK Printers Before Profiling CMYK Color Laser Printers Creating CMYK Color Laser Profiles
194
195
xii
Ink Limiting
Before Profiling
196
CMYK Inkjets
196 197
198 198 199 199
Black Generation
Creating CMYK Inkjet Profiles
Before Profiling Solid Ink Printers

Creating CMYK Solid Ink Printer Profiles Before Profiling CMYK Dye-Sublimation Printers Creating CMYK Dye -Sublimation Printer Profiles
Profiling Printing Presses
200 200
201
Before Profiling Presses
Don't Profile the Press?!

Profile the Press
202 203
Once
Optimized or Standardized Press Behavior

Creating Profiles for Presses
Intentionally Non-Linear
Profiling Multichannel Printers
204
204
205 207 208
209
Checking the Map
Chapter 9
Evaluating
and
Editing Profiles: Color Orienteering
Judging the
Map
210
210
211
Viewing Environment
Surfaces
Lighting
212 213
Counting Photons
Evaluating Profiles Checking the Display
216
217 217
222 225
Monitor Calibration Monitor

Profile
Input Profiles
Measurements to Pixels and Back

Basic Test for Input Profiles
225
226
226 227 238
242 249 255
Objective Test for Input Profiles
Objective Objectives
Subjective Tests for Input Profiles
Editing Input Profiles

Calibrating
Camera Raw
Output
Profiles
Objective Tests for Output Profiles
256
262 263 264
ColorThinkPro
Subjective Tests for Output Profiles
Profiles
Editing Output
Contents
Edit, Reprofile, or
Profiling
Is
xiii
Update?
266 268
268
Iterative
Where Do We Go from Here?
PART
III
Applications and Workflow
269
Chapter 10 Color
Management Workflow: Where the Rubber Meets the Road

What Is Color Management Workflow?
Display Conversions
271
272
274 275
275
When to Convert
Early Binding Advantages
Early Binding Disadvantages
276
276
Late Binding Advantages Late Binding Disadvantages
276
277 277
Avoiding Extremes
Intermediate Spaces
The Intermediate Space Advantage

Conveying Color Meaning
280
280
Embedded
Profiles
280
281
Premature Binding
Terminology: Tagging, Assigning, Embedding, and Assuming
282 283
Assumed
Profiles
Hybrid Workflows
284 285
285
Workflow Within a Program

Opening Untagged Documents Opening Tagged Documents Color Management Between Documents Assigning, Converting, and Soft-Proofing
Soft-Proofing Basics
Printing and Proofing Workflow Between Programs
286 287 288

291
292 295
Workflow Into and Out of Color Management

Bringing Color Into a Color-Managed Environment When Color Management Starts
296 296
297
The Limits of the Knowable

Preparing Materials for a Non-Color-Managed Print Environment
.
299
300
301
Fear of Embedding
Preparing Materials for the Non-Color-Managed Internet
Internet Color Workflow
302 303
Understanding Workflow
303
XiV

11
Chapter
Color Management in the Operating System: Wiio Does What to Whom, When?
Color
305
Management
in OSs, Applications,
and Drivers
306 307
ColorSync and ICM What Are They? What
Do They Do?
307 308 309

310
311
Mac OS 9
ColorSync Control Panel Settings
Monitor Settings
Mac OSXPanther (10.3.x)

Rules of Engagement Displays Panel Settings
312
314
315 315
The Generics
Profile Locations
Locations for
CMMs
316 316
317 322 322
323
ColorSync
Utility
QuickDraw, GDI, and Quartz
Windows
Setting the Active Color Profile for the Display
Preview
Locations for Profiles
324 324 324 325
Color Management in Applications
Color-Managed Applications
CUPS
Non-Color-Managed AppHcations Color Management in Printer Drivers
Default Behavior
326
327 327 328
329
Source Profile Assumptions

Raster Drivers
PostScript Drivers
334 337
339
Color Management in Scanner Drivers

East
Is East, West Is West
Chapter 12
The Adobe
Color
Common
Color Architecture:
341
Management in Adobe Photoshop, InDesign, and Illustrator Color Settings Command Central for Color
Settings
342 343
Default Profiles
Working Spaces Default Conversion Settings
344 344 346 354
Management Policies Warnings Manual Overrides
Color
Advanced Options
Contents
XV
356
357
Manual Assignments and Conversions

Assign Profile
Convert to Profile
358
360 360
Color Managing Imported Graphics

Placed Graphics in Photoshop
Placed Graphics in InDesign
Placed Graphics in Illustrator
360
362
365
Simulations and Soft-Proofing

Simulations in Illustrator Simulations in InDesign Simulations in Photoshop
Soft-Proofing Practices
365 366 367

Pitfalls
and
369
Printing
370 375 375 376

379
11:
Adobe Camera Raw Digital Raw Camera Raw and Color The Same, But Different
Chapter 13 Color
Management
in
Macromedia FreeHand 10 and
Capable But Quirky

FreeHand's Color Preferences
Color
38i
382 382
Management Types
Kodak Digital Science and Apple ColorSync Manual Assignments

Object Palette
384
387 387
Exporting TIFF
388
389 389 390
391
EPS and PDF

Printing
Gotchas
Be Careful
Chapter 14 Color
it
392
in
Management
CorelDRAW
10:
Manages Everything But Its Own Files Color Management Preferences Internal RGB
Monitor
393
394
395
396
Composite Printer
Import/Export Scanner/ Digital Camera
Separations Printer
397 397 398 398
XVi
Importing
399 400
401
Manual Controls
Exporting
Profile
Embedding
402 402
Printing Strengths and Weaknesses
404
.
.
Chapter 15 Color
Management
It
in
QuarkXPress: Incremental Improvements.
405
Turning Turn Off QuarkXPress 3
Off
406 406 407 407 407 408 410

411
CMS (Mac OS Only) Turn Off QuarkXPress 4, 5 and 6 CMS Built-in Color Management
QuarkXPress 4 QuarkXPress 5 QuarkXPress 6 Color Management Preferences
Manual Controls
Get Picture
Profile
414 415
Information
416 416
419 419
421
Printing
Hard Proofing
Compass Pro XT
The 800-Pound Gorilla
Chapter 16 Color
Management and PDF: The Wave

The Flavors of PDF
of the Future
423 424
PDF Versions
PostScript Color
424
Management
425 427 430 430

431
PDF/X
Distiller 5
Compatibility
Color Settings
Making PDFs
Acrobat 5
Color
434 438
Management Preferences
438 439
441
Printing
Distiller 6
PDF/X-la, PDF/X-3
442
Acrobat 6
Color
444
444
Contents
xvli
Proof Setup and Proof Colors

Preflight
445 445 448 448 450

451
Printing
InDesign CS Export PDF
PDF
Export Presets
Export PDF EPS, PDE and AI Formats
453
453
Third-Party Stuff
Enfocus PitStop Pro Other Products
453
455
455 457 457
The Wave of the Future

Chapter 17
Automation and Scripting: The Smart Way To Be Lazy Why Automate?

Color Servers
Color Server Pros Color Server Cons
458 459
460
461
Examples
Color Server Questions DeviceLink Profiles
463
464 464 465
More about Links
Why use DeviceLinks?

Making DeviceLinks
466
467 468 468 470
How to Use These Darn Things?

Prepress Solutions Who Should Consider Prepress Solutions?
The Downsides
Examples
Important Questions In-RIP Color Management
470
472 473 474 474
474
The Good
The Bad (and The Ugly)

Scripting
What Is Scripting? What Can Scripting Do?

Scripting Advantages Scripting Disadvantages Scripting Examples
475 475
475
476 476
Profile
Hybrid Scripting and Remote The Automation Trade-Off
Access
480 482
XViii
Chapter 18 Building Color-Managed Workflows: Bringing The Four Stages of Color Management
Defining Color Meaning Normalizing Color
It
All
Together
483
484 485
486
488 489
Converting for Output

Proofing
Step-by- Step Color
Management
and Devices
490 490 490

491
Determining Your Needs

Software, File Formats,
What Outputs Do I Need?

Automation and Quality
493
WorkflowTools
494 494
495
Embedded or Assumed Profiles

Normalization and Editing Spaces
The Cop at the Door Warnings LABThe Great Normalizer

Black Preservation and Device-Dependent Data
497 497
498 498
Named-Color Systems Simulations and Soft Proofs

Hard Proofs
Output Conversions
Final Analysis
499
500
501
502 502 502 503
One Ptxel's Journey.

Capture a Pixel
Define the Color
Normalize the Color

Simulate the Output
504 504
505 505
Optimize for Output Convert for Output

Proof the Output
506 506
Hand Off the Color

The Devil Is in the Details
507
509
PART
iV
Appendices
Appendix A:
Appendix
Glossary
B:
Profile
Anatomy
511
Workflow Templates
523
533
Index
555
Preface
The Color Management
Conundrum
If you've
picked up this book because you simply want us to
tell
you which
when you run into this or that application's color management features, put it down again. Although this book starts from the
buttons to push
point of view of a beginner in color and color management, and builds
up from
there,
we don't think a cookbook or color management book for

the topic justice
dummies could do
this
isn't
that book.
However, you don't have to be a rocket scientist (or any other kind) to benefit from this book. What we've learned about color manage-
ment we've learned the hard way by using it, making a lot of mistakes, correcting those mistakes, and using it some more. This is a book for color
management
users, not for color scientists,
and we guarantee
to
that
it's
completely equation-free.
The reasons we won't just
tell
you which buttons
push are
The answers depend on which buttons you've already pushed and what you're trying to achieve.
Application vendors have a distressing propensity for moving or
renaming the buttons.

Sometimes, a button
will
do
different things in different situations.
The
biggest reason of
you wouldn't
if we told you which button to know what it did or why you were pushing it.
all
even
push,
xix
XX
Instead, we've
aimed
for
something a
little
more ambitious, but we

attempted to give you
hope a great deal
more
useful. In this book, we've
the vocabulary, knowledge,
and
insight to see
beyond the buttons and

to fish instead of
understand what they do, even if you've never seen these particular buttons
before. In terms of the old
saw about teaching a man
giving a
man a fish, we're trying to make you marine biologists!
Why
Did
We Do This?
We wrote this book for a lot of reasons, some better than others. The biggest
one
is
that hardly a day goes

if
by without
at least
one of us receiving an
about color manage-
email asking
there's a
good resource
are,
for learning
ment. Well of course there
but they're almost invariably written by
color scientists for color scientists
and while they're both fascinating
and indispensable, they tend to be long on equations and theory, and short on practical advice on how to actually use color management tools
in production scenarios.
Then there's the other type of color management resource
the happy
devel-
marketingspeak that promises to make your printer match your monitor.
We wish the people who write these would turn their attention to
oping an antigravity drive instead

so blithely, they
if
they can violate the laws of physics
may
as well use that ability to produce something that
everyone can use!
For those of us
who have
to use color
management
to
produce
real
work, both the aforementioned types of resources are useful in the
same
way (as Chris would say)

San Francisco
that a bicycle
is
useful when you have to get from

for this book.
to Portland.
Hence the need
We've tried to
pack in everything we've learned in the close to three decades that we've collectively spent laboring in the vineyards of color management, including, especially, all the things the
manuals don't tell you.
Understanding the Big Picture

you don't understand the Big Picture, the basic underpinnings of color management, it may seem like magic when it works, and like black magIf
ic
when
it
doesn't.
It isn't
magic, of course
it's
just
some
rather clever
technology based on some very solid, but limited,
science.
Human vision
Preface:
The Color Management Conundrum
xxl
is
a wondrously complex
phenomenon, and
explain
it.
a great deal remains to be
learned before
If
we can
fully
you understand the way the technology works, and the scope of the mathematical models on which it's based, you'll have a much easier time
making color management work fails to do so.
for you,
and troubleshooting
it
when it
Sweating the Details

One
ot the keys to successful color
als largely ignore
management
one that the manuwe use

to
is
paying close attention to the myriad factors that
influence both the behavior of the various hunks of machinery
reproduce color, and the way
we
perceive that color.
Our
scanners, digital
cameras, monitors, printers, and presses are all physical devices, and hence
they're subject to physical influences
heat, humidity, and friction to name but a few that change the color they produce, and our perception of that
is
color
strongly influenced by the

details
environment
in
which we view it.
So sweating the
keeping track of the way your various devicwhen

necessary,
es behave, correcting that behavior
environment
in
which we judge that behavior
and controlling the
is
an essential but largely
undocumented part of the color management

succeeds or
the
process. Color management
fails according to the accuracy with which we can describe our colorway reproduction devices behave, but if that behavior isn't
stable
and
ing target with a rubber ruler you probably won't get the same answer
twice in a row.
repeatable, attempting to describe
it is
like
measuring a mov-
Malfing
Color
it
Flow
doesn't exist in a
management
is
vacuum. Useful, real-world color
management
simply a part, albeit a useful and important part, of an
entire workflow. But the people
who
publish the software simply docu-
ment how their particular piece

the bigger picture.
of the puzzle works, not
how it
fits
into
Everyone's workflow is to
some extent unique, so rather than just laying show you how to analyze
it
out a color management workflow, we've tried to

color
management
so that you can integrate
as seamlessly as possible,
efficient.
and even
refine that
into your own workflow workflow to make it more
xxii
Why
Did
We Think We Could Do This?

It
seemed simple when we

all
first
conceived the idea.
All three of
us are
premature adopters of color

we've
management, with the scars to match, but

in mission-critical scenarios.
made
say,
color
management work
Needless to
we
grievously underestimated the
amount
of
work
this
book would entail, and the time it would take us to complete that work for those of you who have watched the publication date slip ever-further
into the future, the wait
is
over.
Writing this
book forced us to learn things we thought we already knew,
and turned up masses of material that fell into the category Fred likes to refer to as "more interesting than relevant." We've tried to limit the contents of the
we'll save the rest for the Color Geek Trivia Millennium Edition board game.
book to the material that's both interesting anrf relevant
intimately acquainted with the
We may have been arrogant when we started out, but we all three are now
meaning of the word "hubris."
How the
Boole
Color
Is
Organized
is
management
bottomless pit
a an immensely deep subject Bruce with tendrils stretching into many different areas ranging
calls
it
from the physics and chemistry of our devices, to the behavior of our software and computer systems, to the neurophysics and psychophysics
of our perceptual systems, to psychology,
tried to
and even
to language.
So we've
in
break
it
down
into
manageable
categories,
and present them
a logical order.
Part
I:
Introduction to Color Management. In the
first
four chapters,
we
try to lay the

first
groundwork for the

it's
rest of the
book.
We put this information

it is,
because
hard to manage color if you don't know what
or
it.
how
your various software and hardware tools represent and reproduce
What Is
Color?
Computers and Color

Color
All
Management
About Profiles
Preface: The Color
Management Conundrum
XXlH
or
Part
fails
II:
Building
and Tuning
Profiles. Color
management succeeds
on the accuracy of the
profiles
we use
to describe the
way
all
our
color-reproduction devices behave, so the next five chapters look at tried-
and-tested real-world techniques for creating, evaluating, tuning and
maintaining device
profiles.

Building Display Profiles Building Input Profiles
Building Output Profiles
>'
Evaluating and Editing Profiles
Part
ful if
III:
Applications and Workflow. Color management

it
is
only use-
you can integrate
into a working production system, so the final

first
nine chapters look at color management workflow,
from an analytical
standpoint, then in terms of the actual tools offered by key applications,
and
finally as a
nuts-and-bolts series of decisions you need to
make
in
order to produce a functioning color
management workflow
that suits
your needs.
Color
Color
management Workflow
Management
in the
Operating System
The Adobe
Color Color
Color Color
Common Color Architecture

10
Management in Macromedia FreeHand Management in CorelDRAW

10
and
11
Management in QuarkXPress
Management and PDF
Automation and Scripting

Building Color
Managed Workflows
xxiv
Part IV: Appendices. This section contains supplementary material that
we hope you'll find both interesting and relevant.

Profile
Anatomy
Workflow Templates
Glossary
Thank You!
We couldn't have produced this book without the help of many individuals we'd like to thank here. We owe a huge vote of thanks to the Dream Team at
Peachpit Press
Rebecca Gulick, editor extraordinaire, who knew exactly

to refrain
when
files
to
bug us about deadlines and when

faithfully translated to ink
at Peachpit.
it
from doing
so,
and
Lisa Brazieal, our ace production coordinator,
who made sure our digital
were
all
on paper
we'd
like to
thank them
and
our other friends
Emily Glossbrenner produced the

exactly
all
index in record time, and delivered
when
she'd promised.
And
special thanks to Liz Welch for catching

cies at the 11 th
hour
any that remain are entirely our

and colleagues
those typos and inconsistenfault.
We owe
a debt to our peers
in the industry, but we'd
particularly like to
thank Michael Kieran and
Don Hutcheson
for their
constant encouragement and generosity of spirit
both slogged their way
through early drafts and provided
many helpful suggestions.
Several vendors were generous in providing equipment, support, advice,
and encouragement. Special thanks go to Brian Levey at ColorVision; Nick Milley and Tom Lianza at Sequel Imaging; Thomas Kunz, Brian Ashe,
Liz Quinlisk,
and Roland Campo

at
at
GretagMacbeth; Bonnie Fladung and
Marc Levine at Monaco Systems,

Inc.;
Inc.;
John Zimmerer at Apple Computer,

at
Steve
Upton
www.chromix.com; Thomas Knoll and Chris Cox
Adobe Systems, Inc.; Chris Heinz at Eastman Kodak; Mark Duhaime at Imacon USA; Eric Magnusson at Left Dakota, Inc.; John Panozzo at Colorbyte Software;
at Integrated
Mark Geeves at BESTColor; Dan Caldwell and Bob Burnett
Color Solutions; and Parker Plaisted and Eddie
Murphy
at
Epson America.
Preface:
The Color Management Conundrum

especially
XXV
Bruce. "Thanks to
(the Digital Dog),
their
all
my fellow color geeks,
Andrew Rodney
of
Bruce Lindbloom, and Ian Lyons,
all
whom
share
in line
knowledge and expertise selflessly; the Pixel Mafia, for keeping me and in wine; Mike Ornellas for making me appear relatively sane;
Mike 064 Freeman and Wendy Bauer for playing music with me for the last
20 years without undue complaints; to all the good folks on the ColorSync
User's List;
and most of all
to Angela, for her patience,
wisdom, strength,
and
love."
Chris. "For at least

entirely,
I
cushioning the
fall
to insanity,
if
not preventing
it
thank Jay Nelson, Ben Willmore, and Eric Magnusson for their and advice. A special thank you to John Zimmerer, Kevin Depatience Palmer, and Michael Kieran who actually got me started on this path;
Mike Rodriguez and Martin Bailey for providing their knowledge of standards, prepress workflow, and PDF; to Nathan Wade for automation
to
Andrew Rodney for being so gracious with his knowledge, ongoing encouragement, and attempts to teach me 'Oh come on, just keep it!' And lastly to His Most Imperial Highness, who saw
and
scripting insights;
and
to
the beginning of this project but not the end, and the Orthutangans
ikmar beyvoodnnf
Ed Granger, my color mentor; Larry Baca, Rob Cook, Michael Solomon and everyone at Light Source; the good folks I worked with at X-Rite; Thad Mcllroy and The Color
Fred.
"My thanks can
start
nowhere but with
Dr.
Resource; Ty Roberts, Mickey Mantle, and

Pixar.
all
my friends at Gracenote and
who have known and my me this and somehow still like me: Alyson effort, encouraged throughout
a personal level,
gratitude to those
Gill,
On
who makes
it
so
don't ever have to worry about Emily; Eric Cave,
on things academic and co-producer with Alyson of the colorful Meghan; Paul and Alex, my supporting siblings and their families; Ann
advisor
and Charlie Bradford at the Island House; Lynn Harrington, my first color student; my Nobody Famous mates; and my students and colleagues at CCSF. But most of all, I have to thank my father Frederick Bunting for his
great strength
and v^sdom, but
also for exposing
me
to the incredible
beauty that
is
good engineering."
xxvi
Contacts
and Resources
We welcome email saying nice or not-so-nice things about this book. You
can reach us
at
rwcm@colorremedies.com. And as we're made aware of
the inevitable errata, we'll post updates, and
some
useful resources, at
www.colorremedies.com/realworldcolor/.
PART
Introduction to Color Management
What
Is
Color?
on
Life
Reflections
"It's
not easy being green," sang the velvet voice of Kermit the Frog, perto
haps giving us some indication of how the frog felt
be a felt
frog.
While
none of us may ever know the experience of "being green," it's worth reflecting (as we are all reflective objects) on the experience of "seeing
green."
You don't have
to
be a color expert to use color management. But
if
you're totally unfamiliar with the concepts behind the technology, color
management may seem like magic. We don't expect you to become as obsessed with color as we are indeed, if you want any hope of leading a
normal life,
we advise against but we do recommend that you familiarit
ize yourself with the
fundamentals we lay out in
this chapter.
They'll help
you understand the problem that color management addresses. The whole business of printing or displaying images that look
depictions of the things they portray depends
like realistic
on exploitmanage-
ing specific properties of the
way humans
see color. Color
ment is just an extension of that effort.

They'll explain
some of the terminology you'll encounter when using
color
management software
terms
like colorimetric, perceptual,
and
saturation, for example. A little color theory helps explain these terms
and why we need them.
The strengths and weaknesses of color management are rooted in our

ability (or inability) to quantify
human
will
color vision accurately.
If
you
understand
this,
your expectations
be more
realistic.
Color theory explains why a color viewed in a complex scene such as a
photograph looks
Understanding
"different"
from the same color viewed in isolation.
this helps
you evaluate your results.
You need to understand the instruments you may use with color management. This chapter explains just what they measure.
is
up to another reason for writing this chapter: color just really darned interesting. While this chapter sets the stage and lays
'fess
But we have to
the foundation for other chapters in this book,
we hope it will also
your curiosity about something you probably take for granted
your
you
spark
worry we won't bombard you with obscure equations, or

pass a graduate course in rocket science.
It's
ability to see colors. If you're intimidated
by
scientific concepts, don't

insist that
not absolutely necessary to
understand
all
of the issues we cover in this chapter to use color manage-
ment. But a passing familiarity with these concepts and terms can often
come
in handy.
And you may well come

your life,
in reality
to realize that, although you've
probably done
it all
"it's
not easy seeing green."
Where
Is
Color?
If you
want to manage
color,
it
helps to
first
understand just what
it is,
so
let's start
you're reading this book, you've probably done so more than most ^you may have gone through several
how much
you've thought about
it
by examining your current definition of color. Depending

if
on
definitions at various times in your
life,
but they've probably resembled
one of the following statements:

Color
a property of objects. This
the
is
is
first
and most persistent view

shoes."
of color.
all still
No matter how much we may have philosophized about color, we

lights,"
speak of "green apples," "red
and "blue suede
Chapter
1:
What
Is
Color?
Color is a property of light. This is the textbook counterclaim to the view

of color as a property ot objects. Authors of color books
to stress that "light
is
and papers love
color" or "no light,
no
color."
Color happens in the observer. This concept captures our imagination
when we encounter optical illusions such as afterimages, successive contrast, and others that don't seem to originate in the objects we see. Color
is
something that originates
in the
eye or the brain of the observer.

a blend of
all
The
true,
correct answer, of course,
is
three. All are partially
but you don't have to look far to find examples that show that none
itself, is
of the three statements, by
a complete description of the experi-
ence we
Color
call color.
is
an event that occurs among three participants: a light source, an object, and an observer. The color event is a sensation evoked in the observer by the wavelengths of light produced by the light source and
modified by the object.
event
color.
is
If
any of these three things changes, the color
different (see Figure 1-1)
in plain English, we see a different

and
biology.
We find it interesting that the three ingredients of the color event represent three of the hard sciences: physics, chemistry,
Un-
derstanding
how
light affects color takes
us into the physics of color;
Hgure
1-1
The color event
light source
A color event always has three participants.
understanding
faces
how
objects change light involves the chemistry of sur-
and how
their molecules
and atoms absorb
light energy;
and un-
derstanding the nature of the observer takes us into biology, including

the neurophysiology of the eye
and brain, and the threshold of the nether
regions of psychology. In short, color
is a complex phenomenon. The next sections explore this simple model of the color event in more detail. We begin with light sources, then move on to objects, and then
spend a bit more time with the subject most dear to you and you and us (the observers).
us,
namely,
Light
and the Color Event

The
first
participant in the color event
is light.
The party just
doesn't get
started until this guest arrives. But

acteristics of the light
all light isn't
created equal: the char-
have a profound
effect
on our experience of color.
So
let's
look at the nature of light in more
detail.
Photons and Waves

Many a poor physics student has relived the dilemma faced by eighteenthcentury scientists as to whether light is best modeled as a particle (the view
held by Sir Isaac Newton) or as a wave (as argued by Christian Huygens).
Depending on the experiment you do, light behaves sometimes like a particle, sometimes like a wave. The two competing views were eventually
reconciled by the
quantum theorists like Max Planck and Albert Einstein
into the "wavicle" concept called a photon.
You can imagine a photon as a pulsating packet of energy traveling through space. Each photon is born and dies with a specific energy level.
The photon's energy
level
ton travels through any given medium, the speed of light

for all photons, regardless of energy level. Instead, the
does not change the speed
at
which the phois
constant
energy
level of the
photon determines
how fast
it
pulsates. Higher- energy

all
photons pulsate
at higher frequencies.
So as these photons
travel together at the
same
speed, the photons with higher energy travel shorter distances between
pulses. In other words, they
have shorter wavelengths. Another way to

specific energy level,
level,
wavelength the higher the energy

Figure 1-2).
put
it is
that every
photon has a
and thus a
specific
the shorter the wavelength (see
Chapter
1:
What
Is
Color?
The wavelengths of light
are at the order of magnitude of nanometers,
or billionths of a meter (abbreviated nm).
The Spectrum
The spectrum
refers to the full
range of energy levels (vâvelengths) that
photons have as they travel through space and time. The part of this spectrum that tickles our eye is a small sliver from about 380 nm to about 700
nm that we call the visible spectrum, or simply,

RUIR
light (see Figure 1-3).
FIsurc 1>8
g)f-V-aIeR
-a-clh
dRbce g)f-V-aIeR
Wavelengths
wwwvwwwwwwv
Vlg-a-cl h(VbaIg)f-V-aIeR
n9ur1-3
The spectrum
short wavelengths (high energy)
long wavelengths (low energy)
nm
10
-9
1000
mn
mm
10-^
Im
10
1km
10^
10
-12
meters
io-
1
longwave
radio
gamma rays
microwaves
visible light
400
nm
500
nm
600
nm
Real World Color
Management, Second Edition
Our eyes respond only to this tiny sliver of the full electromagnetic spectrum, and they have varying responses to different parts of this sliver
the different wavelengths evoke different sensations of

at the
color.
So we've
come
nm)
to associate the different wavelengths with the colors they evoke,
from the reds
low-energy end (longer wavelengths at about 700
through the oranges, yellows,
and greens
to the blues
and
violets at
the high-energy end (shorter wavelengths at about 380 nm). Of course,

there's nothing in the electromagnetic spectrum itself that prevents us from naming more or fewer than six bands. Newton, for example, labeled
a seventh band, indigo, between the blues and violets. (Many historians
believe that
Newton was looking
for
symmetry with the seven notes of
the musical octave.)
But no matter how many bands you label in the spectrum, the order
reds, oranges, yellows, greens, blues,
and
violets
is
always the same.
(Fred
and Bruce spent
early years in a British school system,
and were
taught the
mnemonic
"Richard of York Gained Battles in Vain," while in

to the strange
list
the U.S., Chris

BiV")
was introduced
personage of Mr. "ROY G.

shortest to longest
We
could reverse the order, and
them from
wavelength (and hence from highest to lowest energy and frequency

but green would always
always
lie
the
lower the energy, the lower the frequency, and the longer the wavelength),
lie
between blue and

red.
yellow,
and orange would

but
between yellow and
In the graphic arts, we're mainly
concerned with
visible light,
we
lie
sometimes have
to
pay attention
to those parts of the
spectrum that
just outside the visible range. The wavelengths that are slightly longer
than red "below
light
occupy the infrared
(IR)
region (which means,
literally,
CCD
problems for digital cameras, because the (charge-coupled-device) arrays used in digital cameras to detect
red"). IR often creates
light are also highly sensitive to infrared, so
most digital cameras include

violets, the
an IR filter either on the chip or on the lens. At the other end, just above the last visible
range of high-
energy (short-wavelength) photons known as the ultraviolet (UV)
"beyond violet") also raises some concerns. For example, paper and ink manufacturers (like laundry detergent manufacturers) often add UV brighteners to make an extra- white paper or extra-bright
region
(literally,
ink.
and re-emit photons in the visible spectrum a phenomenon known as
The brighteners absorb non-visible photons with
UV wavelengths,
Chapter
1:
What
Is
Color?
9
instru-
fluorescence. This practice creates
problems
for
some measuring
ments, because they see the paper or ink differently from the way our eyes
do.
We address these issues in Chapters 5 and 8.
Spectral Curves
Other than the incredibly saturated greens and reds emitted by
you'll rarely see light
lasers,
composed
of photons of
all
the
same wavelength
all
(what the scientists call monochromaticWî). Instead, almost
the light
you see consists of a blend of photons of many wavelengths. The actual the color you see is determined by the specific blend of wavelengths
spectral energy
that reaches your eye.
Pure white
light
contains equal amounts of photons at
all
the visible
wavelengths. Light from a green object contains few short-wavelength (high-energy) photons, and few long-wavelength (low-energy) photons
but
is
from a patch of magenta ink contains photons

lengths, but
comprised mostly of medium-wavelength photons. Light coming in the short and long wavefew
in the
middle of the
visible
spectrum.
All of these spectral energies
can be represented by a diagram called the

1-4).
spectral curve oiihe light reflected by the object (see Figure
ngurel-4
Spectral curves
100%
white object
green object
^5
magenta
object
400
nm
500
nm
wavelength
600
nm
700
nm
Spectral curves of three objects
10
Light Sources A light source is just something that
emits large quamities of photons in
the visible spectrum. Just as with objects,
we can draw the spectral curve
of the light energy emitted by the light source at each wavelength (see Figure 1-5).
Figure 1-5
100%
Light sources
/
/
V7
^daylight (6500 K)
incandescent tungsten lamp (3000 K)
^^
^^^^>^
^^^^'^'^^
redphosphorofmonitor^^^
'
A^
Chapter
1:
What
Is
Color?
11
visual system evolved.
The exact wavelength composition of daylight

(see the black
depends on the time of day, the weather, and the latitude

curve in Figure
1-5).
Electric discharge
(such as
lamps consist of an enclosed tube containing a gas mercury vapor or xenon) that's excited by an electric charge.
The charge raises the energy level of the gas atoms, which then re-emit
the energy as photons at specific wavelengths, producing a "spikey"
spectral curve. Manufacturers use various techniques, such as pres-
surizing the gas or coating the inside of the tube with phosphors, to
add other wavelengths to the emitted light. Fluorescent lamps are the most common form of these lamps. The phosphors coating the inside
of the tube absorb photons emitted by the gas
and re-emit them
at
other wavelengths.
Computer monitors
are also light sources
they emit photons. CRT

on the
inside of the front
(cathode-ray tube) monitors use phosphors

glass to absorb electrons
red, green, or blue).
and emit photons at specific wavelengths (either

in particular is characteristically
The red phosphor
spikey (see the red curve in Figure

detail,
1-5). We'll
describe monitors in
more
including other types of monitors such as LCDs, in Chapter 6.
Illuminants
The word illuminant
specified formally in
refers to a light source that
has been measured or
terms of spectral energy. The CIE {Commission Interna-
tionale de I'Eclairage, or the International
Commission on Illumination)
body of color scientists and technologists from around the world that has accumulated a huge amount of knowledge about color since the 1920s
has specified a
number of CIE Standard
Illuminants.
Illuminant A represents the typical spectral curve of a tungsten lamp

(a
standard lightbulb). This
is
the green curve in Figure 1-5.
Illuminant B represents sunlight at a correlated color temperature of
4874 K. This
is
seldom used,
if
ever.
Illuminant C is an early daylight simulator (correlated color temperature 6774 K).

It
has been replaced by the

find
it.
D illuminants,
although you
occasionally
still
12
Figure 1-6
Color temperature
ID
I
4000
K
..
5000 K^6000 K^ 7000
K
K
9000
400
nm
500
nm
wavelength
600
nm
700
nm
Illuminants
D is a series of illuminants that represent various modes of daylight. The most commonly used D illuminants are D50 and D65
K and 6504 K, respectively.
spectral curve
is
with correlated color temperatures of 5000
The D65
is
the black curve in Figure 1-5.
Illuminant E
a theoretical "equal energy" illuminant that doesn't

is
represent a real light source, and
mostly used for calculations.
Illuminants F
is
a series of "fluorescent" illuminants that represent
the wavelength characteristics of various popular fluorescent lamps.
These are named
F2, F3,
and so on, up
to F12.
The Object and the Color Event

The second participant in the color event is the object. The way an object
interacts with light plays a large role in determining the nature of the
color event, so in this section

interact with light,
we examine
the various ways that objects
and the ways
that this interaction affects our experi-
ence of color.
Chapter
1:
What
Is
Color?
13
The Color of White

Many
light
of
the
we use
such as lightbulbs or sun produce in a characlight
light
sources
and the light they emit almost entirely from the heat their atoms have absorbed from
source,
is
ually to the higher-energy/ shorter wavelengths. At 3000 to 4000 K,
the light changes color from dull

red to orange to yellow.
teristic
way
that gives us a
handy
the furnaces in the stars' cores.
The tung-
terminology to describe the color

of
light:
lightbulb in a dark
room
is
an
sten filament of an incandescent

lightbulb operates at about 2850
to
color temperature. Every
dense object radiates what's called

thermal energy. Atoms re-emit energy that they've absorbed from
almost-perfect blackbody radiator all the light is from a heated
3100
K, giving its characteristic

light.
filament of tungsten.
A candle
is
if
yellowish
At 5000 to 7000 K,
is
mostly a blackbody (although
the blackbody's emitted light

relatively flat in
some process such as combustion

(burning of
fuel) or
metabolism
you look closely, you can see a small region of blue light that's due
to direct
the visible spec-
trum, producing a more neutral

white. At higher temperatures
of 9000
(burning off those fries

for lunch). At
this radiation
you had
energy released by
low temperatures,
is
the chemical reaction of burning
K or above, short wave-
in the infrared
wax
rather than absorption
and
lengths predominate, producing

a bluer light.
region invisible to humans, and
we call
it
heat. But at higher

is
tem-
re-emission of energy). To see a blackbody in action, turn on your

toaster in a
This
is
the system we use to de-
peratures the radiation
visible
darkened kitchen.
scribe colors of "white light."

refer to their "color
We
is
and we call
To study
it
light.
Figure 1-6
shows the spectral

(Temperatures where a kel-
temperature"
light
this
phenomenon,
curves of a blackbody at various
to describe
whether the
physicists imagine objects where they have eliminated all other
temperatures.
vin
is
orange, yellowish, neutral, or
are in kelvins (K),
sources of light and are only looking at the radiation from thermal
energy.
a degree in the physicist's
remind you that the correct term is actually

bluish. Purists will
They
call
these objects
zero.) At
temperature scale from absolute lower temperatures, the
correlated color temperature as
most emissive
light sources
is
blackbody radiators. If you're standing in a pitch-black room,
blackbody gives off heat in the low- energy /long- wavelength

part of the visible spectrum,
including daylight
filtered by the earth's
(which
atmosphere),
you are a blackbody radiator

emitting energy that only an infrared detector, or an owl, can see.
Stars (such as our sun) are almost
and
yel-
fluorescent lamps,
so
is
dominated by red and
monitors
aren't true blackbody

and so we're picking
and computer
low wavelengths. At 2000 K we

see the dull red
call "red hot."
radiators,
we commonly
the closest blackbody temperature to the apparent color of the

light source.
perfect blackbodies as they aren't
As the temperature
illuminated by any other light
gets higher, the curve shifts grad-
Reflection and Transmission An object's surface must interact with light to affect the light's color. Light
strikes the object, travels
some way into the atoms
at the surface,
then
re-emerges. During the

object absorbs
light's interaction with these surface
atoms the
some wavelengths and reflects

of the reflected light
others (see Figure 1-7), so
the spectral
makeup
isn't
the
same
as that of the
14
Figure 1-7
Reflection
Incoming white light

contains all wavelengths.
Color of specular reflection
may be unaffected by surface.
Scattered reflection
contains only unabsorbed
medium
(green) wavelengths.
Molecules in
surface absorb long and short wavelengths.
4 rû-c V >v'^^*?
Surface of a reflective object
"^V*?
'^ v\/\n/y\/\/\
incoming light. The degree to which an object reflects some wavelengths and absorbs others is called its spectral reflectance. Note that if you change
the light source, the reflectance of the object doesn't change, even though
the spectral energy that emerges

invariant property of the object.
is
different. Reflectance, then,
is
an
A
be
transmissive object affects wavelengths in the
same way
all
as the
reflective object just described, except that the transmissive object
must
at least partially translucent so that the light

it.
can pass
the
way
through
However,
it
too alters the wavelength
makeup
of the light by
absorbing some wavelengths and allowing others to pass through.
The surface of a
reflective object or the
substance in a transmissive
object can affect the wavelengths that strike it in many specific ways. But it's worth pausing to examine one phenomenon in particular that sometimes bedevils color management the phenomenon known as
fluorescence.
Chapter
1:
What
Is
Color?
15
Fluorescence
Some aioiiis and molecules have the peculiar ability to absorb photons of
a certain energy (wavelength) and emit photons of a lower energy (longer
,
wavelength). Fluorescence, as this
phenomenon
is
called,
can sometimes
change one type of visible wavelength
into another visible wavelength.
For example, the fluorescent coating inside a sodium lamp absorbs
some
of the yellow wavelengths emitted by the electrically excited sodium

vapor,
and re-emits photons of other wavelengths
in order to
produce a
more
spectrally balanced light.

is
But fluorescence
wavelengths
in the non-visible ultraviolet
most noticeable when the incoming photons have range of the spectrum, and the
emitted photons are in the visible range (usually in the violets or blues).
The
an object that seems to emit more visible photons than it receives from the light source it appears "brighter than white." Many fabric makers and paper manufacturers add fluorescent brightresult
is
eners to whiten the slightly yellow color of most natural
fibers.
To com-
pensate for the slow yellowing of fabrics,
many
laundry detergents and
bleaches have fluorescent brighteners, often called "bluing agents"
fond memories of groovy "black lights" lamps designed to give off light energy in the violet and ultraviolet wavelengths and their effects on
posters printed with fluorescent inks,
teeth,
(because they convert non- visible
UV light
to visible blue).
We
all
have
on white T-shirts, and yes, even on
depending on the brighteners
in the toothpaste
we had used!
management
it's
Fluorescence crops up in unexpected places in color

we'll alert you when
they are something to look out for. For now,
enough
to
know that fluorescence can be an issue in three cases:

Whenever a measurement instrument
imeter, scanner, digital camera, or film)
(a
is
spectrophotometer, color-
more responsive to UV light

all).
than our eye
is
(which has no response at
Whenever artificial light sources (such as lamps, flashbulbs, or scanner lamps) emit more or (more likely) less UV than daylight, which
includes a sizeable
amount of UV.
(ink,
Whenever a colorant
wax, toner,
etc.)
or paper used for printit
ing has fluorescent properties that
make
behave unpredictably
depending on the light source used to view it nemesis of color management).
(as unpredictability is the
16
The Observer and the Color Event

Of the three participants
observer, are by far the
in
our simple model of the color event, you, the

visual system
is
most complex. Your
way more
that
complex than a blackbody radiator or a hemoglobin molecule, so much so we still have a great deal to learn about it. It starts with the structures
of the eye, but continues through the optic nerve
and goes deep
into the
brain. In this section,
we look at various models of human vision that form
the basis of color
management.
Trichromacy: Red, Green, Blue

If there's
one lesson you should take from this chapter,
it's
that the funda-
mental basis for allcolor reproduction is the three-channel design of the

constancy, and nonlinearity,
of which
human retina. Other features of human vision such as opponency, color

all
we
cover in this section
are
us
important, but the fact that the
human eye has three types of color senand blues)

is
sors (corresponding roughly to reds, greens,
what
lets
reproduce colors
at all
using just three pigments on paper, or just three
phosphors in a monitor.
The eye. Your eye
is
one of the most beautiful structures
in nature.
(We
hope you don't think we're being too forward.) Contrary to popular belief, the main task of focusing light into an image at the back of the eye is
handled not by the
eye.
lens,
but by the cornea, the curved front layer of the

as the tiny muscles that
The
lens
makes minor focus adjustments
hold it in place adjust its shape, but it does two important things for color
vision. First, the lens acts as a
UV filter,
aging high-energy ultraviolet light

the
so even
UV light,
protecting the retina from

if
dam-
the retina could see into

it
UV range
(and
some experiments show that

birds, scanners,
can), the lens
is
partly
responsible for our inability to see
unlike other visual systems,
such as honeybees,
yellows as
and digital cameras. Second, the lens

hardly affected. Our
we age, reducing our ability to see subtle changes in blues and

is is
greens, while our ability to see reds and magentas
discrimination in the yellows
always fairly weak, regardless of age.
The
retina: rods
and cones. The
retina
is
a complex layer of nerve cells
fining the
back of your eye (see Figure
1-8).
The nerve ceUs
in the retina
that respond to light are called photoreceptors, or often just receptors.
Chapter
1:
What
Is
Color?
17
Rgurc
1-8
The human eye

cornea
rod receptor
cone receptor
optic nerve
Cross section of the right eye from above. Most color vision happens in the fovea, where the three types of cones far outnumber the rods. Inset shows the shape of the rod
and cone cells, which
is
where they get their names.
Receptors come in two types, called rods and co/ies because of their shapes.
Rods provide vision in low-light conditions, such as night vision. They're sensitive in low levels of light and are largely blinded by daylight conditions.
Cones are a more recent development in the evolution of the mammal retina and function in bright light conditions. We have far more rods
million cones), except in a little indentation in the very center of the retina,
called the fovea,
than cones throughout most of the retina (about 120 million rods to about 6
where cones outnumber rods (about 150,000 cones, with

of rods, falling off to a completely rod-free region in the
a small
number
center of the fovea called the foveola). This center region, where you have
the highest density of photoreceptors, also provides the best acuity (for
example, to read these
letters,
you're focusing the image of the letters
on
your fovea).
It's
also
where your primary color vision happens.
18
Real World Color
Three types of cones. While

the same, the cones
fall
all
the rods in your retina are essentially
into three types.

little
One responds
primarily to the
long wavelengths of light and has

wavelengths.
response in the
middle or short
One responds primarily to the middle wavelengths, and the
third responds to the short wavelengths (see Figure 1-9).
Many people call
these the red cones, green cones, and blue cones, respectively, because of
the colors we normally associate with these three regions of the spectrum,
but it's less misleading to refer to them as the long-, medium-, and short-
wavelength cones
(or L,
M, and
S),
respectively.
Trichromacy and tristimulus. Two related and often confused terms are trichromacy and tristimulus. The term trichromacy (also known as the
three-component theory or the Young-Helmoltz theory of color vision) now well verified, that we have three receptors for
.
refers to the theory,
color (the three types of cones)
The term
tristimulus refers to experiments
and measurements of
which the
test subject
human
Figure 1-9
color vision involving three color stimuli,
ioo%
Peak sensitivities
-a
400
nm
500
nm
600
nm
700
nm
wavelength
The peak wavelengths of the photoreceptor pigments. The three cone 565 nm, photoreceptors have peak absorptions at 420 nm, 530 nm, and a peak absorption respectively. The rod photoreceptor (gray line) has at 499 nm.
Chapter
1:
What
Is
Color?
19
uses to match a target stimulus (see Figure
1- 10).
In other words, trichro-
macy
refers to
our three color receptors, and tristimulus refers to the
experiments that use three stimuli to verify and measure trichromacy. The
most comprehensive tristimulus model has been defined by the CIE and
forms the basis
management. The importance of trichromacy for the graphic arts is that we can simualmost any color by using just three well-chosen primary colors of
for color
late
light.
Two
colors are not
enough
no matter how carefully you choose

light
them, you cannot duplicate all colors with two primaries. And four colors
is
unnecessary
any color you can produce with four colors of

three.
It's
you
can reproduce with just a well-chosen

Additive primaries.
that
the trichromatic structure of the
human
retina
makes possible what we know

If
as the additive primary colors (see
Figure 1-11).
that divide
you choose three
light
sources with overlapping spectra
up
the visible spectrum roughly into thirds, each one adds
ngurc
1-10
IVistlmulus experiment
*^
^
\IZ
The observer adjusts the intensities of the red, green, and blue lamps until they match the target stimulus on the split screen.
20
Real World Color
wavelengths that
tickle
one or more of your
eye's three receptors.
Divide
the spectrum roughly into thirds and you get three light sources that
we
would
the three colors add wavelengthshence "additive color" until you get
call red, green,
and
blue. Starting
from black (no wavelengths),
white
(all
wavelengths in even proportions).
Subtractive primaries. Trichromacy is also the source of our subtractive pri-
maries
cyan, magenta, and yellow (see Figure
1-11).
Rather than adding
wavelengths to black, they act to subtract wavelengths from an otherwise

white source of light. In other words, the term "cyan ink"
is
just a
name for
"long-wavelength-subtractor," or simply "red-subtractor"it subtracts long

(red)
wavelengths from white
light (such as that reflected
from otherwise
blank paper). Similarly, magenta ink is a "medium-wavelength-subtractor,"

or a "green- sub tractor."
And yellow is
is
a "short- wavelength- subtractor," or
a "blue-subtractor."
But the bottom line
that both additive

that
work by manipulating the wavelengths
and subtractive primaries enter our eyes and stimulate
when done cleverly, stimulates our three receptors in just the right proportions to make us feel like
our three cone receptors. This manipulation,
we are receiving light of a certain color. There are still a few more points to make about trichromacy.
Color spaces. The three primary colors not only allow us to define any color in terms of the amount of each primary, they also allow us to plot
the relationships between colors by using the values of the three primaries
Figure
1-11
Primary colors
additive primary colors
subtractive primary colors
Chapter
1:
What
Is
Color?
21
as Cartesian coordinates in a three-dimensional space,
where each
pri-
mary forms one of the three axes. This notion of color spaces is one you'll
encounter again and again in your color management
Relationship with
ever
travails.
tlic
spectrum: wliy not
CRB or YMCK7 Have you have

that
wondered why we have the convention
RGB is always written in

is
that order (never
GRB
or BRG)? Similarly
CMYK
laid
never written
YMCK
(except to specify the order in
which inks are
down, or when adding
a twist to a certain Village People song). Well,
now you know why:

order of increasing
The colors of the spectrum are usually
listed in
frequency: red, orange, yellow, green, blue, and violet
ROYGBV.
The
additive primaries divide this spectrum roughly into thirds, cor-
responding to the reds, greens, and blues. So
ROYGBV leads to RGB,

them
to
We write
the subtractive primaries in the order that matches
their additive counterparts (their opposites).
Thus RGB leads
to
CMY.
You may find

mentary
this last
convention handy for remembering compleif
colors. For
example,
you're working
on a
CMYK image with a

RGB,
their subtractive
blue cast, and can't
remember which channel
to adjust, just write
and then under

(Y
it
CMY. The
additive primaries
match
under B because yellow subtracts complements a blue cast, you increase Y, or reduce both C and M.
is
blue).
So to reduce
Artificial
trichromats (scanners, cameras, etc.)> We also use trichromacy

devices that simulate color vision.
to
make
The most accurate of these
are colorimeters,
tries to
which
we'll describe later in this chapter.
duplicate the exact tristimulus response
A colorimeter of human vision. More
common
and
examples of artificial trichromats are cameras, which use film
sensitive to red, green,

digital
and blue regions of the spectrum, and scanners cameras, which use sensors (CCDs) with red, green, and blue
incoming
light into the three
filters
that break the
primary
colors.
When
the "receptors" in these devices differ from our receptors, the situation
arises
this
where they see matches that we don't and vice
versa.
We
discuss
phenomenon,
called metamerism, later in this chapter.
22
Opponency: Red-Green, Blue- Yellow

Some fundamental
features of
human
color vision not only are unexcontradict

it.
plained by trichromatic theory, but
seem to
The Strange case of yellow. Many of us grew up with the myth that the primary colors are red, yellow, and blue not red, green, and blue. Stud-
ies
have shown that more cultures have a
name even for "blue" and our own color naming reveals a sense that
more fundamental category than, say, "cyan" and "magenta". Even though Thomas Young first demonstrated that you can make yellow light by combining red and green light, it seems coun"yellow"
is
name for "yellow" than have
in a different,
terintuitive. In fact,
it's
difficult to
imagine any color that
is
both red and
green at the same time.
Other effects unexplained by trichromacy. The fact that we can't imagine a reddish green or a greenish red is evidence that something more is
going on than just three independent sensors (trichromacy). The same
holds for blue and yellow
of simultaneous contrast and afterimages
1
-
we can't imagine a yellowish blue. The effects

shown
in Figures 1-12
and
13 are other examples
the absence of a color produces the perception

(color bhndness) usually
of its opposite. Finally,
anomalous color vision
involves the loss of color differentiation in pairs: a person with
anomalous
red response also loses discrimination in the greens, and a person
who
has no blue response also has no yellow response.
Figure 1-12
Simultaneous contrast
The two Xs look dramatically different

identical.
in brightness
and color, but as shown by where they touch,
they are
(Based on a painting by JosefAlbers)
Chapter
1:
What
Is
Color?
23
Figure 1>13
Successive contrast
Instructions: stare at the white cross in the center of the
upper image
for a full minute. Then quickly look stare at the black cross.
down at the lower area, and
After a few seconds and some blinking, the afterimage should appear. Note that the colors are chosen to demonstrate green-red, yellow-blue,
and black- white opponency.
Opponency. Experiments and

yellows (orange),
observations by Ewald Hering in the late

it
1800s focused on these opponent pmrs. Why is

blue-greens, and blue-reds
that
we can have reddishno reddish-
(purples), but
greens and no yellovdsh-blues?To say that something is both red and green
is as counterintuitive as saying that something is both and dark at the same time. The opponent-color theory (also known as light
at the
same time
the Hering theory) held that the retina has fundamental components that
generate oonosite signals depending on wavelength. The kev point is that
24
the color components in the retina aren't independent receptors that have
no
on their neighbors, but rather work as antagonistic or opponent pairs. These opponent pairs are light-dark, red-green, and yellow-blue.
effect
Reconciling
opponency and trichromacy. While
the advocates of the
opponency and trichromacy theories debated for many years which theory best described the fundamental nature of the retina, the two theories
were eventually reconciled into the zone theory of color. This holds that one layer (or zone) of the retina contains the three trichromatic cones, and
a second layer of the retina translated these cone signals into opponent
signals: light- dark, red-green, yellow-blue.
The zone theory has held up

of the retina,
well as
we continue
to learn
more about the layer structure
and use simple neural-net models that explain how opponent signals can
emerge from additive
signals (see Figure 1-14).
Figure 1-14
Trichromacy and
opponency in the retina
First zone (or stage):
layer of retina with three independent
types of cones
Second zone
(or stage):
signals from cones either excite or inhibit
second layer of neurons, producing
opponent signals
red or green
flight to
dark
Chapter
1:
What
Is
Color?
25
Opponcncy and trlchremacy

and trichromacy
stuff
is
in
the CIE models.
If all this
opponency
us assure
about to make your head explode,
let
you that it's very relevant to color management. In Chapter 2 we'll look at the CIE models of color vision, which are used as the basis for color
management computations, but the important point here is that many of the CIE models such as CIE LAB used in Photoshop and in most color
management systems (CMSs) incorporate aspects of both trichromacy and opponency. CIE LAB is based on the results of tristimulus experiments such as the one described
in Figure 1-10,
but
it
represents colors in
terms of three values that represent three opponent systems: L* (lightnessdarkness), a* (red-green opposition),
and b* (blue-yellow opposition).

cone
So using LAB, we can convert trichromatic measurements (measure-
ments made with instruments
that duplicate the responses of our
receptors) to values in an opponent-color system. Achieving this wasn't
simple, and
it's
far
from perfect
(as
we will
discuss in Chapter
2),
but
it's
very clever, and surprisingly successful as a model, particularly when you
consider that
it
was designed simply
as a test of the reigning theories of
color vision, not as a workhorse for computer calculations for the graphic
arts industry.
Metamerism
If
referred to as a problem or as an "error" of human vision. But as proa feature. Not only metamerism grammers love to say not a bug,
it's
you've encountered the term "metamerism" you've probably heard
it
it's
is
inherent in trichromatic vision, it's the feature that makes color reproduction
possible.
In simple terms,
metamerism is the phenomenon whereby two different
color samples produce the

ples"
same
color sensation.
By "different color sam-
we mean two
objects that have different spectral characteristics. So,
remembering our light-object-observer definition of color, if the objects are different but they produce the same "color" (the same color sensation), this
match may be dependent on

or
(2)
(1)
the light illuminating both color samples,
the observer viewing the two color samples.
Under different lighting,
or to a different observer, the two samples
may not match.

are metameric
Two spectrally different color samples that produce the same color sensations are called metamers.
Or we say that the two colors
under certain
lighting or to a certain type of observer.
26
You may run into different, seemingly contradictory definitions of metamerism. For example, many books give one of the following two
definitions:
Metamerism is when two color samples produce the same color sensation
under certain
lighting.
Metamerism is when two color samples produce different color sensations
under certain
lighting.
is
Actually,
metamerism
when
both of these events happen to the
same
pair of color samples.

all,
The two color samples match under some,
but not
lighting. The first statement focuses on the match that can be
made using radically different spectra. The second statement focuses on

match is tenuous. The reason you need to understand metamerism is that virtually all our color-matching activities rely on makthe fact that the
ing a metameric match between two colors or sets of colors
comparing a
chrome on a light table with a scanned image on a monitor, or comparing

a proof with a press sheet.
It's
highly unlikely that the two samples will
have identical spectral curves, but thanks to metamerism, we can make
them match
at least in some lighting conditions.
relationship between two color samples a single color sample can't be

inks,"
Relationship between
two color samples. Metamerism
is
always a
metameric any more than it can be identical. You may hear some people refer to "a metameric color," or talk about a printer having "metameric
but we think that this usage
is
both confusing and wrong. A printer
with inks that were truly metamers of each other would be pointless
inks would
all
the
appear to be the same color under some lighting condition.
What they really mean is that the inks have spectral properties that make
their
appearance change more radically under different lighting condi-
tions than
most other inks.

happens. Metamerism happens because the eye incoming spectra into the three cone responses. Two stimuli
Why metamerism
divides
all
may have radically different spectral energies, but if they both get divided
up between the three cone types, stimulating them in the same way, they appear to be the same color.
Chapter
1:
What
Is
Color?
27
In the terms of our light-object-observer
model (remember Figure
1-1),
the color "event"
is
a product of three things: the wavelengths present
in the light source; the uravelengths reflected
from the object or surface;

(the
and the way the wavelengths are divided among the three receptors
cones
in the eye).
isn't
What matters
three.
If
the individual components, but the product of the
the light reaching your eye from object

get the
A and
object B produces
the
same cone response, then you
same answer
the same color
sensation (see Figure 1-15).
Figure 1-15
Tit'o different
viewed under light source A
Metamerism
color samples
result in the
...
same
color experience.
This
is
a metameric
match.
...to
an observer with normal color vision
...
The same pair of

color samples
...
viewed under light source B
...
results in
two different
color experiences.
This
is a metameric mismatch.
...to
same observer
Objects can only reflect those wavelengths that are present in the light source. Source B contains fewer red wavelengths than source A, so the samples that
appear to match under source A produce a mismatch under source B.
28
Metamerism
in
items in a store a
everyday life. If you've ever bought two "matching" tie and a handkerchief, or a handbag and shoes only
to find that they look different
when viewed in daylight or home lighting,
you've experienced metamerism. Fred has pairs of white jogging socks that match when he puts them on indoors, but when outdoors one looks
noticeably bluer than the other, probably (he theorizes) because they were
washed separately using laundry detergents with

ers.
different
UV brighten-
Catalog-makers
cite as
common problem
the fact that a clothing
item shown in a catalog doesn't match the color of the item received by the customer perhaps a result of a metameric match that was achieved
in the
pressroom that failed in the customer's home. These examples illustrate the fragile nature of all color-matching exerspecific lighting condition. That's
cises
when we match colors, we're almost always creating a metameric

why we use standard when we evaluate proof-to-press matches.
tailor the color
if the
match under a
lighting conditions
In theory,
catalog publisher knew the conditions under which the
catalog would be viewed, she could
reproduction to that
environment, but in practice,
it's
just about impossible to know whether
prospective customers will look at the catalog in daylight on their lunch

hour, under office fluorescent lighting, at home under incandescent lighting, or curled
up by a cozy fire under candlelight. Ultimately, metamerism problems are something we simply have
if
to
accept as part of the territory, but

like
you're working
in
an extreme case
designing a
menu
under candlelight
you may want to test important matches under a

to
for a fancy restaurant that will
be viewed mostly
variety of viewing conditions.
Metamerism
is
your friend. You need
make peace with metamerism.

fails
Many people
first
encounter metamerism as a problem
a color match
different light-
achieved at great effort under certain lighting
under
ing because of odd properties of certain inks or paper. But it's not, as some people describe, an error of our visual system. It's just an inevitable
side-product of the clever solution evolution produced for deriving wavelength,
and hence color information, using only three types of sensors. More importantly for color management, metamerism is what makes
all.
color reproduction possible at

skin tones
Metamerism
lets
us display yellows or
skin-color
on a computer monitor without dedicated yellow or
Chapter
1:
What
Is
Color?
29
phosphors. Metamerism
lets
us reproduce the green characteristic of
chlorophyll (the pigment found in plants) without chlorophyll-colored

ink
or even an ink we would
call
green (see Figure 1-16)!
Figure
M6
Metamerism
in action
Thanks
to
metamerism, we can reproduce

ink.
the color of this leaf in print without using a

single
drop ofgreen
Without metamerism, we'd have to reproduce colors by duplicating

the exact spectral content of the original color stimulus. (Incidentally, this
is
what we have
of the original
do with sound reproduction duplicate the stimulus sound wavelength by wavelength.) If you think your ink
to
if
costs are high today, imagine
you had
to
have thousands of colors of
ink instead of just four!
Camera and scanner metamerism. We mentioned

lationship
that a
metameric
re-
between two color samples
source, but also
on the specific
dependent not only on the light observer viewing the two samples. A pair
is
of color samples can produce one color sensation to one observer, but a
different color sensation to a
second observer. This "observer metamer-
ism"
is
sometimes an issue with color management when the observer is
one of our artificial trichromats.

If a
scanner's red, green,
and blue detectors respond differently than our

I
cone sensors, the scanner can see a metameric match where you and
see separate colors, or conversely, a pair of samples
may appear identical
30
Real World Color

to us but different to the scanner (see Figure 1-17). This
is
sometimes
this is the
called scanner metamerism,
and we
shall see in
Chapter 8 that
reason
it's
difficult to
use a scanner as a measurement device for making
profiles. Similarly, if a film or digital
camera has
call this
different sets of
meta-
meric matches than

while there's
little
we
do,
we would
camera metamerism, and
that color
management can do about it, you need to be
aware of it as an
issue.
Figure 1-17
...
seen under light source A
...
How scanner
metamerism happens
A pair of spectrally
different color
results in the
same
samples
...
color experience.
We see the same color.
by an observer with
certain color vision
.
under a scanner lamp

the
same as light source A
...
produces different
The same pair of

color samples
...
measurements ...
^Û
(48, 134,40)
^^K
.
(45,136,1 19)
The scanner sees two

different colors.
because the scanner has a

different color response
Chapter
1:
What
Is
Color?
31
Non-Linearity: Intensity
and Brightness
Another important property of the human visual system is that it's nonlinear. All this means is that our eyes don't respond in a one-to-one fashion to the intensity (the
number
light
of photons reaching your eye as you
might count them with a

tion
meter) by reporting brightness (the sensa-
you don't see the light as twice as bright. If things were that simple, if you drew a graph of intensity versus brightness, this would be a straight line as in Figure
you
feel) to the brain.
When you
double the
intensity,
l-18a,
and we would
call this linear
response. Instead the relationship
between intensity and perceived brightness looks like the graph in Figure l-18b. To perceive something about twice as bright, we have to multiply
the intensity by about nine!
Figure 1-18
Linear and
non-linear response
20
40
60
80
"
20
40
60
80
light intensity
a.
Linear response
light intensity
light intensity
b.
Non-linear response
increased
translates directly to brightness.
light intensity produces progressively smaller increases in brightness.
This non-linearity
intensity of a sound,
is
common in human perception. If you double the
you don't hear it as twice as loud. If you put two sugar cubes in your coffee instead of your normal one, you don't taste it as twice
as sweet.
The degree of non-linearity varies

are
for different senses,
but they
often shape as Figure l-18b.
Our non-linear responses

tion across a
what allow our sensory systems to funcin intensity
huge range of stimuli. The difference
between
of paper
a piece of paper illuminated by daylight and the

.
same piece
illuminated by moonlight is about 1 ,000,000: 1 But nerve cells can respond

(in the
so a
number ofnerve firings per second) only at a range of about 100:1, huge number of inputs have to map to a small number of outputs.
32
Non-linearity lets our sensory systems operate over a wide range of envi-
ronments without getting overloaded.
The good news
is
that just because our response
is
non-linear doesn't
it's complicated. We could have evolved a totally wacky response curve instead of the nice simple one in Figure l-18b. Instead, this simple curve resembles what mathematicians call a power curve. In fact, using
mean
the trick of graphing the logarithms of intensity and brightness simplifies the curve even more, turning
ized by
its
it
into a straight line that can be character-
you aren't familiar with logarithms, see the sidebar, "What's a Logarithm, and Why Should I Care?") Many of the scales we use
slope.
(If
measure perception are logarithmic scales, including decibels, which measure perceived loudness, and optical density (OD), which measures
to
how dark or light an object appears.

The non-linear nature of our response to light impinges on color management in several ways, but the most important is that the various
devices
we use
to
measure
light
have linear responses. To
relate these
measurements to human perception, we have to translate them from the

linear realm of light to the non-linear realm of perception (see "We
Cannot
Truly Measure
Color,
Only Light,"
later in this chapter.

re-
So next time someone accuses you of being non-linear, you can

spond, "yes
I
am, and glad to be that way!"
Achromatic Component: Brishtness

The term brightnessrefers to our perception of intensity (the number of photons reaching our eye). Of the three color attributes
brightness, hue, and saturation ^we tend to think of brightness as different from the other two,
in part
because we can detect variations in brightness even when there

(or
isn't
enough light
enough
different
wavelengths
in the light) to see color.
On
a dark night, our vision
is
produced by our
rods,
which have no
color response, but
we can
still
see differences in brightness,
and
if
we
view objects under monochromatic light, everything takes on the color of the light, but again we still see differences in brightness.
Brightness describes the quantity of light ("how much"), while hue
and saturation describe the quality of light ("what kind"). Detecting variations in brightness
is
the fundamental task of vision

saturation,
is
itself,
while color, as
tasty icing).
established by
hue and
just icing (albeit
some
Vision
is
fundamentally about "counting photons," while color deals with
"categorizing" these photons into differing types.
Chapter
1:
What
Is
Color?
33
What's a Losarithm, and Why Should I Care?

A logarithm is a handy way to express numbers that vary over
huge ranges. For example, set of values ranges from
1.000,000. you'll probably
if
imagining
all
the
to 1.000.000 lined
numbers from up on a huge

between
(what's called a /og-/og graph), the

result
is
a straight line again (see
a
to
ruler so that the distance
Figure 1-20)!
any two numbers
want
much more
compare
10 than
precision when you values between 1 and

will
is always the same, a logarithmic scale compresses the distance between any
This
sure
is
why,
when we mea-
some
physical value with
the purpose of predicting
how
sort
two numbers as the numbers get

higher. In this way. the distance
our nervous system perceives

that stimulus,
you
when comparing
we use some
quantity.
call
values in the 100,000 to 1,000.000

range. For example, you might notice
ticket
between
and
10
is
the
same
as
of
logarithmic
For
is
the distance between 10 and 100.
example, what we
density
when
the price of a movie
So between
tick
and
10
you have
a logarithmic function derived
goes up from $7 to $8, but
when
buying a house you prob-
ably don't care as

difference
much about the

at the
marks for 1, 2, 3, etc. but between 10 and 100 you have tick marks for 10, 20. 30. etc. You
from a measurement of
intensity
light
and gives us
is
mea-
surement of perceived darkness.

Another example
call a
between $247,637 and
end up with a ruler that looks

Figure 1-19.
like
the unit
is
we
$247,638.
The numbers
decibel,
which
also a
upper end are not only unwieldy, they have an unnecessary amount
of precision.
The
a scale
nifty thing
is
about such
take a
like
logarithmic
function
intensity,
derived
that
when you
from sound
gives
and which
non-linear response function

that
us
measurement of
Logarithms are a nice way to

deal with this problem. Instead of
showm
in Figure l-18b,
and
perceived loudness.
graph the logarithms of the values
Figure 1-19
number scale (compressed)

4
1
A logarithmic scale
logarithms
Figure 1-20
1000
6
I
Till
7 8
9.
30
40
I
50 60 7080 S^,""
I
I I I I
200
I
300
I
400
I
600
I
I I
800
I I
_1
etc.
to
2.0
A log-log graph
of Figure l-18b
i
1
a.
'
1.0
2.0
log of light intensity
Logarithms turn the response curve into a straight line.
34
So color scientists often speak of the achromatic and chromatic attributes of a source of light or color. The achromatic attribute
is
brightness as
we perceive it independently from color, and the chromatic attributes are those that we commonly associate with color, independent of brightness.
Most mathematical models of human color vision, including the ones that
lie at
the heart of color
management,
treat brightness separately

2,
from the
chromatic attributes.
We
discuss these models in Chapter
Computers
and Color.
vs. lightness. In color science,
Brightness
brightness
we draw a distinction between
and
same thing they both refer to the

tensity.
lightness.
For most purposes, the two words

eye's (non-linear)
mean
the
in-
perception of
But the
strict definition is that lightness is relative brightness. In

is
other words, lightness
the brightness of an object relative to an absolute
white reference. So lightness ranges from "dark" to "light" with specific

definitions of black
"dim" to "bright"
and white as the limits, while brightness ranges from with no real limits. The distinction matters because we
to
it,
can measure lightness and assign specific numerical values brightness is a subjective sensation in our heads.
while
Chromatic Components: Hue and Saturation

Brightness
is
a property of all vision, but
hue and saturation pertain only
to color vision. Together, they're
known
as the chromatic
components of
of brightness.
color vision, as distinct from the achromatic
component
Hue. Defining the word hue as an independent component of color is like trying to describe the word "lap" while standing up. There are multiple
definitions for
hue
some more vague than others. We've even seen hue

is
defined as "a color's color."
The most
precise definition
its
that
hue
is
the attribute of a color by

All colors
which we perceive
most prevalent
dominant wavelength.
contain
many
wavelengths, but some more than others. The wavelength that appears
in a color
it
"appears" because
sample determines its hue. We stress the word may not be the actual dominant wavelength the
same response in the three cone types in our eyes as the perceived dominant wavelength would. In other words, it produces a metameric match to a monochromatic light source
color sample simply has to produce the
with that dominant wavelength.
Chapter
1:
What
Is
Color?
35
A more useful and equally valid definition of hue is that it's the attribute
of a color that gives
it
its
basic name, such as red, yellow, purple, orange,
and so on. We give these names to a region of the spectrum, then we refine
individual color
pure, etc.
names by adding
is
qualifiers like bright, saturated, pale,

is
Thus, red
a hue, but pink
or desaturated red. The set

tive,
can be described as a pale of basic names that people use is quite subjecnot
it
and varies from language to language and culture to culture. As you'll
see later in this chapter when

this
we talk about psychological aspects of color,

fairly
connection between hue and color names can be
important to
color reproduction.
Saturation. Saturation refers to the purity of a color, or

neutral gray.
If
how far it
is
from
is
hue
is
the perceived dominant wavelength, saturation
the extent to which that dominant wavelength seems contaminated by
other wavelengths. Color samples with a wide spread of wavelengths pro-
duce unsaturated
colors, while those
whose spectra
consist of a narrow
hump appear more saturated.

520
For example, a laser with a sharp spike at

(see Figure 1-21).
nm would be a totally saturated green

^
Fl9urc1>21
100%
Spectra and saturation
Two samples with same hue (peak wavelength = 520 nm)
400
nm
500
nm
wavelength
600
nm
700
nm
Both samples have the same peak wavelength, so they appear to be the same hue, but the narrow spectrum contains fewer contaminating wavelengths and
hence appears more saturated.
36
Representations of hue, saturation, and brightness. Most hue diagrams
and color pickers represent hue as an angle around some color shape, and
saturation as the distance from the center. For example, the Apple color
picker accessed from most Macintosh graphics applications shows a disk
with neutral grays in the center and saturated pure hues at the edge. The
disk
is
a cross section of the full space of possible colors, so each disk

all
represents
the colors at a single brightness level. Brightness
is
repre-
sented as a third axis ranging from black to white along which
all
these
cross sections are piled, resulting in a color cylinder, sphere, or double
cone
(see Figure
1 -22)
You choose colors by first picking a brightness value,
Figure 1-22
Hue
Saturation
(tint)
Hue, saturation, and

brightness
All the colors here are fully
saturated
at least one
at level 255.
primary
is
None of the colors here

is fully
saturated.
Chapter
1:
What
Is
Color?
37
which takes you
to a certain cross section,
then choosing a point on the

disk)
disk representing the
hue
(the angle
on the
and the saturation
(the
distance from the center of the disk).
Measuring Color
All
the preceding knowledge about color would

call
fall
into the category that
"more interesting than relevant" if we couldn't draw correlations between what we expect people to see and things we can physiFred likes to
cally
let
measure. The whole purpose of color management
is
ultimately to
us produce a stimulus (photons, whether reflected from a photograph
or magazine page) that will evoke a

particular color)
known response
(the sensation of a
on the
part of those
who will view it.

perceived color
Fortunately,
we are ab\e to draw correlations between

in the real world,
and things we can measure
thanks to the people
who
have not only figured out the complexities of
human
vision but have
modeled these complexities numerically. We need numerical models to manipulate and predict color using computers, because computers are
just glorified
adding machines that juggle ones and zeroes on demand.

numerical models
first
We'll look at the

ers
in
more
detail in
and Color, but
we need
to look at the various
photons and relate those measurements to they form the foundation for the models.
Computways we can count human perception, because

Chapter
2,
We Cannot Truly Measure Color, Only
Light
"Measuring color" is really an oxymoron. We've pointed out that color is an event with three participants a light source, an object, and an
observer
but the color only happens in the mind of the observer. One
day we
the
may have both the technology and a sufficient understanding of human nervous system to be able to identify which of the zillions of
we can do
is
electrochemical processes taking place in our heads corresponds to the

sensation of fire-engine red, but for now, the best
the stimulus
measure
the
light that enters the observer's eye
and produces the
sensation of color.
We can only infer the response that that stimulus will

draw those inferences with a reasonable degree
produce. Fortunately, thanks to the work of several generations of color

scientists, we're able to
of certainty.
38
Real World Color
We
use three main types of instruments to measure the stimuli that
observers
our
clients,
our customers, our audience, and ourselves
will
eventually interpret as color.
They all work by shining light with a known
spectral makeup onto or through a surface, then using detectors to mea-
sure the light that surface reflects or transmits. The detector is just a photon
counter
determine the wavelength of the photons it is counting so the instrument must filter the light going to the detector. The differences
it
can't
between the three types of instruments

spectrophotometers
sensitivity of their detectors.
are the number and type of
densitometers, colorimeters, and

filters
they use, and the
Densitometers measure
density, the degree to
which
it
reflective sur-
faces absorb light, or transparent surfaces allow
to pass.
Colorimeters measure colorimetric values, numbers that model the

response of the cones in our eyes.
Spectrophotometers measure the spectral properties of a surface; in other words, how much light at each wavelength a surface reflects or
transmits.
Densitometry
De/25itomef7jplays an indirect but key role in color management. Density
is
the degree to which materials such as ink, paper, and film absorb
light.
light one of these materials absorbs, the higher its density. We use densitometry as a tool for process control, which is (to grossly oversim-
The more
plify)
the art and science of ensuring that our various devices are behaving
the way we want them to. In prepress,
we use densitometers to assure that prepress film is processed correctly. In the pressroom, we use densitometers to make sure that the press is laying down the correct amount of
ink
if it's
too
little,
the print will appear washed out, and
if it's
too much,
the press
isn't
We also use densitometers to calibrate devices changing their behavmake them perform
optimally, like doing a tune-up
controllable and ink gets wasted.
ior to
We use densitometers to linearize imagesetters,

ers,
on your car. platesetters, and proof-
ensuring that they produce the requested dot percentages accurately.
Chapter
1:
What
Is
Color?
39
Some monitor
calibrators are densitometers,
though colorimeters and

discuss calibration and
spectrophotometers are more often used.

process control in more
detail in
We
Chapter
5,
Measurement, Calibration,
and Process Control.

You may never use a densitometer
they're quite specialized, and most

what they do.
of their functions can be carried out equally well by a colorimeter or a
spectrophotometer
but
it's
helpful to understand
Reflectance (R) and transmittance
(T).
Densitometers don't measure
density directly, instead, they measure the ratio between the intensity of
light
shone on or through a
surface,
is
and the
light that
reaches the detec-
tor in the instrument. This ratio
called the reflectance (R) or the trans-
depending on whether the instrument measures reflective materials such as ink and paper, or transmissive materials such as film.
mittance
(T),
Densitometers use
filters
that are
matched
to the color of the material
you are measuring, so

reflected
that the detector sees a flat gray.

filters
Pressroom denwavelengths
they always
sitometers, for example, have
matched
to the specific
inks, so that
by cyan, magenta, yellow,
and black
measure the dominant wavelength. This means first that you have to know and tell the densitometer exactly what it is measuring, and second,
that
you can only use a densitometer

filter.
to
measure materials
for
which
it
has the appropriate
Density
Is
a losarithmic function. Density
is
computed from the meafor several reasons. First,
surement data using a logarithmic function,

as we've seen, the
human
it
eye has a non-linear, logarithmic response to
intensity, so a logarithmic density function correlates better to
how we see
brightness. Second,
correlates better with the thickness of materials
like printing inks or film
emulsions, which
is
one of the main functions
of densitometers. Third, a logarithmic scale avoids long
numbers when
measuring very dark materials (such as prepress films). To see what this means, imagine a surface that reflects 100% of all the
light that strikes
it
a so-called perfect
If
dijfuser. Its reflectance, R, is 1.0,
and its density is 0.

one-tenth the
light,
and so
we consider other surfaces that reflect half the light, on, we derive the foUovdng values:
40
Real World Color
Reflectance (R)
Density (D)
LO
0.5
0.1
OO
0.3
1.0
0.01
2.0
0.001
3.0 4.0
5.0
0.0001
0.00001
Notice
how a number like 5.0 is far more convenient than 0.00001?

fact,
One of the characteristic requirements for a densitometer is that it has a

very wide dynamic range. In
the dynamic range of other devices
vs. film),
(e.g.,
scanners and printers), media (prints

high-key)
is
or even images (low-key,
expressed in terms of density units, typically abbreviated as

.
(density) or O.D. (optical density) For example, the
ner is expressed in terms of the D^.^

density) at
dynamic range of a scan(minimum density) and D_^^ (maximum
which the scanner can reliably measure brightness values.
Colorimetry
Colorimetry is the science of predicting color matches as typical
humans
model
would perceived them.

that can predict
In other words,
its
goal is to build a numeric
when metamerism does or does not occur. To be consid-
ered a success, a colorimetric model must do both of the following:
Where
a typical
human
observer sees a match
(in
other words,
me-
tamerism) between two color samples, the colorimetric model has to

represent both samples by the
same numeric values.
Where
a typical
human
observer sees a difference between two color
samples, not only should they have different numeric representations in

the model, but the
model should also be able to compute a color differ-
ence number that predicts
how different they appear to the observer.
The current models
available aren't perfect, but thanks to the pioneer-
ing work of the CIE, they're robust

color
enough to form the basis of all current

all
management systems.
If
CIE colorimetry is
just so
is
much alpha-
bet soup to you, the one key fact you need to
know
that the various
CIE models allow us to represent numerically the color that people with normal color vision actually see. Compared to that one insight, the rest is
Chapter
1:
What
Is
Color?
41
detail,
but
it
if
and why
you want to really understand how color management works sometimes fails to work as expected, it helps to have a basic
understanding of these details. So let's look at the body of work that forms the core of color management, the CIE system of colorimetry.
The CIE colorimctrk system. Most modern colorimetry and all current color management systems are based on the colorimetric system of the
CIE,
which we introduced
at the
beginning of
this chapter. This
system
contains several key features.
Standard Illuminants are spectral definitions of a
set of light sources
under which we do most of our color matching. We introduced you to

the Standard Illuminants
A through
F,
but in the graphic arts world,
the two most important are
D50 and D65.
The Standard Observer represents the full tristimulus response of the

typical
human
observer, or in plain English,

*
all
the colors
we can see.
Most colorimeters use the 2

a
(1 93
Standard Observer, but there's also

latter
(1964) Standard Observer. The
arose as a result of later
experiments that used larger color samples that illuminated a wider

angle of the fovea and found a slightly different tristimulus response.
It's
rare that you'll
encounter the 10 observer, but we'd be remiss
if
we
didn't
mention
it.
The CIE XYZ Primary System is a clever definition of three imaginary

primaries derived from the Standard Observer tristimulus response.
(The primaries are imaginary in that they don't correspond to any real
light
source
it's
lates
only our
M or S conesbut the response they model

result in the
impossible to create a real light source that stimuis
very real.)
values,
Not only does every metameric pair

cones
same XYZ
but the primary Y doubles as the average luminance function of the
so a color's Y value
is
also
its
luminance.
The CIE xyY diagram is a mathematical transformation of XYZ that makes a useful map of our color universe. It shows additive relationships
a straight line between two points represents the colors that

and so the distances are
distorted.
can be created by adding the two colors in various proportions (see Figure 1-23). But it's important to note that XYZ and xyY don't factor
in the non-linearity of the eye,
42
The uniform color spaces (LAB, LUV)

tances. Both
it's
are
two color spaces that were
defined by the CIE in an attempt to reduce the distortion in color dis-
compute the lightness value L*in exactly the same way

of our logarithmic response to luminance).
approximately the cube root of the luminance value Y (which
is
rough approximation
Both
attempt to create a space that is perceptually uniform

distances between points in the space predict
colors will appear to a
in other words,
the case
how different the two human observer. As a result, the spaces also have
and brightness, and
(in
features that resemble hue, saturation,
of L*a*b*) our three opponent systems.

in
LAB has
it
largely replaced
(it
LUV
most
practical applications,
and while
isn't
perfect
exaggerates
differences in yellows
it's
and underestimates them
in blues, for example),
pretty darn useful.

far
The quest
for a perfectly
uniform color space
continues, but thus
LAB has stood the test of time.
Figure 1-23
y
0.8
^rÔ
The xy chromaticity chart
0.6
0.4
0.2
Chapter
1:
What
Is
Color?
43
Color difference (AE) calculations offer an easy way to compute the

color difference between two samples.
plot
them
as points in
you measure the two colors, the uniform space, and then compute the disIf
tance between them, that distance

to the difference a
will
by definition, correlate well

This value
is
human
observer
is
will see.
called
Af
(pronounced "delta-E" delta

to represent a difference).
the Greek letter 'D'
we commonly use
Colorimeters. Colorimeters measure light through
filters
that
mimic ap-
proximately the
in
human cone
let
response, and produce numerical results
one of the CIE color models. Most colorimeters have user-selectable

you obtain the
color's values in
reporting functions that
CIE XYZ, CIE
LAB, CIE LUV, or other colorimetric spaces, as well as measuring the AE

value between two color samples.
While colorimeters are very
flexible in their reporting functions, they
have important limitations in the colorimetric assumptions they must make. Specifically, they're limited to a specific Standard Illuminant and
Standard Observer, though some colorimeters let you switch between different illuminants (such as a
D50 and
D65
option).
tell
Colorimeters can't detect metamerism. They can
whether or not
two samples match under the specific illuminant they use, but they have no way of telling if that match is metameric dependent on the illumi-
nant
or
if
the samples really do have identical spectral properties that

all
would make them match under
illuminants. Fortunately, for
most
color-management purposes, computing a color match under a single

illuminant
is
enough.
Colorimetry and color management. Colorimetry
is
the core of color
management, because it allows us to define color unambiguously as it will be seen by humans. As you'll learn in Chapter 2, Computers and
Color, the systems
we use to represent color numerically in our everyday

management
image, illustration, and page-layout files are fundamentally ambiguous as

to the actual color they represent. Colorimetry allows color
systems to
remove
that ambiguity. And in Chapter 3, Color Management
How It Works, you'll see how colorimetry lets color management systems
compute the numbers
that
we send
to our various color-reproduction
44
monitors, desktop printers, proofing systems, and printing presses to ensure that they reproduce the desired colors. For now, just
devices
accept the fact that color
management systems feed on colorimetry.
Spectrophotometry
Spectrophotometry
ratio
is
the science of measuring spectral reflectance, the
between the intensity of each wavelength of light shone onto a surface and the light of that same wavelength reflected back to the detector in
the instrument. Spectral reflectance
is
similar to the reflectance (R)

to density, with
mea-
sured by a densitometer and then converted

tant difference. Density
is
one impor-
a single value that represents the total

is
number
of photons reflected or transmitted. Spectral reflectance

that represent the
a set of values
number
of photons being reflected or transmitted at
different wavelengths (see Figure 1-24).
The spectrophotometers we use

spectrum into 10
in the graphic arts typically divide the visible
nm or 20
nm bands,
and produce a value
for
each band. Research-grade spectro-
photometers divide the spectrum into a larger number of narrower bands, sometimes as narrow as 2 nm, but they're prohibitively expensive for the
types of use
we discuss in this book.
Figure 1-24
fj
spectrum
A metameric pair
Chapter
1:
Mhat
Is
Color?
A5
Spectrophotometry and color manasement. Spectral data has direct uses

in graphic arts for
such as when some press shops check incoming ink differences in spectral properties but spectrophotometers are more
lots
often used in color
The
spectral data spectrophotometers capture
management as either densitometers or colorimeters. is a richer set of mea-
surements than those captured by either densitometers or colorimeters.
We can compute density or colorimetric values from spectral data, but not
the other way around. With spectral data,
we can also determine whether
or not a color match
is
metameric, though color management doesn't use
this capability directly.
In color
management, a spectrophotometer's
real
value
it is
is
that
it
can
double as a densitometer or colorimeter or both, and
usually
more
configurable than the densitometer or colorimeter at either task.
Some-
times a dedicated densitometer or colorimeter

to a specific task
may
be better suited
such as measuring the very high densities we need to
achieve on prepress film, or characterizing the very spiky response of the

red phosphor in a monitor. But in most cases, a spectrophotometer
versatile Swiss
is
Army knife of color measurement.
Where the Models

two
Fail
are pretty amazing, but
it's
The CIE colorimetric models
important to
bear in mind that they were designed only to predict the degree to which
solid color swatches,
viewed
at a specific distance, against a specific
background, under a specific illuminant, would appear to match. Color
management takes these models well beyond their design parameters, using them to match complex color events like photographic images.
In general, color
management works
astonishingly well, but
it's
impor-
tant to realize that our visual system has
complex responses
well
to
complex
color events that the CIE models
we
currently use don't even attempt to
address.
slew of
for
often
named
the various color scientists
phenomena have been
documented by and who first documented
them, but they typically point to one significant fact: unlike colorimeters
and spectrophotometers, humans see color in context. So there's one caveat we'll make repeatedly in this book: while color
management uses colorimetry
for
purposes of gathering data about
46
device behavior, the ultimate goal of color
management
is
not to get a
colorimetric match, but rather to achieve a pleasing image. Sometimes
a colorimetric match
is
great,
but sometimes that match comes
at the
dif-
expense of other colors in an image. And sometimes two colors can

fer colorimetrically
and yet produce a
visual
match when we view them
in context.
Features like simultaneous and successive contrast (see Figures 1-12
and
and color constancy (see the next section) aren't modeled by colorimetry and can't be measured using a colorimeter. Sometimes it's an
1-13)
advantage to have an instrument that
isn't
distracted
by these issues
to
such as when you are collecting raw data on device behavior to feed to a
color
management system
or profile maker. But
when
it
comes time
evaluate results, don't reach for your colorimeter as a

cess.
way
to judge suc-
A well-trained eye beats a colorimeter every time when it comes to
evaluating final results.
Here are just a few visual phenomena that color management ignores.
Color Constancy
Color constancy is one of the most important features of the visual system,
and
it's
so ingrained a
mechanism
that you're rarely aware of
it.
Color
is
constancy, sometimes referred
to as "discounting the illuminant,"
the
tendency to perceive objects as having a constant color, even if the lighting conditions change. In other words, even if the wavelength composi-
coming from the object changes, our visual system picks up cues from surrounding objects and attributes that
tion (the spectral energy) of the light
change
to the lighting, not to the object.
What may
el
surprise
you
is
how
basic a feature color constancy
is
to
the nervous system.
It
doesn't involve
memory, much
been
less higher-lev-
thought
at
all,
but seems to be rooted in low-level structures in our

verified in animals with
visual system. In fact, color constancy has
as simple a nervous system as goldfish (see Figure 1-25). In humans, color
constancy seems to be the result of center-surround fields similar to those

responsible for opponency, but instead of occurring in the second layer
of the retina, as
color constancy
they're far
opponency is, the center- surround fields responsible for seem to be located in the visual cortex of the brain, and
more complex than those responsible for opponency.
Chapter
1:
What
Is
Color?
47
Figure 1-25
Color constancy
Color constancy has been demonstrated in

goldfish.
Devices don't have color constancy. Cameras don't have color constancy.
Film doesn't change

is
its
response depending on the illumination in the

to
scene. This
why a photographer has
match the
film response to the
lighting. Digital
cameras with automatic white balance do change their response depending on the illumination in the scene, but they don't do
so in the
same way humans
do.
If
a digital camera captures an image of

it
a white horse standing in the shade of a leafy tree,
will faithfully
record
the greenish light that's filtered through the leaves and then reflected from
the horse, producing a picture of a green horse. But
humans know there's
no such animal as a green horse, so they "discount the illuminant" and

see the horse as white.
Similarly, colorimeters can't
measure color constancy. They duplicate
the tristimulus response of the eye to isolated colors while ignoring the
surrounding colors. But even
when a device like a scanner does measure
the colors surrounding an isolated sample, the exact nature of color con-
stancy is so complex that

that
we don't yet have a usable mathematical model
would
let
color
management compensate for it.
Color constancy and color management. While color management does

not have a model of color constancy to work with, it can do many things without it. The important thing for color management to do is to preserve
the relationships between colors in an image. This
is
the difference be-
tween what we
3,
call
perceptual and colorimetric renderings (see Chapter
Color Management
all
How
It
Works)
When it's possible to render some

it's
but not
of the colors with complete colorimetric accuracy,
often
48
Real World Color
Manasement, Second Edition
perceptually
than to
more pleasing to render them all with the same inaccuracy render some faithfully and some not.
is
one reason why neutrals are important: neutrals the especially highlights in a printed picture that take their color from the paper form the reference point for colors. If the neutrals are off, the
Color constancy
entire
image appears
off,
but
it's
hard to pinpoint why.
It
takes training to
"ignore" color constancy and say, "the neutrals are blue"
when your visual

color conisn't
system
is
trying to say, "the neutrals are neutral."
A final point about color constancy and color management:

important as some people think.
of everything
ally
else.
It still is
stancy presents an argument that the color temperature of lighting
as
important, but not at the expense
For example,
when
calibrating your monitor,
have the choice between setting your monitor to
you usua D50 or D65 white
point. (Monitor calibration,
and the differences between D50 and D65
white points, are described in Chapter 6, but you don't need to understand
these details to understand this point.)
Many people choose D50
in order
is
to match the exact white point color of the viewing environment, which
D50 lighting booth. But we, along with many other practitioners, recommend D65 because we think you'll be happier looking at a bright
usually a
white D65 monitor than a dingy yellow D50 one, even

is
if
the
D50 monitor
colorimetrically closer to the
levels
Matching brightness between two viewing environments may be as important as, or even
than, matching the color temperature
slight differences in color
D50
lighting booth.
more important
color constancy
does a lot to adapt to
temperature.
Psycholosical fodon: G>lor Names and Memory Colon Now we turn to the psychological attributes of color. These involve aspects
of judgment that are not well understood.
tributes
Some of these psychological at-
may be learned. Some may even be cultural. But these attributes relate to the way we talk about color in our language.
Names and color reproduction. Earlier in this chapter, we defined hue as
the attribute of a color by which it gets
its
basic name. This connection be-
tween hue and basic names isn't just a philosophical nuance, but may be one of the most important things to remember about color reproduction.
If nothing else, it sets
a minimum bar for reproduction quality. We're gen-
erally fussier
about discrepancies in hue than we are about discrepancies
in brightness or saturation
between a
target color
and
its
reproduction.
Chapter
1:
What
Is
Color?
A9
enough
or between a displayed color and

to cross
its
print. If the
hue
is
different
some
intangible
boundary between color names
such as when
your reds cross slightly into the oranges, or your sky crosses a tad into the purples then people notice the hue shift more, perhaps because they
now have a way to articulate it. The good news is that this is often the first step in solving the problem by being able to put a name to the hue shift, you can begin to look for the source of the problem (too much yellow ink
in the reds or too
much magenta
One
in the blues).
Memory
of
colors.
effect that all graphic artists are
aware of
is
that
memory
colors.
or sky blue that others because
we
These are the colors such as skin tones, green grass, are very familiar with. These colors matter more than
a strong
we have such
-26
is
memory
of them. As our friend
(and color-management
the
left
critic)
Dan Margulis
likes to say, the color
on
of Figure
a color, but the
one on the
right
is
COLOR. The
fact
evaluation of the quality of a color reproduction

that
is
weighted by the
than others.
some
colors are
more important
if is
to get "right"
We
is
put
"right" in
quotes because our ingrained

everything
memory
of these colors
if if
often
quite inaccurate. Even
colorimetrically perfect,
the skin the skin
tones aren't what the viewer expects, the image looks "wrong"; tones
fit
the expectation, but a sweater went a unless the picture

is
little
too red, few people
will notice,
in a sweater catalog.
In
tion that we can't (yet)
summary, there are psychological aspects of human color percepmodel mathematically, so color management sim-
ply can't address them. Even the best color management

for
must leave room

to
human
intervention at strategic points.
And you have
be aware
of where color
management needs your
help, as we'll
be pointing out
throughout the book.
Figure 1-26
A color and a COLOR!
50
Lessons for Color

of the
We conclude this long chapter on color science with a summary of some

main lessons we should keep
. . .
Management
in
mind for color management.
Lighting is important
our eye is best designed to work under certain
conditions
...
...
not absolute. The visual system has a tremendous ability to adapt. (See the section, "Color Constancy")
but
it's
Watch out for fluorescence with certain papers or inks, or when making scanner profiles. (See the section, "Fluorescence.")
Metamerism
color
is
the basis for color matching and hence the basis for
(See the section, "Metamerism.")
management.
Train yourself to see your red, green, blue response. With practice, you
can recognize
all
colors as mixtures of red, green,
and
blue. (See the
section, "Trichromacy: Red, Green, Blue.")
Train yourself also to think in blue-yellow, red-green opponencies.
If
you want
to
reduce the yellow in an

its
RGB image, which has no yellow

color, the
channel, you can increase
opponent
blue channel. (See
the section, "Opponency: Red-Green, Blue-Yellow.")
Watch for hue shifts that move a color into a different color name category.
These will be obvious to viewers and signal a significant problem. (See
the section "Psychological Factors: Color Names and
Memory Colors.")
There are colors, and there are COLORS (COLORS have different values
to us emotionally). (Again, see the section, "Psychological Factors: Color
Names and Memory Colors.")

Colorimetry is the basis for the quantification of colors. Color manage-
ment is based on mathematical models of color closeness provided by

colorimetry. (See the section, "Colorimetry")
Colorimetry
isn't
perception. Relationships between colors are
more
important than the colors themselves. This is an important point to understand when we look at the difference between colorimetric and
perceptual renderings. (See the section, "Color Constancy")
Computers
and Color
Computers know nothing about color except what we humans tell them. They're just glorified adding machines that juggle ones and zeros to order.
One
of the
color.
many ways we use numbers on the computer is to represent To do that, we need some kind of mathematical model of color.
reality is
Applying mathematical models to

ticularly so
color.
always
tricky,
but
it's
par-
when
dealing with something as slippery and subjective as

Sir Isaac
The great mathematician.
discoveries about color, but as far as

it
Newton, made many important we know he never tried to model
mathematically. Instead he went onto simpler subjects like inventing
calculus
and discovering the mechanical laws of the universe.

1,
pens in our heads
In Chapter
we
explained that color

it's
is
really
something that only hapdifferent
the sensation
we experience in response to
wavelengths of light.
When we
color
talk
measuring
sensation of color the makeup of the

correlate light
isn't really
itself,
about measuring color, what we're but rather the stimulus that evokes the
light hitting
our retinas.
We
can
measurements with the color people experience, but the

examine the various number systems we use to numbers mean, and show how, without
set of
correlation
isn't perfect.
In this chapter, we'll
represent color, explain what these

color
management, the same
numbers
will
produce very
different
colors in different situations.
51
52
Real World Color

In the previous chapter,
we explained how it's possible to produce all the

and blue light
colors people can see using only red, green,
the "additive"
primary
it's
colors.
When we reproduce color on a physical device,

and blue
light.
whether
a monitor, a piece of transparency film, or a printed page,

red, green,
we do so by
and digital
manipulating
In the case of true
RGB devices such as monitors,
scanners,
cameras, we work with red, green, and blue light directly. With film and printing, we still manipulate red, green, and blue light, but we do so in-
and background cyan absorbs red magenta absorbs green hence the term "subtractive" primary colors. yellow absorbs blue
light, light,
directly,
using
CMY pigments to subtract these wavelengths from a white

light
Most
G,
all)
digital color is
encoded
to represent varying
amounts of either
R,
and B or
C,
M, and Y,
or, in
Y,
desktop printers, C, M,
commercial printing and some (but not and K (for BlacK). (See the sidebar "Why
CMYK?")
Unfortunately, these mathematical models of color are quite ambiguous.
You can think of an RGB or
CMYK file
as containing, not color, but

its
rather a recipe for color that each device interprets according to

capabilities. If you give
own
20 cooks the same recipe, you'll almost certainly

if
get 20 slightly different dishes as a result. Likewise,
you send the same

to 20 different
differ-
RGB
file
to 20 different monitors, or the
same
CMYK file
presses, you'll get 20 slightly (or in
some cases, more than slightly)
ent images. You can readily see this in any store that
You'll see
sells television sets.
20 televisions
all
lined up, of various

all
tuned to the same
station,
and
makes and models, all producing somewhat different colors.
They're receiving the
ate different visible results. This even
same recipehut their different characteristics generhappens within the same make and
originated in the analog rather than the
model of television. The RGB and

digital world.
CMYK models
Neither was designed as an accurate mathematical descrip-
tion of color: they're really control signals that we send to our various color
devices to
make them produce something that we eventually experience

you should always think of RGB or
as color. So
CMYK numbers as tuned
for a specific device.
Chapter
8:
Computcn and
Color
53
Why CMYK?
Vy^y
CMYK
rather than
CMY?
In
come
for
close,
but inks and toners,

satisfy
ring to black as "B"
would lead
and
theory, pure cyan absorbs
100% of
example, have to
many
to confusion with Blue. Press op-
red light just as pure
magenta and
different physical requirements
erators often refer to cyan
yellow fully absorb green and blue

light respectively.
A combination
besides color, such as adhering to the paper and each other, drying in a reasonable length of time,
magenta
is,
as blue
and
red,
which
of course, incorrect and not
of perfectly pure cyan, magenta,
absorb
and yellow colorants would all light, which people

it
being fade-resistant, and being

affordable. This almost invariably
something we personally encourage. But it's an ingrained, time-
honored
change
practice,
and
trying to
would see as black

see
all
the only perfectly black

we
or
(if
they could
involves
purity.
will
compromising the color
it is,
as our friend
and
col-
So to get a better black that
objects we're aware of in this uni-
absorb as
much
light as pos-
league Herb Paynter would say, hill that ain't worth dyin' on."
"a
verse are black holes, which

can't see directly).
sible, as neutrally
as possible,
we
to
There are various theories as
When one
100%
more colorants
aren't
pure,
use black ink. Another good reason for printing with black ink is
that black-only objects such as
text are a lot easier to print
why
"K" was chosen, but the
likeliest, in
our view,
is
that
it
re-
some
light
is
reflected instead
is
fers to "key"
the
it's
master plate
is
of being absorbed. This
why
when
to
which the other three colors

the
usually used as
the easiest to
many
toner-based devices have

three-color black,
you
don't have to perfectly align
are registered. Since black
a greenish
the cyan, magenta, and yellow

versions.
darkest color,
and why three-color black on a

printing press
is
the key because

it's
it's
usually a
muddy
You may also wonder why
see. Whatever the reason,
brown. The colorants are simply not perfect. Photographic dyes
CMYK
rather than
CMYB.
There's
with
we print CMYK, not with CMYB.
general agreement that refer-
Analog Origins
The numbers in RGB and CMYK files don't really represent color.
Instead,
they represent the amounts of colorants the things our devices use to
make
a color. Both
RGB and CMYK
vêre
used in the analog vôrld long
before they were translated to the digital world.
CMYK printing has

cess since the early
been around as a mass-market commercial pro1920s, and until pre-press went digital in the 1970s,
CMYK separations were made optically by photographing the original art

through C, M, Y, and neutral-density (for the black plate) filters. The earliest scanners used analog RGB signals. The scanners' RGB signals were
typically converted directly to analog
film ft-om which printing plates were

digitally,
CMYK, which was used to expose made. When we started making color
we simply used digital RGB and digital CMYK to mimic their anait
log predecessors. In short,

digital color,
was the easiest way to make the transition to
but not necessarily the best way.
54
Monitor RGB. When we display color on a monitor, we do so by spraying streams of electrons that strike phosphors. Phosphors are chemical and
mineral
compounds
that emit light
when
they're struck (the technical
term is
excited)
by a beam of electrons. Color monitors use three different
phosphors painted on the inside of the faceplate that emit red, green, and
blue
By varying the strength of the electron beam, we can make the phosphors emit more or less red, green, and blue light, and
light, respectively.
hence produce
different colors (see Figure 2-1).
Figure 2-1
Monitor phosphors
red light
green light
blue light
red, green,
and blue
M
m
,
phosphors
But the precise color that the monitor produces depends on the type
of phosphors used, their age, the specific circuitry and other characteristics
of the monitor, and even the strength of the magnetic field in which
is
the monitor
located. All monitors'
recognize as red, green,
phosphors produce something we and blue, but there are at least five quite different
phosphor sets in common use, and the phosphors can vary substantially even in a single manufacturing batch. Factor in individual preferences
for brightness
and contrast
settings,
and
it's
highly unlikely that any two
monitors will produce the same color from the same signal, even if they're
two apparently identical monitors bought on the same
day.
Scanner RGB. When we capture color with a scanner or digital camera, we
do so using monochromatic light-sensitive sensors and red, green, and blue filters. Each sensor puts out a voltage proportional to the amount
Oiaptcr
8:
Computers and Color
55
of light that reaches
it
through the
filters,
and we encode those analog

digital values a
voltages as digital values of R, G,
and
B.
The precise
scan-
ner or camera creates from a given color sample depend on the

of the light source and the transmission characteristics of the
makeup
As
filters.
with monitor phosphors, scanner and camera
filters
vary from vendor to
vendor, and they also change with age. Scanner lamps also vary both from
vendor
to
vendor and with age, and the
light
source in a digital camera
capture can range from carefully controlled studio lighting to daylight that
varies
from exposure
to exposure, or even, with

it's
scanning-back cameras,
over the course of a single exposure. So

devices will produce the
very unlikely that two capture

the
same RGB values from
same
color sample.
Printer
CMYK. When we print images on paper, we usually do so by laying

is
down dots of cyan, magenta, yellow, and black ink. In traditional halftone
screens, the spacing
constant from the center of one dot to the next, but

tints.
the dots vary in size to produce the various shades or

printers and
Many desktop
some commercial press jobs use different types of screening,

as error diffusion or stochastic screens,
variously
is
known
size,
where each dot
the
same
and the color
is
varied by printing a greater or smaller
number
of dots in a given area (see Figure 2-2, and the sidebar, "Pixels,
Dithers,"
Dots, and
on the next
page).
Figure 2-2
CMYK halftone
In a conventional
In a
CMYK diffusion
of
is
CMYK halftone, dot

placement
is
dither, the size
regular,
the dots
regular,
and the illusion of

different tonal
and the illusion

of different tonal
values
is
values
is
produced by
of the dots.
-
produced
varying the size

.1
by varying the dot

placement.
56
Pixels, Dots,
Wherever possible we
try to avoid
and
Dithers
Back
folks
either on or off, present or absent.

Digital printers' resolution
is
in the analog days, prepress
nitpicking about terminology, but
ex-
converted continuous-tone
the practice of using the terms

"dpi" (dots per inch)
(pixels
pressed in dots per inch, which

describes the number of locations
originals to halftones
a kind of
and "ppi"
dither where the dots are constant-
per inch) interchangeably
inevitably leads to confusion, be-
per inch in which the printer can either print a dot, or not print a
dot.
ink,
density and equally spaced, varying in size to produce the illusion
cause dots and pixels are distinct entities with different properties.
We
can't vary the density of
of darker or lighter shades
by
and
Some
digital
mavens
insist
nor can we vary the size of the dot. Rather, we can only tell
the output device whether or not
to print a dot at
projecting the original onto plate
material through color
filters
on using the term
"spi" (samples
per inch) rather than dpi when discussing scanner resolution

that's nitpicky.
each location.
a screen like the ones you find on a screen door. The holes in the
screen acted as pinhole lenses, pro-
600-dpi laser printer
can print, or
Pixels represent varying levels
not print, 600 dots per linear inch, while a 2400-dpi imagesetter has
to
ducing large dots in the dark areas
and small ones in the light areas.
of density.
single pixel
can not
make
that
same decision 2400
Most presses
tal
still
use this kind
only be red, green, and blue at the same time, but have different intensities of red, green,
times per linear inch. Each dot has the same density the only
of dithering, but to
make
its
a digi-
halftone
on an imagesetter or
and
off.
blue,
is
thing
we can
control
is
the loca-
platesetter,
we
arrange
print-
rather than just
on or
This
tion of the dots.
able dots into larger groups called
where we get the term continuous

tone.
We make
duce the
digital printers pro-
halftone
A monitor is an example of a
digital hard- copy out-
illusion of
continuous
We
cells or halftone spots. simulate the traditional ana-
continuous-tone device.
But most
tone by arranging these equally sized, constant-density dots

using
put devices are not continuoustone. Instead of pixels, they print
some kind
isn't
of dithering
on and off in a cell. This type of dither

log halftone by turning dots
also known as "AM (Amplitude Modulation) screening," or simis
way of arranging the dots in a pattern that
dots of ink or toner, which are
obvious to the eye.
ply as a "conventional halftone."
But the precise color that the printer produces depends on the color of
the inks, pigments, or dyes, the color of the paper stock, and the
colorants interact with the paper, both chemically
way the
and
physically. Inkjet
printers commonly show color shifts over time (most obvious in neutrals) when ink and paper aren't appropriately matched. Color laser printers
and color copiers
are very susceptible to humidity change.
On
com-
mercial press, the color can vary with temperature, humidity, prevailing
wind, and the state of the press operator's diet and marriage, but
that's
another
story!
So
it's
very unlikely that
two
different printing devices will
produce the same color from the same
set of
CMYK values.
Chapter
8:
Computers and Color
57
Halftoning converts continuous tone images, such as digital files or scans, from pixels into dots so the
with each other. Combating this

necessitates rotating each ink's
sidered continuous tone because

the colorants' density can be controlled,
screen to avoid these conflicts,
so dots, and therefore half-
image can be reproduced on an

Inkjet printer or a printing press,
for
hence the term "screen angles."
toning, aren't needed.
The other kind of

error diffusion or
dithering,
is
The importance of this
to color
example. The best-known type

is
FM
screening,
of halftoning
sometimes called
used on most
occasionally
Inkjet printers,
and
management is that ICC-based color management only works on

pixels,
ordered dither or "conventional

halftone dot" in addition to the
on presses
too.
FM
not dots, but the final out-
screening varies the location of

the dots, but not their
size.
aforementioned "AM screening".
Darker
put is more often than not created with dots. The effect of screening
different kind of halftoning,
areas have
more dots
closer to-
error diffusion, also goes by names
gether while the lighter areas have
algorithms can affect what we see compared to what was
such as "FM screening" and

chastic screening."
"sto-
fewer dots dispersed farther apart.
measured and predicted by the

color
The more random nature of
FM
AM screening varies the size of

the dots, but not their location.
screening gives high-resolution Inkjet output the appearance of
management system (CMS). So we need to take the screen-
Darker areas have larger dots and lighter areas have smaller dots (or
continuous tone.
FM
screening
is
sometimes used on press, but since

small variations in press behavior
are exaggerated
no
is
dots). This type of halftoning
ing algorithm into account when we color-manage a device, by ensuring that we print the profiling target using the same screening we
common
for printing presses
much more by FM
it's
plan to use for production, because

different screening algorithms will
as a carryover from
making plates
screening than by AM screening,

usually limited to
through a "screen." Because of the pattern generated with AM screening, undesirable

artifacts
premium jobs
in
shops
that
have gained consider-
produce different tonal renderings. (See "Tone Reproduction Characteristics," later in this chapter.)
able experience using
FM screens.
can occur with multiple
inks
when their "screens" conflict
Dye sublimation and photographic output methods are con-
Digital Evolutions The point of the previous section is that RGB and CMYK are fundamentally
analog concepts
they represent some amount of colorants: the dyes,

RGB
have analog components
inks,
phosphors, or filters we use to control the wâvelengths of light.
devices such as televisions, monitors, scanners, and digital cameras to this

day,
and
for the forseeable future, all
things
deal
that vyôrk in terms of continuous voltages: magnets, lenses, mirrors,
and
phosphors and
filters
baked
in
chemical
labs.
CMYK
printers
still
with the idiosyncracies of chemical inks, dyes, and pigments on sheets of
mashed wood pulp
that
we call "paper."
58
RGB and CMYK numbers are nevertheless numbers. This made them ripe for adoption into the digital age where numbers themselves take the form of bits and bytes (see "How the Numbers Work,"
However,
. . .
has
on the next page).

Over the years we've seen more and more analog components replaced
by
digital.
The Darwinian
force that drives this evolution
is,
very simply,
money. Digital components are faster, cheaper, and (most importantly from the point of view of color management) repeatable and predictable.
All of these benefits translate directly into
monetary savings.
it's
But keep in mind two things about

tal.
this evolution. First,
incremen-
Companies
usually produce products that are small
over previous technologies
despite what their marketing brochures

of products
improvements
say.
New products and subcomponents

old
must
coexist with old,
and new technologies must be usable by people who have worked with
components for years. Second, because of this incremental evolution, digital RGB and CMYK are often designed to mimic their analog predecessors.
The result has been that digital color-reproduction equipment often

or mostly digital, devices.
has odd little idiosyncracies that might not be there if the things had been
designed from the ground up to be
digital,
An example is the evolution of the imagesetter, the output device that

generates the film used to image plates for offset lithography. Imagesetters
evolved from the analog methods of imaging film using photographic
techniques
for example, projecting a photographic negative through a

produce a halftone image (hence the terms "screening" and
fine screen to
"screen frequency"). This analog photographic process
was replaced by
computers controlling lasers that precisely exposed the film microdot by microdot, but these imagesetters still needed traditional analog darkroom
equipment, chemistry, and photographically
velop the film. However, bit by
bit,
skilled technicians to de-
even the darkroom processing was

all
replaced by digitally controlled processor units that control

film development.
aspects of
But
why
did
we need
film at
all?
therefore not expendable) printing presses
Because extremely expensive (and had almost as expensive
platemakers that required film for platemaking, and because creating
an analog proof from the film was the only affordable method in place for creating a contract between the print client and printer (premium
jobs sometimes use actual press proofs
for proofing only
in
effect,
but they're brutally expensive). Nowadays, however.
separate press runs
Chapter
S:
Computen and
Color
59
as platemaking
film itself
is
and
digital
proofing technologies
become more
reliable,
being skipped (with obvious cost benefits),
and the
digital
process
itself,
is
being extended from the computer right up to the platesetter

digital
even including
rollers.
platemakers that image the plates right on
the press
What does all

It
this
mean for digital RGB and CMYK numbers and color
management? numbers exercised by color management are only as good as their ability
to
means that all the digital computation and control of the

Digital color
model the behavior of analog components.
management
analog
alters the
numbers to compensate
for the behavior of the various
components. As such, the strengths and weaknesses of color management

lie
entirely in
how
well our digital manipulations
model the behavior of

all,
the analog parts, including that most important analog "device" of the viewer's eye.
In a
moment we'll examine the key parameters that describe the analog
first,
behavior of color-reproduction devices. But
we should examine the
the numbersa digital part of digital color
bit
more closely.
How the Numbers Work

Let's
ing
pause
or,
for a
moment and examine the systems we use for represent-
more
accurately, encoding
colors as numbers in a computer.

few points that often confuse
We'll take this the opportunity to clarify a
people about the basics of digital color, which propagates into confusion about color management. Even if you're extremely familiar with the ba-
worth reviewing as we make a few key points about the difference between colors-as-numbers
sics of bits, bytes, tones,
and
colors, this section
is
and
colors as "Real World" experiences.
The system computers use

ally
encoding colors as numbers is actuquite simple: colors are comprised of channels, and each channel is
for
it!
subdivided into tone levels. That's
perception the fact that colors are mixtures of red, green, and blue in various intensities and then we adapt model for storage,
this
We start with a simple model of color

efficient
computation, and transportation on computers. The number of channels

in
our encoding system
is
usually three, to correspond to our basic three-
primary way of seeing

system
is
colors.
The number of tone levels
in our
encoding
usually 256, to correspond to the
minimum number of tone levels
60
we need to create the illusion of continuous toneto avoid the artifacts known as banding or posterization, where a viewer can see noticeable
jumps between one tone
Figure 2-3
level
and the next
(see Figure 2-3).
Levels
and posterization
256 shades ofgray

provides the illusion
of continuous tone.
With only 128 shades ofgray, some tonal

detail
is lost,
and we
of
start to see hints
posterization.
With only 64 shades ofgray, we

see
banding in the
gradients and in the sky.
Chapter
8:
Computers and Color
61
Why 256
it
Levels?
some
it's
This number, 256, seems arbitrary and mysterious to
people, but
crops up so
many times in computers and color that

it. It's
worth making
not
your peace with
not that mysterious. We want to be able to represent

is
enough tone levels so that the step from one tone level to the next
visible to the viewer.
It
turns out that the
number of tone levels needed to
produce the effect of a smooth gradient is about 200 for most people. So why not encode only 200 levels? Why 256? For two reasons.
Headroom.
It's
useful
in
fact, essential for
color
management
to have
some
extra tone levels in our data so that the inevitable losses of tone
levels at
each stage of production (scanning, display, editing, conversion,
computation, printing) don't reintroduce banding.
BHs.
level
The second reason

numbers. Seven
is
just that
let
we use
bits to represent these
tone
(2^),
bits
would
us encode only 128 tone levels

in
which would be a
way banding on the cheeks of our fashion models. Eight bits lets us encode 256 tone levels (2), which gives us just enough, plus a little headroom. The third
reason
in
surefire
to get
our skies and blotches
we go with eight bits is that computer storage is already organized

is
terms of bytes, where a byte

is
a unit of exactly eight
bits.
of eight bits
already so useful
for example,
to
This quantity
it's
perfect for storing a
character of type, which can be any of 256 letters and punctuation marks
in a western alphabet
that
of
it
seems a cosmic coincidence

encode tone
that a byte
is
also the perfect
amount
memory
levels for the
human
visual system. Engineers love those
cosmic coincidences!
Millions of Colors
So 8-bit encoding, with
its
256 tone levels per channel,
is
the
minimum
is
number
of bits
we want
to store per channel.
With RGB images, storing
eight bits for each of the three channels gives us 24 bits total (which
why many people use the terms "8-bit color" and "24-bit color" interchangeably to mean the same thing). The number of colors encodable with 256
tone levels in each of three channels is 256 x 256 x 256, or
(if
you pull out
your calculator) about 16.8 million

for
colors! Quite a lot of encodable colors
our 24
bits (or three little bytes) of storage!
62
Although
this basic 3-channel, 8-bit
encoding
is
the most
common be-
cause it's based on human capabilities, we can easily expand it as needed to
encode more colors for devices other than the human eye, either by adding
channels or by increasing the number of bits
For example,
we
store for
each channel.
when we're preparing an image for a CMYK printer, we increase the number of channels from 3-channel to 4-channel encoding, not because we need more encodable colors (in fact, we need fewer) but
because
it's
natural to dedicate a channel to each of the four inks.
Similarly,
we
often go from 8-bit to 16-bit encoding
when
saving
images captured with a scanner capable of discerning more than 256 levels of RGB (the so-called "10-bit," "12-bit," and "14-bit" scanners
although, because we store files in whole bytes, there are no 10-bit, 12-bit,
or 14-bit
files,
only 8-bit or 16-bit

to
files).
is all
A key point
remember
is
that this
talking about the
number
But
of encodings, the set of numeric color definitions
we have
available.
just as in the San Francisco Bay Area there are far more telephone numbers than there are actual telephones, with computer color the number of
number of reproducible colors. In fact, it far exceeds the number of perceivable colors. And even if we make devices
encodable colors
far
exceeds the
such as high-end scanners that can "perceive" more tone levels than the human eye, we can always expand our encoding model to handle it. All
that matters
is
that each perceivable color has a unique encoding, so there
are always
more encodable colors than we need
^just
as the
phone com-
pany must ensure that every telephone has a unique telephone number, so it had better have more telephone numbers than it really needs.
We make
this point
because
it's
a key step to understanding the
dif-
ference between colors as
abstract numbers and how those numbers
are
actually rendered as colors
by "Real World" devices
printers, monitors,
scanners, etc. When you look at how those numbers are actually interpreted
by a device, the number of actual "Real World" colors, drops dramatically! (See the sidebar "Color Definitions and Colors.")
So while
it's
useful to understand
how the numbers workwhy we see

by a color device as colors.
numbers
like
256 or 16.8 million crop up everywhere

. . .
don't forget that

precise in-
they're just
numbers
until they're interpreted
In the next section we'll look at
what
gives the
numbers a
the terpretation as colors. These are the analog parts of our color devices,
things that color
management systems need

into color
to
measure
to
know how to
turn
number management
management.
Chapter
S:
Computen and
Color
63
Color Definitions and Colors

Lots
number
of people confuse the of color definitions
redundancy.
Now one could argue

K values contribute
that these "high-bit" scanners give a larger
that the extra
number of colors. For example, we mentioned that

with the
colors intended for a
printer are naturally
additional tonal levels to the
CMY
8-bit ones. This
dynamic range than is nonsense the
channels, but this starts to get way
dynamic range
is
an analog
to
bit
CMYK
in
more complicated than we need

to get here. Let's just say that the
total
limitation of the capture device
encoded
and has nothing whatsoever
four channels. Does 8-bit

really represent
CMYK
encod-
number of encodable colors
do with
256 x 256 x
in 8-bit
billion.
CMYK
is
far less
than 4.3
depth. Higher depths simply allow us more

editing flexibility by slicing the
device's
bit
256 X 256 or
4.3 billion
able colors?! Theoretically, yes.
Four arbitrary channels produce 4.3 billion encodings, but when
As another example, we mentioned that there are scanners

that claim to be able to see far
discrete steps.
dynamic range into more You can think of
we
M,
assign the interpretations C,

Y,
more than the 256 tone

encodable
in eight bits.
levels
dynamic range as the height of a staircase, and bit depth as the
and K
to those four
chan-
These
number
to
of steps that staircase

if
nels,
we
realize that the fourth

(K) doesn't
tout 10-bit. 12-bit. or even 14-bit

capability.
this
contains. Obviously,
we want
channel
seem
to
add
Many people confuse
keep the steps as small as
many colors.
In fact,
many
of the
with the scanner's dynamic
possible (which
we
do, to avoid
CMYK
same
50M,
encodings represent the

color. For
range, the range from brightest
posterization
or
banding),
example, 50C,
white to darkest dark in which

the scanner can distinguish tonal
variation reliably.
SOY.
OK
theoretically en-
higher dynamic range needs more steps than a smaller one,

but there's no direct relationship
codes the same shade of gray as

DC. DM. OY, 50K, so there's a lot of
Some
scan-
ner vendors
may
actually claim
between the two.
Why the Numbers Vary

In the coming chapters we'll look at the specifics of measuring the behavior
of display devices (monitors), input devices (scanners and digital

eras),
cam-
and output devices
look briefly at
All devices
(printers and proofing systems), but here we'll the basic parameters that vary from device to device.
vary in certain basic parameters. These are the things you'll

profiles,
measure
if
you are making your own
and which must remain
stable for your color
management system to work effectively. The three main variables are

The color and brightness of the colorants (primaries)
.
The color and brightness of the white point and black point. The tone reproduction characteristics of the
colorants.
64
These concepts
devices. They're
aren't
new to
color
management
or unique to digital
all variables introduced by analog components like inks on paper, phosphors and analog voltages in monitors, and filtered sensors
in scanners.
While
digital
components
rarely vary
much, analog compo-
nents vary a great deal in design, manufacturing, and condition.
Colorants (Primaries)
The first, most obvious factor that affects the color a device can reproduce
are the colorants
it
uses to do
so.
On a monitor, the primaries are the phosfilters
phors. In a scanner or digital camera, the primaries are the
through
which the sensors see the image.

inks, toners, or
In a printer, the primaries are the process
dyes laid
down on the paper, but, because the subtractive
color in
in
CMYK printers is a bit more complicated than the additive color
RGB monitors, we usually supplement measurements of the primaries
with measurements of the secondaries (the overprints
Magenta+Yellow,
device.
Cyan+Yellow, and Cyan+Magenta) as well (see Figure 2-4).
The exact color of the colorants determines the range of colors the device can reproduce. This
is
called the color
gamut of the
We
care
not only about the precise color of the primaries, but also how bright they
are. In
is
technical terms we often refer to the density of the primaries,

ability to
which
simply their
absorb
light.
Figure 2-4
Subtractive primary and secondary colors
M+Y
C+Y
C+M
Chapter
2:
Computers and Color
65
White Point and
Blacic Point
Besides the primaries, the other two points that define the gamut and
hence need to be measured and monitored in a device are the white point and black point. Books (and people) often talk about the white point and
black point in very different terms: with the white point, they're usual-
concerned with the co/or of white, while with the black point they're more concerned with the density (the darkness) of black. In fact, we can
ly
talk
about both color and density of either the white point or the black
point
the difference
is
is
only a matter of emphasis. With the white point,

its
the color is
density
more important than

is
density,
and with the black point, the
more important than
its
color.
The color of the white point
more important than its density because
the eye uses the color of this white as a reference for all other colors. When
you view images, the color of white on the monitor or the color of the white paper on a printed page affects your perception for all the other
colors in the scene. This white point adaptation
is
an instantaneous and
is vital.
involuntary task performed by your eye, so the color of white

is
This
why, as we'll see
in
Chapter 6, we often
sacrifice
some brightness during
monitor calibration
to get the color of the white point correct. Similarly,
when looking at a printed

of the white point
is
page,
it's
important to remember that the color
determined as
itself.
much by the light that illuminates the
page as by the paper color
With black point the emphasis shifts toward density as a more important variable than color. This is because the density of black determines
the limit of the dynamic range, the range of brightness levels that the device can reproduce. Getting as
much dynamic range as possible is always

make the difference between
important, as this determines the capacity of the device to render detail,

the subtle changes in brightness levels that
a rich, satisfying image and a
flat,
uninteresting "mistake."
On a monitor, we try to calibrate so that we get just enough brightness

differences near the
bottom end
to squeeze
some
extra detail out of our
displayed shadows.
On a printer, we can improve both the color and the density of the black
point by adding our friend
K to
the
CMY colorants. Adding K lets us pro-
duce a more neutral black point than we could with our somewhat impure
C,
M, and Y inks, and using four inks rather than three gets us much denser
(darker) blacks than
we could using only C, M, and Y.
66
On a scanner, the software lets you change the density of the white and
black points from scan to scan either manually or automatically, but for
color management we need to use a fixed
set the black
dynamic range, so we generally dynamic range the scanner
and white points
to the widest
can capture.
Measuring the color and density of the white and black points is usually one of the steps in preparing to use any device in a color management
system. You also need to watch out for changes in these values over time,
so that you
know when
to adjust either the device itself, or
your color
management system,
accordingly.
Tone Reproduction
black point
is
Characteristics
and
Measuring the precise color and density of the primaries, white point,
essential,
but these points only represent the extremes of
the device: the most saturated colors, the brightest whites, and the darkest
darks. To
complete the description of a device, the color management sys-
tem
(to
also
needs to know what happens to the "colors between the colors"
paraphrase a well-known desktop printer commercial).

There are several ways to measure and model devices' tone-reproduction
characteristics. The simplest, called a tone reproduction curve (TRC) defines

,
the relationship between input values and resulting brightness values in a

device.
Most analog devices have
similar curves that
show gain
(increase)
off in the
this
in the darkness levels that affect the
midtones most and taper
hightlights
is
and
shadows. In monitors, scanners,
and
digital
cameras
called a gamma curve. Printers exhibit a slightly different dot gain curve,
2-5).
but the two are similar (see Figure
Some printers have much more complicated tonal responses that can't be represented adequately by a simple curve. In these cases, we use a
lookup table (LUT), which records representative tonal values from
to dark.
light
When you take measurements in the process of calibrating or profiling

a device for color
characteristics of the device as well as the primaries
points. You should try to get a feel for the things that
characteristics
management, you're measuring the tone-reproduction and black/white

can
alter these tonal
such as changing to a different paper stock, or adjusting the contrast knob on your monitorbecause when a device's tone-reproduction
characteristics change, you'll
to reflect the changes.
have to adjust your color management system
Chapter
2:
Computers and Color
67
Figure S-S
0%
Tone reproduction curves

Both diagrams plot the
input iHihie
(iêrtical axis)
80%
against the output value

(horizontal axis).
68
Figure 2-6
L-e
The images contain

identical
Same numbers,
different color
numbers
..,
...
appearances. This
color
but have very different is why we need
management one image's appearance is much more desirable

than the other, but without color
management you can't tell what color the numbers represent.
Figure 2-7
Same color,
different
The images contain different numbers ...
numbers
...
but have identical
appearance. This
color
management
we change the
is
how we use
numbers so that each of our devices

produces the desired appearance.
Chapter
2:
Computers and Color
69
Color management systems allow us to solve both problems by attaching absolute color
so, the
meanings to our RGB and CMYK numbers. By doing numbers cease to be ambiguous. Color management allows us to
set of
determine the actual color meaning of a
RGB
or
CMYK
numbers,
and also lets us reproduce that actual color on another device by changing
the
numbers we send
to
it.
But to do
so,
color
a different kind of numerical
model of color,
management has to rely on one that's based on human
perception rather than device colorants.
Device-Independent Color Models

Fortunately,
we have
several numerical
models of color that are device-
independent. Instead of using the numbers required to drive a particular

device to produce color, device-independent color models attempt to use
numbers
to
model human color perception
directly.
The device-independent color models in current use are based on the groundbreaking work we mentioned in Chapter 1 by a body of color scientists and technicians known as the Commission Internationale de
in English, the name means "International Commission on Illumination" and the CIE the international standards body
I'Eclairage, or
CIE
is
engaged
in
producing standards
for all aspects of light, including color.
CIE produced a mathematical model of color with the formidable-sounding name CIE XYZ (1931). This model was unique in
In 1931, the
that
it
tried to represent
mathematically the sensation of color that people
with normal color vision would experience
when they were fed a precisely
defined stimulus under precisely defined viewing conditions. Since that

original work was done, the
CIE has produced a wild alphabet soup of color models with equally opaque namesCIE LCh, CIELUV, CIE xyY, CIELAB, and so on, all of which are mathematical variants of CIE XYZ.
You
don't
need to know the differences between the various models
in
order to use color
management
effectively. In fact,
outside of measuring
the colors a device produces as part of the profiling process, you needn't
deal with any of the CIE models directly. But it
/5
important to understand
the distinction between device-dependent models like
RGB and CMYK,
and device-independent models
like
CIE XYZ and CIELAB.
70
RGB and CMYK just tell machines how much colorant to use:
The CIE models describe the
us nothing about what
specific color that
they tell
us nothing about the actual color the machines will produce in response.
someone with normal

a particular moni-
color vision would see under very precisely described viewing conditions,
but
tor,
tell
we need to do
to
make
manage color in the real we need to use both world, device-independent and device-specific color
models.
scanner, or printer produce that color. To
CIE
LAB
likely to interact
The CIE color model you're most

You can
with
is
CIE LAB (LAB).
actually save images in the
LAB model, and

and
edit
them
in
Adobe
Photoshop, Lieidelberg's LinoColor,

also plays a central role in color
several other applications.
LAB
management,
as you'll learn in the next
chapter.
If
you've ever tried editing a

is
LAB
file
in
Photoshop, you've probably

It is,
concluded that LAB
not the most intuitive color space around.

color.
It
however, based on the way our minds seem to judge

primaries, called L* (pronounced "L-star"),
a*,
uses three
and b*. L* represents lightness, a* represents how red or green a color is, and b* represents how blue or yellow it is. (Remember, red-green and blue-yellow are opponent
colors
they're mutually exclusive. There's no such thing as a greenishall
red or a bluish-yellow.)
LAB, by definition, represents

to
the colors
we can
see.
It's
designed
be perceptually uniform, meaning that changing any of the primaries by the same increment will produce the same degree of visual change. In
practice,
it's
not perfect, but
it is
pretty darn good,
and more to the
point,
nobody has as yet presented an alternative that is both a clear improvement and can be implemented using the computing power available on
today's desktop.
fact that
Many of the problems we have with LAB stem from the

it
we use
to
do things
for
which
it
was never intended
(see the
sidebar,
"LAB Limitations").
Despite its flaws, CIE LAB allows us to control our color as it passes from
one device to another by correlating the device -specific RGB or CMYK values with the perceptually based LAB values that they produce on a given
device.
LAB
acts as a
is
form of universal translation language between desay, "a
vices, or,
as Bruce
wont to
Rosetta stone for color."
It
allows us to
express unambiguously the
meaning of the
colors we're after.
Chapter
2:
Computers and Color
71
LAB
At
Limitations
in
some point
agement
travails, you'll
your color manalmost
color,
under very
specific light-
occasionally breaks down.

anything,
it's
If
it
ing, at a specific
viewing dis-
surprising that
it
certainly run into a situation
where CIE colorimetry says that two colors should match, but you
tance and angle, would appear to match to someone with nor-
works as well as
does, consider-
ing the limited purpose for which

it
mal color
vision.
It
was never
was designed.
them as being clearly ent. LAB does have some

see ent flaws.
It's
differ-
designed to take into account
The good news is that the theoand practice of color management are not dependent on LAB,
ry
inher-
not as perceptually
many of the perceptual phenomena we covered in Chapter 1 such

,
uniform as
also
it's
supposed
to be.
It
as the influence of surround col-
assumes
that colors along a
straight hue-angle line will pro-
designed to make cross-media comparisons such

ors.
Nor was
it
even though most color management systems today use LAB as

the computation space.
sic
duce constant hues, changing

only in saturation. This assumption has proved false, particularly in the
as
comparing
color displayed
on
theory stays the
The basame and the
a monitor with color
on
reflective
practice
this
blue region, where a
hard copy. Yet color
book
the "Real World" part of does not depend too
hue angle actually shifts the hue toward purple as blue becomes less saturated. But it's also helpful to bear in mind the purpose for which LAB was
constant
designed.
management sysmake LAB do all these things and more. When we colormanage images, we do so pixel
tems
try to
much on the computation model. As developers come up with fixes and workarounds to LAB's flaws,
as well as alternative color
mod-
by pixel, without any reference to the surrounding pixels (the context) or the
els, they can just swap out LAB like
an old trusty car engine that

has served us well. In the meantime,
medium
in
which the
The design
solid color
size,
goal for
LAB was
to
pixels are finally expressed (dots
LAB continues
to be the
predict the degree to which two
of ink on paper or glowing pixels
worthy workhorse of the color-
samples of a specific
specific
on a monitor). So
it's
not en-
management industry.
This figure shows the a,b
on a
background
'
tirely
surprising that the
model
Figure 2-8
LAB imperfections
plane of LAB, where hue

is
shown by the angle, and
saturation by the distance firom the center, which

represents neutral gray
b*
(a
and b both equal 0).

should represent
In theory, the dashed

lines
constant hues, but actual constant perceived hues
produce the solid
lines
shown
in the figure.
The hue shift is most pronounced in the

red and blue regions.
72
Alphabet Soup
According to the citations we've
referred to as L* C*uvhuv) or CIE
xyY, so
CIE LCh, and CIE xyY, but using the

*
been able to turn up, the official
we abbreviate them as CIE
superscript or the uv
is
names
are
CIE XYZ
(1931), ab-
breviated as CIE XYZ, CIE L*a*b*

(1976), abbreviated as
CIELAB,
haven't
LCh and CIE xyY. If you want to be pedantic, CIE L*a*b* and CIE L*u*v* are
incorrect.
subscript
excessively fiddly
(and
is
also technically incorrect)
unless you're using the long name

of the space, or referring to the individual primaries. While we're at
it,
and CIE L*u*v*
(1976), abbre-
No one seems
to
have
viated as CIELUV.
We
found a canonical abbreviation

for
any serious objection to using CIE Lab and CIE Luv, which are
how many angels can dance on
CIE LCh
(the primaries are
more consistent with CIE XYZ,
the head of a pin?
But
color
there's
another aspect to the device-dependence problem that
management addresses.
Mismatchins
the Limits of the

on one or another target device
it's
We use color management to reproduce faithfully the colors in our source

file
a monitor, a
printer, a film recorder,
or a commercial press. But
often physically impossible to do so, be-
cause each of our devices

of tone and color
it
is
limited by the lav^s of physics as to the range
can reproduce.
Device Limitations
All
Gamut and Dynamic Range

we
call
our output devices (both printers and monitors) have a fixed range of
color
and tone
that they can reproduce, v^^hich

is
the devices' color
gamut. The gamut
naturally limited by the

its
most saturated colors the
device has to work with,
primaries.
You
can't get a
more saturated red
on a monitor than the red of the monitor's phosphor. You can't get a more
saturated green on a printer than you can get by combining solid cyan
and yellow ink.
range the range of brightness differences they can reproduce. On a monitor
Output devices
(printers
and monitors)
also
have a
finite
dynamic
the darkest black you can display
is
the black that results
if
you send
RGB value 0,0,0 to the monitor (which,

control too high,
pletely off).
all
if you have turned the brightness a bit be brighter than all the phosphors commay quite The brightest white on a monitor is the white you get when
three phosphors (R, G,
and B)
are glowing at
maximum although you
Chapter
8:
Computen and
Color
73
usually have to calibrate your monitor to a less-bright white point in or-
der to get a more color-accurate white.
On a printer,
the brightest white
you can render is the whiteness of the paper, and the darkest black is the highest percentages of the four inks you can print on top of each other
without resulting in a soggy mess (usually considerably less than
inks at 100%).
all
four
Input devices (scanners and digital cameras) don't have a color gamut
because there
is
and colors
that
no sharp boundary between colors that they can "see" they can't no matter what you put in front of them,
they're going to see something. Instead,
we
say they have a color mixing
function, the unique mixture of red, green, and blue values that they will
produce for each color sample. This leads to a problem known as scanner metamerism, which we described in Chapter 1, but is not the same as the
gamut
issue
we are describing here. we can

of-
ten think of the effective "gamut" of the materials usually photographic prints or transparencies that you scan with the scanner, and this effective
However, although scanners don't have a specific gamut,
gamut
is
usually
much wider than any output device you will be using

gamut since
it
to
reproduce these scans. Digital cameras don't have a fixed
they capture color directly from the real world and have to cope with
all its
in
multi-hued
glory.
This makes them tricky to profile.
Although input devices don't have a fixed gamut, they do have a fixed
dynamic range, the range of brightness levels in which the scanner or digital camera can operate and still tell brightness differences. Below a
certain level of darkness
or densitya scanner or
digital
camera can no
longer distinguish between brightness levels, and just returns the value 0,
meaning "man,
that's dark!" Similarly,
above a certain
the device can't capture differences in brightness
rarely a problem with
level of brightness,
scanners, but all too common with digital cameras. Input devices typically
have a uider dynamic range than we can reproduce in our output.

This difference between device gamuts and dynamic ranges leads to a
If our
problem.
original
image has a wider dynamic range or a wider color
gamut than our output device,

exactly
we obviously can't reproduce the original

problem of variable gamuts
on
that output device.
There's
no
single "correct" solution to this

"can't get
and dynamic ranges. You
theah from heah," as they say in
New
England, so you have to go somewhere else instead.
74
Tone and Gamut Mapping

The dynamic range of our
at the highlight end,
printers,
be they desktop color
printers, film
recorders, or printing presses,
is limited by the brightness of the paper and by the darkest black the inks, dyes, or pigments
can produce on that paper at the shadow end. A film recorder has a wider
dynamic range than an

close to the
Inkjet printer,
which in turn has a wider dynamic

camera. Even a film
range than a printing press. But none of these output processes comes
dynamic range of a high-end
digital
recorder can't quite match the dynamic range of film exposed in a camera.
So some kind of tonal compression is almost always necessary.

Similarly, a film recorder
has a larger gamut than an Inkjet printer,
which again has a

all
three are
gamut than a printing press, and the gamuts of smaller than the gamut of film, so we need some strategy for
larger
handling the out-of-gamut colors.
Gamut
size isn't the only
problem.
We
typically think of a
monitor as
having a larger gamut than
CMYK
print,
and
this is true,
but monitor
gamuts don't wholly contain the gamut of CMYK print. Even though the monitor has a larger gamut, there are some colors we can produce with CMYK ink on paper that monitors simply can't display, particularly in the
and greens that lie adjacent to cyan. So the mismatches between various device gamuts can be as much due to the
saturated cyans and the blues
shapes of those gamuts as to their size

Color
see Figure 2-9.
management systems use

it's
various
gamut-mapping
strategies
that let us reconcile the differing
gamuts of our capture, display,
and out-
put devices, but

rect"
important to recognize that not only is there no "corit's
any gamut-mapping strategy, or any automatic method of compressing tone and color, will do equal justice to all images. So color management doesn't
way
to
handle out-of-gamut colors,
also pretty unlikely that
remove the need
for color correction, or the
need
for skilled
humans
to
make
the necessary decisions about color reproduction. As we've said

is
before, perception of color
uniquely human, and its judgment is decidis
edly human as well. What color management does do

accurately and
basis
to let us view color
communicate
it
unambiguously, so that we have a sound
on which to make these judgements.
Chapter
2:
Computers and Color
75
Figure 2-9
Gamut plots, gamut sizes, and gamut mismatciies
There are mrioiis ways to illustrate and compare gamuts, some of which are more complete than others. Two-dimensional gamut representations are invariably incomplete or misleading they show either a slice
of the gamut at a single lightness level or they show a projection of maximum saturation at all
-1
levels.
Yxy
xio
Lab
xio
-1
xio
xio
Two-dimensional xyY plots exaggerate some

color regions and
downplay xyY isn't perceptually uniform.
others,
because
Tivo-dimensional LAB plots, while perceptually uniform, are incomplete because they can only
show a single lightness level.

In reality,
gamuts are complex
three-dimensional shapes. You
can
tell
a great deal more from
a three-dimensional gamut plot, such as the one shown at left,

than you can from any of the two-dimensional gamutplotting techniques.
In this three-dimensional LAB gamut plot, the Lightness axis is vertical, the horizontal a axis runs from red to green, and the
horizontal b axis runs from yellow to blue.
76
Figure 2-9
Gamut plots, gamut sizes, and gamut mismatches, continued

show us
the differences in plotting techniques become more that the typical monitor has a larger gamut than a
When we use plots to compare two devices' gamuts,

critical. All
three plot types illustrated below
sheetfed press, containing many unprintable colors, particularly in the reds, but that the press can also reproduce some colors that the monitor cannot.
Yxy
x10
The xyYplot at right shows us that the press
gamut contains a cyan-green
region
and a
smaller yellow-orange region that the
monitor can't display, but it exaggerates

the size of both while minimizing the monitor's unprintable reds.
Lab
xlO
xlO
The LAB plot at left provides a more accurate

depiction of the relative sizes of both the gamuts themselves and of the regions where
they mismatch, but still doesn't tell the

xlO
whole story.
The three-dimensional LAB plots reveal the exact nature of the gamut mismatch, showing the monitor's
unprintable blues
and the press's undisplayable light yellows, left, and the monitor's unprintable reds and light greens, and the press's undisplayable dark greens and cyans, right.
Chapter
2:
Computers and Color
77
Figure 2-9
Gamut plots, gamut sizes, and gamut mismatclies, continued
In some cases, such as the one shown below, two-dimensional plots may simply give the wrong answer, as in this comparison between a sheetfed press and an Epson Stylus Photo 2200 printer (you might want to make this kind of comparison ifyou were considering using the Epson Inkjet
as a proofing device, for example).

-1
Yxy
xio
Lab
xio
4
5 2
1
-T
01
23456789
X
a
xio
Both 2-D plots indicate that the Epson
Inkjet's gamut
completely encompasses that of the press.
A 3-D comparison
it
tells
can't reproduce
some of the dark, saturated colors of which
a rather different story. While the Inkjet has a good overall match to the sheetfed press, the press is capable which would be important
ifyou
were printing a shoe catalog, for example. When you really know your way around gamut plots, you'll also conclude that a whiter paper stock in the Inkjet will provide a closer highlight match to the press.,
78
Real World Color
A good many tools are available for visualizing gamuts in both two and three dimensions, but the one we always keep coming back to is Chromix
ColorThink, developed by our friend and colleague Steve Upton. (We used
it
to
make most of the gamut plots that appear in this book.)
If you're
the
type
who
able to
worth a thousand words, and you'd like to be see representations of device gamuts and color conversions, we
finds a picture
think you'll find that ColorThink's graphing capabilities alone are worth
the price of admission (though
available at
it
does
many other useful things too).

isn't
It's
www.chromix.com.
point about gamuts: a device's color gamut
the
One
final
same
thing as a device's color space. The

the whitest white,
gamut simply represents the limits the blackest black, and the most saturated colors of
capable.
which the device
is
A device's color space includes not only the
gamut boundary, but also the tonal information that tells you what goes on inside that boundary. For example, a newspaper press will likely have
a
fairly large
discontinuity between paper white and the lightest actual
color it can lay down, because newsprint can't hold small dots of ink. That
conveyed by the gamut, but is a property of the device space. So the gamut is one of the important properties of a device's color space, but
fact isn't
not the only important property.
Color
Is
Complex
If all this
sounds dauntingly complicated,
that's
because we're laying out

address. Actually
the complexity of the issues color
management must
isn't
using a color
management system
if
that complicated, despite
what
sometimes seems like a conspiracy on the part of applications vendors to
make
it
appear that way. But

it
you
don't understand the underpinnings
of color management,
pretty cool technology,
may seem like magic. It isn't magic, it's just some and in the next chapter we'll look in detail at how
of changing the
management actually performs the complex tasks numbers in our files to make the color consistent.
color
Color
Management
How
It
Works
For 1400 years, reading Egyptian hieroglyphics was a lost
art.
In 1799, a
chance discovery by a soldier

all that.
in Napoleon's
The Rosetta
stone, as his find
conquering army changed was named, allowed the brilliant

hi-
French linguist lean Francois Champollion to unlock the secret of

eroglyphics because
it
contained the same text in three different

script,
scripts,
hieroglyphics, demotic already known.
and Greek, the
last
two of which were
Depending on your background and training, RGB or CMYK numbers may seem about as comprehensible as Egyptian hieroglyphics: fortunately,
thanks to the work of the CIE that

is
we introduced
in
Chapter
1,
color
management
one
able to use the perceptually based CIE
LAB and CIE XYZ
color spaces as a Rosetta stone for color, letting us translate our color from
set of device-specific
RGB
or
CMYK numbers to another.
In
Chapter 2 we broke the sad
news that the numerical systems we most
often use for representing color on our computers
RGB and CMYKare

devices like monitors
color. In this
fundamentally ambiguous. They
aren't descriptions of color. Instead,
they're control signals, or instructions, that
make
and
printers
produce something that we can experience as
chapter
we'll discuss
how
a color
management system (CMS) works
to
reconcile the
RGB and CMYK control signals with the perceptually based
CIE numbers.
79
82
Real World Color
The ingenious solution provided by color management is to introduce

an intermediate representation of the desired colors called the profile connection space, or PCS. The role of the PCS is to serve as the hub for all
our device-to-device transformations.
Rather than have separate
Seattle,
flights
It's
like
the
hub
city for
an
airline.
from 10 western
cities
(San Francisco,
Los Angeles,
etc.) to 10 eastern cities (Boston, Atlanta,
Miami,
etc.)
for a total of a
hundred
flights,
the airline can route
all flights
through a
major
city in the middle, say Dallas, for a total of only 20 flights.
The beauty of the PCS is that it reduces the m X n link problem to

links.
m+n
PCS
for
to the various
We have m links from input devices to the PCS, and n links from the output devices (see Figure 3-2). We need just one link
each device.
Figure 3-2
n+m input to output

conversions
m input devices
n output devices
Each
link effectively describes the color reproduction behavior of a

is
device. This link
called a device profile. Device profiles

in
all
and the PCS
are
two of the four key components
color
management systems.
Chapter
3:
Color
Management
83
The WYSIWYG Myth

While the desire
for
WYSIWYG
monitor and what you get on your

printer. We point this out to coun-
a close visual
match
to the press
(What You See Is What You Get) was a driving force behind the development of color management, color management isn't just about
achieving WYSIWYG, which in
its
sheet, but we've never seen
one
both the overzealous hype of color-management advocates

ter
that
was identical sheet. Our belief
to the press
is
that
any
who may
claim that color man-
extreme sense
goal.
is
an impossible
agement gives you true WYSIWYG, and the detractors who

claim that color
failure
proofing system requires some interpretation on the part of the

user.
While color management goes a long way toward making a monitor simulate the limitations
of a printer, monitors and printers have fundamentally different viewing environment issues, so there will always be differences
management
it
is
Golor management won't make your monitor and your

will
because
hasn't delivered
printer produce identical color,
on
promise of WYSIWYG. In fact, we question whether

its
but
it
consistent visual
produce a close and match that, with

you can use as
any system has ever achieved the extreme interpretation of
very
little
learning,
a pretty accurate predictor of the

final
WYSIWYG. A
traditional film-
output.
between what you see on your
based proof certainly produces
The Components of Color Management

All
ICC-based color management systems use four basic components:

PCS. The profile connection space allows us to give a color an unambiguous numerical value
in
CIE XYZ or CIE LAB that doesn't depend
on the quirks of the various devices we use to reproduce that color, but
instead defines the color as
Profiles.
we
actually see
it.
A profile describes the relationship between a device's RGB or

it
CMYK control signals and the actual color that those signals produce.
Specifically,
defines the CIE XYZ or CIE
LAB values that correspond
to a given set of RGB or
CMYK numbers.
Management Module),
all
CMM. The
engine,
is
CMM
(Color
often called the
the piece of software that performs
the calculations
needed to convert the RGB or CMYK values. The CMM works with the
color data contained in the profiles.
Rendering intents. The ICC specification includes four different rendering intents, which are simply different ways of dealing with "outof-gamut" colors
colors that are present in the source space that the
output device
is
physically incapable of reproducing.
82
Real World Color
The ingenious solution provided by color management is to introduce

an intermediate representation of the desired colors called the profile connection space, or PCS. The role of the PCS is to serve as the hub for all
our device-to-device transformations.
Rather than have separate
Seattle,
flights
It's
like
the
hub
city for
an
airline.
from 10 western
cities
(San Francisco,
Los Angeles,
etc.) to 10 eastern cities (Boston, Atlanta,
Miami,
etc.)
for a total of a
hundred
flights,
the airline can route
all flights
through a
major
city in the middle, say Dallas, for a total of only 20 flights.
The beauty of the PCS is that it reduces the m x n link problem to

links.
m+n
PCS
for
to the various
We have m links from input devices to the PCS, and n links from the output devices (see Figure 3-2). We need just one link
each device.
Figure 3-2
n+m input to output

conversions
m input devices
n output devices
Each
link effectively describes the color reproduction behavior of a

is
device. This link
called a device profile. Device profiles

in all color
and the PCS are
two of the four key components
management systems.
Chapter
3:
Color
Management
83
The WYSIWYG Myth

While the desire
for
WYSIWYG
monitor and what you get on your

printer. We point this out to coun-
a close visual match to the press

sheet, but we've never seen
(What You See Is What You Get) was a driving force behind the development of color management, color management isn't just about
achieving WYSIWYG, which in
its
one
both the overzealous hype of color-management advocates

ter
was identical sheet. Our belief

that
to the press
is
that
any
who may
claim that color man-
extreme sense
goal.
is
an impossible
agement gives you true WYSIWYG, and the detractors who

claim that color
failure
proofing system requires some interpretation on the part of the

user.
While color management goes a long way toward making a monitor simulate the limitations
of a printer, monitors and printers have fundamentally different
management
it
is
Color management won't make your monitor and your

will
because
hasn't delivered
printer produce identical color,
on
promise of WYSIWYG. In fact, we question whether

its
but
it
consistent visual
produce a close and match that, with
viewing environment issues, so there will always be differences
any system has ever achieved the extreme interpretation of
very
little
learning,
you can use as
a pretty accurate predictor of the

final output.
WYSIWYG. A
traditional film-
between what you see on your
based proof certainly produces
The Components of Color Management

All
ICC-based color management systems use four basic components:

PCS. The profile connection space allows us to give a color an unambiguous numerical value in CIE XYZ or CIE LAB that doesn't depend
on the quirks of the various devices we use to reproduce that color, but
instead defines the color as
Profiles.
we
actually see
it.
A profile describes the relationship between a device's RGB or

it
CMYK control signals and the actual color that those signals produce.
Specifically,
defines the CIE
XYZ or CIE LAB values that correspond
to a given set of RGB or
CMYK numbers.
Management Module),
all
CMM. The
engine,
is
CMM
(Color
often called the
the piece of software that performs
the calculations
needed to convert the RGB or CMYK values. The CMM works with the
color data contained in the profiles.
Rendering intents. The ICC specification includes four different rendering intents, which are simply different ways of dealing with "outof-gamut" colors
colors that are present in the source space that the
output device
is
physically incapable of reproducing.
84
Real World Color
The PCS
The PCS is the yardstick we use to measure and define color. As we hinted
earlier in this chapter, the
ICC specification actually uses two

as the
different
spaces, CIE
XYZ and CIE LAB,
PCS
for different profile types.
But
unless you're planning on writing your
own CMS,
or your
own
profile-
generation software (in which case you'll need to learn a great deal
more
than the contents of this book) you needn't concern yourself greatly with
the differences between the two. The key feature of both CIE XYZ and CIE
LAB
is
that they represent perceived color.
It's
this
property that makes
it
possible for color management systems

all
to use
CIE XYZ and CIE LAB as the "hub" through which

is
color conver-
sions travel. When a color
defined by XYZ or
LAB values, we know how
humans with normal color vision will see it.

Profiles
Profiles are conceptually quite simple,
though
their
anatomy can be
detail in
complex. We'll look at different kinds of profiles in
much more
Chapter 4, All About Profiles,

of profiles, see Appendix A,
(or for a truly geek-level look at the contents

we'll
Anatomy of a Profile). For now, though,
concentrate on their function.
A profile
can describe a single device, such as an individual scanner,
monitor, or printer; a class of devices, such as Apple
Cinema
Displays,
Epson Stylus Photo 1280 printers, or SWOP presses; or an abstract color space, such as Adobe RGB (1998) or CIE LAB. But no matter what it
describes, a profile
is
that contains device control signal values RGB or CMYK numbers and
essentially a lookup table, with
one
set of entries
another set that contains the actual colors, expressed in the PCS, that
those control signals produce (see Figure 3-3).
A profile gives RGB or CMYK values meaning. Raw RGB or CMYK values
are ambiguous
they produce different colors when we send them to

effect, that
differ-
ent devices. A profile, by itself, doesn't change the RGB or CMYK numbers
it
simply gives them a specific meaning, saying, in
these
RGB or
it
CMYK numbers represent this specific color (defined in XYZ or LAB).

By the same token, a
profile doesn't alter a device's behavior
just
describes that behavior. We'll stress this point in Chapter 5
when we dis-
cuss the difference between calibration (which alters the behavior of a

device)
it's
and profiling (which only describes the behavior of a device), but

it
a sufficiently important point that
bears repeating.
Chapter
3:
Color
Management
85
The ICC
In the late 1980s
Some
early 1990s,
Historical Perspective
International Color Consortium,
or ICC.
and
many companies most notably,

Adobe, Agfa, Electronics for Imaging, Hewlett-Packard, Kodak,
Linotype- Hell, Pantone. Tektronix,
that
Apple Computer recognized this problem of incomat
One
of the consortium's
this profile
patibility of profiles had to be
goals was extending
addressed
level,
the operating system
architecture from the Macintosh

to
and Xerox
developed color
that
and
in
1993
it
introduced
ColorSync. a color-management
architecture built into the Macin-
ers.
management systems
device
used
Windows and Unix computThe central document of the ICC is the ICC Profile Format
Specification,
profiles to solve the device-to-
tosh operating system. Apple also

started the ColorSync Consor-
which describes an
color-matching prob-
lem. However, the profiles from
tium, which consisted of companies using the ColorSync profile format as well as shaping its de-
open profile format that all vendors can use. By defining a format
that allowed
one company's solution weren't usable by others, and consumers
consumers
to
mix
and match profiles created by different vendors, the
were limited
to the profiles
created for a specific color
man-
velopment. This consortium of companies later
ICC standard-
ized the concepts of profile-based
agement system.
became known
as the
color
management.
Converting colors always takes two

tion.
profiles, a
source and a destina-
The source
profile tells
the
CMS what
actual colors the
document
contains,
signals
is
and the destination profile tells the CMS what new set of control
required to reproduce those actual colors on the destination de-
vice. You
can think of the source profile as telling the CMS where the color
the destination profile as where the color
is
came from, and

Figure 3-3
Profiles
going
to.
PCS
Input device's space
Output device's space
Input profile
Output profile
A profile contains two sets of values, RGB or CMYK device control values, and the
corresponding CIEXYZ or CIE LAB values that they produce.
86
The
CMM
CMM, is the software "engine" that RGB or CMYK values using the color data (see the sidebar, "What Does CMM Stand For?"). A profile
PCS
definition for every possible combination of
it
The Color Management Module, or

does the job of converting the
in the profiles
can't contain the
or
CMYK numbers if it did,
RGB
would be over a gigabyte
in size so the
CMM has to calculate the intermediate values. (See the sidebar, "Why Do
We Need CMMs At All?")
The
CMM
provides the
method
that the color
uses to convert values from source color spaces to the
management system PCS and from the
PCS to any destination spaces.

need
to
to
It
uses the profiles to define the colors that
be matched in the source, and the
RGB
or
CMYK values needed
match those
colors in the destination, but the
CMM is the workhorse
that actually performs the conversions.
When do you
the
care about the
CMM? You
CMM
rarely
have
its
to interact with
it
just lurks in the
have multiple
CMMs Bruce's Mac has CMMs loaded from Adobe, Agfa,
background and does
thing.
But
if
you
Apple, Heidelberg, Kodak, and X-Rite, for example
it's
often useful to
know which one is being used for any given operation.
Why should you care? Well,
ICC-compliant
CMMs are designed to be
interoperable and interchangeable, but they differ in their precision and

their calculations of white point adaptation
profile points as guides),
and interpolation (using the
and some
profiles contain a "secret sauce" tai-
lored for a particular
CMM.
The differences in precision tend to be subtle and often profile-specific.

If you
it's
have multiple CMMs installed, and you get strange results from one,
always worth trying another.
What Does
CMM Stand
all
For?
in a
The acronym CMM has been known to stand for several different things Color Management Module, Color Matching Method,
the
thing.
names mean the same Our preference is Color

as
this
modular color management

it
system. But
ter
is
doesn't really mat-
Management Module,
engine
is
what it's called as long as there

it is.
Color Manipulation Model
but
captures the essence of what the
a drop-in component
agreement on what
Chapter
3:
Color
Management
87
Why Do We Need CMMs At All?

A profile for an input device can't contain the PCS definition for
every possible combination of RGB values, nor can an output
profile
list
So rather than storing a point

for every possible
dors have different mechanisms

for
RGB
value
(in
doing
this interpolation.
an input
the
profile) or every possible

(in
PCS color
the
CMYK
values for
CMM
an output describes a
profile),
Some supplement LAB with some clever math to compensate for

its
way
of
known
inaccuracies.
every possible PC^S color. For exainple, as
computing points from

points
each of the three chan-
the process called internumber

of points that
existing
Others avoid LAB altogether and convert to some other space

for
Still
nels of an
RGB
device contains
polation. This reduces dramatically the
purposes of interpolation.
others create profiles that
256 discrete values (0-255), an
RGB
space contains about 16.7
need
to
be stored
in the profiles.
support
additional,
private
million possible
RGB
values.
If
an RGB device
the
profile
contained
PCS
definition of each of the
16.7 million
RGB
values,
and
if
you dedicated only three bytes for each of those PCS definitions,
the single
The simplest CMM assumes that we do this interpolation in CIE LAB. In fact, if we use LAB as the PCS itself, then the CMM would seem to have little to do at all. Just take the LAB values produced by
the input profiles, find the nearest
conversion spaces
to supporting
in addition
one of the two
required conversion spaces (XYZ

or LAB).
The continuing battle over which one of these strategies produces the best color management
results
is
RGB
profile
would oc-
cupy more than 48 megabytes! Profiles of this size would quickly
PCS value found
in the
output
one of the reasons why
profile,
and look up the output
so
many vendors hawk their own

claiming that theirs pro-
become
prohibitively large
when
value. However, in practice this
CMM,
you started embedding profiles in images and in page-layout docu-
has not produced stellar results. LAB is simply not as perceptually
duces results superior to those
produced by competing ones.
ments
that contain color
from
uniform as we need
for this type
multiple sources.
of computation. So different ven-
The different math for white point adaptation can be more obvious. As
we
explained in Chapter
different flavors,
2, Computers and Color, white comes in many and our eye adapts automatically to the flavor of white
all
vdth which
it's
currently confronted, judging
other colors in refer-
ence to that white. So we usually convert the white of the source space to
the white of the destination space
when we do color conversions. Some CMMs have difficulty doing this with some profiles, translating white to
a "scum dot" with one percent of ink in one or
more channels, instead of

can range from subtle to
paper white. Switching
to a different
CMM will often cure this problem.
The
differences in
math
for interpolation
dramatic.
Many CMMs have fixed notorious problems with LAB, such as

by implementing clever tricks
mathematics.
skies that seemed to turn noticeably purple,

in the interpolation
88
The
practice of building "secret sauce" into profiles directly contrais
venes the goal of an open, interchangeable profile format. Kodak
the
main offender
in this case. If you use a profiling tool that builds in cus-
tomizations for a particular CMM, you may get slightly better results using
the preferred
slight that
CMM,
but in our experience, the differences have been so
we question the value of the practice.

is
How
the
CMM
chosen. Profiles contain a tag that

it's
lets
them request a
preferred CMM when ICC-compliant CMM
available, though they mustbe able to use any if the preferred one is unavailable. This becomes
an issue on Mac OS
if
you
set the choice of
CMM to Automatic in the

its
ColorSync control panel. Doing so allows each profile to select

ferred
pre-
CMM. It also means that unless you do a lot of detective work, you'll
have no idea which
CMM is in use at any given moment.
The Macintosh and Windows operating systems, and almost all colormanaged applications, let you override the profiles' preferred CMM and
choose a specific
that
you choose
if
CMM for all color-management tasks. We recommend one CMM and stick to experimenting with others
it,
only
you run into a
specific
problem or if you're trying to get a
specific
advantage touted by a
CMM vendor.
Rendering Intents
There's one
in
more piece to the color-management puzzle. As we explained

it
Chapter 2, each device has a fixed range of color that
can reproduce,
dictated by the laws of physics. Your monitor can't reproduce a
more sat-
urated red than the red produced by the monitor's red phosphor. Your
printer can't reproduce a cyan
more saturated than the printer's cyan ink.

is
The range of color a device can reproduce
called the color gamut.
Colors present in the source space that aren't reproducible in the

destination space are called out-of-gamut colors. Since
we
can't repro-
duce those colors in the destination space, we have to replace them with some other colors, or since, as our friends from New England are wont to
remark, "you can't get theah from heah," you have to go somewhere
else.
Rendering intents let
you
specify that
somewhere
else.
The ICC
profile specification includes four different
methods
for
handling out-of-gamut colors, called rendering intents (see Figure 3-4).

Perceptual and saturation renderings use gamut compression, desaturating
all
the colors in the source space so that they
fit
into the destination
Chapter
3:
Color
Management
89
gamut. Relatiifeand absolute colorimetric renderings use gamut clipping,
where all out-of-gamut colors simply get clipped to the closest reproducible hue.
Perceptual
all
tries to
preserve the overall color appearance by changing

fit
the colors in the source space so that they
inside the destina-
tion space while preserving the overall color relationships, because
our eyes are
much more sensitive to the relationships between colors

It's
than they are to absolute color values.
good choice
for
images
that contain significant out-of-gamut colors.
Saturation just
tries to
produce vivid
colors,
without concerning itself
with accuracy, by converting saturated colors in the source to saturat-
good for pie charts and other business graphics, or for elevation maps where saturation differences in greens,
ed colors in the destination.
It's
browns, or blues show different altitudes or depths, but

less useful
it's
typically
when
the goal
is
accurate color reproduction.
Relative colorimetric takes account of the fact that our eyes always
adapt to the white of the
medium
we're viewing.
It
maps white
is
It
in the
source to white in the destination, so that white on output

of the paper rather than the white of the source space.
the white
then repro-
duces all
the in-gamut colors exactly,

It's
and clips out-of-gamut colors to
the closest reproducible hue.
often a better choice for images than

colors.
perceptual since
it
preserves
more of the original
Absolute colorimetric differs from relative colorimetric in that

doesn't
ric
it
map
source white to destination white. Absolute colorimet-
rendering from a source with a bluish white to a destination with
yellowish-white paper puts cyan ink in the white areas to simulate
the white of the original. Absolute colorimetric

for proofing,
-
is
designed mainly
where the goal
is
to simulate the output of
one printer
(including
its
white point) on a second device.
When you use a CMS to convert data from one color space to another,
you need to supply the source profile and the destination profile so it knows where the color comes from and where the color is going. In most
cases,
you also specify a rendering intent, which is how you want the col-
or to get there.
When you
is
aren't given a choice, the application

is
chooses
the profile's default rendering intent, which

application and
set
by the profile-building
usually the perceptual rendering intent.
90
Figure 3-4
Rendering intents
this book,
This figure shows the MacBeth Color Checker target rendered to the CMYK profile we used to make using each of the four rendering intents. Each rendering is accompanied by a plot in the
a,b plane of LAB space showing the original colors in green, and their rendered equivalents in red. (We didn't plot the grays, because they tend to shift only in luminance, which is the third axis of LAB
and is not shown on a,b plots.)
/^
<d)
-,
original
rendered
*
Perceptual rendering
Perceptual rendering tries to compress the source gamut into the destination
-100
-75
-50
-!5
SO
75
100
gamut in such a way that overall color

relationships are preserved.
Saturation rendering
Saturation rendering maps fully saturated colors in the source to fully saturated colors in
the destination without concern for accuracy.
Chapter
3:
Color
Management
91
Figure 3-k
Rendering intents, continued
original
rendered
Absolute colorinu'iiic rendering
Absolute colorimetric rendering attempts to reproduce all source colors, including white,
as exactly as possible.
(aJ
Out-of-gamut colors
colors are largely within
gamut but
These get different treatment from each rendering

intent.
These colors are desaturated by perceptual

rendering, but not by the colorimetric
rendering intents.
original
rendered
'
-7S -so -IS
Relative colorimetric rendering
IS
SO
7S
IM
Relative colorimetric rendering scales the source white to the destination white and
adjusts all other colors proportionally.
92
Figure 3-4
Rendering intents, continued
In most cases, the differences between perceptual, relative colorimetric, and saturation rendering are quite subtle. Absolute colorimetric rendering produces very different results from the other three since
doesn't perform white point scaling,
it
and hence is usually used only for proofing. Notice the difference in the saturated reds between the perceptual and relative colorimetric treatments of the image below, and
the
hue shift of the reds
in the saturation rendering.
Perceptual rendering
Relative colorimetric rendering
Saturation rendering
Absolute colorimetric rendering
Chapter
3:
Color
Management
93
Color
in Action Manasement how

Let's
look at
the different color-management
components
interact.
We've told you that a
CMS does only two things:

RGB or CMYK numbers.
to
Assign a specific color meaning to
Change the RGB or CMYK numbers as our color goes from device
device, so that the actual color remains consistent.
We
accomplish the
first
by assigning or embedding a profile
in
our
document. We accomplish the second by asking the CMS to convert from the assigned or embedded source profile to a chosen output profile.
Assigning and EmbecJding Profiles

Most color-managed applications
an image. When you do
in the
let
you assign a
profile to
images and
other colored objects. For example, Photoshop allows you to assign a

profile to
so, you're
defining the
meaning of the
RGB
or
CMYK values
it
image by assigning the image a profile that

or illustrations in a single
describes where
layout
came from, such as a scanner or digital camera. A page-
document may have multiple images
document and will allow you to assign a profile to each one. For example, you may have some scanned images and some digital camera captures.
You'd want to assign the scanner profile to the scans, and the digital
camera profile to the camera captures, so that the CMS knows what actual
colors the scanner
RGB and
digital
camera RGB numbers represent.
Most color-management-enabled applications also let you embed profiles inside documents such as images or page-layout files when you
save them. Doing so lets you transfer documents between applications or
computer systems without losing the meaning of the RGB or CMYK values used in those documents (see Figure 3-5).
Note that assigning or embedding a
profile in a
document
doesn't
change the
RGB
or
CMYK numbers; it simply applies a specific interpreif
tation to them. For example,
we embed the
profile for Bruce's
Imacon
the
RGB document, what we're doing is telling the CMS that RGB numbers in the document represent the color that the Imacon scanner saw when it recorded these RGB numbers.
scanner in an
94
Real World Color
Figure 3-5
Profile
An embedded profile doesn't change the

values in the image;
it
simply
tells
the
embedding
CMS what colors those values represent.
Profile
in
embedded an image
PHOTO.TIF
for example, the Adobe RGB (1998) working spacethe RGB profile
numbers
in the
Some people
find
it
counterintuitive that
if
we
assign a different
image don't change, but the image's appearance does.
It
does so because we've changed the meaning of the

actual colors those
RGB numbers the
numbers
represent.
is a necessary first step before you on another device. This may be done output automatically by scanner or camera software, it may be done explicitly by the user, or it may be done implicitly by a color-managed application
Assigning or
embedding
for
a profile
can convert the color
most color-managed applications let you specify default RGB and CMYK profiles, which they automatically assign to color elements that don't already have a profile embedded. This assigned or embedded profile
as the source profile
is
used
when you ask the CMS to perform a conversion.
Converting with Profiies

To convert an image from one profile's space to another's
ing the
profile
RGB or CMYK numberswe have to specify two profiles, a source

in the
actually changit
and a target or destination profile. The source profile tells the CMS
where the numbers
document come from
so that
can figure out
what actual colors they represent. The destination profile tells the CMS where the document is going to so that it can figure out the new set of RGB
or
CMYK numbers needed to
represent those
same
actual colors
on the
destination device (see Figure 3-6).
Chapter
3:
Color
Management
95
Figure 2-6
Input device's space
PCS
Output device's space
Converting with profiles
Input profile
Output profile
When you convert using profiles, you must always supply the CMS with a
source (input) profile and a destination (output)
profile.
For instance,
if Chris
with an
any RGB image, rather a "Chris's Nikon Dl RGB" image. So he needs a profile for the digital camera in order to it tell the CMS how Chris's Nikon D 1 sees color. That is the source profile
RGB image
but not
shoots an image with a digital camera, he ends up

just
describes where the color
numbers came from and what perceived colors
they represent. Chris wants to convert the image to
a magazine article
but not just any CMYK image, rather a
CMYK so it can go into

"
Color Geek
Monthly CMYK"
press to
tell
image. So he needs a profile for Color Geek Monthly's the CMS how the press reproduces colors. Now the CMS has
the necessary information to figure out which perceived colors the origi-
image RGB numbers represent and which send to the press to reproduce those colors.
nal
It
CMYK values
it
needs to
may seem counterintuitive, but converting colors fi-om one profile's
space to another's doesn't change the color appearance

color appearance
preserving the
is the whole point of making the conversion. The usefulness of converting colors becomes clearer when you consid-
er why you use conventional color-correction techniques. When you print
out an image on an Inkjet printer and
it
comes out too green overall, with
an excessively yellow gray balance in quarter-tones and too much cyan and yellow in shadows, what do you do? You color-correct it using curves,
hue /saturation, replace

with, until
it
color,
and any other
tools
you
feel
comfortable
prints out the way you want. You're changing the numbers in
96
the image to produce the color appearance you want. Conversions
made
with profiles find the proper device values for you, automatically. Color management doesn't take a bad image and make it look good on
output. Instead,
it
makes the output faithfijlly reflect all the shortcomings

it
of the original. So color management doesn't eliminate the need for color
correction. Instead,
simply ensures that once you've corrected the im-
age so that
it
looks good, your corrections are translated faithfully to the
output device.
How Conversions Work

First,
the conversion requires
you
to select four ingredients:
The source
profile. This
may be
it
already
embedded
in the
document,
it
may be applied by the
user, or
may
be supplied by a default setting in
the operating system or application.
The destination
profile. This
may be
selected by a default setting in the
operating system or application, or selected by the user at the time of conversion (for example, choosing a printer profile at the time you print).
The CMM. This may be chosen automatically as the destination

"preferred"
profile's
CMM,
or selected by the user either at the time of conversion,
or as a default setting in the operating system or application.
A rendering intent. This may be selected by the user at the time of conversion, or as a default setting in the operating system or application. Fail-
ing that, the "default" rendering intent in the destination profile
is
used.
The color management system then performs the series of steps shown
in Figure 3-7. That's really
all
that a
CMS ever does. Some CMS implementations let
you do multiple conversions as a single operation Photoshop, for example, lets you print an Inkjet proof that simulates a press from an image
an RGB editing space. But when you break it down, all that's happening is conversions from one profile's space to another's, in sequence,
that's in
with different rendering intents
at
each
step.
Chapter
3:
Color
Management
97
nfure 3-7
A color space conversion
profile
The CMS looks at the source and builds a table
that correlates source

(or
RGB
CMYK), with PCS mlues.
using relatiiv colori me trie

rendering.
PCS
2.
profile
The CMS looks at the destination and builds a table that
correlates
PCS lvalues with
destination
i>alues,
CMYK (or RGB)
using the selected
rendering in ten t, or, if none is selected, the profile's default rendering intent.
3.
PCS
1 -2
Using the interpolation algorithm defined in the CMM. the CMS connects the two tables together
through the common PCS values
and builds a
table that goes directly
from source to destination.
The CMS passes each pixel

in the source image, or
color in the source art-
work, through the table, converting the values from
source to destination.
Conversions and Data Loss

It
may seem from

if you're
the foregoing that you can simply convert your color

to device space as needed. Unfortunately, that's not
files,
from device space

the case:
dealing with typical 8-bit per channel

levels,
where each
file
channel contains 256 possible

through
will lose
each conversion you put the
Rounding
scales
errors
for example, 55 degrees Fahrenheit and 56 degrees Fahrenheit
some of these levels due to rounding error. happen when you convert integers between different
both convert to a brisk 13 degrees Centigrade as a product of rounding
98
to the nearest integer value.
The same kinds of errors occur when you
convert 8-bit
RGB
or
CMYK channels to PCS values.
we should hasten to point out that almost any kind of useful editing you perform on files made up of 8-bit channels will result in some levels getting lost. So it's not something to obsess about.
To put
this in context,
But
it is
something to bear
in
mind.
The High-Bit Advantage

If you start with 16 bits of data per channel, your color suffers much less from rounding error, because instead of having only 256 possible input values per channel, you have at least 32,769, and possibly as many as
65,536! (Photoshop's implementation of 16-bit color uses values

to 32,768.
from
To those
who would
say that this
is
15-bit color,
we
point out
that
it
takes 16 bits to represent,
and it has an unambiguous center value,

get rounding errors, but you have
16,384,
which
is
useful in
many operations.)
still
In either implementation, you'll
so
much more
data to start with that they
become
insignificant. There's
no such thing as a free lunch, but high-bit conversions come pretty close. However, just converting an existing 8-bit per channel file to 16 bits won't
buy you much

benefits.
^you have to start out with real high-bit data to get real
is
constructing color- managed workflows you generally want to put your

color through as few conversions as possible.
Rounding error
simply something you need to keep in mind
when
Color
Manasement
out a
Is
Simple
left
We've deliberately kept things conceptual in this chapter, and we've

lot of details.
But until you understand the basic things that a CMS does, the details won't make any sense. Keep in mind the fundamental
concepts behind color management
an assigned or embedded profile
describes the actual colors represented by
RGB or CMYK numbers, and a
conversion from one profile to another keeps those actual colors consistent
by changing the numbers that get sent to the output and the details, which we'll continue to feed you throughout this book, will make a great
deal
more
sense.
All About Profiles

Describing Devices
If
color
management
is
as simple as
we
say
it is
in
Chapter
3,
Color
Management, you may be wondering why you even need this book. The answer is that, while color management is simple, color reproduction is
not.
The various machines we use
to
reproduce color are prey to a host
of factors that affect their behavior, and color
unaware of them unless they are captured in a

Color
management
profile.
is
blissfully
management systems know nothing about
the various devices
they drive except for the information that's recorded in the profiles for
those devices. All the intelligence in color management systems
ing intents, previewing capabilities, simulations
profiles.
render-
is
built into the device
So it's essential that you obtain or create accurate profiles for your
various devices. We tell you how to create device profiles later in the book,
but to
make good
ones,
you need
to
know a little about what comprises
them and how they work.
What Are Device
Profiles?
made by
Contrary to prepress legend, profiles aren't magic, nor are they

elves during the full
moon in Orthutanga.
99
100
profile
is
just a file that correlates device color values with corre-
sponding device-independent color values that represent the actual color

people
ally
see.
The device values
RGB
or
CMYKthat we
are expressed as the control signals
usu-
send to our devices
to
make them
repro-
duce color. The corresponding device-independent values that represent

the color they reproduce are expressed in the profile connection space
(PCS) either CIEXYZ or CIELAB.

PCS.)
(Refer to Chapter 3 for
more on the
The device profile contains information about the three main variables
that describe
how a device is behaving:
the color and brightness of the colorants (primaries) Dynamic rangethe color and brightness of the white point and black
Gamut
point
Tone-reproduction characteristics of the colorants.
(We
tell
you more about these variables
in
Chapter
2,
Computers and
Color, in the section,
"Why
the
Numbers Vary.")
contain additional information, such
Some
kinds of profiles
may
as instructions for handling out-of-gamut colors,
more
detailed tonethat's
reproduction information, or special "secret sauce" information

only used with a particular
CMM.
Profiles
Profile Classes come in a few varieties, or classes: input profiles describe scanners
and digital cameras; display profiles describe monitors and LCD displays; and output profiles describe printers and presses.
Some people confuse the term
input profilewith source profile, and out-
put profilevAtb destination profile. Input and output profiles refer to distinct
types of devices that these profiles represent, whereas source and destination profiles refer to temporary roles two profiles take at the moment a color
conversion happens. We describe source and destination profiles in "Using

Profiles
Source and Destination,"
One factor that differentiates the three types of profiles is whether they
one-way or two-way that is, whether they allow the CMS to convert from device space to PCS and from PCS to device space. Input profiles
are
only have to define the conversion from the input device's color space to
the PCS. You can't view or output color
on a scanner or digital camera, so
Chapter
k: All
About
Profiles
101
there's really
no need
to convert color to scanner or digital

tell
camera space.
Input profiles simply
the
CMS how
people would see the color the

4-1).
scanner or camera captures (see Figure
Figure 4-1
Communication between the CMS and display profiles

the
is
two-way, so
One-way and
two-way
profiles
CMS can send the right RGB values to the monitor to reproduce
a requested color, and can interpret monitor RGB values to reproduce them on output devices.
Profiles let the
CMS
translate between
different devices' RGB
using the
and CMYK lvalues PCS as a

MonHor
Profile
common
language.
Communication between
the
CMS and input

is
^S^
Scinncf
t^
V.>
Profile
profiles
one-way.
because the
CMS simply
know what
needs to
colors the input
RGB
numbers
represent.
Camera
Profile
Press
Profile
Communication between the CMS and output devices must also be two-way so the CMS can translate output CMYK or RGB to monitor
RGB for soft-proofing, and can translate between different output RGB or CMYK so that it can, for example, reproduce press CMYK on an RGB Inkjet.
On
the other hand, display profiles must be two-way because your
display acts as both an input
a color based on
tor as
its
and an output device. If you create or edit appearance on your monitor, you're using the moni-
an input device: the CMS needs to know what color you're seeing on the monitor so that it can reproduce it on a printer, press, or another
102
display.
The
CMS
looks at the monitor
RGB
values being displayed and
uses the profile to calculate what actual color those

Conversely,
RGB values represent.
when you display an image on your screen, the monitor is the output device: the CMS evaluates the image's embedded profile to determine what
actual colors are represented by the
numbers
in the
file,
and
then uses the monitor profile to calculate the monitor RGB values needed
to display those colors accurately.
to
Output profiles are always two-way profiles, too. We use them not only convert from the PCS to the output color space for printing, but also to
display files already converted to output space

vert a press
on the monitor, or to con-
CMYK image to some other output device's space for proofing. When you display a CMYK image on your RGB monitor, the CMS relies on the CMYK output profile to tell it how to convert the numbers back to the
PCS and, ultimately, to monitor RGB. The device-to-PCS transform is known
and the
tables that specify
is
it
as the backwards transform,
are
known as the AtoB tables,
while the PCS-
to-device transform
specify
it
known as the forward transform, and the tables that

(see Figure 4-2).
are
known as the BtoA tables
Figure 4-2
Proflll:
CRS Hxito 05
21612}2<
| Profile Inspector
V ^
CwvM
Bnn/WtoMiv
Tig Name:
Matrix and
table-based profiles
-(51
Tagi: 11
Matrix profiles contain

tags that describe the
TKD*t*TVpt;
onset:
Tig
Size:
CIEXYZ values of the

(cMntMn
primaries, which form the matrix, plus tags
Cocyngtn
Common
that describe the
Profile
RWCM MaxK-0' 85-280..
tone reproduction
characteristics of
t Profile Inspector
OS
^ ^
each colorant.
Table-based profiles use
T.95:
lookup tables to define the conversion between

device color and LAB for
each rendering intent (AtoB), and between LAB
and device color

for each rendering
intent (BtoA).
Chapter
k: All
About
Profiles
103
Matrix-Based Vs. Table-Based ICC Profiles

Profiles
can be either matrix-
value and find
its
corresponding
require additional tables because

it's
based or table-based. Both types include the device's white point,

but they differ in the way they represent the device's tone-
output value. The profiling package decides the number of points

in the
computed from the
relative
LUT, and vendors often
colorimetric intent using the white point value.
compete on the trade-off between

the quality afforded by more sample points and the increased
reproduction attributes. This is why some profiles are tiny while

others can weigh in at over a
Lookup tables can represent extremely complex devices just

by adding more points in the table. They also have an advantage in that they aren't limited
to
megabyte, and why some profiles seem to produce identical results no matter which rendering intent
and decreased speed of the profile. LUT-based profiles always use CIE LAB as the profile
size
three-channel devices, so
you choose while others produce very different results with each
rendering intent.
connection space. Matrices are much smaller

than lookup tables because you always store only nine numbers
for the matrix,
they can describe four-channel devices such as CMYK printers,
or even printers with higher
numbers
of inks.
But lookup
The simplest way to a conversion from one
store
three-
whereas the
the
size of
tables get very large
when you
and since
for
channel space to another such as from RGB to XYZ is to use a
LUT depends on
it
number of
which
add more data
points,
sample points can number into the hundreds

or thousands. Matrices are reversible
contains,
the tables are unidirectional, you
need a separate table

direction.
each
mathematical model known as a
3X3
matrix.
array of nine
A 3 X 3 matrix is an numbers that can

of numbers,
the
same matrix
lets
Input and display profiles can
convert any
triplet
you convert numbers in either direction. But matrices are only

devices with fairly good tone curves, like scansimple
for
be matrix-based or table-based,
which
is
such as
triplet,
(20. 30, 40). to another
profiles
why you may find that made by one vendor are

from
Display profiles are
such as
(1.83, 2.0, 3.67).
much
larger than those
In ICC profiles, the 3 X 3 matrix consists of the XYZ values for
ners and basic CRT-based monitors.
another.
each of the three colorants

(primaries) of the device.
profile also contains
like printers,
For more complex devices, matrices just don't
always bidirectional.
Some
input
profiles are also bidirectional,
The
contain enough information.
though
it
seems a
little
pointless
one or more
Matrix-based
profiles
only
is
to convert color to a
digital
scanner or
numbers defining
the tone curve
contain information for a single rendering intent,
camera space.
profiles are the larg-
of each colorant.
The device
which
Output
numbers
are passed through the
assumed
to
be
if
relative colori-
tone curves before conversion

using the
metric, even
the user interface
by far; they must be table-based and must store two

est profiles
3X3
matrix. Matrix
of the application calling the
tables (one for each conversion

direction) for each of the three
profiles always use

profile
CIE XYZ as the
conversion
lets
you
choose
connection space. The other way to store the

is is
perceptual or saturation.
rendering intents, perceptual,

ative colorimetric,
rel-
Matrix profiles do support

absolute colorimetric rendering in addition to relative colorimetric;
and saturation.
six
conversion
in a
lookup
table,
or
So a typical output profile has
LUT, which
that lets
a table of numbers
lookup
tables!
you look up any input
absolute colorimetric doesn't
104
Stimulus
and Response
down
to
One easy way to visualize the process of making profiles is to think in terms
of stimulus and response. Empirical science often boils
things and seeing what happens.
Profilers
poking
to
work by sending a stimulus
the device, obtaining a response, and then comparing and correlating the two. In other words, they poke the device with
values,
known RGB
or
CMYK
and then measure what the device produces. For a display device, the profile maker sends a stimulus
in the
form of
known RGB values and then measures the colors those RGB values cause
the monitor to display.
that captures
correlates the
tell
The measurements
or LAB) values.
are
made with an instrument

constructs a profile that
PCS (XYZ
Then
it
RGB values and their PCS equivalents. Hence the profile can
tell
the
CMS what actual color will result from a given set of RGB values.
the
The profile can also
CMM what RGB values are needed to display

Monitor profiling and
calibration packages send known RGB values to the
a specific color (see Figure 4-3).
Figure 4-3
Monitor calibrators
monitor and measure

the color that results with
an instrument like the ones shown here. They use the first set of measurements
to calibrate the monitor,
adjusting its behavior,
and
a second set to create the
monitor profile.
Chapter
k: All
About
Profiles
105
For an output device such as a printer, the profile maker sends
known
RGB or CMYK values to the printer and then measures the printed output.
Again,
it
builds a profile that correlates the stimulus
CMS can tell from the profile specific RGB or CMYK values, and what RGB or CMYK values are needed
that the
to print a specific color (see Figure 4-4).
and the response, so what actual color will result from
Figure k-k
The IT8.7/3
1
target
< m
fj
BffiS
ggg
m
in
ipi
IT8.7/S
A
C
'nUUHHl
1
-*
>
10 11 12 IS
106
For an input device such as a scanner, the process differs only in that
the measurements are usually already done for you.
The stimulus
in this
case
is
a scanning target that's either supplied with the profiling pack-
age or obtained from a third-party vendor. Scanner targets are always
accompanied by a data file that records the LAB or XYZ values of the color patches. You scan the target, and then feed the scanner profiler the scan
and the target data file. The profiler compares the RGB values and the LAB or XYZ values
tells
in the scan
in the target data
file
and builds a profile
that
the
CMS how the scanner sees color (see Figure 4-5).
Figure 4-5
1
5 6
10
1 1
12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29l
The HCT scanner target and reference data file
Sa
IPS
Don Hutcheson's excellent
MDIA_TYPE TRANSMI88IOi MEDIA-SIZE 4x5 1eno_cod
HCT scanner target, above,

is
manufactured
to
in small
BGn_LAYOUT
quantities, then
hand22 BEGW-DATA_FORMAT i SAMPLE-ID XYZ_X 24 1end_oata_format
measured
produce the
right.
IxWjF
[
accompanying reference
data file,
75.281 76.281
0-031
24 415
29,134 43.554
56 01
75,131
66 264 47 395
N\4i
Chapter
k: All
About
Profiles
107
Profile Limitations
There are three limitations
in this process of creating profiles that
you
need
to
keep
in
mind.
First,
the profile maker can't cover the entire set of possible device sig-
nals. For
example, a printer profiler can't send every possible combination
of CMYK values to the printer to see what results
at
one percent
increif
ments, doing so would require a target with 100,000,000 patches! Even
you had the equipment (and the patience)

storing that
profiles in the gigabytes.
to
measure
all
these patches,
many sample points in a lookup table would produce output

is
So interpolation
unavoidable, both at the time the profile
is
created
and when
it
is
used by the color management system.
We mention this
because it helps explain what the

sions are slower than others.
CMM does, and why some color converCMM

because there would
Many people assume that with a big enough
lookup table there would be no need for a
be no interpolation, or
results with the
at the least all
CMMs should
theory this
produce the same

in practice, in-
same
profiles.
While
is
in
is true,
terpolation
interpolation systems with different
why some vendors try to find better CMMs. The second limitation is that profiles can't make devices do things they
is
unavoidable, which
cannot do.
If
a printer can't produce a certain shade of red, a profile won't
somehow make it magically produce that color. The profile describes the
gamut of the device, but it can't enlarge the gamut. The third limitation is that the profile is only as accurate
surements on which
it's
as the
meathe
based.
profile
is
a snapshot of the
way
device was behaving when the measurements were captured. The majority
of color devices drift over time, so you need to take steps to ensure that
is
the device
behaving the way you want
it
to before
you
profile,
and you
need to take steps to keep it behaving that way after you profile; otherwise
the profile will no longer provide an accurate description of the device's
and you won't get the color you want. We discuss this topic in more detail in Chapter 5, Measurement, Calibration, and Process Control,
behavior,
and in the following three chapters that deal v^th the specifics of building
display, input,
and output profiles,
respectively.
108
Using Profiles
By
in a
itself,
Source and Destination

a profile does nothing at
all
even when a profile
is
embedded
to an-
file. It's
only
when
you're converting colors from
one device
other that a profile becomes active. At that time, the color
system doing the conversion needs
to
know where the
colors
management came from
and where they are going

conversion.
and thus requires two profiles to do the color

is
In a color conversion, the profile you're converting /rom

profile,
the source
and the
profile you're converting to is the destination profile.
Source and destination profiles aren't types or classes of profile

just temporary roles that
they're
two profiles play when a color management system uses them to convert colors from one device to another. Input profiles
are almost invariably used only as source profiles
it
makes much more

it
sense to convert color /rom a scanner or camera space than to convert

to a
scanner or camera space

as source
but output and display profiles are equally

profiles.
at
home
and destination
For example,
if
you have an
vert
image from an RGB scanner that you want to print on a press, you'd conit using the scanner RGB profile as the source and the press CMYK
But
if
profile as the destination.
you then wanted
to proof the converted
CMYK image on an RGB Inkjet printer, you'd perform another conversion using the CMYK press profile as the source and the RGB Inkjet profile as
the destination.
Generic Profiles
lust
about every color device sold nowadays comes with one or more generic ICC profiles made by the device manufacturer and describing the
typical behavior of the device
model
rather than the specific behavior of
the individual unit.

asts will tell
Some of the more rabid color-management enthusiall
you
that
such profiles are useless. While
it's
probably true
that the inappropriate or over-optimistic use of generic profiles
profiles
that were
made from something
other than the measured behavior of

far
your particular unit

than others.
have caused
more than their fair share of color-
management headaches, some generic profiles are a great deal more useful
Chapter
4: All
About
Profiles
109
Generic profiles are useful

display
little
when
they're for very stable devices that

little
or no variation from unit to unit in manufacturing, or
or no variation from batch to batch in consumables. The profiles that ac-
company many
Inkjet printers, for
example,
fall
into this class:
you may
get slightly better results from a
custom
profile,
but the generic ones are
nevertheless quite useful. Generic profiles are also useful in representing standard conditions, such as
Publications), that define
SWOP
(Specifications for
how
a press should behave, or
Web Offset for common
mainstream proofing systems.

Generic profiles are useless (Bruce would say worse than useless; Chris
would say somewhere between

as
lethal
and catastrophic)
for unstable
devices, or for ones that display significant unit-to-unit variation, such
CRT
displays.
CRTs not only have a
lot
of unit-to-unit variation fresh

let
from the
factory, they drift over
time and they offer controls that
you
change
their behavior radically,
making generic monitor
profiles a cruel
joke at best.
Color Space Profiles

Thus far in this chapter, we've confined our discussion of profiles to device
profiles
profiles that describe the behavior of an actual physical device these are
logically
or a class of physical devices. But there are also profiles that describe
device-independent color spaces such as CIE LAB or CIE XYZ
known,
enough, as color space
profiles.
In recent years, another type of profile has
become commonplace
like
device-independent
RGB
profiles as defined in the
they're built display profiles and appear to the CMS as display profiles but in practice they behave a
ICC spec
lot
profiles. Technically, these aren't color
space
more
like color
space profiles than device
profiles.
They
don't represent
devices, so they aren't subject to variability,

We'll discuss these profiles
and
they're always accurate.

10,
more
fully in
Chapter
Color Management
Workflow.
110
Good
Profiles
One entirely reasonable way to decide whether your profiles are accurate
enough
is
simply to look at the results you're getting and decide whether
or not you're
happy with them. But
that you're less than satisfied
you bought this book, chances are with what color management is currently
if
doing for you. In the next four chapters,

reveal our techniques for
results
we look at building profiles, and
making sure that your profiles give you the best from your devices and that your devices keep behaving the way
your profiles think they do.
PART Building
and
Tuning Profiies
Measurement,
Calibration, rocess Control
'7h
Map
Is
Not the Territory"
Whether you attribute the above quotation to British artist Ralph Rumney
and the
movement, or to Alfred Korzybski, the father of general semantics, you probably didn't picture either of them
Situationist International
slaving over a hot spectrophotometer or wrestling with rendering intents.
As far as we know, both were blissfully unaware of color management. But

the quotation contains an important lesson for would-be color managers:
just as the
map
if
is If
not the
territory, in color
management, the
profile
is
not the device.

get lost,
your
map
doesn't reflect the territory accurately, you'll
and
your profiles don't provide your color output

will
device's behavior,
an accurate description of your be unpredictable.
In Chapter 4,
we
explained that color
management
lives or dies
by
the accuracy of the profiles used. Profiles are essentially snapshots of a

device's behavior, so
if the
profiled device's behavior changes, the profiles

In this
are
no longer accurate and you won't get the color you expected.
them.
the part of color
it's
chapter, we'll talk
about keeping our devices' behavior in sync with the

It's
profiles that describe
management
to
that
most
often gets overlooked because
something you need
do outside of
the color
management system.
113
114
Keeping Track of Device

Process control
variability.
is
Drift
and science of tracking and compensating for In the realm of color management, it means keeping track of
the art
are behaving
it
the
way our devices
and
either calibrating them (adjusting

,
their behavior to
keep
in sync with
our profiles) or characterizing them

.
(building new profiles that reflect their current behavior)
Calibration is the act of changing a device's behavior to achieve
some
desired state. We calibrate for many reasons, but for color management,
the most important reason is to

that the profile that describes
Profiling,
make the device behave consistently so

remains accurate.
is
It
it
which
is
often called characterization,

device's behavior into a profile.
it
the process by
doesn't change
which we record a
the device's behavior;
just records
how this device makes color and
what
colors
it
can (and cannot) reproduce.

like
Calibration
is
performing a tune-up on your
car.
You're actually
changing the behavior of the device (in this case, your car's engine) by
adjusting something. Profiling,
on the other hand,

car's
is
out of the mechanic's report the
like getting
a print-
current levels of hydrocarbons
and carbon monoxide emissions,

so forth
that describe the
RPM measurements of idle speed, and

first,
car's
current behavior. Just as you can get an
emissions report with or without a tune-up
with color management

it first.
you can
profile (characterize) a device with or
without calibrating
Calibration actually changes the
way a device behaves, whereas profiling
simply describes
created.
If
how the device was behaving at the time the profile was
stable
a device
it,
isn't
if its
behavior changes over time then simply

is like
profiling
as Bruce likes to point out,

is
trying to
measure a moving
it's
target with a rubber ruler. The point
not that it's impossible;
just
much
an
harder than measuring a stationary target with a rigid ruler.

control is accomplished through calibration alone.
It's
Ideally,
process
easier to calibrate
make sure that it's behaving the way the profile says it some is. cases, though, we simply have to accept a certain amount of instability. In those cases, process control will require either more frequent
unstable device to
In
profiling or basing the profile
on a device's average behavior.
Chapter
5:
115
Stimulus
Calibration
and Response
and
profiling are often confused
because the steps involved

tar-
seem
get of
very similar
on the
surface.
known
color signals
color that results

software. With
profiling are
the responseand then feeding the results into some

of devices, such as monitors, calibration and
at the
the stimulus to a device, measuring the

same time by
the
Both processes involve sending a
some kinds
performed
same pieces
of software
or hardware.
But calibration and profiling are separate processes with different

goals. in a
When you profile, you simply record the response and encode it profile. When you calibrate, you use the stimulus and response to
change the
device's response. For example,
actually
monitor's white point, the calibration software sends a stimulus RGB detected by 255, 255, 255 to the monitor, examines the response
that's
when you
set a
the measuring instrument, and keeps adjusting either the monitor guns
or the lookup table in the video card until the response matches the white
point that you requested.
Some devices simply can't be calibrated because they don't have anything
you can
adjust.
Desktop scanners,
for
example, generally have no usertrue for non-PostScript
accessible calibration features.

Inkjet printers. In these cases,
The same holds

just
you
have to keep track of the device's

is
behavior and reprofile

In
all
if it
drifts
too far (which
relatively rare).
cases,
though, you need to control all the variables that can make
the device produce a different response to stimuli than the one the profile
predicts. We'll look in detail at the kinds of things that introduce variability
for different device types in the
profiles,
foUov^ng chapters that deal with building
but here's a quick rundown.
Controlling Variables Some sources of variability are inherent in the devices themselves, and we have to account for those either vdth calibration or by reprofiling, but others are controllable with nothing more than a little common sense.
Here are a few sources of variability that
that nonetheless
may or may not be obvious but
need to be kept under control.
116
Software settings. Input, display, and output devices are
all
subject to
having their behavior controlled by software. For example, scanners often
have autoexposure routines, and some printers have automatic colorcorrection routines that do different things depending
on image content.
because they
These features defeat color management before
it
starts
make
the device respond inconsistently
they'll typically try to increase
the contrast
on a flat image,
for
example. The color management breaks
because
it
expects the device to always produce the
same response
Figure 5-1
to a
given stimulus, so you need to turn these features

the kinds of things that
off.
shows
happen when you fail to do
so.
Slightly less obviously, different resolution settings
color rendition
more so on display and output devices than on scanmay

your
may change
the
ners and digital cameras. So you need to keep your resolution settings
consistent or build profiles for each setting.
Often, something as seemingly innocuous as a software update
change the
device's behavior.
So be
vigilant,
ensure that you keep
all
software settings consistent, and update
them only when necessary.

affect out-
Media and consumables. Probably the biggest variables that

the paper or other substrate on which they're laid down.
put devices are the inks, toners, dyes, or waxes that form the color, and
The same inks can produce radically different colors when you change
paper stocks, for example.
toner, etc.) or paper, you'll
So,
you switch to a different brand of ink (or almost certainly need to reprofile the device.
if
it
We
could write a 2,000-word section on this topic alone, but

reality:
wouldn't
change the
same supplier,
you buy paper or inks consistently from the watch out for manufacturing variations, or unannounced
even
if
manufacturing changes. If your device behavior suddenly seems to change immediately after you've loaded new consumables, the new consumables
are probably the culprit.
A related issue is
trol
that
many Inkjet printers use media settings to
con-
ink limits and black generation.
We
always
make
a point of double-
checking these settings before pressing the Print button, because if they're
wrong they have a dramatic impact on the appearance of the print, and more often than we'd like, media settings in the printer driver that appear
to
be
sticky, aren't.
Figure 5-2 shows
how the wrong media
settings
can
ruin a print.
Chapter
5:
Measurement, Calibration, and Process Controi
117
FIsurc 5-1
The effect of autoexposure routines
The image at right shows the results of applying a profile, created with autoexposure
to
^^^wm^\^
turned off while scanning the profiling target, a scan also made with autoexposure turned
off. It
produces an image with clean neutrals
and good saturation.
Hie image at left results from neglecting to

turn off autoexposure while scanning the
profiling target,
producing a rather
useless profile that
imposes poor gray balance and noticeably

reduced saturation.
Autoexposure on while profiling, off while scanning
The image at right is the
result offailing to while autoexposure defeat scanning both
the profiling target and the image. In this case it produced a heavy blue-
purple color cast.

results
On another image,
the
would be different, but almost certainly just as bad because

autoexposure randomizes the
scanner's response.
118
Figure 5-2
The importance of correct media settings

Matte media
settings
on matte
paper
Glossy
settings
media on matte
paper
Matte media
settings
on glossy
paper
Chapter
5:
119
Hardware
es,
settinss.
It
the device in question has knobs, sliders, or switch-
they need to be set correctly. In particular, the brightness and contrast
controls
on CRT monitors have a
radical effect
correctly,
on the tone and color the
monitor produces. Once they're set

that
make sure that they stay set
way by taping them down
or using the monitor's setup features.
Controllins Variability
Even
if
you control
will
all
the aforementioned variables, at least
some
of
your devices
still
exhibit
some kind
of variability.
CRT monitors drift

for the
over time, color laser printers react to changes in temperature and humidity, Inkjet printers almost invariably
need some drying time
ink to reach
its final
color,
and printing presses are subject
to so
many
mechanical, chemical, and physical variables that a slew of books have
been written on controlling them. For color management to work, you need to account for the inherent variability in your devices. There are
three ways to do
this:
Calibrate the device, changing

it
its
behavior back to the state in which
was
profiled.
Make a new profile that describes its new state.

Collect data that describes the range of variability
able, average that data,
and build a
profile
you deem acceptfrom the average.

all
Typically,
you need
to use a
combination of
to
three methods. But
to control variability,
just wait until
you need
know
that
it's
happening. You could

reliable
method
is
to
you see that something's wrong, but a much more use measurements to track the variation.
The Multiple Roles of Measurement

Measurement plays a key
role in
both calibration and
profiling. If you're
serious about building your ovm profiles, you need some kind of measuring
instnmient. We'll discuss the different types of instruments in Chapter
6,
Building Display Profiles, and Chapter 8, Building Output Profiles, but for
now,
we'll point
out the
many useful things measuring capability brings
outside of the profiling process.
120
You need
to
make measurements to
you use
to
build display and output profiles.
(The only reason you don't need to make measurements to build input
profiles
is
that the target
do so has already been measured
for
you.) But measurement plays other, equally important roles.
We use measuring instruments

least those that
to calibrate
our various devices, or at
can be calibrated, but how do we know how often we need
to calibrate a particular device?
Measurement provides the answer.
How
about those devices that
can't
be calibrated? Keeping a log of measure-
ments lets you decide when the device has changed sufficiently to require
reprofiling.
We don't mean to suggest that you go hog- wild and measure everything
in sight every 10 minutes, but investing a
modest amount of time making

loss.
some carefully planned measurements both before and after profiling will
save you time, frustration, and premature hair
Evaluating Devices
The
first
role of
measurement
is
to evaluate the device

If it's
to find out just

it still
what kind of a beast we're dealing with.

output device, does
a monitor, can
reach a
high enough brightness level while maintaining a decent black?

it
If it's
an
produce clean neutrals and reasonably even tonal

it's
gradations while achieving the best color gamut of which
capable?
Measurement can help you answer all these questions. When the answers aren't to your liking, measurement can play other roles:
You can use measurements to calibrate the device to a better-behaved
state.
You can use measurements
to arrive at better driver settings. to decide that the device in question sim-
You can use measurements

ply
isn't
a candidate for color management.
We'll go into
ent types
give
much more detail on the kinds of issues that affect differof devices in the next three chapters. For now, we just want to
you the Big Picture.
Chapter
5:
121
Calibrating Devices
As we said
it
earlier, calibration
means adjusting a device's behavior so that
known response to stimuli in plain English, it always produces the same color in response to a given set of numbers. But we don't just calibrate our devices to any old state. In fact, there are three
produces a
specific,
possible goals for calibration, which

for color
we
list
here in order of importance
management.
Stability. Profiling is
much more
likely to
be successful when the de-
vice we're profiling
is
stable, so that the
voke the same response

always
the same set of RGB or CMYK numbers

same color.
the profile
same stimulus will always prowill
make
the device produce the
When the device's response drifts over time,

gressively less accurate
becomes pro-
and further away from the desired ones. To keep the color right, you must calibrate the device often enough to bring its response back to the desired aim
and the colors
get further
point.
If
the device has no user-accessible calibration features, you
need
to track the
changes so that you know when

Devices," later in this chapter).
it's
time to reprofile
(see "Monitoring
Optimization (linearization). Once we've
made
the device stable, a
second objective is to make the device perform optimally, so that we're

using as
sible,
much of the device's dynamic range and color gamut as posstill
while
delivering
smooth and predictable tonal gradations
(see Figure 5-3).

Figure 5-3
Before and after

linearization
21 -step ramps before linearization
tL-a&;aE7---,'--st.
21 -Step ramps after linearization
122
Simulation.
optimal,
If
we've
managed
to
make
the device both stable
and
we may want to take the extra step of simulating another device. For example, we may adjust the white luminance of a monitor
to
match the brightness of white paper in a light box, or adjust the ink
can make less work for
curves of a proofer to simulate a certain press. As long as we can do this
without compromising the device's behavior,

the color
it
management system.
These three goals sometimes compete.

press to
We
might be able to tweak a
produce denser blacks by increasing ink densities, but doing so
may make it less stable. In this case we'd almost certainly choose stability
over dynamic range.
Once you've got the device behaving the way you want
to profile
it,
it to, it's
time
doesn't end
which again uses measurement. But the role of measurement when you build the profile. Most devices are subject to some
kind of variation over time, and if you don't account for that variation your
profile will
become
progressively less accurate. So the last role of
meathat
surement
it's still
is
to track your device's behavior over time

it
and make sure
behaving the way the profile says
does.
Monitoring Devices
The simplest way to check for device
wait until you notice that most the color is wrong. Unfortunately, expensive way, paron a if that the color is notice press run costing tens wrong ticularly you or hundreds of thousands of dollars. It's also inefficient: most color outdrift is to
it's
also the
comes involve at least two, and sometimes more than two profiles.
wait until something has gone wrong,
all
If
you
has gone wrong

the culprit.
^you don't know which of the possible suspects

and when
it's
that you
know is that something

is
really
Afew well-planned measurements, on the other hand, can tell you when
a device
is
drifting too far
time to recalibrate or
reprofile.
Measurement can help you determine the drying time your inks need on
your Inkjet paper, or how often you need to recalibrate your color laser printer, and can alert you to unannounced manufacturing changes in
consumables, saving you a ton of time and frustration. This
process control
is all
is
what good
about.
Chapter
5:
123
Working Outside the System

The big lesson you need to take away from this chapter is that color management
is
the map, not the territory, and
all
too often the territory
is
shifting sand.
No matter how good your profiles are, they only reflect what when you captured
the input target, printed the
your devices were doing

output
target, or
measured the color swatches on your display. Unless you
take positive steps to
make sure
that your various devices
keep behaving
the way the profiles say they do, your best efforts will be
doomed to failure
and
frustration.
If,
on the other hand, you spend a modest amount of time before profiling
sure that the device
it
to
make
is
behaving properly, and
after profiling to
make sure that
keeps behaving that way,
you'll create the
ditions for the color
management system
no
to
do
its
job namely, helping
necessary con-
you
produce great color with
surprises. In the next three chapters, we'll
look in detail at all the things you need to do before, during, and after building profiles for your display, input,
and output devices.
Building Display
Profiles
Your Window to Color
Who said "the eyes are the windows to the soul"? Well, Guillaume de Salluste
Du Bartas, the le**" century French poet and diplomat, did pen the line, "These
and Shakespeare's Richard III did say, "Ere let fall the windows of mine eyes." But the line everyone remembers
lovely lamps, these
I
windows of the
soul,"
seems
to
stem from the 1955 movie, "The
Ladykillers,"
where Alec Guinness'
Professor Marcus asks, "And didn't
someone say, 'The eyes are the windows of

"I
the soul'?" and Katie Johnson's Mrs. Wilberforce replies,

But, oh,
it's
don't really know.

it."
such a charming thought,
do hope someone expressed
Of
course, since then
many people have.

the world of digital color. Monitor profiles
Whether or not you happen to be one of them, one thing is certain: your
monitor
is
the
window to
or
more accurately, display profiles are key to the big payoff of color management: the instantaneous preview of all your color-managed materials.
We
can't stress
profiling to
enough the importance of good monitor calibration and a well-oiled color management system. You maybe able to get
by with vendor-supplied profiles for input and output devices, but effective color management really demands a custom profile for each display.
125
126
As with any other type of profiling, building display profiles

of comparing known values with measured ones
is
in
a process
this case, the profil-
ing software displays a series of color patches with known RGB values, and
compares them with measurements from a colorimeter or spectrophotometer. And as with any other type of profiling, you want to get the device
behaving properly before you

profiling
profile
it.
The
difference
between monitor
and other types
is
that monitor profiling packages actually help

it,
you get the device behaving well before you profile

bine the functions of calibration and profiling.
This occasionally gives rise to
because they com-
some confusion
see the sidebar, "Mudit's
dying the Waters," later in this chapter

to calibrate
but generally speaking,
easier
and profile displays than it is to calibrate and profile just about
any other type of device.

Note that we say calibrating and profiling displays, not monitors. You're
really calibrating
and
profiling the
combination of the video
driver, the
video card, and the actual monitor
in short, the whole display system.
So it's very helpful to understand just how monitor calibration is achieved.

Profiling the calibrated result
is
really the trivial part of the exercise.
Display Calibration
When you calibrate a display, you (or your calibration software) adjust up
to four things,
depending on the display technology:
The luminance of monitor white, expressed either in foot-lamberts or

in candelas per
meter squared (cd/m^).

in Kelvins.
The color of monitor white, usually expressed
The tone response curve of the display system, expressed as a gamma

value.
luminance of monitor black, expressed either in lamberts or in candelas per meter squared (cd/m^).
Optionally, the
foot-
Where you make these adjustments depends on the capabilities of your

monitor.
Chapter
6: Building Dispiay Proflics
127
What to Adjust
There are two ways to change the behavior of a display. You can adjust the
controls
to the
on the monitor
itself,
or you can adjust the signals that get sent

in the video card's
monitor by tweaking the values

It's
lookup
table, or
videoLUT.
itself,
always preferable to
make
the adjustments to the monitor

it's
editing an 8-bit channel you start out with 256

with a smaller number.
because when you tweak the videoLUT,
essentially the
levels,
same
as
but you end up
so you'll always be doing some tweaking there the goal
However, the only way to adjust the display gamma
is
in the
videoLUT,
videoLUT tweaks
to a
minimum. The degree
to
is to keep the which you can do so is
dictated by the controls your monitor offers, and, to controls offered
some
using.
extent, the
depend on the type of monitor you're
The workhorse of computer displays is still the CRT (cathode ray tube).
A cathode ray is a stream of electrons that are fired from one end of an
enclosed glass tube to the other. The electrons originate from electron
guns that spray a beam of electrons onto the inside face of the tube, which is coated with phosphors chemical compounds that kick off
photons
(light)
of specific wavelengths
when
they're struck
by
elec-
trons. Color
inside of the CRT the red phosphor, the green phosphor and (you
monitors use three phosphors
in the
mixture coating the
The voltages sent from the video card control the bursts of electrons from the electron gun, and hence the
guessed
it)
the blue phosphor.
amount
of light emitted by the phosphors.

block,
The new kid on the

displays,
is
and gaining
fast in the
world of computer
the LCD (liquid crystal display). The liquid crystals that give
this type of
monitor
its
name have the peculiar property of changing
shape in response to
electrical currents.
When sandwiched between

modulate
all
layers of polarized glass or plexiglass, they act as filters that
the backlight, a fluorescent light behind a diffuser that produces the light the display emits.
CRT monitor
trast
controls. Every
CRT we've
ever seen has controls for con-
and brightness (which
really control
white luminance and black lu-
minance, respectively). Most offer some degree of control over the color
of white, either as a series of presets, as a continuously variable control,
128
or as separate gain controls for the red, green,
and blue channels.
A few
high-end monitors also offer red, green, and blue bias controls, which set
the black level for each channel.
LCD monitor controls. Because of the way they work, the only real control
possible
on most current LCD monitors
is
the brightness control, which

particularly those
controls the brightness of the backlight.
Some LCDs,
with analog rather than
digital interfaces, supply software controls that
mimic those found

The upshot of all
the monitor
in CRTs, but they're just tweaking the videoLUT, not

itself.
adjusting the behavior of the monitor

this
is
that with a
CRT
monitor, you
may be
able to
in
adjust the white luminance, black luminance,

itself,
and color temperature
while with an
LCD
aim
monitor, the only thing you can
really adjust in the
monitor is the white luminance. This has some implicapoints. See
tions for your choice of calibration

Settings," later in this chapter.
"Choosing Calibration
LCD display technology continues to evolve, and during this book's lifespan, we expect to see LCD displays that use red, green, and blue
However,
LEDs to produce the backlight.
In theory, such displays would allow you to
adjust the color temperature of monitor white in addition to luminance.

Also,
we know of at least two LCDsthe EIZO ColorEdge CGI 8 and CG21
that have their
own
10-bit
lookup tables built into the
display. EIZO's cali-
bration software uses these 10-bit tables to adjust color temperature and
gamma,
ratio
so the calibrated display
is still
capable of producing the
full
256
shades per channel. Note, however, that LCD displays have a fixed contrast
unlike CRT displays, they offer no way to adjust black luminance

is
separately from white luminance, so as you increase the white luminance,
the black luminance
increased too.
Calibration
and
packages.
Profiling Tools
There are essentially four different types of calibration and profiling
Packages that are bundled with a monitor Standalone instrument-and-software bundles
Chapter
6:
Building Display Profiles
129
Muddying the Waters

We've mentioned several times
in this boolt the rule that profiles
profile in a beta version of
what
is
that
it's
done deal
monitor
do,
merely describe
doesn't
a single profile
was then
his
called the Monitors
&
profiles
can,
and often
Sound Control Panel and saw

monitor
flash to a
change the behavior of the

display system.
change anything. But for every rule, there's an exception, and the exception to this particular rule
files.
is most display proDisplay profiling blurs the
new white
point.
There are
tor profiling
still
few moni-
This shredded the simple rule that a profile merely described

device behavior but didn't change
packages that don't
write a vcgt tag into the profile.

Instead, they use a startup application,
distinction
between calibration
two ways:
and
profiling in
device behavior. The culprit, if you wish to call it that, is the

"vcgt" tag
which downloads the
calibration data to the video-
found
in
many monitor
calibra-
LUT. The major downside to this
The instrument and software

profiles,
which stores the
approach
is
that
if
you choose a
packages we use to calibrate and profile monitors usually
tion data that gets
downloaded to
the videoLUT
the gamma and,

load
a
display profile written by one of
these packages after startup, the
perform both tasks as a single

operation.
possibly, white point corrections.
When you
display
it
Many monitor profiles contain

calibration information that
actually changes the behavior
profile that has a vcgt tag,
matching calibration data probably won't get downloaded to the videoLUT, with the unhappy
result that the display won't be-
downloads the contents of

tag to the videoLUT,
this
and hence
have the way the

does.
profile thinks
it
of the display.
changes the behavior of the display. We confess that we have

feelings about this, and we could hash out all the arguments,
We suspect that this approach's

days are numbered for that very reason. But if you do use such a
package, be careful.
Fred remembers his jaw dropping in shocked dismay the first
mixed
time he selected a
new monitor
pro and con, but the bottom line
Standalone software packages that support different instruments

Visual calibrators
Let's
deal vdth the last

don't
first. If
you're at
all
serious about color
manage-
ment, we
recommend
visual
monitor calibration. The very same
adaptability that makes our eyes incredibly useful organs for living on Planet Earth
makes them pretty useless as calibration devices

is
the goal of
cali-
bration
to return the device to a
known, predictable state,
and while our
eyeballs are very good at making comparisons, they're lousy at determining absolutes.
If
your viewdng environment
is
a wdndowless cave
^you may he able to get by vdth a visual
completely stable
essentially,
calibrator,
so.
but
in our opinion, you'd
be penny-wise and pound-foolish to do
But if you
must, see the sidebar, "Visual Calibration," later in this chapter.
130
Monitor/Calibrator bundles. Monitors that

tor are, thus
far,
come with
a bundled calibra-
invariably CRTs. These are "smart" packages in the sense
that the
communication between monitor and host is two-way, allowing the
calibration software to adjust the monitor's internal controls in response to
feedback from the measuring instrument. Early models used a

to
serial cable
communicate with the host CPU, but the current ones

that they
all
use USB. (This
means
occupy two USB
ports,
one
for
communication between
monitor and host, the other for the measuring instrument.)
Examples include the Sony Artisan Color Reference System, the LaCie Electron /BlueEye line, the Mitsubishi SpectraView line, and the Barco
Calibrator V line.
The less-expensive packages
typically use off-the-shelf
general-purpose colorimeters that will work with any
CRT monitor.
designed
won't work as well
The Sony Artisan uses a colorimeter with

for the
filters specifically
with other monitors
while the Barco Reference CalibratorV actually uses a monochrome luminance meter a simple photon counter and gets
measurements of the phosphors
in
phosphor set used in the Artisan monitor
so
it
its
color information from factory

specific unit.
each
The phosphors
don't
change color over time, though they

approach actually results in very
convenience. They
lose their ability to emit photons, so this
accurate calibration and profiling.
One huge advantage
of these bundled systems
is
automatically adjust the monitor's brightness, contrast, gain, and bias

controls to reach the specified luminance
and color temperature, and
tweak the videoLUT only to achieve the requested gamma. Calibration and profiling with these packages is typically a one-button operation
you attach the measuring instrument to the screen, press the button, and
walk away. It's almost impossible to make mistakes with these systems. A second less-obvious advantage of these systems is that they can often
make
sible
than are available through the display's frontpanel controls, so they can create a more accurate calibration than is posfiner adjustments
with a
human
operator making adjustments through the display's
controls (see Figure 6-1).
With the advent of the

is
DDC2
(Display Data Channel) standard, which
incorporated in just
about every CRT monitor currently being sold, any
DDC2-compliant monitor, when equipped with a suitable cable, has the potential to become a "smart" monitor. Thus far, the only standalone pro
filing
package to exploit the DDC2 standard is Integrated Color Solutions'
BasICColor Display
we're
still
waiting for others to follow
suit.
Chapter
6:
Building Dispiay Profiies
131
Figure 6-1
Sony Artisan and LaCie

BlueEye
Standalone instrument-and-software bundles. At the time of writing,

the prominent contenders in this category are GretagMacbeth's EyeOne
Display,
Monaco
Systems'
MonacoOPTIX XR, and
ColorVision's Monitor
Spyder with either PhotoCAL or the fuller-featured OptiCAL.
The packages differ mainly in instrument support.
ColorVision's Photo-
CAL and OptiCAL support several third-party instruments, while the GretagMacbeth and Monaco solutions only work with their own instruments, the EyeOne Display and the Monaco OPTIX, aka the X-Rite DTP 94, respectively.
While
all
the aforementioned instruments are colorimeters,
EyeOne
Monitor also supports the EyeOne spectrophotometer. (Arguments about
whether a colorimeter or a spectrophotometer is the better instrument for

measuring monitors tend quickly to head into angels-dancing-on-pinheads
territory. In practice,
is
we can't say that we've found that one instrument type

and have had
great success with both.)
invariably superior to the other,
The only real advantage we've seen from standalone bundles over separately
purchased instruments and software
is
one-stop shopping, both for
the
initial
purchase and for after-sales support.
Standalone software and Instruments. Most monitor calibration packages

try to support the widest range of instruments possible.
132
Monitor calibration and profiling
is
a pretty straightforward process.
We find
issue
if
between packages are the list of supported instruments, and, mainly, the licensing terms. The latter isn't an
that the
main
differences
you're only worried about calibrating a single monitor, but
if
you
need
to calibrate all the
monitors in a shop, the varying license policies

in cost.
can add up to significant differences
Instruments
Once known
affectionately as
attach to the center of your monitor
hockey pucks, the instruments that you now come in so many shapes and
forms that the epithet rarely applies. The puck stops here, so to speak. (We
couldn't
resist.)
See Figure 6-2.
Figure 6-2
Monitor calibrators
Warning:
If you're
calibrating
an LCD monitor, make sure that you use an

will rip the coating right off the front of
instrument expressly designed for LCDs. The suction cups used to attach
calibration instruments to
CRTs
it
an LCD monitor, rendering
useless.
(Dead
LCD
monitors
aren't
heavy
enough
to
make good
doorstops.)
Some instruments are more influenced by ambient light than others. A

monitor hood can help shield the face of the monitor from ambient light,
so that less of it
is
reflected into the instrument.
With CRT monitors, we

so
if
generally
recommend working in a fairly low ambient light anyway,

ambient
light
is
you
find that
making your instrument produce incon-
sistent results,
you may want
to consider paying
some
attention to your
viewing environment. See "Viewing Environment" in Chapter 9, Evaluating and Editing Profiles.
Chapter
6:
133
Choosing Calibration Settings

To a great extent, the whole notion of monitor calibration standards stems
from the days before the display was talcen out of the color management chain, and represented an attempt to make all monitors behave identically
this
by calibrating them to the same white point and gamma. Of course,
never worked, and has been supplanted by the current approach of
color-managing the data that gets sent to the video card, using the profile
that represents the behavior of the specific display in question.
matter what calibration settings you choose
So from the narrow color-management point of view,

all
it
doesn't really
is
that matters
that your
display profile represents the behavior of your display as accurately as

possible. But other considerations
come
into play. For example,
if
some
to
of your work
lies
outside the color-management realm, you

to a recognized standard.
will
may want
calibrate your
is
monitor
And even
at
if all
your work
color- managed,
your display
is
behave better
some
settings than
others. The one thing to avoid
making major corrections in the videoLUT,

levels
because doing so reduces the number of discrete
reproduce the bigger the correction, the fewer

"free"
your display can
levels.
Adjustments you make to the monitor itself, on the other hand, are there's no loss so a major consideration in choosing calibration
settings
is
the
means available to achieve them. All calibrators ask you for
two
target values:
white point
gamma
For
CRT
displays the three of us,
by separate paths, have come
to the
same recommended
white point of 6500
it,
calibration settings: calibrate your monitor to a
K and
gamma of 2.2. You can just take our word for

why we like white point-6500
K,
but we think
it's
useful to understand
and gamma-2.2, so we'll discuss

itself is
that in the next section.
For LCD displays, the only thing you can typically adjust on the monitor
the brightness of the backlight. Changes to the color temperature
are carried out in the videoLUT, so
we recommend using the native white

If
point for
point
LCDs whenever
the software allows us to do so.
native white
isn't an option, we use D65 because the color temperature LCD backlights is closer to D65 than to anything else.
of most
134
Target White Point

The white point of the monitor plays an important
described in Chapter
baseline that
that
it 1,
role for
your
eye.
As
your eye judges
all
colors relative to
some
neutral
considers white. The three of us unanimously recommend
calibrate your monitor to 6500 K even though many people think K of 5000 as the standard viewing white point in graphic arts. Here's why.
you
The eye has a tremendous ability to adapt

vironments. However, the eye works best
point closest to that
years of evolution
to different white-point enit's
when
operating in a white
environment most familiar
to
it
namely daylight. So the discussion quickly reduces to

D65
(6500
through millions of
which of the two most commonly used daylight standards, D50 (5000 K
correlated color temperature) or
ture), is best. (See
K correlated
color temperaIf
Chapter
1 if
you're unfamiliar with these terms.)
you
have a D50 viewing booth, your monitor to 5000
this
might seem to tip the scales toward setting
K so that your monitor and print-viewing environseem to predict
ment have identical white points. But long experience has told us that this
doesn't work the way the theory would
print comparisons," in Chapter
9,
see "Monitor- to-
Evaluating and Editing Profiles.
A second factor is that many uncalibrated CRTs, especially older models,
are pretty darned blue, with a color temperature closer to 9300 K,
though the better current CRTs have a native white point closer to 6500 K. In either case, to move the white point to 5000 K, we have to limit the
output of the display's blue channel, lowering the overall brightness and
dynamic range. This is why many people (including us) often find a 5000 K monitor to be a bit too dim, dingy, and well too darned yellow.
. . . . . .
worth remembering the sentence that started off this explanation. The eye has a tremendous ability to adapt to different whiteSo instead,
it's
point environments. The eye takes a little bit of time to adjust to a change
in brightness,
but
it
has
little
trouble looking at a color image in a 6500
K monitor and
mounted
then moving to view the same image printed out and
page that you're evaluating.

brightness, then
It's the relationships within the image or As long as you give the eye a good adaptation environment, and both environments are of approximately equivalent
in a viewing booth.
you should have no problems. If your software has more than just two choices for white point, you have
another option
you can perform
iterative calibrations to find the
white
point setting that best approximates a sheet of paper in your viewing booth.
Chapter
6:
135
Some people
all
in extremely color critical
environments, with control over
of their equipment, including the paper being used, have found this to
useful.
We, however, prefer to deal with the color of paper white in the printer profile, and concentrate on matching the brightness of the monitor
be
and the viewing booth.
Target
Gamma
The recommended
setting for gamma depends somewhat on how much work you do outside the color-managed environment. Without color management, the general practice has been to choose a gamma that best
simulated the mid-tone characteristics of the target

if you're
medium
in English,
going to print, you want your monitor to have similar tone repro-
duction characteristics to your printer.

This, supposedly,
is
why Macintosh
of 1.8
assumed
cards
is
to
have a
gamma
the default table

1
displays have traditionally been

in
Macintosh video
produce an approximate display gamma of 1 .8, and calibration instructions have long touted 1 .8 as the "standard Macintosh gamma"
set to
.8?
when calibrating your monitor. Why
A monitor gamma of 1 .8 roughly
approximated the dot-gain curve of the Apple LaserWriter. This served as a poor- man's color management (actually a grayscale management,
was well before the days of color management, since the displays being used at the time were monochrome). If an image looked good on a monitor calibrated to gamma 1.8, then it would look reasonable when
as this
printed without
much adjustment.
is
But with color management, simulation
now
the job of the color
management system, and
specifically, of the printer profile. So instead,
we recommend
around
little
that
you
calibrate your
all
monitor to a
gamma
of 2.2, for
the simple reason that, in
our
testing,
we've found that calibrating to
gamma
2.2
produces the smoothest display of gradients, with
or no visible banding or posterization.

you're picky, like us,
If
you may want
to go further,
and use the tech-
niques described in "Checking the Display," in Chapter 9, Evaluating and

Editing Profiles, to find the ideal
the other hand,
to
if
gamma
for
your particular display.
On
say so as long as you have an accurate monitor
gamma
1.8,
you've been happily calibrating your monitor to D50, or to both, don't feel you have to change it just because we
profile,
the differences
subtle.
between the various calibration aim points are pretty darned
136
Calibrate? With CRT monitors, we recommend calibrating weekly. At minimum, you

I
How Often
Should
should calibrate monthly

Calibrator V
after
some of the high-end systems
like the
Barco
and the Sony Artisan are pretty insistent that you recalibrate
30 days.
We know people who

still
calibrate their monitors every day,
which seems
excessive, but harmless.

out.
much slower rate than the phosphors in CRTs it's unlikely to be an issue in a human lifespan. The backlight, however, will decay slowly over time.
get
With LCD monitors, the jury is
The dyes in LCD cells wear at a
We calibrate our LCDs weekly to be on the safe side, but you can probably
by with less-frequent calibration than with CRTs.
Before Calibration
The
it's
first
thing to do before calibrating your monitor

calibrating.
is
to
make
all
sure that
worth
On a CRT,
turn the contrast control
the
way up;
on an LCD, turn the brightness control all the way up. If the result is something other than a display that's at least 3. hair brighter than you'd like, the
monitor is probably a candidate for replacement rather than calibration

calibrators
work by turning things down, so

as bright as you'd
like,
it'll
if
the display, running wide

after calibration.
open,
isn't
be even worse
Warm-Up Time
Before calibrating a CRT,
make
sure
it's
been on and in use

it's
for at least 30
minutes, and preferably for an hour so that

ing temperature.
If
reached
its
stable operat-
you have any energy-saving software that turns the
monitor
off when not being used,
make
sure this doesn't kick in during
the warm-up period.
(If you use this as your excuse for a little Web surfing
every morning,
we won't tell anyone.)
Regular screensavers (those floatie
fishies or flying toasters) are fine, as are the simpler
ones that just display

off.
a black screen, as long as they don't actually turn the monitor

Since
we wrote
the
first
edition of this book, we've realized that
LCD
displays also
need at least 30 minutes warm-up time, maybe more. Various

from a low of 30
objective evaluations of LCD display warm-up time range
minutes to a high of 90 minutes for the fluorescent backlight to reach stable

output. We've also seen
some work that suggests the LCD filters themselves

but the effects are
may be influenced by temperature,
much smaller.
Chapter
6:
137
Resolution, Refresh,
brate. Just
Settings Make sure that all the other monitor settings are finalized before you calichanging the resolution from say 1 280 x 1024 to 1152x864, or changing the refresh rate from 85 to 75 Hz, can affect the overall brightness output of the monitor. So can changing the geometry settings on the
display
and Other Monitor
reducing the size of the displayed image on the monitor targets
the electron guns on a smaller area of phosphors, which slightly increases the brightness of the image.
Tip: Extend the Life of
Old Monitors.
If
you followed the instructions

it
on evaluating your monitor and
didn't achieve satisfactory brightness,
may
be time
for a
new
monitor. However, to try and squeeze
some
extra
brightness back into the monitor, you can:
use the geometry controls on the front panel of the monitor to reduce
the horizontal and vertical size of the displayed image
reduce the refresh frequency from,
say,
85
Hz to
75
Hz
reduce the resolution from,
say,
1280x1024 to 1152x864 or even
800x600
The
refresh frequency
and resolution
settings
can be found
in the Dis-
play Settings or Control Panel on your system, but be careful that you
select a
It's
combination that supports true 24-bit color (millions of colors).
OK to change these settings, but you must do so beforeyou calibrate,

it
and if you change any of these parameters, you need to recalibrate for each
change. Also,
should go without saying
but we
will
anyway
that you
should
set
your monitor to display true 24-bit color (millions of colors).
Cleaning the Screen

It's
important to make sure your screen
is
free of dust
and
fingerprints
before calibration, because they can introduce inaccuracies into the readings. In the case of CRT monitors,
they can also cause the sensor to
fall
off
halfway through the calibration process, which can be a major frustration
and a hazard
for your keyboard and measuring instrument. Use a weak solution of mild detergent or a cleaning product
specifically
formulated for monitors. Don't use glass cleaners containing
ammonia
or
other harsh solventsmost high-end CRTs use antiglare coatings that housefragile.
hold glass cleaners wreck: the coatings on LCDs are even more
138
Precalibration
Setting the Analog Controls

and gamma of the display,
In addition to specifying the color temperature

calibrators ask you to set the
luminance. In
the monitor
dynamic range by choosing white and black some packages, this step setting the analog controls on
is
handled as part of the calibration process. Others, such
as ColorVision's
OptiCAL and PhotoCAL, use a separate application,
Pre-
CAL, to step you through optimizing the monitor's contrast, brightness,
and color temperature settings. Smart monitors with bundled calibrators,

such as the LaCie Electron /BlueEye and the Sony Artisan Color Reference
System, handle this task automatically, and usually more accurately.
Setting White Luminance Some packages allow you to specify a value

internal (and
for white
luminance
how
bright you want the monitor to be. Others simply adjust the monitor to an
sometimes undocumented) preset
value.
With CRT moni-
tors, when given a choice, we opt for a value somewhere between 85 and
95 cd/m^ or 24 and 28 foot-lamberts.
Most of today's CRTs can reach a higher luminance

higher
sometimes much
so,
for a while.
It's
always tempting to crank up the white luminance
to get the
maximum
possible contrast ratio, but
when you do
you
shorten the monitor's useful life. A decent CRT should be able to achieve
our recommended luminance for
at least three years, often for longer.
The default brightness of LCD displays is usually so high it needs reducing,
in
sometimes by as much as half. Good calibration packages guide you setting brightness. This is important because we find that the half-life
of the backlight is about 18

it
months
if
you drive the display at full bright-
be half as bright in 18 months and there won't be anything ness, you can do about it. Dropping the brightness from the get go will give you
will
headroom to
increase white luminance as the backlight ages.
Unless we're using a calibrator that adjusts the monitor automatically,
we
start
the way down most calibrators
out by turning the contrast
all
the
way up and the

do
brightness
all
tell
you
explicitly to
non-automatic varieties generally display the target current measured luminance. You then adjust the contrast control (on
CRTs) or the brightness control (on LCDs) to
6-3
so, anyway. The luminance and the
make the two match.
Figure
shows some
typical examples.
Chapter
6: Building Display Profiles
139
Figure 6-3
Setting white luminance
PrtCAL"
O.SI4,O.S24Ky
3l3,0.52Sxy
0.089 tin
93.49 od/m'2
Done
ColorVision's
PreCAL
lets you
take a measurement and reports the measured
luminance. You adjust the contrast control and repeat the process until you achieve the desired luminance.
Contrast QMUly Indkator
:i
GretagMacbeth's EyeOne Match,
left,
measures continuously. You adjust the contrast control until the white indicator
lines
up with the black one.
Not raiUbte on
this monitor.
C5W>
i
Sdect
Profile
Parameters
m^^m^ fmiiiîmm
IjMitaMmMB
MonacoOPTIX simply
lets you
define a target
luminance.
Tm Oa ScfMa Oisp^rJ
eaiomiavMsKltel
not
Um OSO cfcl9at tfH
t oftlH dUta*.
cUi -TM OSD*.
EE
140
Setting Black Level

Setting the black level
set
it
is
quite a bit trickier than setting the white.
If
you
too low, you'll clip

will
some shadow
out.
levels,
and
if
you
set
it
too high,
your blacks
be washed
To further complicate matters, most of
the instruments
as the
we use to calibrate monitors have diminishing accuracy

it
sample gets darker, and the light output of CRT monitors gets progets to black.
gressively less stable the closer
where systems that adjust the monitor's controls automatically have a huge advantage. They take hundreds of measurements and average
This
is
them. Calibrators that step you through these same adjustments manually also take
many measurements of black, but the problem then becomes
how to present these measurements to the user in a useful form. On CRTs (and on a very few LCDs), you adjust the black level using the brightness control (which is really what the techies call an offset). On most
LCDs, the black level isn't controllable separately from white luminance
the only real control is the brightness of the backlight
to accept
so you simply have

it
what the
calibrator gives you. We've seen
many cases where the

setting. In this
indicator of the current
measured black
level
jumps around, making
quite hard to determine when you've arrived at an optimal

situation, the
key is patience. Don't expect the indicator to magically stop
moving around
the black
it
won't. Instead, just keep
making small adjustments to
level. Gradually,
the results will converge on the target point.
Some calibrators let you set the black level visually, instead
ally
they usuit's
show
a dark gray patch against a black one. With this approach,
very easy to set the black level too low,

useful
which results in clipping potentially

(since you're
shadow values. The goal is to set the black level a hair

visually,
all.
working
signal at
more
technical definitions don't apply) higher than
no
Figure 6-4 shows
some
different
approaches to setting the

of monitor cali-
black
level.
is
Setting the black level

bration.
It's
by far the most
difficult part
worth learning the quirks of your chosen calibration system

to get the
9,
and working with them
most consistent
results possible. See for
"Black-point check" in Chapter
Evaluating and Editing Profiles,
some techniques that can help you refine the black-point setting.
Chapter
141
Flsurcd-^
Setting biacl( level
ColorVision's
OptiCAL. left, iises a visual target

to help you set the black level.
BrtfMiwu QMllty Indkator
-^!
Q Not
waitabte on this monitor.
GretagMacbeth's EyeOne Match, above left, and Monaco Optix Pro, above right, both measure black continuously and provide feedback via a slider When it lines up with the target, you've set the black
level correctly.
142
Setting the Color Temperature In CRT monitors, the color temperature is adjusted by changing the
dividual gains
in-
on the
red, green,
and blue guns. With LCDs,
it
can only
at
be accomplished by filtering the backlight, so we generally leave LCDs their native vv^hite point, v^hich is usually close to 6500 K anyvây.
But the level of control that CRTs offer varies from model to model.
Typically,
CRTs
offer
one
(or
more) of the
follov\^ng:
Several preset color temperature settings (typically 5,000 K, 6500 K,
and 9300
K,
though some
offer additional presets)
Continuously variable color temperature
Gain controls Gain controls
for
two of the three guns

guns
for all three
So how you get to the desired color temperature depends on the monitor controls. Again, with automatic systems, the software takes care of the
necessary adjustments automatically.
Many of the manual calibrators tell

R, G,
you to skip this adjustment if your monitor doesn't have individual and B gains, but we find it useful on all CRTs (see Figure 6-5).
CRTs with presets. We always
start
out with the preset closest to our de-
sired color temperature, but the presets are often off
by a considerable
amount, almost invariably giving a lower color temperature than the preset value. In that case,
we may
try going to the next-higher preset. For
example,
a 7500
if
the 6500
K preset measures as 6100 K, and the monitor offers

Once we've determined the
best
preset, we'll use that instead.
preset to use, we'll skip this step in future calibrations.
CRTs with continuously variable color temperature. Again, the colortemperature labels on the color-temperature control are often
signifi-
cantly off from the real, measured color temperature. We adjust the color
temperature to get as close as possible to the desired
result.
CRTs with gain controls. We find that
it
doesn't
make
a whole lot of dif-
ference whether the monitor offers control over two or three of the channels
we rarely adjust more than two, anyway. Most calibrators show you
Chapter
143
Figure 6-5
Setting white point
144
Calibration
and
Profilins
all
At this point, you've done

trols is really the
the difficult stuff^setting the analog con-
only part of calibrating and profiling the monitor that
requires user intervention. The software displays patches on the screen,
looks at the measurements from the instruments, and

sary tweaks to the videoLUT. Then it displays
the measurements,
that can go wrong.
makes the neces-
some more patches, looks at

are,
and builds a
profile.
There
however, a few things
Make
bration.
sure that
some screensaver software

that prevents
doesn't kick in during cali-
Any good
calibration software should detect

it.
when this happens,

if
and, in
fishies
fact,
most have code
Nevertheless,
your
floatie
appear during calibration, you may have to adjust the screensaver's

it
settings, or disable
altogether.
And of course,
you'll
have to
restart the
calibration process.
It's
possible to throw off a calibration by allowing your
mouse pointer to
move across the measurement area during a measurement. Most calibrator

programs nowadays are able to hide the pointer if it enters the measurement area, or at the least can detect when this happens and beep angrily at
you, but there are
still
exceptions.
It's
just
good advice
to
keep the pointer
safely off to the side

If
and don't touch anything during calibration.

attached to the
in-
you use the calibration process as an opportunity to take whatever

is still
kind of break you need, check that the calibrator
monitor when you come back. The industrial design of instruments
tended to attach to the monitor has greatly improved since the early days,
by no means unheard-of for the instrument to the calibration is done. In that case, you need to start over.
but
it's still
fall
off before
Savins
tlie
Monitor Profile
Regardless of what type of calibrator you are using, the last thing
it
does
seems
like
such a tiny afterthought, but
is
the key to getting this labori-
ously calibrated monitor into your color
management system
saving
date in
and naming the monitor profile.
Some people
the filename.
create a
new profile each time by including the

is silly
We
think this
the condition that the old monitor
Chapter
145
Visual Calibration
We're tempted to say that visual
calibration
is
an oxymoron
ambient
different
light is dramatically
Gamma
adjustments
are
cali-
from one calibration
almost always carried out by

having you move a slider until a solid color matches a dither
pattern.
It's
means bringing a device known state, and the adaptive nature of our eyes makes
bration
to the next, the results almost
back
to a
certainly will be, too.
All visual calibrators start
out
easy to do this with

it's
it
just
about certain that you won't

to hit the
same aim point twice by visual methods alone. We don't recommend visual calibe able
bration, but
if
with an existing profile. TYy to choose one that bears a general
red and green, but
just
about
resemblance to the monitor

you're calibrating. Ideally, you
impossible to do with blue. So when you adjust the blue
gamma,
get
don't look at the tar-
you must, here are
some
should
start
pointers that you
may find
warm-
out with a profile
look at your neutral gray
describing a monitor that uses

the
desktop instead (of course, your

desktop pattern is a neutral gray rather than pink marble or your
favorite picture of your cat).
It's
helpful.
All
same phosphors
if
as yours.
is
the directions about
Failing that,
your monitor
up time and
resolution settings
an
aperture-grille type (a Trini-
apply to visual calibration just as they do to instrumented calibration.
tron or Diamondtron), choose
very easy to see what's

ing to the neutrals
aim for the
happen-
a profile that describes that
type of monitor, and
if it's
blue setting that gives you a

neutral gray.
Visual calibrators are designed
The viewing environment is much more critical for

visual
calibration
than for
shadow-mask monitor, use a shadow- mask profile. Sony and Mitsubishi are the main providers of the former type; Hitachi
is
with CRTs in mind.
If
you
try to
instrumented calibration. The ideal is a darkened room,

but
if
use them with

all
the
If
main provider of the latter.
bets are
off,
LCD monitors, but we can just
that's
impractical, at
sure that you
the calibrator offers a choice
least try to
make
between a single gamma and individual
about guarantee that you'll be disappointed with the results!
always calibrate under the same

lighting
conditions
gammas for red, green,

choose the latter.
if
the
and
blue,
We recommend that you just overwrite the previous profile the old ones
are useless
profile described
no longer
clutter
exists since you've recalibrated the monitor.
and just
your system.
Most profilers automatically save the profile in the correct location and
load
it
as the profile that describes the monitor, even in dual-monitor

let
systems. Unless you really know what you're doing,
the software save
the profile in
systems.
its
preferred location, which varies
on
different operating
On Mac OS 9,
save the profile in the ColorSync Profiles folder in
the System Folder (some calibrators save the profile in the Displays folder
inside the ColorSync folder
either way
is fine).
146
On Mac OS X, the situation is a little trickier. Some calibrators save the

profile in the
/
Library/ ColorSync/ Profiles /Displays folder if you're logged

user, thereby
in as
an Admin
making the
profile available to all users.
Others save it in the -/Library/ ColorSync /Profiles /Displays folder
that's
your "Home"
Library,
which
is
unavailable to other users. Eventually,
we
hope vendors will make up
their
minds whether monitor profiles should
go with the user or with the monitor, but meanwhile

it
we
advise saving
all
in /Library/ColorSync/Profiles
it.
whenever
possible, so
users have
access to
On Windows 98, 98SE, and ME, save the monitor profile in Windows\ System \ Color. On Windows 2000, and Windows XP, save the monitor profile in WinNT\ System \ Spool \ Drivers \ Color. On Windows NT, save the
profile in WinNT\System32\ Color.
Piece of Cake
Monitor calibration and profiling
just as well, because
it's
is
really very straightforward,
which
is
the lynchpin of a color-managed workflow. Most

profil-
people say they want to trust their monitor, and calibration and
ing
is
the
first
step in attaining that goal. Often, though,
it's
an
iterative
process. See "Checking the Display," in Chapter 9, Evaluating and Editing

Profiles, for
techniques to help you evaluate and improve your display

profiling.
calibration
and
Building input
Profiles
Starting
Out Right
To get the color you want, you first have to know what that color is. The fundamental role that input profiles play is to tell the CMS what that color
We must stress upftônt that input profiles don't automatically give you great color or remove the need for color correction they just tell the CMS
is.
what colors your capture device sees. So a good input profile will faithfully
render the dark and murky appearance of an underexposed image or the
washed-out appearance of an overexposed one.

Moreover,
Digital
profile
some
types of input are difficult-to-impossible to profile.

in the field rather
cameras shot
because the
than the studio are
difficult to
light
source
is all
over the place. Color negative scans
are basically impossible to profile for a raft of reasons, the being:
main ones
Color- negative scanning targets are hard to find
Fuji
is
the only
source of which we're aware.
Unless you
what's
like
orange, inverted images, you don't want to reproduce
on the
film.
The orange mask on negatives varies so much with exposure that the profile would only work reliably if your negatives were exposed very
close to the
same way the target was.

147
148
Real World Color

(positive) film, or you're
However,
if you're
scanning prints or reversal
shooting digital captures under controlled lighting, good input profiles
can be significant time-savers. Scanner profiles are so easy to build that there's relatively little reason not to do so. Digital camera profiles, however, are quite a bit harder, for
First, let's
reasons that we'll examine a
little later.
look at the similarities between profiling scanners and profiling
digital
cameras.
Input Profile Basics

The process of building input profiles
of profiles in that
is
the
same as building other types
we compare
XYZ
device values
case of input devices
with measurements in a device-independent color CIE LAB.
almost always RGB in the

is
or space such as CIE

profiles, the
The difference
that with input
measurements have,
in the vast majority of cases, already
been done
for you.
Input Profiling Targets

Input profiling targets always have two components:
The physical
target that
you scan or shoot

(TDF) that contains measurements of the
target description
file
color patches
on the
target
The main difference between inexpensive and expensive input profiling

targets
is
the accuracy of the measurements in the target description
file.
Inexpensive targets are manufactured in fairly large batches,
and the mea-
surements are carried out on a small sample of the total batch. As a result,
some targets' TDFs in the batch are more accurate than others. Expensive
targets are
manufactured in smaller batches, and measured

are generally a lot
if
individually,
so the
TDFs
more
accurate.
you have an instrument capable of doing so, you can always measure the profiling target yourself and plug the measurements
Of course,
into the target description

to
file
that
accompanied the
target. This is
easy
do with
reflective targets, quite difficult with
large-format transparency
the affordable targets (you need a transmissive spectrophotometer, and ones force you to position each patch manually), and extremely difficult
Chapter
7:
Building input Profiies
149
with
35mm
transparencies (you need a very specialized transmissive
spectrophotometer with a very small aperture, and they're both rare and
expensive).
Scanner Targets. By
118.7/
1
far the
most
common scanner targets

(reflective)
in
use are the
(transmissive)
and 1T8.7/2
targets, which are available
from several different vendors on several different film stocks. Kodak's

version, the Q-60, follows the ITS standard (see Figure 7-1).
n9ur7-1
The IT8.7/ land

IT8.7/2 targets
150
One frequently asked question is, do I need

for different film stocks?
to
make
different profiles
We hesitate to give a definitive verdict, but based

Fuji Velvia are almost iden-
on our experience, we don't think so. The image-forming dyes used in film
stocks as different as
tical
Kodak Ektachrome and
the differences come from the image-capture dyes, and a profile

color.
simply records how the capture device sees

different
rate,
The colors may be quite

is
on a Kodak and a Fuji ITS
target,
but as long as the TDF
accu-
we've found that they produce extremely similar profiles.
We've built profiles using
Don
Hutcheson's excellent hand-measured
HCT targets (you can find out all about them at www.hutchcolor.com), using both the
Kodak and
Fuji versions,
and we've found that they produce

certain. You're definitely
almost identical profiles that are capable of characterizing scans from

either film stock very well.
Of this much we're
better off buying
one individually measured
target than
buying batch-
measured targets
on
different film stocks.
We prefer the HCT target to the IT8 not only for the accuracy of the TDF,
but also because it contains a better sampling of colors, particularly dark,
saturated colors,
and we find that it simply produces a better profile than
the IT8 (see Figure 7-2).

Figure 7-2
The HCT target
Chapter
7:
Building Input Profiles
151
Digital
camera
targets.
There are only two
digital
camera
targets that
have
gained any significant degree of support in profiling packages: the 24-patch
Macbeth ColorChecker, and the brand-new
(at
time of writing) 140-patch
GretagMacbeth ColorChecker SG, which replaces the now-deprecated ColorChecker DC. The target is specifically designed for profiling digital cameras,
and includes a
designed to
let
and black patches around the perimeter the profiling software comp)ensate for uneven lighting, along
series of white, gray
with the 24 patches from the original Color Checker (see Figure 7-3).
Figure 7-3
Macbeth ColorChecker and GretagMacbeth

ColorChecker SG
158
The ColorChecker
awry.
DC was
a great example of good intentions gone
The glossy patches had a tendency to turn black in cross-polarized lighting setups, and the high patch count tended to make profiles that
were notable
In
for their lack of smoothness.
ation
many cases, we still prefer the old 24-patch ColorChecker. One situwhere we prefer the ColorChecker SO (for Semi Gloss) is for profiling
field
cameras in the
under available
(that
is,
uncontrollable)
light, for
the
simple reason that the black, white, and gray patches around the perimeter
of the target help
We
you determine whether or not the target was evenly lit. do suggest that you measure the 24-patch ColorChecker yourself.
The formulation has changed at least three times over the years, and while
the patches from each formulation appear similar to the human eye, they
appear rather differently to
digital
cameras.
Input Device Variables

As with any other type of device, it's vital that you control all the variables that can affect your input device's performance before you profile it. There
are really only three factors that affect capture devices such as scanners
and
digital
cameras:
source
The
light
The color filters
The software settings

In scanners, the light source
is
stable in
all
but the least expensive
models, and
is
almost always compensated for by an internal calibration

is
variable this
before each scan. In digital cameras, however, the light source

is
a huge
why
scanners are easier to profile than digital cameras.

ca-
How you account for differences in the light source depends on the
pabilities of the
camera.
The
device,
color
on scanners and cameras change over the life of the but so slowly that it'll probably take five years or more before you
filters
need
to reprofile.
With scanners, the biggest variable by far is the software settings. Software settings are also important with digital cameras, but in rather different ways, so from here on
it
makes more sense
to deal with scanners

first.
and
cameras separately We'll
start
with the easier option, scanners,
Chapter
7:
153
Building Scanner Profiles

Building scanner profiles
fully lies in setting
is
relatively easy
the key to doing so successcorrectly,
up the scanner software

goal
is
then keeping
it
set
that way.
The
first
to get the
scanner behaving consistently. Once

is
you've achieved that, the second goal

optimally.
to get the
scanner behaving
Stabilizing the Scanner's

To make a good scanner
profile, the
Response
first
thing you need to
do
is
to
make
If the
sure that the scanner responds the same way to every image you scan.
scanner uses features that tailor
its
response
to the
image
at
hand, you're
back to chasing the proverbial moving target with the rubber ruler! So you need to turn off any features that set black or white points,
remove color
casts, or
do anything
else automatically in response to the

to turn off
image content. Less obviously, you need

the scanner sharpening
is
any sharpening
in
also a feature that produces different results
depending on image content. There are, however, two automatic features that we've found are benign
with regards to color
right).
management (and are extremely useful in their own

don't,
Applied Science Fiction's Digital ICE surface-defect removal and
GEM
(Grain
Enhancement Module) noise-reduction technologies

like
in our experience, interfere with color
equipped with them, and you

active. (A third
management, so if your scanner is what they do, by all means leave them
ASF technology,
it's
ment, but since
designed
to
Digital ROC, is inimical to color managework on faded or color-casted originals
where you rfon'f want to reproduce what's on the film it's unlikely that you'd want to use color management and Digital ROC at the same time.)
A very few scanner drivers make

tings
it
the ones we run into over and over again are those for the PolaNot
all
impossible to defeat the auto set-
roid Sprintscan series.
models are
affected, but
some members of
the family have auto-exposure hardwired into the scanner firmware. You
can't really profile these scanners. If you're using a
scanner whose auto
features are undefeatable, or
if
you're scanning color negatives, use the
techniques described in "Bringing Color into a Color-Managed Environ-
ment"
in
Chapter
10,
Color-Management Workflow,
instead.
154
Optimizing
task
is
tlie
Scanner's Response
it's
Once the scanner is

to
stable
you've turned off auto -everythingthe next

behaving optimally. The default tone curves
flatbed or a Heidelberg
make
sure that
on most scanners, whether a lowly desktop
drum
scanner, produce images that are pleasantly contrasty and saturated, but
tend to compress shadow detail and distort darker colors.

If
your scanner software allows you to
set the
output gamma,
we
rec-
ommend setting it somewhere in the range of 2.6-3.0. See

for Input Profiles" in
'Objective Test
for a tech-
Chapter 9, Evaluating and Editing Profiles,

to
nique that allows

further reading,
you
determine the scanner's optimum gamma. For
we recommend Don Hutcheson's excellent paper entitled

is
"Scanning Guide," which
available for
download
in
PDF format from

run the scanner
www.hutchcolor.com.
Our usual approach

the
to
color-managed scanning
is
to
"wide open" with no black-point or white-point correction, and capture
maximum
bit
depth the scanner allows.
We
then do any necessary
corrections, including optimizations for different output processes, in
an
image
editor such as
if
Adobe Photoshop.
it,
you can achieve significant productivity gains by performing color correction and conversion to output space in the scanner software. The downside is that your corrections will
However,
your scanner allows
be based on whatever
size
prescan the scanner software provides. But
whether you bring raw scans onto an image editor or do conversions and
corrections
on the scanner, the procedure
for building the profile
is
the
same.
Scanning the Target

The
ally
target scan doesn't
have to be particularly high-resolution
we usu-
aim for a file
in the 5-12
MB range for 24-bit scans,

all
10-24
MB for 48-
bit scans.
Make
sure that you've set
the scanner parameters correctly,

If
and
try to
mount
flatbed scanner,
that
isn't
the area covered by the target to minimize distortions from unwanted

it's
the target as straight as possible.
you're profiling a
a good idea to
mask
the rest of the bed
reflections.
We usually scan the target as a high-bit TIFF file. If your profiling software doesn't accept high-bit TIFFs, you can downsample the
target scan
Chapter
7:
Building input Profiies
155
to eight bits per
channel
in
Photoshop, or just scan
in 24-bit
RGB.
We
always open the target scan in Photoshop before feeding to the
profiler,
and perform any necessary rotation and cropping (you

in the profiling
set the final
package
cropping
crop
in
Photoshop
just
minimizes the
amount of data you're slinging around). We also check each patch for dust
and
scratches,
and spot out any defects with Photoshop's clone
tool (see
Figure 7-4).
Tip:
Check Your
Policies
Before Opening the Target Scan. When you're

important that you don't change the
don't have
building input prohles,
its vitally
RGB
you
values in the target scan, so
make sure that you
any automated
that
conversions specified in your image editor.
We also recommend
make a point of never, ever, embedding a profile in any color-management

target, including
scans or captures of input profile targets.
Figure 7-k
Massaging the target scan
Q-6lli:3 Tar^vlfnr Prdfessional I'ihiis
KODAK f-KTACIIROME
Straightening the target scan is easy in Photoshop. We use the measure tool to measure the angle of one of the lines that should be horizontal, then choose
Arbitrary Rotate. The opposite angle
results in
is
automatically entered, so clicking OK

is
a straightened scan. Make sure that the interpolation method

of the color patches.
set
to Nearest Neighbor to preserve the integrity
156
Building the Scanner Profile

Once you've got the target scan in the best shape possible, all that remains
is
to build the profile. The user interface
may vary from profiler to profiler,
but they all work in fundamentally the same way.
open the target reference file, which contains the measured color data for the target. Then you're asked to open the target
First,
you're asked to
scan (see Figure

Figure 7-5
7-5).
HCT Flex 848
gamma
3.0 1
Cropping the target scan
Cnip your target by dragging tin white cmpping marquee to

the four
comers
of the target.
mmammf^mmmmmmB^.
m
\
Chapter
7:
Building input Profiles
157
Building Digital Camera Profiles

The actual profile-building process for digital cameras is pretty much identical to that for
scanners
you provide the profiling package with a target

it
reference
file
and a capture of the target, and then
crunches the numbers

to profile
and
builds a profile.
is
What makes
digital
cameras much harder
than scanners
the inherent differences in the ways they're used.

digital
Where scanners have a fixed and reasonably stable light source,

cameras do
not. Moreover, scanners, for the
most
part,
capture originals
that have already

digital
been reduced
to three or four colors of dye or ink, while

all
cameras have
So metamerism
the way we do
where the capture device sees colors differently from

is
to capture real-world objects in
their diversity.
much more commonly a problem with digital cameras
than
it is
with scanners.
Controlling the Camera's Response

With
digital
cameras, the strategy that works for scanners
device's response
locking the
is
totally useless.
it
You need the camera
to react differ-
ently to different scenes so that

that vary in both
can accommodate lighting conditions
dynamic range and color temperature. dynamic range is basic photogra-
phy lighting and exposure. There are plenty of good books on the subject,
Controlling the camera's response to
once more, that when you're profiling a camera, lighting the target evenly and capturing both the highso we'll say no
more except
to stress,
lights
and shadows,
is critical.
Control over color temperature, on the other hand, depends largely on

the capabilities of the camera, and on the
file
format you're shooting.
In-camera gray-balancing. Scanning backs and some three-shot cameras
you gray-balance the camera itself you expose a gray card, then use the camera software to adjust the analog gains of the individual channels
let
to obtain a neutral gray.
Wlilte-balancing color
filter
array cameras. "One-shot" color camer-
as use an area array sensor with color filters applied over the sensor, so
they're often
known
as color filter array (CFA) cameras.
Each element
in
the sensor captures a single color, usually but not always red, green, or
158
blue.
grayscale to interpolate the missing colors for each

differently
The color image
is
made by processing
the raw capture

pixel.
which
is
Almost all CFA cameras offer a white balance feature, but it works quite
from the gray balance

it
in
scanning backs. When you set white
balance in the camera,

Instead,
it
doesn't adjust the camera's response to the light.
affects the processing of the
raw image. Most professional and
prosumer CFA cameras offer the choice of shooting JPEG or shooting Raw format. The impact of white balance differs between the two.
When you shoot JPEG,

matrix,
that
etc.),
the raw data
is
converted in the camera, using
the on-camera settings for white balance (and contrast, sharpness, color
so
when you
profile a
camera
for
JPEG
capture,
it's
critical
you
set a
custom white balance when you shoot the
profiling target.
When you shoot raw, however, the white balance setting has no effect
on the captured raw data it's simply recorded in the image's metadata as a tag that raw converters can use for a default interpretation. However,
since the
raw data is a grayscale image that requires processing to become
a color one, you can't profile the raw capture directly

filing
still
rather, you're prorelying
the camera
and a specific path through a specific raw converter.

in the
It's
good idea to set a custom white balance when you shoot the target,
raw conversion, rather than
and use that white balance
on
either the camera's auto white balance or the
raw converter's best guess
on white balance.
If
your camera
is
unable to set either a custom white balance or a

it
custom gray balance,
probably
isn't
a candidate for profiling. Instead,
simply open the images in a well-chosen editing space, and use your calibrated monitor as your guide for any necessary
edits.
Capturing the Target

Mcike sure that the target
it
is lit
as evenly as possible,
profiling tools allow
and
try to capture
as squarely as possible.
Most
if
perspective distortions, but

profile,
they're
you more extreme you may
to correct small
get a
bad
or the software
may simply reject the capture.

most raw converters offer a "linear" (gamma
1.0)
If you're
profiling raw,
is
capture mode, which
generallythe best choice for profiling since it uses
minimum processing required to produce a color image. In the early days we had a notable lack of success with this approach, but with
only the
current raw converters and camera profiling tools,
we
find that
it
works
Chapter
7:
159
reasonably well.
It's
also the simplest path to profiling high-bit captures.
Figure 7-6 shows a linear-gamma capture of the ColorChecker
SG
target
opened in GretagMacbeth's ProfileMaker Pro

rections applied.
Figure 7-6
5.0,
with perspective cor-
Cropping the target
Building the Camera Profiie

The process
for building
camera
profiles
is
basically identical to that for
profiles. You provide the profiling tool with a target description file and a captured TIFF image of the target, crop the target, and
building scanner
press a button.
The
profiling tool then calculates the profile,
and you're
done.
Well, not quite.
that,
Most camera
profiling tools offer a wealth of options
in any other kind of profile, blur the line between color and color correction. The huge number of variables that management come with the territory in camera profiling just make it an inherently
more than
complex undertaking. For example, we've found that most cameras respond quite differentiy to daylight and to tungsten, so we recommend
making separate profiles for daylight and tungsten shooting. Most camera profilers allow you to set contrast, gray balance,
tion,
satura-
and even exposure compensation in the profile itself. Getting the hues
is
right
probably the easiest part of camera
profiling.
The
trickier aspects
concern the exposure and contrast. In our experience, it makes more sense
to build a family of profiles with different tonal handling than to try to get
everything right in one single profile. Figure 7-7 shows the options offered
by GretagMacbeth's ProfileMaker Pro 5
for
camera profiles.
160
Real World Color
Figure 7-7
GretagMacbeth
Profilemaker Pro 5
Photo Tajk
ProfileMaker Pro 5 offers a wealth of options for camera

Cenra|Purpo5
camera options
^ '^
profiling.
The Gray Balance

9 IJm camera gray balance
Neutralize grayt automattcalty
tab, left, lets
you choose between using the

camera's gray balance, or
making the profile force

near-neutrals to gray.
.
Neutralize
t<
=9
"
CjIKti
f~
Photo Task Optio
Photo Task Option!
Pttolo
Task
General Purpose
^^
mi>t<iw
otufc
Photo Task
'
Cenerat Purpose
_3
C|>oture
^^
i
Craytolaott
Cray taUt>c
Comp^nsaWwi
Fine
Tune Shadows
CompniMn
^
More
Details in
High Key images
"-
9-
Saturation Adjustment
S Contrast Adjustment
Cntel
Cancel
OK
The Exposure Compensation tab lets you bias the exposure for cameras whose
built-in metering consistently under- or
The Saturation and Contrast tab
lets you
build highlight^ shadow^ contrast, and saturation tweaks into the profile.
overexposes the image.

Photo Task OpUons
The Spot Colors tab

specific
lets you
bias the profile to reproduce

Photo Task
Gengrai Purpose
0^
ipomr* ContpBMiW>
Samrm>f> utd
measured colors
which
is
accurately,
useful
for product shots.

UMd Special Clwt
Chapter
7:
Buildlns Input Profiles
161
If
the sheer
number
is
of variables
makes your head
hurt,
one
interest-
ing ahernative
the approach taken by Adobe's raw converter,
Adobe
Camera Raw, which contains not one but two built-in profiles for each supported camera. We discuss Camera Raw in some detail in Chapter 12,
The Adobe
Common
Color Architecture, and suggest a strategy for using
Camera Raw's
built-in Calibrate controls to
tweak the
in
built-in profiles to
match the behavior of your specific camera

Editing Profiles,
Chapter 9, Evaluating and
Startins
Out Right
A good
input profile can be a valuable time-saver.
Good scanner profiles
produce scans that reproduce exactly what's on the film, which is usually the best starting point for an image. Camera profiles are a bit more slippery. to
We've found that even with the best camera
profiles, we'll
still
have
its
make significant edits to tone, and when camera metamerism
rears
head, to color, too. But even in the worst-case scenarios, a good camera
nudge the image in the right direction, saving you time and effort. Which is really, after all, what color management is about.
profile will at least
Building
Output
Profiies
Final Destinations
Output
to
profiles
do more than
just deliver
your known, calibrated color

use
your output device. They're also the
map you
Output
when you're
decid-
ing
where you want
to drive that color.
profiles not only help the
management system (CMS) produce the right numbers to represent your color on the output device, but they also help the CMS show you, on
color
your display or on another

color beforeyou print
it.
printer,
how the output device will render the
Most of our captured images contain colors that our output devices can't reproduce, so we have to decide how we want
to
handle these out-of-gamut colors: the output profile

If
is
the
map
that
shows you the possible destinations.
that
map doesn't describe the terif
ritory accurately, you're liable to get lost,
and
an output
profile doesn't
describe the behavior of your output device accurately, your color won't
end up where you expected
it to.
This capability to preview the results before they happen is one of the most valuable things color management brings to the table it lets you use relatively inexpensive devices like monitors and Inkjet printers to pre-
dict what wdll
happen when you send your color to much more expensive
devices like printing presses or digital film recorders, so you can take any
necessary corrective action beforehand.
163
164
But to do
so,
the color
management system needs

profile is
it
The process of building a

software
quite simple you feed the profiling

munches them and
spits
accurate profiles.
but just as profile accuracy makes or breaks color management, profile

the accuracy of the data you collect makes or breaks the profile.
If
some measurements, and
out a
you skipped straight to this chapter without reading Chapter 5, Mea-
surement, Calibration,
and Process
Control, because
you figured
If
it
didn't
apply
to you. Stop,
Do Not Pass Go, Do Not Collect $200.

it,
the profiling target, measure
you just print and let the profiling software do its thing,
will
you may get a decent
profile.
But the chances
be a
lot
higher
is
if
you
spend some time making
sure that the device you're profiling
work-
ing properly before you print the profiling target
that's
why we
spent a
whole chapter harping about calibration and linearization. In this chapter, we talk in detail about the things you have to do before
profiling to
make
sure that the data you collect represents the behavior
of the device you're profiling as accurately as possible, and after profiling

to
it
make sure that your device keeps behaving the way the profile expects
to. Even if you don't plan to build your own profiles, relying instead on any of the many reputable profile-building services available online or through consultants, you need to make sure that the profiling target
gets printed properly,

affect
your
device's behavior,
is built.
and you need to be aware of the things that can and hence the accuracy of its profile, after
the profile
The Moving Target and The Rubber Ruler

As we pointed out in Chapter
that they can
it
5,
Measurement, Calibration, and Process

all
Control, profiles are snapshots in time. In the case of output profiles,
do
is
to describe
how the output device was behaving when
printed the profiling target.
But most output devices change over time, though different kinds do so
in different ways. So unless you like trying to
measure moving targets with
rubber rulers, you need to develop strategies for making sure that you collect
good data to build the profile and for keeping the device's behavior in
sync with the profile. In this chapter, we'll point out the kinds of variability
that plague different types of output devices,
for collecting
and suggest strategies both

these things
good data and for tracking the device's behavior so that you
all
know the
is
data remains good. The primary tool for doing
the measuring instrument.
Chapter
8:
165
Measuring Instruments
If
you're serious about building output profiles, a dedicated measuring

is
instrument
essential.
In theory,
you can use either a
reflective colorimeter or a reflective
spectrophotometer to build output profiles. In practice, we recommend reflective spectrophotometers because they offer the most bang for the
buck. They don't cost a whole lot
more than colorimeters, but they're more

that's directly
accurate and versatile.
Do yourself a
favor
and choose an instrument

If
supported
by your profiling software.
the patch order, and then exthe measurement type, and the actual formatting of the
figure out the data format your profiling software expects
file
you're a tinkerer by nature, you can probably
port the measurements to a text
file
that your profiling software can read,

10.1,
but
it's
a lot of work! (Bruce
remembers using Red Ryder
a venerable
Macintosh terminal emulator, to take readings with a Gretag SPM50, and
blames
it
for a considerable
amount
of hair
loss.) It's just
so
much simpler
to use a device that your profiling software
can
talk to directly.
There are profiling packages that use a flatbed scanner to measure the printed targets, but in the final analysis, scanner-based profilers are like
the talking horse: what's amazing
isn't
how well
they do
it,
but that they
do
it
at
all.
We don't recommend them.
Measurement Geometry
Spectrophotometers have two different flavors of measurement geometry
the direction from which the light strikes the sample, and the direction
from which that

etries are often
light is collected.
Instruments with d/0 or 0/d geom-
known
as "integrating sphere" or simply "sphere" instru-
ments. They measure the color of the sample without regard to surface
texture
and are most often used in the formulation of paints,

materials. In the graphic arts world,
inks, plastics,
and other colored
we
favor instru-
ments with a 0/45 or 45/0 geometry (the two are functionally equivalent), because they make measurements that correspond more closely to
the way the sample appears to the human eye, taking into account surface
texture
on the apparent color (see Figure 8-1). Most sphere instruments offer an option to "exclude the specular comand
its
effect
ponent," producing a measurement
more
this
like
the 45/0 geometry; so

if it's
if
you do use a sphere instrument, use
option
available.
166
Figure 8-1
Measurement geometries
detector
In a 0/45 instrument,
the sample
is
illuminated
that's
by a
light beam
perpendicular to the
surface.
The detector
reads the light that's reflected at a 45-degree

angle.
3 sample
0145 geometry
detector
"2
sample
d/0 geometry
In a d/0 instrument, the sample is illuminated by a diffuse light source that lights the sample evenly from all angles. The detector reads the light that's
reflected
perpendicular to the surface.
Aperture Size
All
spectrophotometers measure
light
through an opening, or aperture.
Most of the spectrophotometers used in color management have a measurement aperture of around 4-8 mm in diameter. Smaller aperture sizes
Chapter
8:
Building Output Profiies
167
are pretty rare, but
some instruments have
larger apertures in the 12-15
is that you have to print be read individually by the targets so that the patches are large enough instrument, which uses more paper a concern if you're profiling expen-
mm range. The disadvantage of larger apertures

to
sive art papers or specialty photo-inkjet papers.
However, there are two situations where a larger aperture can help.
One
is
when
you're profiling output with very low line screens, such as
billboard printers,
where a small aperture may not capture a large enough
area to correctly determine the ratio of coverage between the halftone
dots and the paper on which they're printed. The other

profiling a "noisy" print process,
is
when
you're
such as uncoated watercolor paper or
canvas on an inkjet
tion.
printer,
where each patch contains substantial varia-
The larger aperture effectively averages out the "noise."
niters Some papers contain fluorescent brighteners that convert ultraviolet light
into visible blueish light, fooling our eyes into thinking the paper is whiter
and
brighter.
(Many laundry detergents use a similar technique, which is

blueish in color.)
why they're often

tion
Unlike our eyes, spectrophotometers don't have white point adapta-
and aren't fooled by paper brighteners, so they see the paper as being compensate by adding the complementary color, may have a yellow cast from highlights to
blueish. Profiling tools
yellow, so the resulting output
midtones, or sometimes even green quartertones, as the yellow ink and

bluish paper combine.
One way to deal with

a
fingers in your ears
this
problem
is
to use a
spectrophotometer with
UV filter. Bruce sees this as the colorimetric equivalent of sticking your

and
yelling lalalalala
it
pretending that
results
it
isn't
there
but he admits that
deals with the problem by

it
can produce better
UV filtering. The only spectrophotometer we know of that has user-switchable UV filters is the Spectrolino. Other instruments, such as the X-Rite DTP-41, come in two versions, one with a (permanent) UV
than no
filter
and one without.
We'd prefer to see profiling tools handle

ly,
UV brighteners
rather than pretending that they weren't there
GretagMacbeth's
intelligent-
ProfileMaker 5.0, for example, has an option to detect and compensate for
optical brighteners
but thus
far
it's
the exception rather than the rule.
168
Polarizing
filters
are
sometimes useful
for
measuring very glossy pa-
pers, particularly
when
the gloss has a directional component. We've
found them more useful with dye -sublimation printers than with glossy Inkjet papers. They're also used in instruments designed to measure wet
ink
on
press. (For process control

it!)
when you're profiling, you must let the
ink dry before you measure
Backing
The ISO standard recommendation is to measure targets on a black backing. While
we hesitate to disagree with such an august body, we feel bound
measuring over black can create problems when the stock you're measuring is thin or translucent, because the black backing results in artificially low luminance readings. (Unless, that is, your final
to point out that
output
will
be viewed on a black backing, which
is
typically not the case
with thin papers.)
Our recommendation for translucent papers is to measure over a stack

of blank stock where possible,
or, if
you're using a strip reader (which
makes stacking paper impractical), to measure over white instead strip readers such as the DTP-41 generally give you the choice. A white backing
will
still
skew the measurements
slightly,
but
much
less so
than a black
one will.
Handheld Instruments
making spot color measurements you position the measurement aperture on the sample and press the measure button. They're handy for process control, where you need to
are great for
Handheld instruments
take relatively few measurements, but
most profiling tools require you to
measure hundreds or even thousands of color patches.
With a handheld instrument, you position the measurement aperture on the first patch, press the measure button, move the aperture to the sec-
ond
patch, press the measure button,
and so
on, several
hundred times.
automated
Handheld instruments
varieties
are usually less expensive than the
a tight
and can produce very good results. They're great if you're on budget, have plenty of time and strong wrists, and only need to
rememberbut
make profiles occasionally
^we've used them more often than we care to

us, you'll find
if you're like
about halfway through mea-
suring your first target that you'd really like an instrument that offers
more
automatic data collection.
Chapter
8:
169
Handheld
reflective
spectrophotometers include the Color Savvy

the X-Rite Digital Swatchbook (DTP-22).
ColorMouseToo!
CM2S and
Handheld reflective/emissive spectrophotometers, which can measure

monitors as well as hard copy, include the various incarnations of the venerable Colortron series, which still receives some degree of support
from X-Rite, Spectrostar s Spectrocam, and GretagMacbeth's Spectrolino and EyeOne Pro (see Figure 8-2).
Fl9urc 8-2
Handheld
spectrophotometers
Part ofBruce's collection of handheld spectrophotometers, old and new. Clockwise from left: ColorMouseToo! CM2S, Colortron II, X-Rite DTP-22
Digital Swatchbook,
and GretagMacbeth EyeOne Pro.
The Spectrocam and EyeOne Pro
offer a
unique measuring capability
that other handheld spectrophotometers lack. In addition to taking spot
readings like other handhelds, you can also use them in a "scanning"
mode
by dragging them over a row of patches on an appropriately designed target (the instruments need targets where each patch is significantly
different
from
starts).
its
neighbors to figure out where one patch ends and

offer a very quick
is
another
These instruments
way
that
of collecting
it's
data at relatively low cost. The only real downside

difficult to
relatively
design your
own
targets,
which
is
a fairly esoteric concern.
(GretagMacbeth's MeasureTool 5.0, part of the ProfileMaker Pro 5.0 package,
can produce custom targets formatted
for the
EyeOne Pro
as well as
for various
common strip-reading instruments, but it only lets you control
the
number of patches, not the content of the patches.)
170
XY Plotters XY plotters are the most automated reflective spectrophotometers. They

use a mechanism that moves the reading head in both dimensions across
the face of the target, so you can program
them
to read
an entire target
automatically. XY plotters demand the least human interaction for reading patches, but many of them don't make it easy to measure a single color or a custom set of colors. The two most commonly used XY instruments
are GretagMacbeth's Spectroscan (see Figure 8-3)
and X- Rite's Spectrofiler.
But the two are very different and are suited
to different tasks.
The Spectroscan
is
actually
made up
of two parts
the handheld
Spectrolino previously mentioned and a mechanized table with a robot
arm
that
moves the Spectrolino from patch

to 31
to patch.
The Spectroscan on material up
measures targets up
mm 0.25 mm
1.5
it
to by in thickness. It lets you specify measurement positions to within and to average multiple measurements per patch, which makes
(12.2
by 24
cm
9.4 inches)
very useful for measuring "noisy" print processes such as Inkjet on rag
may be substantial variation within each color patch. Measurement is automatic, but quite slow. On the plus side, once you've started the measurement process, you can simply walk away and come back when it's done. X-Rite's Spectrofiler is more specialized it's designed to make
paper, where there
fast
measurements of targets printed
in the trim area of a press sheet,
either control bars for process control or specially formatted targets for
Figure 8-3
GretagMacbeth's
Spectroscan
Brace's Spectroscan at
work
Chapter
8:
171
profiling.
The patches can be
as small as 3.8 x 1.6
mm, with target widths
up to 80 inches (less-expensive versions of the instrument handle 20-inch and 40-inch sheets, respectively). It measures an appropriately formatted
extended 1T8 target
in
under four minutes.
Printing the target in the trim area lets you piggyback target printing onto
a money- making press run, so the Spectrofiler is great for profiling presses,
but
it's
less suited to dealing
with smaller- format output devices.
Strip
Readers
measurement instruments available,
Strip readers are generally the fastest
although a handheld scanning spectrophotometer like the EyeOne Pro or
Spectrocam can come close. They need more human involvement than XY plotters you need to load the strips into the instrument and keep them properly aligned and they're ill suited to making spot measure-
ments
for
comparison or process control. But
they're quick
and
efficient
for reading profiling targets.
The
strip reader that's
most widely supported by

It's
profiling tools
is
the
X-Rite Autoscan Spectrophotometer DTP-41.

for
a fast, efficient workhorse
making ICC
profiles
and
is
also directly supported
by some Electron-
ics for
Imaging Fiery RIPs and the BestColor proofing RIP as a calibra-
tion instrument.
Of late, the DTP-41 has been given a serious run for its money by GretagMacbeth's ICColor strip reader, which is fully supported
in GretagMacbeth's software
and
is fast
garnering third-party support.
Profiling Paclcages
All profiling
packages work by comparing known reference data with

data. In the case of output profiles, they
measurement
compare known
RGB or CMYK values (the ones in the profiling target) with the LAB values we obtain by measuring the printed target. Profiling packages run
the
gamut (pun intended) from
relatively inexpensive (<$100) scanner-
based packages
($2500-$5000)
.
to industrial- strength solutions with price tags to
match
Generally speaking, we find that you get what you pay for,
though depending on your needs, you may find that you don't always use
everything you pay for! For example,
if
your profiling activities are focused
on RGB
inkjet printers,
you
don't
need sophisticated control over black
172
generation and other
CMYK
separation parameters. Likewise,
if
you're
working with a handheld measuring instrument, the ability to define custom targets with thousands of patches probably isn't of great interest.
All
output profilers work in basically the same way
they provide a
it
profiling target that you print
on the device you're profiling, you measure

chews on
the target, feed the measurements to the profiler, and then the
measurement data and
spits out a profile. (For details
on the chew-
ing, see the sidebar, "Profile Creation.")
But within those broad confines,
you'll find plenty of differences.
We
package in
this
book
can't possibly review every profiling

if
it
would
get out of date very quickly
we
did
so
instead, we'll give
you a quick rundown of the kinds of features on which

compete.
different packages
Instrument Support We don't think there's been any collusion between the vendors, but they
all
seem
to
have made a conscious decision
to
instruments in
common use as they possibly can
this
support as
is
many of the
true even of ven-
dors like GretagMacbeth,

software.
who make instruments in addition to profiling

can support any instrument by importing but it's a lot more convenient if the package
Most
profiling packages
text files,
measurements as
actually drives the instrument directly. With
handheld instruments,
direct
support usually means that the target is displayed on the monitor with a cursor shoving you which patch to measure very helpful when you stop
to
answer the phone halfway through a

it's
target.
With automated
instru-
ments,
perhaps
less
important but
still
a real convenience.
With instruments that require specially formatted targets, such as XRite's DTP-41 and GretagMacbeth's ICColor strip readers, or the handheld
scanning EyeOne from GretagMacbeth and Spectrocam from Spectrostar,
the profiler
may limit you to a subset of all the available targets. We can't

some situations
say we've ever found this to be a real problem, but in
for
example,
if
compare your press's behavior with published standards you may have
to
you want
to
measure the industry- standard IT8.7/3
target to
do some searching to find an ITS. 7/3 formatted for the EyeOne or Specit
trocam. (You can always measure

tedious. See the following
one patch
at a time,
but
that's quite
two
tips.)
Chapter
8:
173
lie
Just
Creation
profilers
what do output
they, as
four values for C, M,
Y,
and K and and

b*. (A
LAB
colors result from the

it
CMYK
in to
do when
we
rather sim-
three values for L*, a*

profile that
for
values in the target, but
doesn't
plistically
put
it,
"chew on the
contained grid points
measurements"? In practice, they have to do quite a lot. As
each measurement would get very large, very quickly, because

it
have any actual data going the other direction.) So it has

twice the
interpolate the AtoB tables to
we pointed out
All
in
Chapter
4,
would contain 875
points, each
number
LAB
of grid points,
About
Profiles,
every output
of which had four values for C,
then reverse the tables so that

they go from
to
to device values
tables.
profile contains six tables,
one
in
M,
Y,
and
K,
and three values

So the
first
for
each direction between device
L*. a*,
and
b*!)
thing
is
produce the BtoA
RGB
all
or
CMYK and PCS values for

intent. Building
the profiling package does
to
That's the simplified view. In
each rendering
of work.
these tables takes quite a bit
interpolate the measurement data down to a manageable size,
addition, the profiling tool
may
apply some smoothing to the

data,
it
and build the AtoBl

use the
to build
table,
which
may build
in
Profiles generally don't
contains the relative colorimetric

rendering intent. Then
it
sauce" to work around
some "secret some of

it
raw measurement data
calculates
the limitations of LAB, or
may
the profile. For example, the

profiles
the AtoBO (perceptual)
and AtoB2
do other things
figure
story,
that we've yet to
we used to print this book
(saturation) rendering intents.
out.
But whatever the
were made from a profiling target containing 875 patches, producing 875 measurements. But each
To go
the
in the
opposite direction,
the profiling package uses double
number of grid
AtoB table contains only 17 grid points, each one of which has
this case
points 33 in to improve accuracy.
see a progress bar during the profile creation process, rest assured that the
profiling tool
is
when you
doing some pretty
(The profiling tool
knows what
hefty calculations.
Tip:
Download
Targets from Different Vendors. Your profiling tool
may
not offer a target formatted for your instrument, but chances are that
some other vendor does. Most
in demo modeyou need to buy a dongle or license key to actually save

profiles,
profiling tools are available as
downloads
but you can download the package and use the targets and target
files
reference
contained in the package without buying anything. The

is
only tricky part
formatting the target reference
file
for
your particular
profiling tool (see the next tip).
Tip: Use a Spreadsheet to
one speed
files
bump
in using
both measurement
for,
Format Target and Measurement Files. The files and target reference
your profiling tool
is
that weren't created by, or designed
getting
them
into the format your profiling tool expects.

is
We
find that the best
approach
to use a spreadsheet
program
like
Microsoft Excel to refor-
174
Real World Color
mat measurement and

delimited
text,
target reference
files.
They're almost always tab-
so you can easily switch things around by simply moving
the columns in the spreadsheet.

Profilers
almost always include sample measurement
files.
Use one of
these as a template to figure out the data format the profiling tool wants
(see Figure 8-4). Likewise, profiling tools almost always include target
reference
files
that record the
RGB
or
CMYK values for each patch in the
target. You
need to take the target reference file for the "foreign" target and
for
reformat
it
your profiling tool.
Figure 8-4
Target data reference
files
Chapter
8:
175
Targets
One of the
biggest areas of difference
between
profiling packages
is
in the
CMYK profiling, but the 1T8.7/3 has some shortcomingsits main usefulness
is
profiling targets they use.
Most packages support the 1T8.7/3
target for
as a standard for publishing reference data for print standards

also offer
so
Ini-
most packages
one or more proprietary
CMYK targets.
In addi-
tion, the ECI 2002 target, developed by the folks at the European Color
tiative (ECI) is
starting to gain traction

The almost- ratified
but
it's
it
includes all the patches from the
IT8.7/3 but adds additional patches to provide a
more uniform sampling

a superset of the afore-
of device behavior.
IT8/7.4
is
mentioned
targets,
simply too
new
to
have gained support from
profiling each profiling package uses

to
profiling tools as we write this. There are
no standard targets for RGB output

its
own
proprietary
RGB
target(s).
Besides any special requirements imposed by your instrument, the big

difference between different packages' targets
is
the
number
of patches
they require you hundred measurements, some require closer to a thousand, and some give
measure. Most packages need at minimum two to three
you the option of measuring several thousand patches. Don't assume that more measurements always means a better profile in the end in our expe-
depends very much on the profiling software and the device being A profiled. very general guideline is: the closer your device is to being linear
rience,
it
and gray balanced, the fewer patches you need; and the more non-linear and/or color casted the device, the more patches you need. In some cases
you can end up introducing noise when profiling very linear devices if you measure too many patches. But no matter what, your mileage will vary.
If
smallest
you use a handheld instrument, you probably want to measure the number of patches possible the difference between three hun-
dred and eight hundred patches translates to a
lot
of time and a lot of stress
on your vmsts! When you have to measure a large number of patches with a
handheld instrument, you also run a greater risk of mismeasurement, which
vdll
produce a bad
is
profile.
With an automated instrument, the number of
patches
obviously
less of an issue,
and
it's
common for packages to proif
vide feedback in the form of an error message
mismeasurement occurs.
In
Some profiling tools also let you generate your own custom targets.
the past,
we felt that this was strictly for the hardcore color geek, but Gre(though measuring a 10,482-patch target
tagMacbeth's ProfileMaker Pro 5.0 makes custom target generation relatively painless
may be another
story!) Figure 8-5 shows targets used by a variety of profiling packages.
176
Figure 8-5
Profiling targets
>
Profiling targets
all
come in
shapes and sizes, but
they all attempt to do the same thing

tool with
provide the profiling
a sufficiently
representative
sample
! I
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Chapter
8:
Building Output
Proffiies
177
ngurc
8-5
;
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Profiling targets,
continued
Both pages of
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178
Data Averaging
If you're
planning on profiling an inherently variable printing process such
as a press or color copier, you'll almost certainly need to

targets
measure multiple
and average the
results.
Some
profiling tools will
do
this for you.
You can always open the measurement files in a spreadsheet program such as Microsoft Excel and average them there, but having the profiling
tool
do
it
for
you
is
much more convenient.

4.1.5. ProfilerPro 4.1.5 is
Tip:
still
Download GretagMacbeth's MeasureTool

available as a demo
download from GretagMacbeth's Web site. You need
to
buy a license to unlock the ProfileMaker and ProfileEditor applications,
but the MeasureTool application offers two very useful capabilities even
when the package is running as a demo

files,
it
lets you
compare measurement
to average
and it lets you average measurement files. So if your profiling package

you can always use MeasureTool
to
doesn't offer data averaging,
your measurements before feeding them

5.0,
your
profiler.
(MeasureTool
part of the ProfileMaker 5.0 package, requires a dongle to allow
com-
parisons and averaging

version available.)
it
was good of GretagMacbeth
to
keep the older
Linearization Some profiling packages make profiling a two-step process, whereby you
first
print
and measure a linearization target, like the one shown in Figure
8-6, to
determine the linearity of the printer
the degree to which changes

color.
in the control signals
produce proportional changes in the printed
The
profiler
then uses the measurements to generate a profiling target
that's
optimized for the specific device.
Other packages use linearization as a profile updating feature

print
es than the full-blown profiling target),
^you
re-
and measure the linearization target (which has many fewer patchand use these measurements
you need
to
profile. In
update an existing
some
cases,
to build the original
profile using the linearization step to be able to re-linearize
and update
the profile.
Do
these packages work any better than those that don't offer linear-
ization? In extreme cases
producing the same color at any value higher than 70% they can. They
work by changing the values in the profiling target (and its accompanying
for example, when a device
starts to
plug up,
Chapter
8:
179
Figure 8-6
CMYK 50-step
linearization target
""PH
180

Figure 8-7
'
o^
Profile
MonacoPROFILER:
CMYK
session
Separation parameters
Options
MonacoPROFILER
The controls provided

by the three packages
M( Control ScMngt: Cuatom

F
shown here are roughly

equivalent, even though the terminology differs
Black Gcmratlon:
Use automatic
Type:
TTie
settings
C UCR @ GCR
witt)
%GCR slider controls the extent of ttie grayblack.
component replacement
from package
to
package.
Each level ollylack generation is represented as a response cun/e on a graph that can (w edited.
Intelligent
Black
771/s
maximize the
fearure adjusts black generation settings to total gamut ot your device.
Maximum
Maximum
Ink:
black ink available lor printing:
Too" %
Maximum
total ink available for printing:
ijotj
MM
MonacoPROFILER offers control over black and total ink limits, black start, black shape, and GCR strength, in addition to automatic settings.
Separation
Black
Max
CMYK
400
Mm
Heidelberg PrintOpen lets you control black and total ink limits, black length, black width, and GCR strength.
I
Generation ICC profile I

I
Basic table:
Profile size
Sample IT873CMYK928
Black Start
25
Urge
-Gamut mapping
Define Black Point
-Color composition
C
73
M
64
58
85
9 Optimized O Customer-specific
Prefer in colors
No Black
GCR Amount
Length
5uiet
General settings
Darker
',
Cancel
")
OK
control over black
GretagMacbeth's ProfileMaker Pro provides and total ink limits, black start,
black width,
and several presets for black shape.
Chapter
8:

Mi tMn
181
Hgurc 8-8
Rendering controls
Profile
MenacontOf lUR. CMYK
Options
MonacoPROPlUR
ooler
amt iMeh can
MM Iw evarai
color
bMno* or
proN*.
*) gray
adi iHMva K) Do popor odor At
ililtr vokio
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oolofintotilcoiy noutral
ThMooMcCi MVftv moif oPMbut donp n$utnl MxtM tmti raM aMk fi* (Mpar tiMti nmMn uncftan0*((
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SMurMon
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iMMf RMWtf MMMf nuffitefi ntf nofVMV tfw Mnounf of flowrfflwipffntftifl WMf 0wiuf tf9iw#4 mMv Ivpsr /lunbcn Ml/vducv tfw wnounf of ooA^pfMSton uMtf to buMlfM
3
MonacoPROFlLER lets you choose how much
to sacrifice for perceptual rendering.
lightness or saturation
GvMcritfPfi fCCpiofllv
Profile iiir
Saiii*itira73CUVKi
J}
I
GMnat mapplna
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Prefer
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In
colorj
General letUngi
182
Some profilers let you decide whether to aim for a neutral gray axis that's
dead-on neutral or one
that's neutral relative to the
paper stock. In our
experience, very blue-white papers can cause profiling packages to over-
compensate and make true neutrals appear yellow, while the paper- relative
neutrals appear
much more neutral even if they don't measure that way.
Profile Editing Some packages not only

Profile editing
generate profiles, but also
let
you
edit them.
can be extremely valuable, with the important caveat that
before you start editing a profile to address a problem, you need to be
very sure that the problem does in fact
lie
in the profile, rather
than in the
measurement data or the device behavior. See Chapter 9, Evaluating and Editing Profiles, for an in-depth discussion of profile editing.
Getting
Good
Data
print a profiling target,
If you just
measure it, and feed the measurements
you may be lucky enough to get a good profile but unless you take special care when printing the target and taking the measurements, it's a lot more likely that you'll get a bad one.
to your profiling software,
You want to make sure that the output device is working properly when
you print the profiling target. Then you want to capture measurements that
represent the good working state accurately. Lastly, after you've built the
you want to make sure that the device keeps working the way it did when you printed the target, and hence that the profile stays valid. Different
profile,
device types present different challenges, each of which requires a different
remedy, so we'll break the discussion down by types of device, point out the
issues you're likely to run into with each type,
free to skip
and suggest remedies. So feel
from here
to the device types that interest you.
Openins and
Printing tlie Target Profiling targets are possibly the only case where we don't care color appearance that matters the numbers in the target
all
is
at all
files.
about
There-
fore,
it's
absolutely vital that you do nothing to change the
numbers in the
Chapter
8:
183
target
embedding a profile in a profiling target, both because they're simply unapplicable, and
files.
it's all
We make a
practice of never, ever, assigning or
because
profile
profile,
is
too easy to trigger an automatic conversion

(It's
when a source
present.
possible to trigger one even

is
when there's no source
but no workflow
absolutely buUetproofl)
We almost always print our profiling targets from Photoshop, because

Photoshop has very explicit color management controls throughout the process. But whatever application you use, you must make sure that the
target doesn't get converted
when you open

print
it.
You can make
life
simpler by also making sure that nothing happens
to the values in the target
when you
it,
and
that the
numbers
in
the target
11,
file
simply get sent directly to the printing device. See Chapter
Color Management in the Operating System, for
more information on
printer driver color
management. Sometimes you may want to deviate from
this strict rule
for
one
example,
when
profiling
an RGB
Inkjet printer,
you may want
to use
of the auto-correction features in the printer driver, or

proofer,
set to
If
when
profiling a
you may want
to profile
on top of linearization
curves, or curves
make the
proofer simulate another printing process.

like this,
you do anything
be aware that the
profile
is
only valid for
that printing condition. When
we make profiles in situations like this, we always document exactly what settings we used, and we put some clear indication in both the internal and external name of the profile that it's a
non-standard profile that applies to a particular set of printer
settings.
Opening the Target

When we open the profiling target, we always make sure that Photoshop's
missing profile warning
is is
turned on, and

as
we always choose the Leave as
(don't color
manage) option,
Missing Profile
shown
in Figure 8-9.
Figure 8-9
Opening the target
The
CMYK document
'178.7-3
CMYK TargeUiT does
not have an
embedded
color profile.
How do you
is
want to proceed?
(don't color
Choose Leave as
(don't color
is
O Leave as manage) O Assign working CMYK; RWPs7 CCR1-25-85-320LC RWPs7 MaxK-0-85-280 O Assign
'
profile:
leave the
manage) numbers in the
to
and then convert document to working
CMYK
Cancel
target unchanged.
184
That way, we don't run the

it's all
risk of inadvertently
too easy to close the
file,
embedding a profile get the prompt asking if you want to save,

profile,
it
then click the save button.
If
you assigned a
gets
embedded
when you
save.
Printing the Target When we print, we always set the Source Space to Document (which, if we opened the target correctly, is always Untagged RGB or Untagged CMYK) and set the Print Space to Same As Source, as shown in Figure 8-10. That
way, the
numbers in the target are always passed along unchanged to the
printer driver.
Figure 8-10
tffiiritftWifWiii
Printing the target
flnchM
(
[
Cancel
inches
Center Image
Scaled Print Size Scale:
c
Fit
( Page Setup... )
[Took
a Scale to
(
Media
Height: |7.278
inches
MM
Box
0Show Bounding
_J
Print Selected
Area
S Show More Options

Color Management IBj -
Source Space;
Document:
Set the Source Space to
Proof.
@ Document: Untagged CMYK O Proof Setup: 2200 X EM MK DSO L

;
Document and the Print Space to Same As Source

to
Print Space:
Profile:
Same As Source
Relative Colorimetric
pass the unchanged

to the printer
driver.
numbers
2 Use
Blacit Point
Compensation
Profiling
RGB
Inlcjet Printers
As we've previously pointed out, there's really no such thing as an RGB Inkjet
printer
they
all
use cyan, magenta, and yellow inks, most also use black,
"light" versions of the primaries to
and some
also
add
call
help improve high-
light detail.
We
them "RGB
inkjets"
because the vast majority require
RGB signals as their input, forcing us to profile them as RGB devices.
Chapter
8:
185
The reason
all
non-PostScript inkjets function as
RGB
devices doesn't
have anything to do with the devices themselves; it's simply that the data pipeline from the application to the printer driver offered by QuickDraw
on the Macintosh or GDI (Graphics Device

only pass
cations will
Interface)
on Windows can
RGB (or grayscale) data, not CMYK. So even though some applilet
you send a CMYX file to the printer, they perform a hidden conversion back to RGB before handing off the data to the printer driver.
(The
Mac OS X
display architecture doesn't have this limitation
it
can
pass CMYK as well as
RGB or grayscale but we've yet to see an OS X driver

by PostScript RlPs should function as
that exploits this capability.)

In theory, inkjets driven
CMYK
devices, but in practice we've
found that a good many PostScript RlPs also
perform a hidden CMYK-to-RGB conversion. Sometimes the only way to

find out
which
CMYK profiles
you the better results is to make both RGB and for such devices, and use the one that performs better.
will give
Before Profiling
offer
RGB
Inlcjets
Inkjet printers are typically very repeatable
and
stable.
RGB
inkjets don't
any calibration
features,
though they do usually have a plethora of
software settings. To get a good
RGB Inkjet profile, there are three variables
you need
to
worry about.
Software settings in the driver have a huge impact on the printer's
behavior
see Figure 5-2 on page 118 for some dramatic examples.

to
Inkjet prints take

inks,
time to reach their final, stable color. Even "fast-drying"
which appear
be dry when the page comes out of the

stability.
printer,
continue to change color until they reach
Unannounced manufacturing changes

the color that the printer produces.
in inks or
paper can change
The first two are things you need to take into consideration before you
profile.
The last one
is
simply something you need to watch out for when
you change consumables.
Media
erally
settings.
Most
inkjets offer settings for different
media
types, gen-
those sold by the printer vendor. These settings control the
amount
of ink laid dovm, the black generation,

algorithm, so they have a huge effect
and
in
some
cases, the screening
on the
print. If you're
using vendor-
186
Comparing Colors
The
ability to
is
compare mea-
difference, while in
trals
midtone neu-
One
well-kept secret
is
Gre-
sured colors
invaluable in color
a difference of 0.5 delta-e may
management, whether you're tracking press variation from

sheet-to-sheet,
be visible.
In production work, a delta-e in
tagMacbeth's MeasureTool 4.1.5, which is one of the modules in

their ProfileMaker Pro 4.1.5 soft-
comparing
dif-
the range of 3-6
is
usually consid-
ware. You can
still
download
ferent batches of consumables,
or determining drying time. Visual comparisons can identify

gross problems, but subtle differences can be exaggerated by the
profiling process. So
ered a good commercial match, and a delta-e of less than 2 is considered unattainable due to the
ProfileMaker 4.1.5 from GretagMacbeth's Web site (www.gretag-
macbeth.com)
it
doesn't let
you
many
tion.
variables in print produc-
save profiles unless you purchase

a license, but the MeasureTool application
is
But
when
you're evaluating
some means
device drift or comparing profiling

targets,
stricter,
fully functional vdth-
of comparing measurements and
you need
to
be a
little
out a license, unlike the newer
determining
are
is
how
different they
because small differences

be
MeasureTool
5.0.
5.0 in ProfileMaker
it
extremely useful.
far the
in the profiling target can often
For this situation,

to
allows
amplified in the profile.

Deita-e.
you
of track-
By
most
common
Bruce's usual
method
compare two sets of measurements of the same target and

shows you the average and peak (it even shows you
way of expressing color differences is in CIE LAB delta-e units. Other

color- differencing
ing device drift
on uncalibratable
devices such as
print
target
RGB
inkjets
is
to
delta-e values
schemes
exist,
and measure the
profiling
which patches have the highest

delta-e values
and some
are a bit
more accurate
is still
and then compare the meaprofile
see Figure
8-13.)
than LAB, but LAB

widely used.
If
the most
reports
surements with the ones from
someone
safe to
which the
finds
was
built. If
he
Perhaps the biggest omission from the first edition was our failure to mention ColorThink, from
delta-e values without

qualification,
it's
any further
an average delta-e of more

2, 6,
assume
than
or a peak delta-e of
more
www.chromix.com. ColorThink
ofi'ers
that she
In theory,
means LAB delta-e. LAB is perceptually

the smallest difference
than
he builds a new profile.
more ways to visualize color
uniform, and in theory one deltae unit

is
Tools.
Most spectrophotometers
than any other tool we've seen, in both 2D and 3D, we used it to make
come with
perceivable
by humans vdth
nor-
software that lets you two LAB values and compare
3D gamut plots in this book, and we find it indispensible.

the
Occasionally, you'll run into
mal color
it falls
vision, but in practice
determine the delta-e difference
little
short of that goal. In
between them. an entire
It's
less
common
measurement files that your tool of

choice can't read.
the saturated yellow region, for
to find tools that let
example, even viewers vdth very

discriminating color vision may be hard-pressed to see a 3 delta-e
you compare measurements and calculate the average and

set of
Open them
and
in a
spreadsheet application,
then,
peak
delta-e differences.
copy the measurements into a file that you know the tool can read.
supplied paper, simply choose that paper type.

papers, you'll
best
If you're
using third-party
need
to
experiment
to find out
which
settings
produce the
to
gamut and the most
linear tone scale (often, you'll
need
compro-
mise one
for the sake of the other). See Figure 8-11.
Chapter
8:
187
FlsurcS'll
r/ie pflpfr settings
in
most
Media settings
inkjet
printer drivers control the ink

limits
Vtlvtt Fint Art Papar
and black
WiM fcolor Fapar - lUdUm WhH*
generation. Finding the correct settings
for your paper
is
OClMlom
#AtfvanM4Snin9*
key
fntow
-
to getting good
profiles.
144<Mpr
MmOmMt
Mt(ioW(4V(
s HlQn $pc#o
mp HOfflMflttI
FtMMOMaM
f^tw^
f ewci^
A target like the one shown in Figure 8-12 is useful for all sorts of tasks,
including this one: the ramps
solid colors let
let
you judge the tonal behavior, while the
you evaluate the gamut.
FIsurc 8-1S
RGB process control

target
This target contains 21 steps of red, green, blue, cyan, magenta,

yellow,
and RGB gray (R^G=B).
Don't expect perfection.

the
Our experience has been
that
if
you achieve
maximum gamut, you'll have a fairly non-linear tone scale with some
It's
blocking of the shadows.

in favor of a larger
gamut a profile can compensate for non-linearity to

can't
often preferable to sacrifice
some
linearity
some
do anything about the gamut size. Watch out for puddling, bronzing, or ink bleeding, all of which are signs that the printer is laying down too much ink for the paper to handle. If you encounter any
extent, but
it
of these problems, switch to a
media
setting that lays
down less ink.
188
Color settings. Most Inkjet drivers offer a variety of color-handling options.
Epson inkjets,
for example, offer options with
names like Vivid and
Photorealistic, along with some slider controls and a gamma setting. Fortunately, they also offer
an option labeled, "No Color Adjustment."

setting that just sends the
Wherever possible, look for a "raw"
numbers
unchanged
ment.
that
It's
to the printer driver, like the
aforementioned No Color Adjust-
the simplest way to profile. In some cases, though, you
may find
you get better linearity using some other setting. Once you determine the settings that yield the best compromise, you
profile this condition, with the
can
important caveat that
when you
that
use
the profile, you'll always have to have the software settings set the
same
can't
way
you did
when you made

is
the profile. This also
means
you
use the profile inside the printer driver, because the place you choose the
driver-level color settings
the
same place you'd choose the profile

isn't
you
when
can only have one or the other, but not both. This
a problem
you're dealing with color-managed applications, but it

to print
maybe if you need from a non-color-managed application such as PowerPoint.

fairly
Resolution settings. Most of the inkjets we've tried seem to be

sistent between different resolution settings,
con-
but there's no guarantee that
your Inkjet will work that way.
We
find that a single profile

if
works
for all
supported resolutions on a
given paper stock, but
that doesn't
seem to be working for you, you can
do a quick reality check by printing the RGB process control target shown in Figure 8-9 at the different resolutions, and then measuring each one and comparing the results. See the sidebar, "Comparing Colors," earlier in this chapter. If the average delta-e in LAB between different resolutions
the peak delta-e is greater than 6, you'll almost cerwant to build tainly separate profiles for the different resolutions.
is
1,
greater than
or
if
Curing time. One of the biggest gotchas that people overlook
when
when the paper leaves the printer

certainly hasn't reached
its final
profiling
is
that Inkjet prints
need time
The ink may appear dry but it almost it won't smear or rub off
to cure.
color appearance because the solvents
take time to evaporate

ing.
and the ink takes time to react with the paper coat-
Every Inkjet we've ever used takes
some time for the color to stabilize.

If
(The actual curing time depends on the specific inkset and paper.)
you
Chapter
8:
Buildrns Output Profiles
189
start
measuring the profiling
target as
soon
it
leaves the printer, you'll go

resulting profile
crazy trying to figure out what's
wrong with the
because
you
really are
The
easiest
attain final
measuring a moving target. way to determine the length of time your prints need to color is to keep measuring the profiling target with an auto-
mated measuring instrument until you see little or no difference between measurement passes. It's time-consuming, but you only need to do it once
for
each paper and ink combination.

is
It's
the combination of paper and
ink that
the issue.
The same paper will have different curing times with

radically different curing times
different
inksets,
brands (and sometimes models) of printer that use different
and the same inkset may have
on
different papers (see Figure 8-13).
Figure 8-13
id
Comparing measurements
7iaon4ia*iixt
2200 PI Uabt.txt
|diue
Avrr4c
Orantl
1.42
mt (OX
t.t*
GretagMacbeth 's MeasureTool is invaluable

of measurements. Note that
in this case,
flgma
HtMS
HKontias
for comparing sets
Maximum
Onnll
BvttOX
Wont ItX
141
measuring the
lawlltpit-
entire target reveals drift

in the greens that
would
ifyou
C23 Ret! 33i>-4ZI 22.3 Sample* 3Z2-4I.4 21.0 Delta* 1.63
remain undetected
simply measured the

primaries.
C23 Hef* 33jO-4ZI 22J$ample> t2J-4lA 2tja Oettai
1.63
If
you're working with a handheld instrument, though, you probably
don't want to torture yourself measuring hundreds or thousands of patches over

target
ed
preferably on the target
and over again. Instead, you can use the RGB Process Control shown in Figure 8-12. Print the target, note the time it was printitself
and set
it
aside for a couple of hours.
Then print the target again, noting the time the new one was printed, and
make
a visual comparison of the two prints.
190
you can see visual differences, you know tlie print takes at least two hours to cure. Re-examine them periodically until they appear identical,
If
and note how long it takes for the second print to look identical to the first
one. This gives you a rough estimate of the drying time.
You need to refine this rough estimate with a few well-chosen measurements. Subtle differences between targets that aren't obvious to the naked
eye can be amplified during the profile calculation process, so measure
at least the solid and midtone patches for R, G, B, C, M, Y, and RGB. When
the prints have cured, you shouldn't see any differences greater than 0.5
delta-e
LAB between targets. See the sidebar, "Comparing Colors,"
earlier
in this chapter.
Creating
RGB
Inkjet Profiles
few
or,
Profiling tools usually offer
sometimes, no parameters to set for
RGB output profiles. A good rule of thumb is to start by building a profile

at the default settings offered
by the profiling tool and depart from them

process in which you
profiler
only when you've found a reason to do so. Some profiling packages offer a two-step
print
first
and measure a
linearization chart.
to generate a
The
then uses the
lin-
earization
measurements
custom
profiling target tailored
to the specific printer at hand.

carefully:
Read the accompanying documentation
some packages, such as Integrated Color Solutions' BasICColor
PrintSc,
recommend using the linearization step for Inkjet printers, while
others,
such as Monaco Systems'
MonacoPROOF and MonacoPROFILER,
recommend against doing so.
Some packages, including MonacoPROOF, MonacoPROFILER and GretagMacbeth's ProfileMaker, offer a choice of gray rendering as either absolute or relative to the paper. We've noticed that with
some very blue- white
paper stocks, neutrals that measure dead-on neutral appear yellow to the
eye because our eyes always adapt to the paper white. In those situations, rendering gray relative to the paper seems to work better. In the case of
ProfileMaker, Preserve Gray Axis will produce neutrals that measure neutral
yet look yellow, whereas the Paper Gray Axis will produce neutrals
that visually appear neutral. These options apply only to the perceptual
rendering intent. Other intents are always built using Paper Gray Axis.
A few packages offer some control over gamut mapping for the perceptual rendering intent. There's
no
right
way to do
perceptual rendering:
if
Chapter
8:
191
you're of a
mind to experiment, by all means do so, but we suggest starting

build the profile,
it's
out with the default.
When you
that's
as informative as possibleone that contains the printer model
always a good idea to give
it
name
and the paper stock.
Profilins True
We
that
RGB
Printers
RGB
printers to refer to devices such as the Fuji
use the term true
Pictrography, Cymbolics Lightjet, Durst
Lambda series, and anything else
images directly onto photosensitive paper or film. These types of de-
vices usually have robust built-in calibration features that
make them
to
highly repeatable.
stable with
The photographic media they use tends
be very
no curing time.
real
The only
source of variability
we
find in these devices

its
is
that the
profiling target
may print
slightly differently depending on
orientation.
Color geeks refer to this problem as anisotropy din obfuscatory way of saying that the printer produces slightly different color when printing the same
image in
portrait
is
of anisotropy
and landscape orientations. In our experience, the effect usually quite subtle, and unless you're picky, you may not
it
even notice the effect
has on your images printed through the
profile.
Before Profiling True
RGB
Printers
If you do notice anisotropy in the printing of the profiling target, we offer two ways to work around the problem scrambling the patches on the target, or printing the target four times, rotated 90 degrees each time, and
averaging the results.

the patches for you
If
your profiling package either offers to scramble
(MonacoPROFILER vdll do this), or uses a target with

randomized
a randomized set of patches (such as the ones offered by Integrated Color

Solutions' BasICColor PrintSc), use the
target.
Tip: Use GretasMacbetli
don't offer
EyeOne Targets. Many profiling packages that random patch arrangements have targets formatted for the
EyeOne. Since the EyeOne's scanning mode requires big differences between each patch, the EyeOne targets are, in effect, randomized, which
makes them
ideal for dealing with anisotropy,
even
if
you're using
some
other instrument to measure them.
192
Randomizing the patches yourself might seem like less work than printing and measuring four targets. Trust us it's not! You not only have
to
move
the patches in the target
file itself;
file
you
also
have to rearrange
the
numbers
in the target description
that the profiler uses to relate
the measured values to the control signals that produced them, and the
chances are extremely high that you'll screw something up in the process.
Just bite the bullet
and
print the target four times at different rotations!
Printer Profiles The options offered by profiling packages for true RGB printers are the same as for RGB inkjets, but they may not always produce the same results.
Of those packages that offer linearization, the ones mend it for RGB inkjets do recommend it for true RGB
versa.
Creating True
RGB
that don't recomprinters,
and vice
Rendering
gray relative to the
paper tends to have a more pro-
nounced effect on these types of printers than on inkjets
if it's
available,
we recommend trying it as your first choice.
Profiling Tliree-Color
Dye-Sub Printers
RGB
devices even
Non-PostScript dye-subhmation printers function as
though they use CMY dyes. The main variables that plague dye-sublimation
printers are anisotropy (though for quite different reasons than true
printers)
RGB
and manufacturing variation
in consumables.
performance due to thermal latency: they make color by heating the dyes in the donor ribbon until they sublimate turn into a gas and get absorbed by the coating on the
Dye-sublimation
printers vary in their color
The laws of physics limit the speed with which the print head can heat up and cool down, so the color can vary depending on what color
paper.
was printed immediately before the current one.

As with true RGB printers, the remedies are either scrambling the patches or printing the target at multiple orientations
sults. We've
and then averaging the re-
generally had better results from printing multiple targets than

it
we've had fi:om patch- scrambling, but
means more measurement
so
if
you're working with a handheld instrument, you may want to use scrambled
patches on a single target to avoid excessive wear and tear on your wrists.
color appearance (and the measurement) changes
Some dye-sub printers also exhibit directional metamerism, where the when you rotate the
Chapter
8:
193
sample 90 degrees.
If
you average four targets at different orientations, the

If,
difference gets averaged out.
however, you're measuring a single target,
a polarization
filter
can help
(if
your spectrophotometer has one).
Some dye-sub printers offer software settings that perform some kind of auto-enhancement on incoming images. Make sure that any such options are turned off before
If
you
print the profiling target.
your profiling package offers a linearization step, it's likely that your dye-sub printer will benefit from it. Other than that, the default settings
for
your
profiler
should work well.
Profilins
Composite
CMYK
Printers
and digital presses.
CMYK printers differ enormously in dynamic range, gamut, available paper stocks, and inksets. In this section, we'll talk about color laser printers,
color copiers, solid ink/ wax printers, inkjets,
(Printing
presses have their own section
later in this chapter.) In addition, we'll as-
sume
the device
is
driven by a PostScript RIP
As with RGB output devices, you first need to make sure that the printer
is
stable, linearized,
and gray-balanced. The
different printing technolowe'll deal
gies are
prone to different sources of variability, so
with each
class's typical
rately.
problems and the
strategies for dealing with
them, sepa-
Once you've stabilized the printing process (we provide guidelines for
doing so below under each printer type), printed the target or
targets,
and collected the measurements, you're ready
to build the profile.
Most
profiling packages offer default settings for the different types of devices,
and these are usually the best place to start. The most common options are total ink limit and UCR/GCR settings. More sophisticated packages allow finer control over black generation, including black start, the shape of the black curve, and the amount of OCR. See the sidebars, "Ink Limiting"
and "Black Generation,"
for a discussion of these terms.
In case your package doesn't provide presets for categories of

printers, we've provided starting points for
CMYK
common printer types. These

all
are guidelines, not rules.
If
you have ink bleeding
over the page and

if
you're using
400%
ink, lower the total ink limit! Likewise,
we
suggest a
medium black generation, but a lighter or heavier amount gives you better results,
go with the settings that give you better
results.
194
Before Profiling
CMYK
Color Laser Printers

some
digital presses
Color laser printers, color copiers, and
form a
class
of devices generically called electrophotostatic devices. In these devices,
a laser writes the image onto a light-sensitive

into a static charge.
drum
that converts light
The drum then rotates,
transferring this invisible im-
age
made of patterns of positive and negative charge onto the paper. The
and charged
particles,
paper passes by a toner cartridge containing the first colorant in the form
of very small
which attach themselves
to the op-
positely charged areas of the paper. Finally, the paper passes through a
heated fusion roller that melts and fuses the toner onto the paper. In older
color lasers the process
latest
is
done separately
for
each colorant, and in the
generation
all
four colorants are applied in a single pass.
We explain this technology because it helps you understand its inherently variable nature.
The variability comes from two

static
sources:
Paper needs some humidity to hold a

pletely dry. Variations in
tion.
charge
it
can't
be com-
humidity translate directly to color varia^
When a toner cartridge is new, there are lots of eager toner particles that
are itching to
ticles are
jump on charged
paper. Over time, the eager toner parthere's
gone, leaving behind the less eager toner particles, so
steady decrease in the density you can achieve with each colorant.
you used up the exact same amount of each colorant (extremely unlikely), you'd notice a steady decrease in saturation. More likely, you
If
consume the
colorants at different rates, so the relationship in density

is
among
the four colorants
constantly changing.
Electrophotostatic printers are a prime example of the
The only solution is frequent calibration
twice a day
determine
is
moving target. typical, and once

to
an hour is not unheard of. The newer generations of machines tend
be
more
stable than the older ones. So
first
to calibrate to
keep the device reasonably stable
periodically printing
how often you need
and measuring a
is
CMYK process control target like the one in Figure 8-14

so.
the easiest
way to do
We offer two strategies for printing the profiling target:

Calibrate the printer
and immediately print the
profiling target.
Chapter
8:
195
Figure
8-U
CMYK process control

target
This target contains 21 -step
ramps ofC-^M+Y, M+Y, C+Y, C+M, C,M,Y.andK.
Calibrate the printer, print a series of targets (decide
how many you're
prepared to
measure) throughout the previously determined calibra-
tion interval,
and average the
results.
The first approach will produce a profile that's accurate for the device's optimal behavior. The second will give you a profile that's accurate for
the device's average behavior. the
first
If
you can enforce regular
calibration, use
approach.
If
you
can't
guarantee that the device will always
be
calibrated
when
necessary, use the second.
Creating
iting,
CMYK Color
Laser Profiles
it
Color laser printers and copiers almost always have fixed built-in ink limso you don't want to limit
any
further.
These devices are usually
designed to print business graphics, so the colorants aren't particularly

well gray balanced. You'll usually get the best gray balance by forcing as
much gray component as possible to print with black ink by selecting a maximum GCR separation. Here are our suggested separation parameters
for color laser printers.
Totalink Limit: 400%

Black Ink Limit: 100% Black Generation or GCR:
Maximum setting
Black Start/Onset:
5%-10%
196
Ink Limiting
We
don't
know
of any
CMYK
printing processes that can use
ers,
With composite CMYK printyou often have the choice

If
In
either case,
though,
it's
critical that
you
set
them
in
one
colorants.
100% coverage of each of the four If you apply 400% ink
of limiting the inks in the profile or in the RIP.
place or the other, but not both.
the printer
is
to paper, the
paper is likely to disintegrate, whether the ink is being applied by an Inkjet printer
or a printing press.
type that can take different paper stocks with different ink requirements, such as an Inkjet, it's usually easier to set the limits for
For presses, it makes a great deal more sense to set the ink limits in
the profile.
There's never a reason to lay
down more colorant than is needed

to achieve
is,
But even
when
the colorants
aren't wet, as in the case of color

laser,
each paper type in the RIP, and then set the profile ink limits to
400%.
If
maximum
density.
There
however, often a good
dye-sublimation, or solid-
reason to lay
is
down less.
to sacrifice
ink printers,
is
density achieved long before you reach
maximum
the printer
either limited
You may wish
some
to a single
paper (dye-sub), or the

effect
density in favor of stability, but
400%
as
cases density
coverage, and in some may even decrease

of ink limiting
in
paper has almost no

point
on the
reach
an even more compelling reason

is
at which the colorants
simply to save
money by using
you add more colorants. So

is
maximum
solid ink),
it
density (color laser,

doesn't matter where
less ink.
some kind
always needed
CMYK printing.
you
set the ink limits.
If
prints
made through
the resulting profile
seem oversaturated
or
plugged in the shadows,

in ink limiting (the
it's
possible that the printer doesn't have builtis
Xerox DocuColor series
one example). In that case,
we suggest the following as a starting point:

Total Ink Limit:
260%
Black Ink Limit: 100% Black Generation or GCR:

Black Start/Onset:
Maximum setting
5%-10%
Before Profiling
Most of the things
profiling
CMYK
inlcjets
that apply to profiling
RGB
Inkjet printers apply to
CMYK Inkjet printers as well. The main variable, apart from the
is
software settings in the RIP,
the time the ink needs to stabilize
on the
paper (see "Curing
time," earlier in this chapter).
Chapter
8:
197
Black Generation
Composite CMYK printers usually need a fairly specific black
generation scheme, but on presses, the way you introduce black
ink to the cyan, magenta, and yellow primaries involves a series of trade-offs that represent one of the most critical aspects of
printing.
Each has
its
own
strengths
and
ofis
So one key point to make

that the choice of
is
weaknesses.
UCR
or
GCR
UCR
ten used
separations
are
on newsprint presses
less
printing process, but also
dependent not only on the on the
because they're generally

density
image content.
presses,
When we
profile
vulnerable to changes in black
we
newsprint
generally create a
press op-
family of profiles that differ only

in
The main reason we use

is
black ink
to
produce a denser
obtain with
up the black until the type looks nice and dense, and a little more black than
you'd bargained for can turn a
erators tend to run
black generation so that
we can
con-
tailor the separations to the
tent.
Computer screen
grabs, for
black than
we could
CMY primaries on their own, but

important secondary reasons
include saving
ink
is
money black
mud. But UCR separations are also used on high-
GCR separation
to
example, generally benefit from a much heavier GCR than we would

consider using on scanned photographic images. There's no right
end sheet-fed presses
to print
generally cheaper than the
colored inks
and avoiding prob-
content that has important dark,

saturated colors such as shoe and
leather catalogs.
answer when
eration
it
comes to black genbe

afraid
on
press, so don't
lems on press caused by misregistration or fluctuations in density.
to experiment.
GCR separations save money by

using more black ink relative to the
colors,
Most of the work

a press
is
in profiling
The two
basic black genera-
in collecting the data.

that,
it's
tion strategies are
Under Color
Removal (UCR), and Gray Component Replacement (OCR).
variations in registration
and they can mask slight between
Once you've done
trivial
to generate profiles with differ-
UCR
separations use black only in the neutral and near-neutral areas,
UCR GCR separations. separations also

the colors that would wreck
You can
ent black generation schemes. tell a lot about a profile's
make it easier to maintain gray balance, since the black plate carries
behavior without ever committing ink to paper, so don't think
while
OCR
is
more
aggressive
strategy that replaces the
amount
most of the neutrals and are often

used
for
that experimenting necessarily

involves huge print bills. See "Out-
of
CMY
that
would produce a
images whose impor-
neutral with K, even in colors that

are quite a long way from neutral.
tant details are neutral or close to

neutral.
put Profiles" in Chapters, Evaluating and Editing Profiles.
If your
RIP
allov^s
it, it's
usually easier
and more convenient

it is
to set ink
limits
limits
sults
and and
linearization in the
RIP before profiling than
to apply ink
reis
linearization in the profile.

limits
You won't get the best possible

all
by applying ink
and
linearization in both;
you're doing
multiplying the
or the other.
number
of variables
you have to contend vdth. Pick one
198
Some RIPs apply ink limiting but don't let you control it other than by
you want to use a paper that isn't supported directly by the RIR you'll need to experiment, but you should begin
selecting different paper types.
If
by building a profile that assumes the ink limits have been
set in the RIP.

if is
We
rarely find a reason to print multiple targets,

is
though
the Inkjet
printer
very low resolution (such as a billboard printer) or
very noisy
using uncoated watercolor paper), you may benefit from taking multiple measurements and averaging them which, with a strip
(such as
when
reader,
may mean printing and reading two targets.
Creatins
Due
ties,
CMYK
Inkjet Profiles
wide array of Inkjet printers, paper stocks, and RIP capabilithe recommendations we give here are guidelines for a reasonable
to the
starting point, not hard
and fast rules. Coated papers can generally handle

ones.
,
more ink than uncoated

you can control
it
If
your RIP applies ink limiting (whether
or not)
we suggest the following as a starting point:
Total Ink Limit:
400%
Black Ink Limit: 100%
Black Generation: Black Start/ Onset:

If your
Medium to Heavy (not quite Maximum)

30%
RIP doesn't apply ink limits,
we suggest as a starting point:
Total Ink Limit:
260%

Black Generation: Heavy (not quite Black Start/Onset:
Maximum)
30%
Before Profiling Solid Ink Printers

Solid ink printers (aka crayola-jet or crayon- spitters) aren't popular (per-
haps because people don't realize how inconsistent color laser printers can be and aren't aware of solid ink as a viable option). Their main draw-
back is that the prints are quite delicate an eraser removes the ink from the paper, heat melts the ink, and sunlight can drastically alter its color.
Chapter
8:
199
Solid ink printers

ink.
The liquid ink is squirted onto a
work by maintaining a heated reservoir of melted rotating drum and is then cold-fused
with pressure onto the paper. They're very versatile
when
it
comes
per types we've even seen one print on a
tortilla
and the color
to pais
very
consistent between different substrates as long as they're white.
Older models of these printers had to be shut
down each day, because

Newer printers don't
the liquified ink cooked over time and changed color.
have
this
problem.
Even though these printers have four inks, we usually profile them either as CMY, or as CMYK with no black generation. We've never found a
reason to average multiple targets.
Creating
CMYK
to
Solid Ink Printer Profiles

results.
You may need
experiment for the best
But in the case of the
Xerox Phaser 8200, here are the recommended settings. This effectively builds
a CNfVK profile that generates separations with no black channel
ently the black channel
Total Ink Limit:
is
appar-
best
computed by the
printer
itself:
300%
Black Ink Limit:
0%
None
Black Generation:
Black Start/Onset: Not applicable

If
you end up with disgusting results, fall back to the suggested settings
for the color laser or copier.
Before Profiling CMYK Dye-Sublimation Printers CMYK dye-sub printers operate identically to CMY dye-sub printers
except that they have PostScript RIPs. Whether they have three or four
colorants, they're
still
considered
CMYK devices.
But since they operate
identically to non-PostScript dye-sub printers, the
same considerations
before profiling apply, including printing and averaging of multiple targets in multiple orientations.
Most dye-sub RIPs have

that dye-sub can handle
fixed, built-in ink limiting. If you
should en-
counter the very rare one that doesn't, don't make the mistake of thinking
400% coverage
you'll typically get
less density
200
at 400% than at 320% or so, because the extra heat required to lay down 400% coverage sublimates some of the dye out of the paper and back into
the donor ribbon!
Creating
If
CMYK
Dye-Sublimation Printer Profiles
your dye-sub has built-in ink limiting, use the following settings:
Totalink Limit: 400%
Black Generation: Black Start/Onset:
UCR
60%
In the rare case that the dye-sub doesn't have built-in limiting, try:
Total Ink Limit:
320%
Black Ink Limit: 100% Black Generation: Black Start /Onset:
UCR
60%
Profiling Printing Presses

Be
it
lithography, flexography, or gravure, the printing press

to printers.
is
The Beast
when it comes
On a desktop CMYK printer, you worry about

and money,
one sheet at a time.
On a press, you worry about five thousand sheets at a

special considerations prior to going
time. Because mistakes are extremely costly in terms of time
you need to take into account some
down the road of profiling a press.

With other devices, you typically calibrate them to optimal behavior and then profile them. With presses, that's just one option. You may decide
on standardized press behavior rather than optimized press behavior. Or you may decide not to profile the press at all (see the sidebar, "Don't
Profile the Press?!").
The key
factor in deciding
to profile
it,
how you want your
press to behave,
and
whether or not
should be your proofing methodology. The
Chapter
8:
Buiidins Output Profiles
201
press
must be able
to
match the proof.

hosed,
If
it
doesn't, you're in the situation
we color geeks technically term

system so that
"Printing
it
and you must either do whatever's
necessary to force the press to match your proofs or change your proofing
does a better job of predicting actual press behavior (see

in
and Proofing"
Chapter
10, Color- Management
Workflow).
There are essentially two approaches to running presses.
Do
whatever's necessary in prepress to massage the data so that

result
it
produces the desired
on
press.
Treat the press as a $4000/ hr. color correction station by adjusting the
press to produce a sellable result from questionable separations.
you may as well forget about profiling the press unless you're willing to spend a good deal of time finding a stable and reasonably
In the latter case,
optimal set of press conditions, and a somewhat larger amount of time

retraining the press operators to hit that condition consistently instead
of making artistic decisions based

find
it
on the current job. You may, however,
worthwhile to profile your proofing system (see the sidebar, "Don't
Profile the Press?!,"
on the next
page).
is
In the
former situation, profiling the press
eminently
practical,
but
even then you

for every
may
decide that building a profile, or a family of profiles,

If your
system takes the same CMYK data as your press that

confident that you can match your proofs on press,
to profile the proofer instead.
If
paper stock is simply too big a headache.
current proofing
doesn't rely on
is, it
a color conversion between press space and proofer space

it's
and you're
easier and cheaper
you
aren't
profiles to
happy with your proofing system, or it's one that uses convert fi-om press to proofer space, you'll need to profile the
to
press, but
you may only need
make one
press profile (see the sidebar,
"Profile the Press Once," later in this chapter).
Before
The
first
Proffilins Presses
is
consideration
as possiblewhich means very different things for a brand-new sheet-
to get the press
behaving in as stable a manner

a book about press process
tell
fed press
control
there are many good onesso we won't
and a 50-year-old web. This
isn't
you how to do
that;
we simply point out the necessity of doing so.
202
Don't Profile the Press?!

Given the variation inherent in
printing
press run that hits your in-house
press.
A few
digital
proofers,
on a
press, as well as
process control target aimpoints
such the Kodak Approval and

the
Iris
the cost, you

sider
may want
to con-
dead
center.
Inkjet series, offer similar
not profiling the press. That's right, you read correctly.
Traditional
ers,
contract proofsuch as those that produce
capabilities.
You can create a
profile for
Consider profiling your contract proofer instead. If you can

successfully match your proof on
film-based laminate proofs, use

colorants that are similar to press
a contract proofing device by
inks
on substrates that make
measuring a single target, so it's relatively quick and easy. When
and with reasonable ease, it makes sense to make the proofer,

press,
the colorants produce similar dot gains to the press. The great
is that you can send exactly the same separations to the proofer and to the
you create the

tion
profile,
simply use
the ink limits and black genera-
rather than the press, your aimpoint.

fect
It's
workflow benefit
you want on
press.
That way
a lot easier to get a per-
the separations resulting from

this profile are press-ready.
proof than it is to get a perfect
A second
to take full
consideration
is
advantage of
its
whether you want to optimize your press capabilities, or whether you want to make
your press conform to some kind of standard or reference behavior such as SWOP/TROOl for magazine publication, the nascent sheetfed TR004
standard from GRACol, ISO 12647-3 for newsprint, or a contract proofing
device. See the sidebars "Optimized or Standardized Press Behavior,"
and
"Intentionally Non-Linear," later in this chapter.
Printing a profiling target on press
demands a significant commitment
of time and money. Moreover, the
measurement data you collect from the
target run will likely be reused, because building the best possible press profile is almost always an iterative process. So no matter whether you
opt for an optimized or standardized press condition, you should treat

the target run as a critical job.
Choosing profiling targets. Most profiling packages offer proprietary targets as well as IT8.7/3, largely
due
to the latter's shortcomings.
However,
a couple of new standard targets are worth considering:
The 1,485-patch ECI 2002
target
from the European Color
Initiative
performs better than the IT8.7/3.
The brand-new
which contains 1617 patches, is effectively a superset of the IT8.7/3 and the ECI 2002. At the time of writing, the
IT8/7.4,
Chapter
8:
203
Profile the Press

What
If
if
Once
varying dot gains on different
you
aren't
happy with
a hand-
your current proofing situation?
press/ ink/ paper combination as an aimpoint for proofing.
paper stocks by applying transfer
you
print to
more than
it's
ful
of paper stocks,
probably
Once you've profiled the press and established your aimpoint,

you can profile your proofing device, use a color server to
curves in the platesetter or
imagesetter.
profile
The
single press
impractical to create
and manage
then
for
press profiles for each paper.

viable strategy
is
One
aimpoint
becomes the RGB-to-CMYK
to take a paper
make
the necessary conversions
conversions and also serves as the
stock with middle-of-the-road
behavior on press and profile that
from your press profile to your proofer profile, and account for
source profile for proofing clientsupplied
CMYK.
IT8/7.4
was simply too new to be supported by any profiling tools, but

that to
we expect
change during this book's

in
shelf-life.
Both targets
offers the EC!
come
randomized versions. GretagMacbeth already

(such as the version
2002 as their preferred target for profiling presses. We rec-
ommend using a randomized target if at all possible

GretagMacbeth
offers for the
target in four different
EyeOne Pro). Otherwise, gang copies of the orientations and expect to do extra measuring.
of press sheets from which to choose.

10
When you print a run of targets, you'll have hundreds if not thousands We recommend selecting between
and 20 sheets
to
measure and average. There are two equally
valid
schools of thought on which sheets you want to measure:
Measure
targets representing the full range of the press output. Don't

in the
measure 10 press sheets
middle of the stack
get a sample of
and some
sheets representing the natural oscillation of press behavior, with
some
really
good press
sheets,
some average
press sheets,
below-average press sheets that nevertheless wouldn't be rejected.

-
Measure
targets representing the sweet spot of press output.
Sample
only those press sheets that represent the ideal press behavior you
wish
it
always had from the beginning to the end of a press run.
In the first case, the intent is to ensure the profile represents the overall
average sellable product from the press. Use this technique
when
press
process control and consistency are acceptable, but not outstanding
you don't have a whole lot of near-perfect sheets or below-average sheets, and most of them are average.
204
Optimized or Standardized
Press Behavior
It's
possible to have a press con-
create separations tailored to
your presses to match.
It
could be
dition that's both optimized
and
your unique and optimized press

behavior.
SWOP/TR
most
001 to take advantage

it is
standardized, but
it's
easier to
of file portability, as
one of the
understand
if
you consider them
as separate goals. A fully optimized
Another approach is to make the press conform to some kind

of reference. This
common
targets for color
separations in the U.S., or FOGRA

in Europe.
about maximizing its capability the lowest possible dot gain, highest ink densities,
press
is all
may
involve
something
relatively easy
such
With a
you'll
fully
optimized press,
as changing ink densities

press, or creating
fer
on
need
to
make
a profile for
and best contrast the individual

press can achieve, without regard
custom
trans-
your press because the press behavior

is
curves in your RIP, imageset-
unique, and there's no

to
any external specifications or standards. If your press can do

to
ter or platesetter (see the sidebar
other
way
make
separations
"Intentionally Non-Linear").
it
Or
or proofs. In the second case, you
better than a specification,

let it
you
this
may be more
involved, such
ratio,
can use good process control
to
do
so.
is
as
changing water/ink
make
the press conform to the
The problem
for
that
creates a unique press condition
temperature, blanket pressure, ink viscosity, ink tack, and dozens

of other variables, to essentially
force the press into the desired
desired behavior, and you can use either standardized characterization data, such as that provided
which
there's
no standard
profile the
means
press,
of creating separations
if
by
SWOP
TROOl, FOGRA, or ISO
or proofs. But
you
behavior.
ior
The desired behavyou want all
12647-3, or profile your in-house contract proofing device instead of

profiling the press.
your applications can do the necessary conversions to
could be a house-standard
proofing system that
In the second case, the intent
is
to
make
sure that average or below-
average press sheets don't add noise to the profile. Use this technique
when
press process control
and consistency
are excellent.
Most press
sheets will hit the intended aimpoints; therefore, you want the profile to
expect those aimpoints.
Creating Profiles for Presses

While most packages supply default ink limit and black generation settings for different press types, consider them starting points each com-
bination of press, ink, and paper has
its
The ink limits for a particular press are usually

aren't,
own requirements. known (and
if
they
they should be determined as part of the exercise of stabilizing

is
the press), but black generation
more of an open
question. Entry-level
packages
may simply
offer preset
UCR and three or four strengths of GCR
Chapter
8:
205
Intentionally Non-Linear
Linearizing the imagesetter or
platesetter should
among
to
presses without having

profiles for
benefits of CTP, while
still
being
event in
be a regular a print shop, because

drift
make custom
In
each
able to produce plates with the
one of them.
same dot size as
plates
made with
need
it.
these devices
so that a
50% 50%
and
an organization with 10
it's
film for those jobs that
dot in an image file ends up creating something other than a
presses,
not realistic to
make
to
You can even use

in dot gain
this
method
dot on film or on plate.

ly,
Common-
10 profiles: quite apart from anything else, you can't delay the
compensate for the difference from different line

If all
we
linearize imagesetters
platesetters
and then compensate
know which
prepress department until they press will run a job.

Instead, use transfer curves to
screen settings.
other things
are equal, the higher the line

screen, the higher the dot gain.
If
for dot gain produced on press in our separations. That's one purpose for profiling a press or contract
compensate for differences in dot

gain, giving all presses the
you regularly
Ipi
print at 150
and 175
same
proofing system. But there's a legitimate case to

for intentionally
tone response curve. Then use a

single profile for
all
substrate,
with a particular inkset and you can use transfer
presses.
curves to compensate, and use

just
be made
nonin
This
is
especially important
one
profile for both.
linearizing your imagesetter or platesetter in order to force one
CTP (Computer-To-Plate)
But be warned: transfer functions are an expert feature that
or
more presses
to
conform
to
it's
workflows, where a linear platesetter produces a sharper dot
a specific behavior. In fact,
on press than a
film.
plate
made from
file
can cause a great deal of trouble, especially if they're saved into
common
in the flexography
and
For these environments
image
files. It's
a great deal safer
print-packaging industries to
to take
bility
advantage of
porta-
to dov^mload a transfer curve to
amounts of dot gain in the image- and platesetters. though it seems

compensate
for large to
and standard separation methods (see the sidebar "Optimized or Standardized Press
Behavior"), they need to use the transfer curve function to
effectively "add-in" dot gain.
the imagesetter or platesetter RIP than it is to build one into an
be a
relatively recent idea in
lithography. Using transfer curves,
you can compensate for the more

subtle variations in the behavior
That
way, these workflows have the
image. Unless you know exactly what you're doing, and have communicated it clearly to your prepress and printing providers, don't mess with transfer curves.
black curves. More sophisticated packages offer complete control over

the black curve shape,
far to
start,
and end
points,
and
also let
you decide how
extend black away from the neutrals and into saturated colors
see
Figure 8-15.
When making press

we
profiles,
we
rarely
make
a single profile. Instead,
build a family of profiles that differ only in their black generation to

(see the sidebar, "Black Generation,"
accommodate different image types

to the
earlier in this chapter). Often, after we've
used the
profiles, we'll
go back
measurement data and generate new profiles with
slightly refined
206
Figure 8-15
rfMlftm
Predefined
C Offset
Separation
Black generation controls

Tj
Chapter
8:
207
black curves. Until you've used the profiles on live jobs,
it's
pretty
much
impossible to
start
tell if
your profile would be improved by setting the black
value to 38% rather than 40%, for example. See Chapter 9, Evaluating
for profile evaluation techniques.
and Editing Profiles,
Profiling Multichannel Printers

You might think any printer that uses more than four inks qualifies as a multichannel (sometimes referred to as deviceN Color) printer. Nothing
could be further from the truth. In an overwhelming majority of cases,
printers that have
profiled as either
six,
seven, eight, 10, sometimes 18 inks are treated and
RGB or CMYK. The challenge is in knowing which one. In most cases, you'll need to make both an RGB and a CMYK profile to see which is better. The RIP or printer driver separates the RGB or CMYK
data you send
it
into the control signals for the specific inks in the printer.
A few Inkjet RlPs actually let you control each ink individually and offer
support for six-, seven- and/or eight-color ICC
ing such a multichannel profile ing presses,
it's
profiles. In this case,
mak-
may be worthwhile.
In the case of print-
really the
only
separations to generate the film
way to go because you need multichannel and plates for use on press. Be warned,
cost.
however, that few profiling packages provide support for multichannel

profiling,
and those
that
do often do so only at extra

is
Building multichannel profiles
the
trivial
part of the task. Printing

are the tricky
the target optimally and collecting the

parts.
measurement data
No one has massive amounts of experience building multichannel so the best advice we can offer is profiles you're on the bleeding edge
to
remember the guiding principles
of profiling:
Do what's necessary to make the device behave the way you want it to.
Print the profiling target while the device
is
behaving that way.
Make
sure that the measurements you collect truly represent the
device's behavior.
208
Real World Color
Checking the
ter,
Map
careful about following the principles we've laid out in this chap-
If you're
you may get perfect profiles on the first try maps that show exactly where your color will go. Our experience tells us that although a newly
built profile
In the next chapter,

profiles.
may be very good indeed, it can almost always be improved. we look at techniques for evaluating and editing
Evaluating and Editing

Profiles
Color Orienteering
In Bruce's native land, Scotland,
many otherwise-normal people happily
spend rainy Saturday afternoons tramping across heath and bog, peering through wet glasses at the map in hand, pondering how to relate its contents to the ankle-deep water in
in the
which they're standing. They're indulging
grand British pastime of orienteering
negotiating terrain using a

is
map as their guide.

Evaluating and, optionally, editing profiles
profile
at the
is
a lot like orienteering. The
the map, and the device
is
the territory, but
now you're
looking
map
from the middle of the
territory, possibly in
ankle-deep water,
and
figuring out just
how closely the two correspond.
One view of evaluating profiles is that it's an exercise in determining how lost you are. Another is that it's fundamentally futile to try and put
a metric on people's subjective preferences.
find out
We
think
it
makes sense
to
how inaccurate your maps are. Once you know, you can decide to
to allow for the inaccuracies
make them more accurate by editing them to better match the territory, or
you can decide
and learn to head
in the right
general direction while keeping
an eye on the nuances of the terrain.
have one more reason for putting profiles through some kind of systematic evaluation. Almost all color matches are the product of at least
We
two
profiles. If you don't take the

it's
necessary steps to evaluate each
profile's
accuracy in isolation,
awry.
hard to pinpoint the culprit
when
things go
209
210
Judging the
Map
Compasses, sextants, and other such devices are indispensable tools for navigation, but at some point, you have to simply look at where you are.
By the same token, measurements play an essential role in color management, but when it comes to evaluating profiles, your eye has to be the final
arbiter
1, we pointed out some of the can on So when you evaluate a profile, many your eyes play you. you need to set up your viewing environment so that you can say with
wrong. But beware of mirages: back in Chapter

tricks
if it
doesn't look right,
it's
certainty that
any problems you see do,
in fact, lie with the profile.
Your eye must be the final judge, but it doesn't have to be the only judge.
We'll
show you some objective tests that can help determine a profile's colo-
rimetric accuracy. But these only apply to colorimetric renderings
per-
ceptual renderings always involve subjective judgments, because there's
no
single correct
way to
reconcile two different gamuts. So objective tests,

tell
while they're useful, don't
the whole story. At

to
some
point,
you have
to
make subjective judgments, and

is critical.
do
that, a stable
viewing environment
You may be tempted

experience that doing so
to edit profiles to fix
the device calibration or the data collection.

is
problems that really lie in We can tell you from bitter
akin to buying a one-way express ticket to the
funny farm.
fix
It's
often quicker and easier to recalibrate and/or reprofile to

its
the problem at
it's
source. We tend to use profile editing as a last resort

integral part of our workflows), so
(though
chapter
also
an
throughout
this
we'll point
out which problems can be fixed more easily through
other means, and which ones are amenable to profile edits.
Viewing Environment
Back in Chapter 3, we pointed out that virtually all the color matches we create are metameric in nature that is, they're dependent on the light
source under which we view them. So when you come to evaluate profiles,
you view hard-copy samples under a controlled light source such as a D50 light box. But simply plonking an expensive light box into
it's
vital that
an otherwise-imperfect viewing situation is like sticking a Ferrari engine into an AMC Pacer it'll cost you plenty, but it may not get you where you
wanted
to go.
Chapter
9: Evaluating
and Editing
Profiies
211
Some
level of
color
management
purists insist that

floor,
dowless cave with neutral gray walls,
you must work in a winand ceiling, and a low ambient
D50
light,
while wearing black or neutral gray clothing.
We agree
activities.
that this represents

it's
an
ideal situation for evaluating color matches, but
a distinctly less-than-ideal situation for most other

like this
human
(We know shops where rooms just

dramatically increased employee
improved color matching but
sick days.)
we offer a series of recommendations for reasonable ones. We'll let you decide just how far you want
So rather than insisting on ideal conditions,
to
go towards the
ideal.
Surfaces
Surfaces within your field of view
walls,
floor, ceiling,
desktop
should
be as neutral as humanly possible. You most certainly don't want strong

colors intruding into the field of view because they'll throw off your color
judgment. But pastels can be just as insidious: Bruce moved into a workspace with very pale pink walls, and he found that until he painted them
white, he introduced cyan casts into
If
all
his images!
you decide that neutral gray
is
the
way
to go, Chris
has compiled
some paint recommendations from
a variety of sources:
flat
Sherwin-Williams paint code: 2129 ZIRCOM. You'll want
paint
rather than glossy. (Matt Louis, Louis Companies, Arlington, Texas)
California photographer Jack Kelly Clark
recommends mixing one
gallon of Pittsburgh Paint's pastel-tint white base #80-110 with
Black (B-12/48 PPG),
Lamp Raw Umber (L-36/48 PPG), and Permanent Red (0-3/48 PPG). Write those numbers down and take them with you to
if
the paint store
you want
to try the
mix yourself.
similar Kelly-Moore Paint Co. formula from photographer John Palmer uses a pastel-tint white as a base with three colors to create an
interior, flat latex similar to
Munsell 8 gray:
Lamp
Black (4/48 PPG),
Raw Umber
If all this
(27/48 PPG), and Violet (2/48 PPG).
seems a bit extreme, the main consideration is to ensure that

is
the field of view you use to evaluate hard copy

in the
neutral,
and
that color
room doesn't affect the light you use to view the hard copy. Bear in
that white walls tend to reflect the color of the
as long as you're
it
mind
black
ambient
light
it's
manageable
isn't
aware of it and take steps to control it. Glossy

reflections.
ideal either, as
can cause distracting
212
Lighting
The ISO
(International Standards Organization) has set standards for
arts.
il-
lumination in the graphic
For example, ISO 3664 specifies

arts. It also specifies
D50
as
the standard illuminant for the graphic
luminosity of
500 lux for "Practical Appraisal" and 2,000 lux for
"Critical
Comparison."
See the sidebar, "Counting Photons," for a definition of lux, lumens, and
candelas.
The standard takes
into account the fact that both apparent
and apparent contrast increase under stronger light (these effects are named for the scientists who first demonstrated them the Hunt
saturation
effect
and the Stevens
effect, respectively).
But the standard wasn't created with monitor-to-print matching in
mind
it
mandates that the ambient illumination
for color
monitors
should be less than or equal to 32 lux and mustbe less than or equal to 64
lux.
For monitor-to-print matching,
all
these values are way too high
the
ISO has acknowledged this, and is still working on standards for this kind of match. So until these standards are published and ratified (which may
take several years),
pirically (that
is,
we offer some practical advice that we've gleaned em-
by trial and error) over the years. While it might be mostly a concern for the upcoming board game Color
Geek Trivia-Millennium Edition, we should be clear that D50 is an illuminant with a very specific spectral power distribution that no
artificial light
source on the planet can replicate. The term used for most light sources
is
correlated color temperature for which there are invariably multiple
K is an example of correlated color temperature, not an illuminant. Different 5000 K light sources have different spectra and produce
spectra. 5000
slightly different
appearances.
Ambient
light. If you're
working with a CRT monitor, you need low ambiimportant: what
ent light levels because CRTs just aren't very bright. The color temperature
of the ambient light
isn't terribly
is
important
is
that you
shield both the face of the monitor
from the ambient light.
Filtered daylight
and the viewing area for hard copy is OK. Full sun from a west-facing
window is not, both because it's too bright and because it imparts a lot of
color to your surroundings.
With some of the latest LCD displays, such those from Apple and EIZO,
you can use much higher ambient

plays are so coloration are as applicable to
light levels
simply because these
dis-
much brighter than CRTs, but the same rules about excessive
LCDs
as to CRTs.
Chapter
9: Evaluating
and
Editing Profiics
213
Counting Photons
Photometry
the
science
of
also has
counting photons
or.
an equivalent definition
is
a basic
based on the luminous intensity

of a reference light source. The candela is one of the fundamental
units of measurement (along with
moon produces an illuminance ofabout0.4lux.

In the definitions for the
building block for measuring col-
lumen
more than one way to count photons, and different methods use different units. The luminous flux (or lumiBut there's
and candela units above, we mentioned a reference light source.

This reference has an interest-
such things as grams and meters)

defined by the SI (Systdm Internationale d'Unit^s).
nous power)
visible light
is
the
amount
of
Much of photometry stems from an early unit called

ing history. the candle. This was the perceived
intensity of light in
energy a light source emits over time in all directions.

It's
The luminance
light given off
refers to the
by a
more
is
typi-
one direction
computed
in
by measuring the
cal light source
(which
a light -
from a specified standard candle
power
watts the light source
emits, weighted by the spectral

sensitivity of the eye.
emitting surface, not a point) or an illuminated surface. The lumi-
(1/6-pound spermwhale wax

burning at the rate of 120 grains an hour).
This reference candle was later
luminous
flux
is
The unit for the lumen (Im),
nance
is
the luminous intensity
which
is
the luminous flux a refer-
per unit area of the light-emitting surface. It's measured in candelas per square meter, which
times also
is
ence light source emits. We use lu-
some-
replaced by specific types of oil lamps, then by carbon filament

lamps, and in 1 948 by a blackbody
radiator at a specific temperature
(to
mens
to describe the overall light
known as the
nit (from
output of lamps without regard

to the lamp's reflectors or the dis-
the Latin nitere, to shine). Lumi-
nance
by Y
is
the quantity represented
tance from the lamp to what it's illuminating. A typical 100- watt
lightbulb has a luminous flux of
CIE equations, and in color management we most often

in the
of
be precise, the freezing point platinum about 2042 K).
Because blackbody radiators are

a pain to construct, the reference
light
encounter luminance as a mea-
about 1700 lumens.
The luminous the amount of

light
intensity
visible
is
surement of the photons emitted from a display.

Finally, the
source was redefined in 1978
as a light source with a specific
light
illuminance refers
of light arriving
It's
energy over time from a point

source in a given direction.
to the
at
amount
frequency (equivalent to a wavelength of about 555 nm, which

is
an illuminated scene.
just
The
luminous intensity is the candela (cd), which is equivunit for
the luminous flux per unit area of
ity hits its
where our brightness sensitivpeak) and a specific
the illuminated surface, and
is
radiant energy (1/623 watts per

steradian).
alent to
lumens per steradian

is
measured
is
in
lumens per square
(Im/sr). (A steradian
a standard
meter, or lux. (A non-metric unit
In
all
cases, this seemingly aris
unit of solid angle. Just as an angle
cuts out a subsection of a circle, a

solid angle forms a cone that cuts out a subsection of a sphere and
the footcandle, which is one lumen per square foot, or about

10.76 lux.) Typical supermarket
lighting has
bitrary definition
just the stan-
dards people's way of coming up with a definition that produces
an illuminance of
about the same unit quantity that

people are already using in this case tracing all the way back to
that
represents the cone of light travelling out
about 1000
lux. Public areas like
from the point source
in
hotel lobbies have an illuminance
the given direction.) The candela
of around 300 lux, while the
full
whalewax candle.
214
Real World Color

Tip: Use a
Monitor Hood. You can increase the apparent contrast of CRT
monitors significantly by using a hood to shield the face of the monitor
from the ambient light. High-end CRTs often include a hood, but if yours didn't, you can easily fashion one for a few dollars from black matte board
and adhesive tape

is
it's
one of those investments whose bang for the buck
simply massive.
It's
also a
good idea to wear dark clothing when you're
evaluating color on a monitor, because light clothing causes reflections
on the screen
that reduce the apparent contrast.
Hard-copy viewing ligilt. Unless your profile building application has additional options, the color science
on which ICC profiles are based is designed

but as we've already pointed out,
source with a
to create color matches under D50 lighting, so for your critical viewing light
D50
illumination
as
would be
an
ideal,
there's
no such thing
artificial light
D50 spectrum.
So-called
is
D50 light boxes
are really
"D50 simulators." The minimum requirement

a 5000
a light box with a 5000

higher.
K lamp and
a Color Rendering Index (CRI) of 90 or

is
The best
available solution
light
box that
lets
you vary
the brightness of the
light, so that you can turn it up when you're compartwo ing hard-copy samples and turn it down to match the brightness of the
monitor when you're comparing hard copy with the monitor image.
Tip: Taiior the Profile to tlie Liglit Source.
A few packages (such as Greyou build profiles

tailored
tagMacbeth's ProfileMaker Pro 4.1 and

to the spectral
later) let
power include spectral measurements for some
distribution of specific physical light sources
they
common light boxes and also let
you define your own. So instead of D50 LAB, you can end up with "GTI Lightbox LAB." This lets you make very critical color judgments under your
viewing
light,
the trade-off being that those judgments

If
may not translate
perfectly to other viewing conditions.

light source as a reality check
^we really
you use this feature, use some other

like filtered daylight!
A variable-intensity 5000 K light box is a fairly expensive piece of equipment, but

if
you're serious about color

it's
management,
either.
it's
a worthwhile
investment. But
tioned,
not the be-all and end-all,
As previously men-
more pronounced spikes than the relatively smooth spectrum our sun produces, and with some inksets, such as the pigmented inks used in some Inkjet printers,
many
artificial light
sources have spectra with
which
also have fairly spiky spectra,
you may see
significant differences
Chapter
9: Evaluating
and
Editing Profiles
215
between two 5000 K light sources, though you're unlikely to see differences
with press inks.
Bruce always uses daylight, preferably filtered, indirect daylight, as a reality

check. Whenever he's measured daylight anywhere close to sea level,
it's
been
significantly cooler than D50
typically
between 6100 K and 6400 K but the
smoother spectrum eliminates some of the strange behavior that results from
the combination of a light source with a spiky spectrum and an inkset with
a spiky spectral resp)onse curve.

they're a tad
We also like the 4700K Solux lampswhile
warm, they produce a very smooth spectrum with an extremely
high CRl of 98. See www.solux.net for more information.
Tip: Use a
little
Viewing
Ligiit Clieclcer.
Viewing
light
checkers are ingenious
color targets printed with two colors that
match under D50 but show

is
different colors
under other
Light Checker
we've included one on the inside-back cover of the book.

may be good enough
for all
light sources.
One such
the
GATF/RHEM
Place the checker on top of the sample you're evaluating.

stripes,
your lighting
If
you can't see but the most critical

If
color matches.
prove your lighting situation these
you can see obvious
stripes,
you
definitely
need
to im-
test strips don't validate
good lighting
conditions, they simply identify bad ones.
Monltor-to-print comparisons. CIE colorimetry wasn't designed to handle monitor-to-print
comparisons
color monitors didn't
exist
when the
models on which color management is based were being developed. Nevertheless,

it's
capable of doing a surprisingly good job.
Some pundits will tell you that it's impossible to match a monitor image and a printed one, because the experience of vievdng light reflected from
paper is simply too different from that of vievdng light emitted from glowing phosphors. In a very narrow sense, they may be right
difference between hard-copy and monitor images
is
one important
that with the former,
our eyes can invoke color constancy (also known as "discounting the illuminant" see "Color Constancy" in Chapter 1, HTzaf/sCo/or?), whereas
with the
latter,
we can't since the illuminant
is
the image.
This may help to explain why so many people have difficulty matching an image on a monitor calibrated to a 5000 K white point with a hard- copy
image in a 5000 K light box. There may be other factors, too a lot of work remains to be done on cross-media color matching but whatever the
reason, the
phenomenon is too well reported to be imaginary.
216
We offer two pieces of advice in achieving monitor- to-print matching:

Match the
brightness, not the color temperature.
Don't put the monitor and the light box in the
same field of view.
When given a choice between 5000 K and 6500 K, we calibrate our monitors to
6500 K because it's closer to their native white point; we can obtain
a better contrast ratio than we can at 5000 K, which requires turning down
the blue channel.
monitor a sheet of blank white paper in the
We dim the light box to match the contrast ratio of the

light
box should have the
same apparent brightness

you're
so,
as a solid white displayed
on the monitor.
If
happy working with a 5000 K monitor, by all means continue to do but no matter what the white point, it's critical that you throttle back
the light box to match the brightness of the monitor.
The second trick is to place the light box at right angles to the monitor so
that
it
you have to look from one to the other. This accomplishes two
lets
you use your foveal vision

where color vision
is
retina
at its
the cone-rich area in the center of your most acute and allows your eye to
it
goals:
adapt
to
to the different white points. (Short-term

it
memory has been shown
be very accurate when
comes
to
making
color comparisons.)
We've been using these techniques to do monitor-to-print matching

for several years,
and we find them very reliable. Does the monitor image
perfectly match the print? Probably not. But frankly, short of a press proof,
we're not sure that we've ever seen a proof that
matched the final print per-
fectly. Laminated proofs, for example, tend to be a little more contrasty, and perhaps a shade pinker, than the press sheet not to mention their but we've learned to filter inability to predict wet trap or print sequence
out these differences. You have to learn to interpret any proofing system,
and the monitor is no exception.
Evaluating Profiles
Once you've ironed all the kinks out of your viewing environment, you can
safely start evaluating
your
profiles.
One
is
of the trickier aspects of profile
evaluation
is
being sure which profile
responsible for any problems you
might
see,
because most of the color- matching exercises we go through
need
at least
two
profiles,
sometimes more.
Chapter
9: Evaluating
and Editing
Profiles
217
Anything that you view on-screen goes through your monitor profile, so the monitor is the first device to nail down once you know you can
rely
on your monitor
just trust
it
profile,
you can use

it's
it
as a basis for comparison.
If
you
blindly,
and
flawed, you'll create a
huge amount of
unnecessary work for yourself. Once you've qualified your display profile,
it's
much
easier to use
it
as an aid in evaluating your input
and output
profiles.
Checking the Display

Your display is not only the
first
device you need to nail down,
it's
also the
one type of device where calibration and profiling are usually performed as a single task. Since it's much more common to find problems with the
calibration than with the profile,
it's
you need to check the calibration first
if
bad, the resulting profile will be, too.
Monitor Calibration
The two most common problems with monitor calibration are incorrect black-point setting and posterization caused by trying to apply a gamma
that's
too far
away from the monitor's

calibration,
native
gamma for the
8-bit tables
in the video card to handle.
you need to take the profile out of the display loop and send RGB values directly to the display. To do so, set your moniTo check the
tor profile as the default
RGB
space in the application of your choice so
that
RGB
is
interpreted as monitor
RGB, and hence sent
directly to the
screen with no conversions.
Tip: Use Proof
Setup
in
Photoshop.
In
Photoshop 6 or
later,
choose
Vievc^Proof Setup>Monitor RGB to send the

to the monitor. When
RGB values in the file directly
you choose Monitor RGB, Photoshop automatically loads the Monitor RGB profile in Proof Setup and checks "Preserve Color
Numbers,"
effectively taking
your monitor profile out of the loop.
We generally use Photoshop for this kind of testing, though almost any
pixel-based editing application should serve.
218
Black-point check. Setting the correct black point

lenge for
is
the biggest chal-
monitor calibrators
for
two reasons:
The monitor output is
relatively unstable at black
and near-black.
relatively
Most of the instruments used
for
monitor calibration are
inaccurate at black or near-black they attempt to compensate by
averaging a
lot
of measurements.
Be warned that the following test is brutal at showing the flaws in most
monitor calibration and can lead to significant disappointment! (See
Figure 9-1.)
Figure 9-1
Black-point test
solid black image,
In Photoshop (or the pixel editor ofyour choice), create a and make a selection in the center of the
document with
the
marquee
tool.
Chapter
Figure 9-1
9: Evaluating
and Editing
Profiles
219
Black-point test, continued
Hide all palettes, switch

"
to full-screen
mode with no menu bar,
then hide the
"marching ants. Open Curves or Levels, and target the 0,0 point in Curves.
Drag the dialog box off the screen, leaving only its title bar showing (the flare from the dialog's large expanse of white can prevent you from seeing small differences, which is what this test is about).
220
Figure 9-1
Black-point test, continued
Use the up arrow to raise the
level
of the selected area

level.
each press raises
it
by
one
With excellent calibration systems, you may see a difference between level and level 1. More typically, you won't see a change until some-
where around
levels 5 to 7, or
sometimes even higher.

first
If
you don't see

is
any change when

definitely set too
cycling through the
12 levels, your black point
low and you should
recalibrate, requesting a sfightly
higher black point.

If
the
first
few
levels that are visible

(if
have a color
cast,
you may have

levels are red,
set the bias controls incorrectly
small adjustment to the bias

try lowering the red bias
for example,
your monitor has them). Try making a

if
the
first
few
slightly. Then
recalibrate.
Gamma check. To refine the gamma setting, display a black- to-white gradient.
We usually flip the top half of the gradient horizontally to produce

shown
it,
a test image like the one

If
in Figure 9-2.
your application allows
display the gradient in full-screen mode,
hide all other user interface elements, and then look at the gradient closely.
In an ideal situation, you'll have a perfectly smooth, dead-on-neutral
gradient,
and black
will fade
smoothly into the nonpicture area of the
monitor.
Chapter
Figure 9-S
9: Evaluating
and
Editing Profiles
221
Gradient
test
image
Display the gradient
test
image in full-screen mode, with
all user interface
elements hidden, for best results.

In practice, this rarely happens. You'll almost certainly see
some slight
banding or posterization in the shadow areas, and you may see some color where you should see neutral gray. Make sure that you're looking at
raw RGB sent
straight to the
monitor
at this point, you're
checking the
calibration, not the profile.
Color crossovers in a raw RGB gradient almost always indicate a fatally flawed calibration
tool. If you've
adjusted the R, G, and B bias controls on

if
your monitor,
the
first
still
it's
possible to introduce color crossovers, so

is
you see them,
thing to try
to reset the bias controls to the factory defaults. If
you
that
see color where you should see grays, and you're absolutely sure
aren't looking at the gradient
you
fix
through a
your calibration tool
and get one that works

you'll see
profile,
you need to
toss
this isn't
something that you
can
with any amount of recalibration or profile editing.
More commonly,
some
slight
amount
of posterization in
the shadows and three-quarter tones. Until the video card manufactur-
videoLUTs are more important than the number of shaded polygons the card can draw per nanosecond, we'll all have to live with some slight irregularities in tonal response, but you can
ers decide that higher- precision
often improve the smoothness of the calibration by recalibrating,
and by
222
changing the requested
gamma to something closer to the native gamma

management needs
to
of the display system. Color
know your monitor

is,
gamma, but
it's
it
known
so
doesn't really matter

feel free to
what the absolute value
only that
1.8
experiment with different

that gives
gammas between
and
~
2.4 or so,
and choose the one
you the smoothest
gradient.
There are so
can't give
0. 1
.
many
combinations of monitor and video card that we

raising the requested
.
you any magic numbers. Try
gamma by
generate
If the
posterization gets worse, try lowering it by 0. 1 Eventually, you'll
find the best compromise. When you've
done
so, don't forget to
new profile!
Monitor Profile
Monitor
profile
problems are
or,
relatively rare
flaws are usually either in

mismatches between screen
the monitor calibration,

display
in cases of gross
and printed output, in the printer profile that serves as the source in the conversion from print RGB or CMYK to monitor RGB. Nevertheless,
some monitor profiles may work better than others.

that
If your
profiling tool
offers the ability to build different types or sizes of profiles,
you may find
one type works much better than another.

test
Repeat the gradient
shown
in Figure 9-2, but this time, set your
working space to a gamma 2.2 profile such as sRGB or Adobe RGB, or simply assign one of these profiles to the gradient image, so that you're
displaying the gradient through the monitor profile.
If
you see color crosspossible that your
overs that weren't visible in the raw display

profile contains too
test, it's
much
data
we often see LUT-based monitor profiles
producing
don't
poorer results
that bigger
than simpler matrix or gamma-value profiles, so

is
assume
always better.
Reference images. Of course, you'd probably rather look at images than

at gray
ramps. But the classic mistake many people make when evaluating
is
a monitor profile
print
to
make
a print, then display the
file
from which the
was made, and compare them. The problem is that the display of the print file is controlled as much by, or even more by, the printer profile
used to make the print as
into trying to fix
profile
which
by the monitor profile, so you can be fooled problems in the printer profile by editing the monitor
it is
is
like trying to fix the
"empty" reading on your
car's
gas
gauge by tweaking the gauge instead of putting gas in the tank.
Chapter
9: Evaluating
and Editing
Proflies
223
When it comes to comparing a monitor image with a physical reference,

the only reliable
affecting the image
way to make sure that the monitor profile is the only one is to compare an image in LAB space with the actual
LAB measurements were made. There are
physical sample from which the
very few sources for a physical sample and a matching colorimetrically accurate digital
file
Kodak's now-discontinued ColorFlow ICC Profile Tools
supplies a stringently manufactured photographic print with an accom-
panying digital file, but we don't know of any other vendor who does this. So unless you own ColorFlow, you'll need to use a little ingenuity. Here
are
some of the techniques we use.
The Macbeth ColorChecker. The Macbeth ColorChecker, made by GretagMacbeth, has long been used by photographers to check colors, and is
available from
lished
any decent camera
store.
GretagMacbeth has never pub-
LAB values
for the 24 patches, but the
lAB
values
shown
in Figure
9-3 are ones that Bruce has collected and averaged over the years from
various Macbeth targets in various stages of wear (with considerable help
from Bruce Lindbloom and Robin Myers). Or you can simply measure the
24 patches yourself.
Figure 9-3
The Macbeth
ColorChecker
224
Then, create a LAB image in Photoshop

lets
(or
any other application that
you define LAB
colors),
and compare the physical color checker, ap-
propriately illuminated, with the image on screen. With CRT monitors, the
saturated yellow patch (row 3,

so you'll likely see a slightly
column 4)
is
outside the monitor's gamut,
the yellow, but
may
miss the sky-blue patch in row
more orangey-yellow. LCD monitors can hit 3, column 6. But in

and the tonal values of the gray
either case, both the color relationships
patches should be preserved reasonably well.
Scanner tarsets.
target
If you have a scanner target, then you have a physical and the LAB values of the colors it contains. All you need to do is
create an
image of the
target containing those

is
LAB values. Creating huntoo
dreds of LAB patches in Photoshop, though,
but fortunately,
there's a solution,
and it's free
see the sidebar, "Measureto
much pain even for us,
ments
and Back," on the facing page. Use the procedure outlined above for the Macbeth Color Checker
to Pixels
compare the physical target to the
LAB image on screen. You'll likely have
more out-of-gamut colors than you would with the Macbeth target, but the relationships between all but the most-saturated colors should be
preserved.
Printer targets. Leverage your printer target! You've printed a target
and
see the sidebar, "Measurements to Pixels and Back" on the facing pageand compare the onmeasured
it.
Turn the measurements into
pixels
screen image with the printed target under appropriate illumination.
Your printer target will likely contain more patches than a scanner target,
and fewer of them will lie outside the monitor's gamut, so
it
can give
you a good idea of your monitor profile's color performance.
We don't advocate editing monitor profiles. It's not a philosophical objection

that
^we simply haven't found

if
it
effective. If you find a display problem
you can more
effectively solve
by editing the monitor
than by recalibrating and

our words,
not our hats!
reprofiling, please let
us knowwe'll gladly eat
profile rather
Chapter
9: Evaluating
and
Editing Profiles
225
Measurements to
Logo ColorLab is an undocumented and unsupported free
tool that
Pixels
If
and Back
At the end of the data, you need a final line that says
using Nearest Neighbor interpolation in Photoshop.
the patches
you can download from
GretagMacbeth's
the things
Web
it
site.
We
all
have borders, you need to do some work getting rid of them first.
CoIorLab's requirements for measurement or target files are
pretty straightforward. They need
to
END_DATA
We
like
don't pretend to understand

it
usually use a spreadsheet Microsoft Excel to massage

files
does, but
has one
measurement
an Excel
is
very useful capability we've

to find indispensable.
It
come
us
ColorLab needs
file
when you save

column
into the shape
lets
be
in tab-delimited text
format
as Text, each
take
measurement
turn
files in
files in
LAB,
with a header that looks

following:
like the
separated by a tab and each row
or target definition
RGB or
TIFF
by a return.
24
CMYK, and
images
is
them
into
LGOROWLENGTH
BEGIN_DATA_FORMAT
LAB_L LAB_A LAB_B
in
which each color patch
We keep the header in an otherwise blank Excel doc, and simply

paste the measurement values
represented by a single pixel.

Since the color patches are solid
END_DATA_FORMAT
BEGIN.DATA
The
first line tells
from measurement
files
into
it.
colors,
you only need one pixel per color you just print and display
ColorLab can tolerate other

ColorLab
in-
how
formation in the
file,
so try simply
them at very low resolutions.

ColorLab can also go the other
way, turning pixels into target
files
many
ber
is
patches per column (even

it
though
says row),
and the num-
opening your measurement files in ColorLab first. But if you get a

"format error" message, the foregoing header always works. Be warned that ColorLab is un-
separated from the rest of
(RGB or CMYK) or measurement

files
the line by a single space. LAB_L,
(LAB), the only catch being
LAB_A, and L\B_B on the third line

are separated by tabs. After BEGIN_
that the
1
image
files
need
to
be
in
-pixel-per-color format.
If the tar-
DATA, record the three LAB values

each color, separated by tabs, and separate each color by a Return
for
(so
supported, occasionally buggy, and sometimes hard to find. You
get consists of solid patches vdth
can find out its current location by

going to www.coloremedies.com/ realworldcolor/downloads.html.
no borders, you can usually just downsample to one pixel per color
each color is on a new line).
Input Profiles
Scanner profiles are, as we noted in Chapter 7, Building Input Profiles, relatively easy to build. Scanners have a fixed, reasonably stable light source,
you make sure the software settings remain consistent, behave they usually quite predictably. Digital camera profiles are much,
and
as long as
much harder, both because cameras ftinction under a huge variety of light sources, and because they have to capture photons reflected ft-om a much
vdder variety of objects than do scanners. That
that
said, there are
a few tests
you can apply to
either one.
226
Basic Test for Input Profiles

The
open the scan or digital-camera capture of the profiling target in Photoshop, and assign the input profile to it. Then compare
first
simple test
is
to
the image
on your
calibrated monitor with the appropriately illuminated

doesn't improve the match, you should
If the
physical target.
If assigning the profile
probably just
start over,
double-checking your methodology.
match is
improved (as we'd hope), you
may want to use a more objective test.
Objective Test for Input Profiles

This test uses a simple principle:
we check the profile by comparing the known LAB values in the profiling target with the LAB values predicted by
the profile. In an ideal world, they'd be identical, but in our experience, this
you care why, see the sidebar, "Objective Objectives," on the facing page. The reasons we do objective tests on input profiles are to
never happens.
If
help us understand and optimize our capture device's behavior, to iden-
problem areas in the profile that may respond to editing, and to help us understand what we see when we do subjective tests with images.
tify
To perform
tests
such as
that are available at

part, or
you have a choice. You can use tools no cost but that require considerable work on your
this one,
great deal of the work for you

We'll cover
First,
you can spend money on Chromix ColorThink Pro, which does a and has many other invaluable capabilities.
both approaches.
the free method: You can employ the ever-useful Logo ColorLab
(see the sidebar,

to
"Measurements to Pixels and Back," earlier in this chapter)
make the comparison. You need two TIFF images of the target with one
LAB image
save the
of the target values, and an image con-
pixel per color patch: a
taining the
LAB values predicted by the profile, which is a little trickier.
Some profiling tools
RGB values they capture from the target
scan as a text file, which you can then open in ColorLab. Others, including
those from GretagMacbeth and Heidelberg, store the captured RGB values
right inside the profile as a "private" tag
private in name only, because

profile with a text editor,
you can
extract the data
by opening the
then
open the
text file in ColorLab.
For those that do neither, you can downsample the target scan or digital
camera capture
to
one
pixel per patch using Nearest
tion in Photoshop, or build a l-pixel-per patch
Neighbor interpolaimage manually in Photo-
shop. Building the target by
hand
is
time-consuming but more accurate
than resampling.
Chapter
9: Evaluating
and
Editing Profiles
227
Objective Objectives
You can lead yourself down
all
accurate profile can very easily
fail
as an objective comparative
sorts of fascinating rabbit holes
produce posterization and color-
benchmark for two

They give an
built
reasons:
looking at numerical evaluations

of profiles we know because we've been there. So let's make
banding where a less-accurate
one
will
produce smoother
unfair advantage
transitions.
We
often sacrifice
to profiles that
were actually
something very clear. We don't do

objective tests to
from
tell
come up
with
absolute accuracy for smoothness, because our eyes are a

lot
this target.
They
you nothing about
some unambiguous benchmark

of profile quality, for two reasons:
It's
more
forgiving
on small
the reproduction of colors that

aren't in the target.
impossible to determine
discrepancies in hue, saturation, or lightness than they

are
a profile's absolute accuracy
when
they
encounter
You can use these types of

comparison
to
unless you're willing to sample
sudden obvious discontinuities.

So what's the point of objective tests? Simply, they help us under-
gauge the
rela-
and measure every possible color combination in the profile's

space, which
is,
tive accuracy of profiles built from the same target, and as a
very rough comparison

profiles
built
between
you'd need 16 million-some measurements

impractical
to put
it
mildly,
how the profile behaves, and why we see the results we do

stand
from different
ones
but
you'll get different
RGB, and 4 billion-some measurements in CMYK. The

in
our subjective tests. They help us understand the limitations of

in
numbers, though generally heading in the
same
direction,
if
you
our devices, and they point us

to areas in the profile that
objective tests
we do really only
may
use different targets. So you can't use these tests to

say that profile foo has an overdelta-e of 1.28 while profile
measure the
profile's ability to
respond to
profile editing.
predict or reproduce the colors

in the test target
You may be tempted

objective
testing to
profiling packages.
to use
all
we use.
Differ-
ent targets
vîll
return different
delta-e
compare The single

give
bar has one of
1.69,
except in
the context of the specific set of

colors in the target. (Again, if you were willing and able to measure
16.7 million
billion
average and
values.
maximum
best
word of advice we can

is,
you
isn't
don't.
Accuracy
All
the only factor in determining a profile's quality.
What
the tests we've described

is
RGB
patches, or 4.3
here study
the profile's abil-
CMYK ones, you might be

make such
a statement.
to
it,
CMMs
operate at
finite
ity to predict
making from limited data, and a highly

precision,
calculations
colors in the target from
and reproduce the which
able to
If
you get around
let
the profile was built. These tests
us know!)
A third alternative is to create a text file by hand, sampling the RGB values and entering them into the text
you're building either a text
file file
vê generally use Excel to do

it's
so. If
or an image by hand,
easier
if
you start
out with a template. For text, open the target description file in Excel, and
replace the
LAB
values v^th your captured

If you
RGBs
(don't forget to
change
the Data Format definition).
wânt to build an image,
open the target
description
file
in ColorLab,
then save it as an image. Figure 9-4 shows the
steps required to
make the comparison.
228
Real World Color

Step
1:
Figure 9-k
Capture the RGB values from the scanned or photographed
target.
Comparing actual and

predicted
LAB values
yDhlAPPLDyyyscncRGB Lab D'y^

yDyyDacspAPPLyyyyyyyyyyyyyyyyyyyyyyyyyy'-yDyyyy"LCGCvyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyOcprtyyDDy^ yy yy.DPmtryyN
yyyrX YZyyN/yyyOgX YZyyNyyyyObX YZyyNlyyyOwtp tyyOyyyynb kptyy OOyyyD rTRCyyO yyODg TRC yys <yynDbTRCyyWPyyDDA2B0yy [dyDUeA2B2yy [dyDUeA2BlyD UyDUedescyDhN yyyftextyyyycopyright by LOGO GmbH, SteinfurtyyytextyyyyLGOROWLENGTH 19i CREATED "11/11/2GG2" # Time: 16: 13qi " KEYWORD Sample ID "Ti KEYWORD "SampleName'J
(
Ifyour profiling tool includes the RGB data in
the profile,
you can open
the profile with a text

editor,
BEGIN_DATA_F0F(MAT5 SamplelD SampieName

END_DATA_F0RMAT1I
RGB R-RGB G^RGB
Bqi
then copy and

paste the RGB
NUMBER_OF_SETS 264<S BEGIN DA TAT Al - 102.44

3 4
5
values into a
new text
A2 A3
->
^
>
document. Start at the
"BEGIN DATA FORMAT" line, and finish at the
6
7 a 9
^
-.
A4 A5 A6 A7 AB Ag
^
-.
-
125.12 14D.25 146.75 164.97 182.81 2D0.23 205.38 210.61
67. 14^75. 57qi 65. 05-71. 22qi 61. 23-68. 4gqi 59. 75-68. 56qi
122.16 115.75 108.83
-.
126.43q[ 121.97qt
117.831
9a.l2-.112.64-qi 190.38 193.Q3qf
"ENDDATAFORMAT line.
uNi:^wr-
r^TEzli
Ifyour profiling tool doesn't capture the
RGB numbers in a way you can
access easily, you'll need to use one of the following methods. You need to wind up with either a text file formatted like the one above, or an image
with one pixel per color patch. To create an image,

to create
it's
easiest to use
ColorLab
a template from the target description file.
In ColorLab, choose
IQM Transparency 1996/06

Lab/ 264 Patches
HI
17.9 -4.3
Open from the File menu, and open the

target description file.
You'll get something that
-6.2d=82.44
looks like the
image at the right. You'll

need
this file anyway to make the comparison.
^ÎL_
Sort
aOView 963 Show Gamut Show Histogram SSH Remove Redundance

Zero Redundance tair Nciqboiir Oistdiue
Calculate Scope Calculate 2D Scope Save Trjangulation...
ICC-profile Statistics... Test_.
Since the ITS target is nonrectangular, you need to choose ITS to Rect Format from ColorLab's Tools menu
to fill the rest
of the target with neutral gray.
Chapter
Figure 9-k
9: Evaluating
and
Editing Profiles
229
MR
niMr
TooU
SptcUl
Window
To convert the file to a
Comparing actual and

predicted
TIFF that you can open

in Photoshop, choose
LAB values,
continued
Export from ColorLab's File menu, and choose

Tiff Format from the Format menu. (You may have to change the
.txt
extension to
.tif manually.)
Open the newly sai>ed file in Photoshop, zoom in to 1600% so that you can see what you're doing, convert the image to RGB (any old RGB it doesn't matter because you'll be replacing all the RGB values with ones from your target capture), and save it with a name like "Scannername RGB."
'
% m mn Ift Uyr
%^ft
ntar \ntw tiw^tw
i'i,;iv!'*a7Ti;7Tr>rmiiis3>
To transfer the RGB values from the target capture to the Scannername RGB file, open the target scan, and arrange the files side by side. Set the marquee tool to Fixed Size, 1 pixel by 1 pixel, and select the first patch
in
Scannername RGB.
select the
5x5 average, and Option-click on the first swatch in the target capture image Background color Press Delete to fill the selected pixel in Scannername RGB with that color, press the right arrow key to advance the selection to the next pixel, Optionclick the next swatch in the capture target, and repeat until you've filled all the patches in Scannername
Then
eyedropper
tool, set it to
to set that color as the
RGB with the values from
the capture target.
230

Figure 9-4
Step 2: Convert the captured RGB values to
LAB (Photoshop), or
Comparing actual and predicted LAB values,

continued
Ifyou built the
r^
SampleTargetDataRCB
tif
160(W (RGB/S*)
RGB file
by hand in Photoshop, do the conversion to LAB

there as well.
Assign the capture

profile by choosing Assign Profile fi-om the
Assign
Profile:
Assign
Profile
O Don't Color Manage This Document C Working RGB: ProPhoto RGB

Profile:
(
Cancel
Preview
Mode submenu of the

Image menu.
Flex
848 gamma 3
ffs
r\ r\
^ SampleTargetDataRCB.tif :W
160( (RCB/S'/Pr..
Convert the image
LAB by choosing Convert to Profile from

to
the
Mode submenu of
menu. Use
Profile:
the Image
Absolute Colorimetric
rendering.
-
Flex
848 gamma 3 (
CaiKel
Preview
Destination Space
Profile:
{
Lab Color
ma^
Conversion Options Engine:

Intent:
Adobe (ACE)
Use Black Point Compensation
H Use Dither
flatten In age
Hex 848 RGBs2.tif $> 1600^ (Lab)
After conversion, fill the background
with neutral gray,
LAB 50,
0,0.
Chapter
Figure 9-4
9: Evaluating
and Editing
Profiies
231
Step 2: Convert the captu red
RGB mtues to LAB (ColorLab).

continued
Ifyou
file,
have an RGB text do the conwrsion to
LAB in
ColorLab.
Open
the
RGB text file

in ColorLab.
n^B T
It
icll
Wtiidw
Hlp
Choose LogoSyncfirom
the ICC submenu of ColorLab's Filter menu.
In the ensuing dialog

box, set the capture
profile as the Source
profile,
LAB as the
Destination profile, and Absolute

Colorimetric as the
rendering intent.
232
Figure 9-4
Step 3: Make the comparison.

Flex

continued
gamma
060 RCBs.txt
wEMnSmBttM Format
ITS to
Rect
Sort
Open both
file
description file
the target and the
X3 Show Gamut Show Histogram XH Remove Redundance

3D View
Zero Redundance Calc Nelgbour Distance
Calculate Scope Calculate 2D Scope
containing the LAB values you obtained by

converting the capture
Save Thanguiatlon...
ICC-pronie Statistics^.
Test...
RGB numbers through the profile. Make sure

that both files are
Q60 Transparency 1996/06
converted to rectangular format using ColorLab's
Select
document
ITS to Rect Format
command. Then choose

Compare Withfi-om
ColorLab's Tools menu,
Q60 Transparency 1996/06 Flex gamma 3 Q60 RGBs.txt
and choose the file you want to compare with

the current onefi-om
the ensuing Select Document dialog box.
n
ColorLab generates a
Flex
gamma
3 Q60 RGBs.txt-Q60 Transparency 1996/06
comparison that shows
Save
Report...
Delta E
Overall
Average
0.42 0.33
1. 21
Sigma
0.43
Maximum
4.28
0.81
you the difference

between the actual LAB
values in the target and the LAB values that the
profile predicts. It shows
J1.>
Best 9(r.
0.26 0.73
Worst
;.:^.-, 0.4 -0.6
58.8 14.6
l(r.
4.28
Samples
49.9 0.8
1.9
Deltas 4.28
Vt3 Refs
15.8Sample:
58.6 14.4 14.9 Delta: 1.00
you the average overall

delta-e, the
average
delta-efor the best
90% and worst 10% of patches, and the
maximum delta-efor
the best 90%
and worst 10% of patches. The worst 10% patches are

outlined in yellow,
is
and the worst patch
mmwmmmm
outlined in red. You
can check any patch's

delta-e by clicking
it.
Chapter
9: Evaluating
and Editing
Profiles
233
This test provides a decent metric for comparing input profiles built from the same target. For example, your profiling tool may provide several options for profile size. This test lets you determine which option gives
the
Figure 9-S
most accurate
profile (see Figure 9-5).

4C8-nt >i# MCT
too
< I U^.ttt
Comparing large und

small profiles
A comparison of small (above) and large (below) profiles built

prom the same scan shows that the large profile offers a clear improvement in accuracy over the small one.
e
f Urn Hmfim...
"> [
40S6-ncx
Dta E
FI4JI
HCT Urge
Labs.txc
Sigma
1.66
1.44
Maximum
S.84
3.02
S.84
Overall
Bst
0.97
0.73
90X
Worst
T.i 39.8 -S8.1
im
Sample
3.S9
4.0 34.6 -SS.S
0.67
Delta '
5.84
S6
Ref. 38.2-65.2 32
Sample- 38.2-62.1 32.3
Delta
= 3.12
234
ee
Figure 9-5
(
SaveKeport...
DCS 460
small Labs.txt-ColorChecker
DC with
Sigma
5.09
gray bars
^ foelta
Overall
^^
Average
5.90 4.55
Maximum
28.73
10.85
Comparing large and

small profiles, continued
S4
iNci
Best
90%
2.27
7.08
Worst 10%
17.71
28.73
S9
Ref= 83.8
= ^J.J -29.0 -36.9 Sample = 21.3 -3.4-49.9 Delta = 28.73 2.7 82.3 Sample = 89.3 1.6 105.4 Delta = 23.68
With
this
profiles,
pair of small (above) and large (below) digital camera we find that the reverse is true the smaller profile is
slightly more accurate than the large one.
90
^
Sive Report...
"^
DCS 460
foeita E
Overall
large Labs.txt-ColorChecker
DC with
Sigma
5.33
gray bars
t^ Ave rage
6.13
Maximum
40.55
11.05
Best
90%
4.75
2.43 7.71
Worst 10%
4 -40.8
18.24
40.55
19.8
R12 Ref=
218-30-66
40.0 -79.4 31.0 Delta = 40.55 Sample Delta = 6.47 Sample = 20.5 0.0 -1.1
Colorimetric accuracy
is
important, but
it's
not the only concern.
Sometimes we have
to sacrifice accuracy for smoothness, for example.
profile that renders
many
is
colors very accurately at the cost of heav-
ily
posterized images
usually less useful than one that distorts colors
slightly
but produces smooth transitions between tones and colors.
Chapter
9: Evaluatins
and
Editing Profiles
235
Figure 9-6 shows a typical scanner profile evaluation. Note that
we
decided to improve shadow detail by raising the scanner

reprofiling, rather
gamma and
than editing the
profile.
ngurc 9-6
Scanner profile
evaluation
Here we see a
comparison of profiles
built
by scanning the
scanner output
target at different
gamma settings.
*0S* IKi t*t
I
Ml
I.M 11'
0.S1
t.4f
Gamma 2.95
With
this scanner,
Gamma 3.1
gamma of 3.0 produces the most accurate

profile,
but there are
always
trade-offs.
Some
colors,
such as the S6
this case,
patch in
Gamma 3.0
may reproduce more

accurately at different settings, but the gamma
3.0 setting produced the best overall results with
the smallest errors.
236
Alternatively,
Pro,
you can perform the preceding tests using ColorThink which does most of the work for you. If your profiling tool saves the
is
capture data in the profile, setting up the comparison

as
very easy indeed,
shown in Figure 9-7. ColorThink Pro automatically extracts the requisite

files,
data from the chosen

Figure 9-7
then goes ahead and makes the comparison.
Chapter
9: Evaluating
and
Editing Profiles
237
Figure 9-8
ColorThink input profile evaluation

Fite
ColorTlrtwh
2.1^P.HI X
Edit
Syswm
\m*9t
Profllt
Color
Graph
Wb
Window
4i
Thu 11:08 PM
uptonZ
i%
Ik ts
l<
ti.
Color Worksheet
4)Mlf
aocuncyflf ch>
Figure 9-9
Comparing multiple profiles in ColorThinIc

Color Worksheet
oe
Color Worksheet
>lZ(dZ76)
3.1
238
Real World Color
Subjective Tests for Input Profiles

Any test that looks at the rendering of images is necessarily subjective. The
key in evaluating an input profile
is
to select a representative
sample of
images, with low-key and high-key elements, pastels as well as saturated

colors,
and
neutrals. Profiling involves a series of trade-offs,

likely to regret
and
it
if
judge the trade-offs on a single image, you're

course,
later.
you Of
you need to use some
common sense as well. If you are scanning

more concerned with
skin
or photographing only people, then you'll be
tones and you'll want a suitable set of test images to reflect a variety of
skin tones.
It's
also helpful to include a few synthetic targets as a reality check: they
can often show you problems that natural images may mask or miss. Two such images that we use regularly are the Granger Rainbow, developed by
Dr. Ed Granger, and the RGBEXPL0RER8, developed by Don Hutcheson, both of which are shown in Figure 9-10. Note that we're constrained by the limits of our printing process in how faithfully we can reproduce these
targets
the RGB versions
will
look quite different on your monitor!
The point of looking at synthetic targets like these isn't to try to get them to reproduce perfectly that ain't gonna happen but rather to pro-
vide clues as to
why your images behave

in tone or color
(or
misbehave) the way they do.

targets
Sudden jumps
on the synthetic
may happen
in
color regions that are well outside anything you're likely to capture, or they
may lie in a critical area. It's up to you to decide what to do about them, but we believe that you're better off knov^ng they're there. In the case of RGB input profiles, we use the synthetic targets by simply
assigning the profile in question to the target
Often, the synthetic targets
and seeing what happens.
make problem areas very obvious. We always

why the
profile
is
make our final

can be
decisions by evaluating real images, but synthetic targets
real time-savers in
showing, at a glance,
repro-
ducing images the way it does. Figure 9-11 shows a good example of this.
One digital camera profile, applied to images, seemed a little weak in the reds and muddy in some yellows, but simply looking at a collection of images
made
it
hard to pin
down the
specific flaw that
one
profile
had and
another did not. A single glance

applied,
at the
Granger Rainbow, with each profile

lie!
makes
it
very clear where the deficiencies
Chapter
9: Evaluating
and
Editing Profiles
239
Figure 9-10
Synthetic targets
The Granger Rainbow. You can easily make this target in Photoshop. Make a horizontal rainbow gradient, add a layer, make a black-to-white vertical gradient, and set the layer blending to luminosity.
Don Hutcheson's RGBXPLORER8. You can download this target from

www.hutchcolor.com
click the Free
link.
240
Real World Color
Figure 9-11
Synthetic target evaluation
When we simply look

at images, the digital
camera profile whose effects are shown on this page seems to behave quite similarly to the one whose effects are shown on
the facing page.
A close examination
of the images points to the profile on the facing
page having a problem

with saturated orangereds,
but it's quite hard
to spot in these images,
even though they contain a lot of reds.
Chapter
9: Evaluating
and Editing
Profiles
241
ngure
9-11
Synthetic target evaluation,
continued
When we assign
the
respectiiv profiles to
the Granger Rainbow, we can see at a glance

that the profile
on the
previous page has a
reasonably smooth response throughout the reds, while the profile
on
this
page has a huge
"hole" in the reds.
This area of the image

hints at the problem, but
the
Rainbow makes it
clear at a single glance.
242
Real World Color
Editing Input Profiles

rameter
is
With good scanners, we find we rarely need to
the key pa finding the "ideal" gamma or tone curve for the scanner but
edit the profile
with low- end scanners that don't provide sufficient control, or sufficiently
consistent control,
we may resort to
profile editing.
The simplest way to

tents simultaneously
edit input profiles globally

is
that
is, all
rendering in-
to edit the capture of the profiling target.
The only
you have to make edits in the opposite direction from the behavior you want in the profile. If the profile's results are too dark, you need to
catch
is
that
darken the target;
if there's
a red
cast,
you need to add red, and so on.

it has the advantage that it an image editor. Small changes with practice you can be surpris-
This is very much a seat-of-the-pants procedure that absolutely requires

a well-calibrated
and
profiled monitor, but
doesn't require profile editing software, just
can make big differences to the
profile
ingly precise in edits to tone, saturation,
and even to hue in selective color and

it
ranges
but
So
it's
a fairly blunt instrument,

this route,
affects all the rendering
intents.
if
you go
proceed with caution (see Figure
9-12).
you need some kind of profile-editing software. Most of the high-end profiling
packages offer editing in addition to profile creation. They all have
ent user interfaces, but they work in generally the
differ-
For more precise
edits, or for edits to a specific rendering intent,
same way: they let you open an image that's in the profile's space, and use it as a reference to make
edits.
It
should go without saying (but
we'll
say
it
anyway) that
to
for this to
work, your monitor calibration and profile need
be
solid.
Edit order. There's a classic order in which to
make profile edits
it's
the
same order that traditional scanner operators use for image

and we generally advocate
that suddenly
sticking with
if
it,
corrections
is:
with one exception, which

don't,
it
fix the biggest problem first! Because
you
often covers
up other
problems
become visible
after you've
done a lot of work.
The
classic order for profile edits is
global lightness
and contrast adjustments
tone curve adjustments

gray balance adjustments
global saturation adjustments
selective color adjustments
Chapter
9: Evaluatins
and
Editing Profiies
243
Rgurc 9-1S
Editing
tiie
target
The capture of the

assigned,
is
target,
shown aboi>e.
It's
with the camera profile quite good, but a little
unsaturated.
To increase the saturation in the profile,
we desaturate
the capture of the target, then build a new profile from the desaturated target.
The capture of the

profile assigned,
is
target,
with the
It's
new camera
noticably
shown
above.
more
saturated than the original.
244
Real World Color
The order
undoing the
need
isn't arbitrary: it's
designed so that the likelihood of an edit

is
edits that
went before
reduced,
if
not completely elimi-
nated, so unless there's a huge problem staring you in the face that you
to correct before
it.
you can make any sensible decisions about other
issues, stick to
Figure 9-13 shows typical editing sessions for a good midrange scanner. The scanner profile requires only minor tweaks, which is typical. Digital camera profiles are more difficult to handle than scanner
profiles, for three reasons:
They don't use a fixed

They're
light source.
more prone to metamerism

no
issues than scanners.
There's often
If
target reference against
which to
edit
them.
your work is all shot in the studio, you can and should control the lighting. If you have controlled lighting, and you gray-balance the camera,
you shouldn't have many more problems than with a scanner profile.
so that you can
Ide-
ally, you should edit the profile in the studio, with a reference scene set up,
compare the
digital
capture to a physical object.

is
One problem you're unlikely to

ism, where the
as different, or
find in a scanner
camera metamer-
camera either sees two samples that appear identical to us
more problematically, where the camera sees two samples
that appear differently to us as identical. (Scanners aren't

either,
immune to this
CMYdyes digital cameras have to handle the spectral responses of real

objects,
but if you're scanning photographic prints or film, you're scanning
which are a lot more complex.)

images in which it occurs. So
if a
This isn't something you can fix with profile editing

to edit those
^you'll
simply have
color
is
rendered incorrectly
in a single image,
check other images that contain similar colors captured
from different objects to determine whether it's a profile problem that you
can
fix
by
profile editing or a
metamerism
issue that you'll have to fix
by
image editing. With field cameras, you have no way of knowing the light source for a given exposure. If you shoot TIFF or IPEG, gray-balancing (or whitebalancing)
is
the key to keeping the variations in lighting under reasonIf
you shoot raw, be aware that you're profiling the entire raw conversion, including white balance setting. You also have the problem of
able control.
what
to use as a reference
when editing the profile.
Chapter
9: Evaluatins
and Editins
Profiles
245
Figure 9-13
Scanner
profile editing
in editing
is
The first step

profile
aluHiys to
figure out which part of
the profile you

edit.
want
to
lt<t
Input profiles are
ICC
iMii
Wil mtt Ml
Mm >nd*nng mioms. Than cIKh on ttw prolHt dMctMn

(
almost always one-way,

so
uv edit the RGB to LAB side. We usually

colori me trie intent.
Of
OtMmtlow
ftaWt:
start with the relatii'e
then apply the edits to the other intents
CRS FtowAitOCS iMl914}27$
when saving.
M niaf*
itM
r to anotiMti your adits.
color
ian of Mm praMa Tin 4*
(Oprnt
kmfZ^
tM* t* gi KoOtk
avol.iil
Aoeo
246
We find that the best approach is to create a reference image by combining a wide variety of image types shot under varying conditions, and
aim for a profile that helps them all more or less equally. You can include a
few images that contain a known target such as the Macbeth ColorCheck-
er,
but
resist
the temptation to edit the profile so that

it
it
reproduces the
color checker perfectly without checking what
does to other images.
Figure 9-14 shows a typical field camera profile editing session. In this
example,
we used Kodak's newly revamped Custom Color ICC, which alis
lows us to use Photoshop as a profiling editing tool, but the process
the
same for any profile
editor,
and
it
involves several steps.
We set the raw converter to deliver linear gamma images. We make a reference image by ganging several different captures into
a single
document that we'll use
to
judge the
edits.
We open the reference image and the profile in the profile editor. We make
guide.
the edits to the profile, using the reference image as a
We save the edited profile.

Figure 9-14
Digital
camera
Model Name
General Settings M<*IW1rBa9. PwiMMl> i l l II
Mipi
profile editing
EOS DIGITAL REBEL
~N^
5! Linear
False color filter
Q Always Preview Using 16% Reduced Image

-
Size
Transferring images to application
G8 @ 16
Our first task is to configure the raw
converter to deliver the
bits per color
channel
bits per color
channel
images
correctly. Here,
we
set Canon's File Viewer

utility to deliver linear-
gamma images to
(
Cancel
~)
Photoshop.
Chapter
9: Ewaluating
and
Editins Profiles
247
Figure
9-U
Digital
camera profile editing, continued
Next. u>e create a reference
image
different
in
Photoshop by
assembling a selection of
image types. All
the images we used here were shot with the camera
whose profile we're editing. The images are linear gamma with no
profile assigned, so
we
expect them
to look
dark
and ugly at this stage.
Custem Colof Import Hug-in

Pronl*
SflKton
Next,
we open
the reference
image and the profile we want to edit in the profile editor Here we see Kodak's
Custom Color Import

Plug-in dialog box. It lets us choose the profile, the
part of the profile

to edit,
we want
reference
and a
image.
When we click
OK, the image opens in Photoshop with the profile

applied, ready for editing.
248
Figure 9-14
Digital
camera profile editing, continued
Chapter
9: Evaluating
and
Editing Profiles
249
Figure 9'^k
Digital
camera
profile editing, continued

-^
iJMMBi'
250
To carry out the calibration, you need a physical target

old 24-patch
we use the
Macbeth ColorChecker, but the newer ColorChecker SG

it
includes the original 24 patches so you can use
instead if you wish
and
an accurate RGB version of the ColorChecker.
RGB
Color Checker.
If
you're a true fanatic,

file
you can measure the Color-
Checker yourself, create a Lab

convert
it
of the color patches in Photoshop, then
to
RGB in Photoshop using Absolute Colorimetric rendering. In

this exercise
theory, you should be able to carry out
using any of the four
RGB spaces sRGB, ColorMatch RGB, Adobe RGB (1998), or ProPhoto RGB that Camera Raw supports. In practice, we find that it's highly desirable
if
not essential to build the calibration in ProPhoto RGB, perhaps
because Camera Raw uses a linear-gamma space with ProPhoto

maries to do
If
RGB pri-
much of its processing.

simply
lazy,
you can download a ProPhoto RGB version of the ColorChecker, with the RGB values entered on each
you're less fanatical or
patch to simplify matching, from www.coloremedies.com/realworldcolor/

downloads.html.
Figure 9-15
It's
shown in
Figure 9-15.
ProPhoto
RGB
K^*sJ
Color Checker
Chapter
9: Evaluating
and
Editing Profiles
251
Setup for calibrate. Arrange the windows on screen so that you can see
both the FroFhoto
era
Raw window.
You'll
RGB CoIorChecker and the target capture in the Camuse the FroFhoto RGB CoIorChecker as the aim
the Calibrate controls
i.'^^*hm'^<.tf**oeo o^<i
*.
'.
point
when you adjust
see Figure 9-16.
n9ure9-16
Setup for Calibrate
"'^'^
X> ;*
8166.52
252
The four aforementioned controls work together

curve, as follows:
to define a 5-point
Exposure sets the white point, and Shadows sets the black point.
Brightness adjusts the midtone without affecting black or white, like
the gray slider in Photoshop's Levels
command.
Contrast applies an S-curve around the midpoint set by Brightness,
again without affecting black or white

Figure 9-17
see Figure 9-17.
ooo
';*
MiciKth.ColDrChcclcerl>rol>hota.|d
lOOX (241,241.241, RCB/S)
Tonal adjustments
?41, 241 ,24 ipso, 190,
190 145,145,14
Chapter
9: Evaluatins
and
Editins Profiles
253
Don't try to aim for perfection.
The white patch
will
always end up
to get the
darker than in the reference
file.
You should, however, be able
remaining
levels.
five
gray patches to match the reference within three or four

so,
Once you've done
white-balance the image by clicking on the
second-to-lightest gray patch. After white-balancing, you
may need to go
back and tweak the Brightness and Contrast
sliders slightly.
Tip:
Um the Arrow Keys to Adhnt Values. This exercise becomes a great deal
if
easier
you keep the cursor on the patch you're evaluating so that you can see the RGB values in Camera Raw's readout. Use Tab to move to the next
field
and Shift-Tab
to
move to the previous one, and use the Up and Down

field.
arrow keys to change the values in each
you can continue on to setting the Calibrate controls, but before you do so, check the blue, green, and red patches on the third row (these are the patches where you'll focus your at-
Once you've
set the tonal behavior,
tention). In
most
cases, the red value in the red patch will
be higher than
the one in the reference, and the blue value in the blue patch will be lower
than in the reference. Use the Saturation slider to get the best compromise
in
terms of matching the red value in the red patch, the green value in the
green patch, and the blue value in the blue patch to those in the reference
image before proceeding to the Calibrate tab.

Calibrate adjustments. The Calibrate adjustments let you tweak the hue
and
saturation of the primaries for the camera's built-in

If you're
Camera Raw profiles.

far lock
concerned that the adjustments you've made so
you
into
always using these tonal moves, or that the choice of ProPhoto

that the calibration
is
RGB means
at rest.
only valid for
ProPhoto RGB, put your mind
The
Calibrate controls let
you adjust the relative
hue and saturation of
the camera
RGB
tonal settings
primaries, and these adjustments remain valid for any and any output space. The adjustments you've made so far
simply massage the target capture to
make
it
easier to use the ProPhoto
RGB reference image as a guide.

you should be able to make the edits in any order, but in practice we find that things go more smoothly when we adhere to the following
In theory,
order:
hue and
shadow tint; green hue and saturation; blue hue and saturation; red saturation. For each color's controls, the hue slider adjusts the
two colors equally to
affect the saturation.
other two colors unequally to affect the hue, and the saturation slider adjusts the other
254
Start
of the shadows. There should be no
by sampling the black patch on the target to check the neutrality more than one level of difference
between the three channels on the black patch. If the difference is greater than that, adjust the shadow tint slider to get the black patch
as neutral as possible.
Continue with the green patch. Adjust the green saturation
slider to
get approximately the right amount of red and blue relative to green in
the green patch, and adjust the green hue to fine-tune the proportions
of red and blue relative to each other.

Next,
move to the blue patch
^you may find that the blue value for the

blue,
blue patch has
moved closer to the target value due to the green tweaks.

slider to
Use the blue saturation slider to balance red and green relative to
and the blue hue

Finally,
balance red and green relative to each other.
sample the red patch. Use the red saturation slider to adjust blue and green relative to red, and the red hue slider to adjust blue and
green relative to each other.
Remember
than
it is
that you're adjusting color relationships here.
It's
much
more important to get the right relationship between red, green, and blue
produce a close numerical match, though with skill and patience it's possible to get very close to the nominal values. So, for example,
to
if
the red patch has a red value of 132, as
compared
to the reference red
value of 122, take the target values for green and blue, and multiply them
by 132/122, or 1.1. So instead of aiming for a green value of 58, you'd aim for 64, and instead of a blue value of 46, you'd aim for 51. You'll also notice
that each adjustment in the Calibrate tab affects
all
the others adjust-
ments
in the Calibrate tab.
A second
iteration of adjustments will often
help you get much closer.
Figure 9-18 shows typical calibrate adjustments
applied to the target capture, in this case from a
Canon EOS ID Mk II.

usu-
Special cases.
ally
The
calibration
you build using the Calibrate tab
is
good for any light source. However, some cameras have an extremely weak blue response under tungsten lighting, so you may have to make a
separate calibration for tungsten.
And if you have the misfortune of hav-
ing to shoot under fluorescent lighting, the very spiky nature of the typical
fluorescent spectrum
may require you to special-case it too.
Chapter
9: Evaluatins
and
Editing Profiics
255
Flsurc 9*18
Calibrate adjustments
The completed Calibrate

adjustments produce a
close visual
match
between the captured

target and the reference.
Once we're done, we

choose Sai>e Settings
Subset, then sai>e only
the Calibrate adjustments, so that we can
apply them
to
images
independen tlyfrom
other adjustments
.
Once you're done, you can save the Calibrate settings as a Settings Subset,
and apply them
to images, or incorporate
them into the Camera Default.
Output
Profiles
We never edit monitor profiles, and we try to edit input profiles as little as
possible, but
we almost
always wind up editing output profiles. Output
devices tend to be less linear than capture devices or displays, they often
use more colorants, and their profiles must be bidirectional so that we can
use them for proofing as well as for final conversion
so they're by
far the
most complex type of profile.
256
That
said, the
techniques
we
use for evaluating output profiles are very
similar to those we use for input profiles. Unless our evaluations reveal gross
flaws,
we tend to be cautious about editing the LAB-to-device
(BtoA) side of
the profile, except possibly to

ing intent or to
make slight changes to the perceptual render-
make a very specialized profile. But we find we often have to

else,
make some edits to the device-to-LAB side to improve our soft proofs.
we always recommend looking at a synthetic target such as the Granger Rainbow or the RGB Explorer (see Figure 9-7), with the profile assigned to it in the case of RGB profiles, or converted
Before doing anything
to the profile in the case of
You'll
bear in mind that these targets so images rarely contain the kinds of transitions found
probably see posterization somewhere
in
CMYK profiles.
real
that shouldn't be a major concern. But if you see huge discontinuities, areas
of missing color, or the wrong color entirely, stop. The problem could
lie
in
the printer calibration or media settings, in your measurements, or in the
parameters you set while building the profile. So go back and recheck all the
steps that went into building the profile, because you won't get good results
bow converted to
from this one. Figure 9-19 shows typical appearances for the Granger Rainoutput profiles. If what you see looks much worse than
any of these, you need to back up and figure out where you went wrong.
Figure 9-19
Granger Rainbow
through profiles
It's
common to see slight
color-banding in some
regions of the rainbow
when you convert to an output profile, and

equally common to see
some color regions grow

while others shrink.
If an
output profile looks significantly worse than the examples shown something has almost certainly gone wrong!
here,
Objective Tests for Output Profiles We do objective tests on output profiles not to provide an objective benchmark of profile accuracy, but to help us understand the profile's behavior,
and to identify problem areas that may respond to profile editing
sidebar, "Objective Objectives," earlier in this chapter. (Bruce also does
see the
them for fun, but even he
thinks that's weird.)
Chapter
9: Evaluating
and Editing
is
Profiies
257
compare the device's known behavior with the behavior the profile predicts. We do that
to
The fundamental
principle for objective evaluations
by comparing the actual measurements of the target
the color we know the device produces in response to a set of numbers with the LAB values the profile predicts. We obtain the predicted LAB values by taking the
target
file,
assigning the device profile to
it,
and then converting

lets
to
LAB
with absolute colorimelric rendering. This
us see what's happening
inthecolorimetricAtoBl (device-to-PCS)
table.
But since output profiles are bidirectional,

predicted LAB values,
we go
further.
We
take the
print them through the profile, measure the print, and compare the measurements to the predicted LAB values. This lets
us see what's happening in the colorimetric BtoAl (PCS-to-device) table.
We usually see higher delta-e values on this side of the profile because it's
computed, whereas the AtoB table
Lastly,
is
based on actual measurements.

original
we
"close the loop" by
comparing the
measurements
the profile.
with those from the predicted
LAB image printed through
Usually the errors in the AtoB and BtoA tables are in opposite directions,
producing a lower delta-e between the two measurement
files
than beprofile. If
tween either measurement
file
and the values predicted by the

comparison than
you get higher delta-e values

errors are
in the
in this
in the others, the
moving may be a sign of bad measurements, so check them. they're OK, you may want to edit both sides of the
this is quite a rare situation.
same direction on both
sides of the profile

If
this
you're quite sure
profile identically,
though As with input profiles, you have the choice of using free tools and doing
a lot of work, or spending some
to
make
the comparisons
money and using Chromix ColorThink Pro much more easily. And as with input profiles,
we'll cover
both methods here.

to convert the
You can use ColorLab
RGB
or
CMYK device values
to
CMMs easily. The CMM can make a big difference to the results if your
profiling package
is
lABi but we prefer to do that in Photoshop, since it lets us choose different
designed to prefer a particular CMM, you can use this
same
test to
determine whether the preferred
CMM actually produces
better results,
and
if so,
how much better.

table,
Figure 9-20 shows the steps needed to evaluate the AtoB colorimetric
table, the
BtoA colorimetric
and the roundtrip
result,
using Logo
ColorLab to convert
text to pixels
and vice versa.
258
Real World Color

Obtain predicted LAB values.
File
Figure 9-20
Step
1:
Output profile
objective testing
In ColorLab, choose
fe e ^
RGB
2FI6
/
ColorLab
918 Patches
Edit^
RGB,
Special
Window
Filter
244.0 25S.0 244.0 d
Open from the File menu, and open the

target description file.
You'll get something that
k
1.1E
Spot Colors...
Image...
Colors...
Spectral s...
looks like the
Testchart Standard Testchart Strips Testchart Define
image at the right. Choose Spot Colors

fi-om the Conversion
submenu of the Filter

menu, then
click
Enable
in the dialog that appears.
Choose Export from the

File
menu and save the

file
as a TIFF
Assign
~-
PnMt
Assign ProfMe:
Open
the TIFF in Photo-
O Don't Color Manage This Document O Working RGB: Adobe RGB (1998) 9 fEpson 2200 PL
Profile:
3
PrQflle
B Preview
shop, assign the profile
being evaluated, then convert the TIFF

to
Convtit b>
LAB
with absolute
~
Profile:
Epson 2200 PL
colorimetric rendering to obtain the predicted
Destination Space Profile:
Lab Color
LAB
values.
(The
- Conversion Options
Engine:
(
Adobe (ACE)
illustration
shows an
is
Intent:
,'
[Absolute Colorlmetric~i
RGB output profile

but the procedure
identical for
Q Use Dither
[J,
flatten
image
CMYK.)
Chapter
9: Evaluating
and Editing
Profiles
259
Rgure 9-20
Output
profile
Step 2: Obtain roundtrip
LAB values.
Ktmimntttm
objective testing,
continued
Make a duplicate of
the "predicted LAB" file, convert it back to the
profile using Absolute
fnm 'tpMOMtn.
colorimetric rendering,
print it, then measure the print to obtain the
U UM liMh Pwrn Compnt<ien BUNOMMt

("^
FUnMI HMOt
roundtrip
LAB iKilues.
Step 3: Set
up the comparison.
E#MN 2100 n. HMMurtd Ubs
ie
i^H
open the measurements original prom which the profile was built, the roundtrip
In ColorLab,
measu remen ts you just made, and the TIFF

image containing the
predicted LAB values.
260
Figure 9-20
Step
4:
Make the comparisons.

measurement
Output profile
objective testing,
Select the original

file,
continued
choose Compare with from ColorLab's Tools menu, then select

the predicted Labs file from the
Select Document dialog box.
,0
f
Uvt
Htpon...
Overall
Mcuurtd Ubs-2200I>1.
^ fbelnE i^ Avfjg
0.17
0.13
Prtdicted Ubs.l
Sigma
0.14
Maximum
1,21
Bst90X
Worst lOK
009
014
0.36
1.21
0.49
2C27
Ref
ColorLab generates a
comparison of the measured LAB values

with the ones predicted
by the target. This provides a gauge of the

accuracy of the AtoB
(device-to-PCS) side of the profile.
e
j
Sav Htpoft.
Repeat the process
to
compare the predicted
LAB
values with
the roundtrip
LAB
measurements. This
gives you
an idea of the
accuracy of the BtoA

(PCS-to-device) side of
the profile. You'll almost
always get higher errors
on
this side
of the %Q
C
Measured Ubs-2200n.
profile.
Close the loop by
comparing the original
and roundtrip LAB measurements. This

gives you
an idea of the
The errors are
overall accuracy of the

profile.
usually lower than those in the previous
comparison.
Chapter
9: Evaluating
and Editing
Profiies
261
Tip:
N ColerLab Dotsn^ Work... ColorLab is unsupported software, and as such, usually has some bugs. In the current Mac OS X version as of this
it
writing,
ColorLab
idea
2.8,
the
if
Compare with
feature
seems
to
be broken.
We
is
have no
when
or
this will get fixed, so
we offer an
alternative.
4.1.5,
The
MeasureTool component of GretagMabeth's ProfileMaker

still
which
available for download, can

5.0,
unlike MeasureTool
Alternatively,
do the same comparisons in demo mode, which requires a dongle to do so.
you can make the comparison a good deal more easily using ColorThink Pro. You'll need to open the profiling target in Photoshop and assign the printer profile, then convert it to Lab, to obtain a printable
target containing the predicted
Lab values and to print that target through
the printer profile. But ColorThink Pro can

values, so
show you
the predicted Lab
you don't need
to wrestle with extracting the
Lab data from
Photoshop.
If you're
already a ColorThink user, you'll find that ColorThink Pro
is
very worthwhile upgrade with a wealth of options that simplify both nu-
meric and visual color comparisons. Figure 9-21 shows the comparison
between the three

Figure 9-21
sets of
measurements.
Imigt
Utumttikl.Ur.MlUX
Wt M>
jytum
froWt
Coloc
Cf^p^
Wrt>
VWiwIow
Mon
3:29
PM up<on2
ColorThink Pro
profile evaluation
262
ColorThink Pro
We've long relied on Chromix ColorThink as an indispensable
tool for visualizing color
ly useful
new capabilities, of which
from the simple
we can show only two here.

Figure 9-22 shows Colorthink
Pro's metamerism test, which shows
to the very com9-23 shows a Color plex. Figure
all
the
Worksheet that tracks the conversions from an
3D gamut
plots in this
book were
produced using ColorThink, for example. While it's no slouch at

providing numerical feedback, what sets ColorThink apart is the
you how spectrally measured colors will appear under different lighting.
can help you decide whether or not your printer needs illuminantIt
destination to an
lets
RGB to a CMYK RGB proof, and

what hapeach stage of
to
you track
exactly
pens
If
to the color at
the process.
way it lets you model and analyze

color issues visually.
specific profiles.
you often have the need

you
like to
Another new feature in ColorThink Pro

is
analyze color problems, and especially if
The new ColorThink Pro builds

on the
solid foundation provided
the Color Worksheet,
think visually,
which allows you to simulate and

analyze
all
we
can't
recommend ColorThink
by the original, and adds extreme-
sorts of workflows
Pro too strongly.
Figure 9-22
ColorThink 2.1.2P.UI X
Fit*
Edit
Systtm
Imaflt
Proftt
Color
Graph
Web
Wndow
4b
(if}
<
TTMi 10-.4<
ColorThink Pro
metamerism test
Figure 9-23
ColofThlnk2.1.2P.alllX
File
Edit
System
Imagt
Proflit
Colof
Graph
Wtb
Window
*)
:>
Thu 11:43
ColorThink Pro
Color Worksheet
'^j Is
^ ^
Color Worksheet
Chapter
9: Evaluating
and
Editing Profiles
263
If
one profile or CMM seems to produce more accurate results than anGranger Rainbow
other, double-check by looking at the
accuracy often
comes at the expense of smoothness. Don't make any hard-and-fast decisions yet
to
fully
evaluate the profile, you
still
have some work to do.
Subjective Tests for Output Profiles

much
slop there
is
Objective tests give you a good idea of a profile's overall accuracy

in the
how
it
system
and the specific color areas where
has trouble. They're useful in determining the
profile's ability to repro-
duce spot colors accurately, and

a proofer. But they
tell
to simulate other devices' behavior as

little
images. To do that,
about the profile's ability you very you need you guessed it to print images!
to print
When you evaluate a profile's image-handling capabilities, you need to

use a variety of image types with shadow and highlight detail, saturated colors, neutrals, skin tones,
and pastels. The images must be in either LAB or a
well-defined device-independent
ColorMatch RGB
shortcomings
RGB space
such as Adobe RGB (1998) or
to
make sure that your evaluation isn't compromised by

(You can't use an original print or trans-
in the input profile.
parency to make the comparison, because the profiled print would then be
the result of the input profile plus the printer profile.) Print your test images
using both relative colorimetric and perceptual renderings.
You need to carry out two comparisons for each rendering intent. Compare the printed image, under suitable lighting, with the original image
you were trying to reproduce

look at the original
(if you're
evaluating a
CMYK output profile,
image) on your calibrated and profiled monitor. This comparison looks at the colorimetric and perceptual BtoA (PCS-todevice) tables, which control the way the output device renders color.
RGB
Then convert the images to the profile you're evaluating, and compare its appearance on your calibrated and profiled monitor this looks at the
colorimetric AtoB (device-to-PCS tables), which control the soft proof of
the printed image on your monitor.

If
this
happy with both, you're done, and you can skip the rest of chapter. It's more likely, though, that you'll find flaws v^th one or the
you're
to ask are, in this order: to the profile
other.
The two key questions you need
Does the screen display of the image converted

the print?
match
264
Real World Color
If the
answer is yes, we recommend that you don't try to edit the profile,
but instead soft-proof images and make any necessary optimizations

as edits to individual images (see "Soft-Proofing Basics" in Chapter 10,
Color
Management Workflow).
It's
a great deal easier to achieve preit is
dictable results editing images than

If the
editing profiles.
answer is no, we suggest that you edit the AtoB tables to improve the soft-proof before you even think about editing the BtoA tables.
Most
profile editors
work by displaying your edits on an image
that's
is
displayed through the profile, so fixing the display side of the profile
pretty much essential before you can turn your attention to the output
side.
Does the
If
print provide a reasonable rendition of the original image?

is
the answer
is.
yes, fix the
AtoB tables
if
necessary or just use the
profile as
If it's
no,
If
do you see problems with both rendering intents,
or just with one?

ing,
you only see problems with perceptual render-
and your profiling package allows you to change the trade-offs between hue, saturation, and lightness in the perceptual intent, you
may want to
generate a
new profile with different perceptual renderIf you

it's
ing parameters rather than editing.

relative colorimetric rendering too,
see real problems vdth the
a candidate for editing.
Editing
Output
deep
Output
Profiles
profile editing isn't for the faint of heart. You're standing ankle-
in a bog, you've decided that the

is
to fix it with
skill, it's
map needs fixing, and all you have and a your eyeballs laundry marker. With care, practice, and
make
profiles
possible to
more
useful by editing them, but

recognition.
it's
great deal easier to screw
them up beyond
in
With that cautionary note

think are rational to attempt:
Globally editing
cally make
all
mind, here are the types of edits that
we
the AtoB tables to improve soft- proofing.
We typi-
5ma// changes to white point, overall contrast, and saturation
(see Figure 9-24).
Making small changes

improve soft-proofing
to selective colors in all the
AtoB tables
to
(see Figure 9-25).
Chapter
9: Evaluating
and Editing
Proffiies
265
Figure
9-U
Editing the AtoB
white point
The paper-white simulation of images

rendered to
tlie screen
unth
absolute cobrimetric
rendering
is
often too
drastic to be visually
useful.
We address this
by slightly reducing
the color cast and
increasing the lightness.
Note that this adjustment

also affects absolute
colorimetric rendering
to
hard-copy proofers.
Test both.
Figure 9-25
Selective color in
m
~^îi
the AtoB tables
Here,
we made small
to the soft-
changes
proofing of a small
range ofyellow- greens

to
make the soft proof
match the printed piece more closely.
266
Making small changes to the BtoAO

editing the AtoB tables: unlike the
(perceptual) table only, to improve
the printed output of out-of-gamut colors, but only after you've finished
first
three types of edit, this one actu-
profile with different perceptual mapping

offers these controls,
ally changes the printed output. You may be better off generating a
if
new
your profiling package
make a new profile rather than editing this one.

BtoA table to
try to
You can also
edit the colorimetric
reduce the maxi-
mum errors,
warned
or to improve the reproduction of specific colors, but be

like trying to adjust a cat's cradle. You pull
It's
it's
on one part of the
color range,
and another part moves.
possible to reduce the
maximum
limits, this
error, or improve the reproduction of specific colors that concern you, but
only at the cost of increasing the overall average error. Within
may be a perfectly sensible thing to do. If your goal is to reduce maximum error, consider where in the color range it's happening. A LAB delta-e of 10 is a great deal more obvious in
a light blue than
errors are
to justify
it is
in a light yellow, for example. So look at
where the
showing up,
and decide if they're visually objectionable enough

(see Figure 9-26).
compromising the color in other areas
Edit, Reprofile, or
When you're new to
to fix
profile editing, you'll
be tempted to edit the
profile
problems that are
really better
addressed by either adjusting the
device's behavior (perhaps
by
linearizing)
and
reprofiling, or reprofiling
with different profile parameters. Going all the way back to the beginning
and
starting over
may seem like a lot more work than editing the profile,
it's
but in the long run
usually the easiest course.
to
all
Remember that a profile is the result of a lengthy process that's subject the variables we discussed in Chapter 5, Measurement, Calibration,
Control. Small changes in the variables early in the process
and Process
tend to get amplified in the profile creation process.

If your profile
has problems that are big enough to make you contem-
plate editing them, take a

fore.
let
moment to reflect on all the steps that went be-
Are both the device and the instrument correctly calibrated? Did you
the printer target stabilize? Are all your measurements correct? Did you
set the separation
factors
parameters for your CMYK profile optimally? All these can have a surprisingly large impact on the resulting profile.
Chapter
9: Evaluating
and Editing
Profiles
267
Flsurc 9-26
IB
I
1^
4<v tp^rtI
mill 11
*
I
III
OclUC
(Vrrall
Average
Mgma
Reducing
maximum
aw
2J3
delta-e errors
Wortt
-21.4 -M.I
icr.
an
aOI IMi
41.7 -21.4 -M.I
Samples n.3-lkO-V' Delta 6JI9 Sample! l.3-l6.0-6b.4 Delia* 6 09
i
77ii5
roundtrip
to
comparison led us
edit the cyans to try to
improi>e the visually obvious delta-e on
the cyan patches.
After editing,
we
compared the new

roundtrip values. We did indeed improve the
cyans, but only at the
expense of slightly
higher average and
maximum delta-e
values. Nevertheless,
we consider the effort

successful because the
increase in errors
small,
is
very
and the worst

it's
delta-e has shifted to a
color region where

visually
much
less
noticeable.
268
profile updating.
The way to find out is to give it a try
updating a profile
new one.
is
quicker and easier than either editing the profile or making a
Profiling
Is
Iterative
and a reasonably good takes a good deal more work. We
going back and adjusting
Getting good profiles requires rigorous attention to detail, a reasonably

stable device, a reasonably accurate instrument,
profiling package. Getting greflf profiles
often go through multiple iterations of calibrating the device, measuring,

profiling, evaluating, editing, evaluating again,
the device, and then repeating the whole process. Eventually, you'll reach
the point of diminishing returns no matter
are,
how picky and obsessive you
but just where that point occurs
is
a subjective call that only you can
make.
Where Do We Go from
We've just about run the analogy of profile as
it.
map into the ground, but it In this chapter, we've shown you how to deterstill has a little life left in mine the accuracy of the map, and how to improve at least some aspects of its accuracy. In the next part, we'll talk about how to use the maps to
get to
where you need to
go.
PART
Applications nd Worlcflow
Color
Manasement
Workflow
Where the Rubber Meets the Road
We've been straining the analogy of profile as
so let's give
it
map throughout this book,
one more good hefty yank. A few of us appreciate profiles, or

in their
maps, as works
own
right,
if
but for most of us, they're simply tools,
and maps
we never go anywhere. At this point, you probably know slightly more than normal people need to know about profiles. In this chapter, we look at where the rubber meets the road how you use profiles with your various devices and aparen't all that useful
plications to drive your color
where you want
it
to go.
We give you the holistic overview of how your color management components
interact,
and describe the major principles that govern how you

let
configure your applications to
color
flow smoothly and predictably
from capture, through editing, to docuto final
management make your
color
ment assembly,
to proofing,
and
output (or outputs).
You may be tempted to just skip ahead and delve into the chapters that
describe your applications. Instead,
gest the material
we beg you
to take the time to di-
we present here, because while the application-specific

you which buttons
to push,
material will
tell
vendors have a tendency to
move and rename those buttons each time they revise the applications. If
you understand the bigger picture we paint here, you'll know what kinds of buttons to look for, and you'll understand how, why, and when to press
them to make your applications handle color the way you want them
to.
271
272
What
Is
Color
one of those slippery modernism," where every expert claims

"Workflow"
is
Management Workflow? words

to
its
like "quality," "art," or "post-
know what he's talking about,

tell
but no two can agree on
definition.
We won't try to provide a compreyou what we mean
hensive definition of workflow. Instead, we'll just
when we talk about color management workflow.

In a nutshell, color
defining what colors
management workflow is the art and science of the numbers in your documents represent, then
preserving or controlling those colors as the work flows from capture,
through editing, to output. In this chapter we'll look at how color manage-
ment workflow applies to
three different areas:
The flow of documents or objects within a program. For each application, how do we configure it for color management, and what procedures should
we
use to open and save documents, import objects

in the
into the program,
and copy and paste colors between windows
program?
The flow of documents between programs. As we move color documents from program to program, or even from person to person, how
do we keep colors looking right, and when and how do we convert to
different
forms for output?

into or out of a color-managed environment.
The flow of materials
How do we bring in documents and objects from non-color-managed

devices or applications, and integrate
them with our
color
manage-
ment documents? How can we
get maximum benefit out of our color
management
efforts before
sending our jobs off to environments
where other non-color-managed steps may happen?
We color-manage two types of things: documents, and objectsin documents.

a
One
program's document
may be
another's object. For example,
document in Photoshop
consists of a raster image, but in Illustrator,
QuarkXPress, or InDesign, this very same raster image

object
may be just one
among many in an assembled document. And each one of these objects may have a different profile assigned to it (see Figure 10-1).
Chapter
10:
Color
Management Workflow
273
Flsurc 10-1
Documents and objects
|Hxel Genius. Llc.
PhotoKit"
oriRiiul inuitc before sharpeninR while the imaite on the ri)iht shows the I eflecu. Both images are at lOOS ortheir original size.
assumed
profile used in
Illustrator
The
imaiie
on the
left
showi the
image
after
running a Luminance Shaipen
digital
camera profile
One of PhotoKJt's
coovcri iom. In
useful capabilities
this figure,
we
is to provide a more controlled method of color to grayscale included a color swatch lo help viaualize the effects of various Color to
BAWefTiects
profilefirom
designer's
monitor
rar4
Ultimately,
all
these elements will wind up being converted to the
same
output space. There are really only two variables that differentiate the very
large
number of possible
color
management workflows:
When the conversions occur
How the color meaning is conveyed
274
As we told you way back in Chapter 3, these are the only two things that
management up in fancier clothing, but all color management features ultimately

break down into some combination of these two basics.
color
management systems
do. Applications
may
dress color
But timing conversions and conveying color meaning

types of issues. When to convert
is
raise different
is
a 5frafeg/c decision that
in consider-
able part dictated by the type of work you do, while the way color meaning
is
conveyed
is
largely a tactical decision that's dictated
by the capabilities
first.
of your applications. So we'll look at the bigger, strategic question
But before doing
so,
we need to
address one other issue.
Display Conversions It may not be immediately obvious, but almost every time you display an
image in a color-managed application, there's a conversion going on from
the document's space to your monitor's space
the only exception
is if the
document is already in monitor RGB.
If this
conversion didn't happen,
all
your color would be displayed inaccurately. From a workflow standpoint, however, the display conversion
is
out of
the loop. Color-managed applications apply the display conversion on

the
fly to
the data that gets sent to the video card
it
never touches the
documents themselves.
The beauty of this approach
is
that
it
allows color
display,
management to
ac-
count for the quirks of each individual's
transparently and auto-
matically, without affecting any of the actual data being pushed through
the workflow (see Figure 10-2).
Hgure 10-2
display conversion
Monitor compensation
source profile
display profile
Color-managed applications perform a conversion on the data sent to the monitor, fi-om the document's source profile (or profiles) to the display profile.
touches the document data
correctly on
This conversion happens outside the main color reproduction loop and never itself, so the same document can be displayed
many different monitors without converting the source data.
Chapter
10:
Color
Management Workflow
275
When
to Convert
Back
in the 1990s,
workflow was a hot topic that allowed consultants to

telling their clients
earn large sums of money, mostly by
what they already
knew and wanted

halcyon days
workflow:
is
to hear. But
one useful
distinction that dates from those
the distinction between a late-bindingand an early-binding
as soon as possible traditional prepress workflows that took output
Early-binding workflow converts
all
the color into final output space
CMYK right from the scanner are a classic example.

Late-binding workflow delays the conversion to
final
output as long
as possible. In-RIP separations in the platesetter's or imagesetter's RIP
represent an extreme late-binding workflow.
However,
late
binding versus early binding
isn't
a binary, either/or
choice. Rather, late binding
and
early binding define

fall
two ends of a con-
tinuum. Most color management workflows
somewhere between the
two extreme examples
cited above.
Early Binding Advantages

The
biggest advantage of early-binding workflows
is
simplicity. Early in
the workflow, everything gets converted to a single output space. As long

as they stay in this closed-loop environment, there's
the color meaning of the device values in
no ambiguity about each document and object.
A second
es that color
advantage
is
that
it's
easy to introduce color
management
gradually into existing early-binding prepress workflows. The only chang-
management brings are that operators see accurate color on their monitors instead of being forced to rely strictly on the numbers,
and
it
becomes possible to
pull intermediate
comps and preproofs from

all.
inexpensive Inkjet printers. The basic workflow doesn't change at
A third early-binding advantage is that it prevents designers from using

non-reproducible colors in their designs.
space,
it's
If everyone
works in final output
impossible by
definition to create out-of-gamut colors.
276
Early Binding Disadvantages

The huge disadvantage of early-binding workflows
Everything in the workflow
color
is
is is
their inflexibility.
targeted to a single output process
all
the
gamut and optimized for the output's tonal response. So early binding is practical in situations where the output
squeezed into the output
always the same
process
is
example but it's pretty useless for a freelance designer who may have to work on jobs where the output process isn't even known yet.
a daily newspaper or monthly magazine, for
ative effects,
second disadvantage when the output is CMYK is that many cresuch as a large number of Adobe Photoshop filters, are only
RGB. And even those available
in CMYK often make terrible CMYK behavior, resulting in poorer quality effects.
available in
assumptions about
A third disadvantage is that output files are usually CMYK, while most capture devices produce smaller RGB files (they only have three channels,
opposed to four-channel CMYK), so early binding means larger files, and slower performance in opening, saving, or copying files across a netas
work. While workstation storage
is
reasonably cheap, an extra 33 percent

is
on a network, on the
Internet, or in asset storage,
not insignificant.
Late Binding Advantages

The
great advantage of late-binding workflows
is flexibility.
Maintaining
the color
gamut of the
originals
means that the work is easily repurposed

work before
for conditions as different as sheetfed printing, newsprint, or the Web.
Late binding also allows you to do a great deal of useful
the final output conditions have been determined, and

situations
it's
well suited to
where the color is assembled from many different sources.
Late Binding Disadvantages

The major disadvantage of late binding
in the sense that
it's
is its
inherent complexity, not
difficult,
but in the sense that there are
many more
places for things to
go
wrong. A single
incorrect application setting can
wreck one or more elements in the job.
A second disadvantage with extremely late-binding workflows such as

in-RIP separations
is
that
you don't have a chance
to evaluate the final
output data until very late in the game. In early-binding workflows, particularly those
based on an established traditional prepress workflow, color

a luxury, albeit a very useful one.
management can be reasonably called

But in a late-binding workflow,
it's
a mission-critical necessity.
Chapter
10:
Color
Manasement Workflow
277
Avoiding Extremes
The late binding/early binding distinction is a useful one to keep in mind,
but
it's
important to remember that the terms represent two extremes.

in the
color-managed workflows fall somewhere that stretches between the two extremes.
Most
real
continuum
It's
also tempting to think of early binding as an
all-CMYK workflow
cases, you'd
and
late
binding as an all-RGB one,
and
in a great
many
be
right.
But bear in mind that while
all
capture devices capture
RGB
(even
the big prepress
drum scanners that produce CMYK output scan in RGB,

all
then convert the data), not
outputs are CMYK, so the distinction really
does revolve around when you commit all your color to output space, which may or may not be CMYK. There's one more important issue to factor into this equation. Most
capture spaces and most output spaces aren't that well suited to editing
color, so
many color management workflows use an
intermediate space
between capture and output spaces to avoid the worst extremes of early or late binding, and to simplify the workflow.
intermediate Spaces
If
color reproduction were simply about reproducing original imagery or
artwork as exactly as possible,
imagery
in the
RGB
space in
might make sense to keep all our color which it was captured until it was time to
it
convert to final
Flsurc 10-3
output space, as shown in Figure 10-3.
Scan to print
The
CMS converts the
source color to monitor

color for display only.
^HU^Q
The CMS uses the scanner
profile to define the source
colors.
The
CMS converts the
color fi-om the scanner

profile to the print profile.
278
Real World Color
But, in the real world, things are rarely that simple.
Our originals almost
always have a wider gamut than our output, and even the best profile with the best perceptual rendering is unlikely to do equal justice to all
images
we typically need to make different compromises to a picture

they were captured perfectly.
and one of a polar bear in the snow, to cite a couple of extreme examples. So we almost always need to edit our images,
of a black cat in a coal cellar
even
if
Input device spaces describe the behavior of capture devices, and as a

result they usually
have two properties that make them less than ideal as
image-editing spaces:
Input spaces are rarely gray-balanced. Input spaces are hardly ever perceptually uniform.
In a gray-balanced space, equal values of R, G,
a neutral gray,
which
correcting color: pull
and B always produce one of the most simplifies powerful techniques for the neutrals into place and the rest of the color folis
lows. In a non-gray-balanced capture space, this
a lot
more
difficult to
accomplish.
In a perceptually
uniform space, the same incremental change
in the
numbers produces the same degree of change in the appearance, no matter where in the color
generally lack this
gamut and tonal range it takes place. Capture spaces property, which again makes them more difficult to
use for editing.
Device-independent RGB. One solution, embodied

applications but usable by others,
is
in
Adobe Systems'
(1998) for edit-
to use a device-independent, gray-
balanced, perceptually uniform space such as Adobe

ing. This
RGB
approach has proven
editing spaces
its
often named for their developers

necessarily better.
sufficiently popular to
spawn a plethora of and debating the meris its
of each is decidedly outside the scope of this book. Instead, we'll simply
say that the main criterion in choosing an editing space

Bigger
isn't
gamut.
The trade-off is between finding an editand
ing space that won't clip colors in either your capture or your output,
finding an editing space that doesn't waste huge numbers of bits describing colors that you can't capture, display, print, or in some cases, even
see. In practice,
it's
pretty
much impossible to find a space that contains
Chapter
10:
Color
Management Workflow
279
all
your colors yet doesn't waste
bits,
so you simply have to pick the best
trade-off for your particular purposes.
CIELAB.
all,
Why
not simply use
LAB
as the intermediate space?
It is,
after
gray-balanced and reasonably perceptually uniform. LAB-based

in Europe, but less so in the
workflows are quite popular
United
States.
caveats. First,
LAB-based workflows can be very predictable and productive, with two LAB is not a particularly intuitive space in which to edit:
most LAB-based workflows use editing applications, such as Heidelberg's NewColor, that put an LCh interface between the user and LAB. Second,
LAB is a very large space indeed, since by definition it contains every color
we can see. As a result,

colors, so
bit
all
it
wastes an awful
lot
of bits on non-reproducible
data
an 8-bit-per-channel LAB
in
major editing should be done

file is
at the
capture stage on high-
a fairly fragile thing that doesn't
respond well to big moves
tone or color.
So a more typical color management workflow might look like that shown in Figure 10-4, where captures from multiple sources are converted
early
on
into
an intermediate editing space.
Figure 10-4
camera profile
Capture to edit to print
intermediate
space profile
press profile
GF Q^g
conversion
scanner profile
Scanner RGB and camera RGB both get converted
to
intermediate space RGB
when the application opens them. Editing is done in intermediate space RGB, and the color is converted to press CMYK at print time.
280
The Intermediate Space Advantage

Intermediate-space workflows combine most of the simplicity of early-
binding workflows with

Early in the process, all
all
of the flexibility of late-binding workflows.
imported color gets converted to the intermediate
space,
little
and all new colors get defined in the intermediate space, so there's
for ambiguity.
room
And
as long as the intermediate space
encom-
passes the gamuts of all likely output processes, or at least the colors likely
to
be output,
it's
easy to repurpose the work for different outputs, or to
do most of the work before the output process has been decided. Adobe's
applications use the term "Working Space" to define
space see Chapter
an intermediate editing
12,
The Adobe
Common Color Architecture.
Conveying Color
Even though we're discussing
ally
it
second, conveying color meaning
is re-
the
first
part of the color

can't
management puzzle. You

the
to
match a color if you

profile.
tell
can't ask the CMS CMS what that color is by supplying a
source
And there are only two ways to supply the source profile:
We can tell the CMS explicitly by embedding a profile in the document

or object (or assigning a profile
ging, Assigning,
see the sidebar "Terminology: Taglater in this chapter).
Embedding, and Assuming,"
We can tell the CMS implicitly by configuring applications to assume

that,
absent any indication to the contrary (such as an embedded
profile), all
RGB
content
is
in ProfileX space,
and
all
CMYK content is
in ProfileY space.
The two options
aren't
mutually exclusive
many color management
workflows, including the one
we used to produce this book, make use of

profiles.
both embedded and assumed
Embedded
Profiles
The least ambiguous and most robust way to tell the CMS what colors the
numbers in the document represent is to embed the profile that describes

them. In an embedded-profile workflow, the profile always travels with the object to which it applies, and is always available to serve as the source
profile for
any conversion
(see Figure 10-5).
Chapter
10:
Color
Manasement Workflow
281
Figure
10-
Embedded-pro fil
workflow
scanner
profile
1)
The scanner embeds the scanner profile in the image.

The receiving application
coni>erts firom
2)
scanner RGB
to intermediate- space editing
RGB.
3)
The application embeds the intermediate-space editing RGB profile. The next application converts
is
4)
to press
CMYK, and embeds the press CMYK profile.
5) Final editing
done in
press
CMYK
The edited image is saved with the press
CMYK profile embedded.
Premature Binding
We think it should be self-evident
that
it's
technically impossible,
and
practically less
than rational,
anyway and convert their color to some "middle-of-the-road" CMYK long before they need to, and hope
for the best.
road"
CMYK. But even
then,
if
to convert
your color to output
Bruce v^ryly terms
your job look like roadkill, you should try to find out as much as you can
about the
At
likely
you want
to avoid having
space before the output process is known, but every day we see people proving us wrong. People
"premature-binding workflow," and points out that the middle of the road is generally
where you find
roadkill.
this
the
output process.
limits
minimum, you should have

and dot
an idea of the ink
work on jobs with no idea whether they're going to
gain, for example. See 'Preparing to
be printed on
Sometimes
convert to
you'll
be forced
Materials for a Non-Color-Managed
a direct-to-plate sheetfed press or on newsprint with plates im-
CMYK for an unknown
Print Environment," later in this
aged from film, but they go ahead
output process, and thus you'll be forced to use "middle-of-the-
chapter.
282
Tagging, Assigning,
ding a profile
profile at
Embedding, and Assuming

One
of the less-delightful aspects
you can assign a
source
profile,
sometimes called
of color
management
is
the great
any time, but you can
a default profile, for RGB,
and
variety of terminology that dif-
only embed a profile as part of the
another for CMYK. (Some applications let
ferent vendors use to describe
Save process.
you
set different
the
is
same
all
thing.
A good example
default profiles for pixel-based
the set of terms mentioned

relate to associating a
Embedding
ument with
Here's an
source profile
data and vector-based data.)
above:
describes the act of saving a doc-
When
ters
the application encoun-
source profile with a document

or object,
the source profile

file
an untagged document
it
and often
their
mean-
included as part of the
data.
or object,
uses the assumed
ings overlap.
example that makes the distinction between assigning and
profile as the source for
any
Tagging
is
simply a generic term
for the act of associating a source
mere
hair-splitting. If
profile with
ment.
an object or docutagged document is one
a profile
embedding more than you assign to a document, and your

save,
requested conversions, including the one that converts the color to
monitor RGB
for display.
Assuming a
ing a profile
profile results in a
machine crashes before you
different behavior
permanently associated with it, as an embedded profile or an assigned
that has a source profile
when you reopen

ed vdth
it.
the
file, it
won't
from assign-
if
you change the
have the assigned profile associata profile,
default profile,
An untagged document is one that lacks a source profile.

profile.
you embed and the machine crashes,

However,
if still
all open untagged images change appearance, since
they're
the profile will
be associated
with the
now being interpreted new default profile as

if
with the document
when you
the source. But

profile, the
Assigning a source profile is a term that Adobe applications use

to describe the act of tagging a
reopen
it.
image
you assign a is no longer
document.
Hair-splitters should
is
Assuming a source profile is a way to configure applications'
untagged as far as the application is concerned, and keeps its assigned profile no matter
note that assigning a profile

a distinct process from
embed-
behavior toward untagged objects. Typically, you set a
what you do
settings.
to the default profile
When you embed a profile, you literally write a copy of the profile into
the document. All color- managed applications know how to interpret em-
bedded profiles in TIFF, JPEG, and, on the Macintosh platform, PICT documents.
Some
in
it
applications also offer
some degree
of support for profile
embedding
EPS and PDF documents, but it's
sufficiently variable that
we'll discuss
fully in the individual application-specific
chapters that
follow this one.
Embedded-profile workflows are by
far the safest
choice
when your
production chain takes inputs from multiple sources and converts them
to outputs for multiple destinations,
such as a service bureau operation.
Chapter
10:
Color
Management Workflow
283
When you
color
always
embed
profiles, there's
meaning
will
of the
numbers
people
argue the safest
never any ambiguity as to the documents. Many production your choice is one without any profiles that deals
in
with color problems through an iterative proof-then-color-correct process.

It's
only safe because
it's
familiar,
and
it's
extremely inefficient to
use
human skill to solve the problem of various devices having their own
and
craft is often
peculiar behavior. Such use of skill

color- managed workflow, but to
traditional one.
necessary even in a
in a
nowhere near the same degree as
One major disadvantage

increase
file size,
of embedded-profile workflows
little,
is
that they
RGB editing space profiles are relatively tiny less than a kilobyte but
if
sometimes by a
sometimes by a
lot.
Matrix-based
you're uploading 30 images to a
profile
CMYK
this
and embedding the same in each one, you're uploading 30 kilobytes of redundant data. output profiles can be quite large the ones we used to make
page,
in at
Web
book weigh
2.4 megabytes apiece and
if
we chose to embed
profile in every single graphic in the book, we'd
be shoving an extra one
or two gigabytes through the production chain.
AssumecJ Profiles
The key feature of the assumed-profile workflow is that, instead of relying on embedding profiles in all our documents, we agree on a single
untagged documents that we push through the production chain, and we configure all our applications to assume that untagged
profile to use for
documents have
Figure 10-6
this profile as their
source (see Figure 10-6).
Assumed-profile
workflow
assumed RGB
In
assumed CMYK
an assumed-profile workflow, RGB and CMYK values are always interpreted as assumed RGB and assumed CMYK, respectively. Profiles aren't embedded, and conversions are always between the assumed
profiles' spaces.
284
to disprove the old
Of course, an assumed-profile workflow puts all the onus on the user saw that "when you assume, you make an ass out of u
and me"
you don't have the safety net offered by embedded
profiles, so
you have to make sure that the untagged objects were brought correctly into the assumed profile space to start with, and you also have to make
sure that the
if
assumed profiles are set correctly in each application so that,

assumed-profile workflows require a great deal more co-
conversions do occur, they're the right conversions.
As a
result,
ordination between programs and people than do embedded-profile

workflows, so they're best suited either to situations where a single individual is in control of all the work, or where a group with good communications
is
working towards a single output, such as a book or a periodical. In
situations such as these,
many people find an assumed-profile workflow

same assumed RGB
profile. All
makes
it
simpler to keep things straight. All programs that deal with any
RGB
color values use the
programs that
CMYK color values use the same assumed CMYK profile, and all conversions from RGB to CMYK use the same source and destinadeal with any
tion profiles.
Hybrid Workflows
In practice,
most
real color
management workflows
are hybrids, using
embedded
profiles
and assumed
profiles either for convenience, or be-
cause applications or devices force one or the other.

For example, Adobe Illustrator can assign profiles to EPS
can't
files,
but
it
embed them. So when you
transfer Illustrator
EPS
files to
another
application,
you have three options: use an assumed profile in the receiv-
ing application, manually assign a profile in the receiving application, or
consider the EPS "print-ready." The last case
means that all color manage-
ment must occur prior to saving the EPS file, and the values in the file will
be sent to the output device.
It's
also important to note that embedded-profile workflows, while ro-
bust, aren't bulletproof.

will get very rich,
(The
first
person to make a bulletproof workflow

person opens an image in a non-col-
very quickly!)
If one
or-managed apphcation (such as Adobe Photoshop 4), does some minor editing, and resaves the file, the embedded profile is gone. In this scenario,
if
you spot what happened
quickly,
you can save the
situation
by simply
re-embedding the profile with a suitable application.
Chapter
10:
Color
Management Workflow
285
But here's a worse scenario.

5,
If
someone opens the image in Photoshop
and the application is configured to convert images to her working space and to save without embedding profiles, not only will the embedded
profile get stripped out, but the
drastically
and no
profile will
image will have changed be embedded upon resaving the image. So

in the
numbers
simply re-embedding the profile won't work
you'd have to find out what

embed
that profile to rein the image,
working space Photoshop 5 was

trieve the correct color
set to use,
then
meaning for the new set of numbers

those of you
which may be
difficult for
is
who aren't
is
mind-readers.
The lesson here
that profile
it
embedding
a useful tool for
commu-
nicating color meaning, but
isn't
a substitute for clear
communication
between the people
in the
production chain.
Workflow Within a Program

Workflow within a single program can be broken down into two aspects:
How the program handles untagged documents

How the program handles tagged documents
Remember, color management only does two things convey color meaning and convert numbers to preserve that color meaning. So there
are really only three possible things the application can
do
in either case,
though the implications are
slightly different in each.
Opening UntaggecJ Documents

Any color-managed
that
it
application has to
make some assumption about

It
the source profile for untagged documents.
needs a source
profile so
it
can display the document on your monitor and convert
to other
profiles'
spaces on request. So when the program encounters an untagged
document, whether by the Open command or by commands like Import, Place, or Get Picture, it can only do one of three things:
Assume a profile
Assign a profile Assign a
profile,
and do a conversion to some other profile
286
Real World Color
Some applications allow you to do only one of these things, while others
may allow you to choose between two or three alternatives,

and Assuming,"
that
but these
are the only three possibilities
see the sidebar, "Terminology: Tagging,

earlier in this chapter, for the subprofile.
is
Assigning, Embedding,
tle
distinction
between assuming and assigning a source
The other
factor to consider
some
applications only allow you
to set a default behavior that applies to all

matically, whereas others
untagged documents autochoosing the behavior on a
offer the option of
case-by-case basis by presenting a warning dialog like the one

Figure 10-7.
shown
in
Note that in all cases, the question is fundamentally one of supplying a source profile for the untagged document. Once the application has done
so,
the only difference between tagged and untagged documents
is
that
if
you change the default profiles in the application, untagged documents

take the
new default
profile as their source,
keep
their source profile until you explicitly change
whereas tagged documents it by doing an assignthe only one which leaves
ment or conversion.
Note that the "assume
profile" possibility
is
the document/ object untagged. In all other cases the document effectively
becomes tagged
Macromedia FreeHand and CorelDRAW, for example,

it.
always assign the default profile rather than assuming
However, the
assumed-profile workflow, where documents/ objects remain untagged,

is
the
most
common workflow.
Opening Tagged Documents

As with untagged documents, applications can only do one of three things when they encounter a document whether by the Open command or by
commands
ded
Figure 10-7
The
like
Import, Place, or Get Picture
that contains an embed-
profile:
Missing Profile
CMYK document
"Fig
12-2 Missprof.tir does not have an embedded color
Photoshop's Missing
Profile
profile.
l-low
warning
do you want to proceed?

is
^^ Leave as
(don't color
manage)
Assign
worlcing
profile
CMYK: RWPs7 GCR1-25-8S-320LC

'
O Assign
RWf>s7
MaxK-0-85-280
and then convert document to working
CMYK
Cancel
Chapter
10:
Color
Management Workflow
287
Use the embedded

Use the embedded
profile as the source profile.

profile as the source profile,
profile.
then convert from that
source profile to another Ignore the

profile.
embedded
profile
and assume or assign
a different
Some
applications only offer one of these alternatives, while others
may
offer
two or
three, but these are the only three possibilities.
And
applications only let you choose a single behavior to apply to all documents automatically, while others may again let you choose on a case-by-case basis by presenting a warning dialog like the one shown in
Figure 10-8.
some
Color Manasement Between Documents When you move objects between documents in color-managed
objects,
page-
layout or illustration applications, where a document may comprise multiple
each with
its
own
source
profile,
you have exactly the same three
options you have when you open, import, or place tagged documents:
Use the embedded
profile as the source profile for the object.
Use the embedded
profile as the source profile for the object,
then
convert from that source profile to another profile.

Ignore the
embedded
profile
and assume or assign a
different profile
to the object.
Some applications, such as QuarkXPress 4 and 5, allow you to set these

options on a per-document basis as well as setting an application default,
which is potentially powerful, but also potentially confusing. So you need

Figure 10-8
Embedded
Profile
Mismatch
profile that
Photoshop's Profile
The document 'foo.tir has an embedded color not match the current CMYK working space.
does
Mismatch (Open) warning
Embedded: RWPs7 MaxK-0-85-280

Working: RWPs? CCR1-2S-8S-32(H.C
How do you want to proceed?

(instead of the working space) 6 Use the embedded O Convert document's colors to the working space (don't color manage) O Discard the embedded
profile profile
Cancel
fett-)
288
to
pay attention
to the color
management
settings for
each document,
(in
or decide to standardize your settings for
all
documents
which
case,
make
that
sure that you
was created
know what you're doing when you open a document by someone else, because she may have set the color
such as Adobe Photoshop,
all
management preferences differently).
different choice arises in applications
where each document has a
single profile governing
elements.
When
you move pixels (whether via copy and paste, or drag and drop) from one document to another in Photoshop, and the two documents have different source profiles, you have only two choices:
Move
the numerical values of the pixels (which

will
means
that their ap-
pearance
change because it will be governed by the source profile
of the receiving document).
Move
the color appearance of the pixels (which
means
that the nu-
merical values will change to re-create the original appearance in the

different profile space of the receiving
document).
convert, or don't convert (as
A less-wordy description of the choice is:

the dialog box
shown in Figure
10-9 indicates).
Some
applications will always do one or the other without giving you
a choice, in which case you need to figure out which one the application
in question
is
doing. But these are the only two possibilities.
Assigning, Converting,
So
far,
and Soft-Proofing
let
we've looked at what applications
you do when you open or
import a
document
or object, transfer an object between documents, or
combine different objects into a single document. But most color-managed

applications also let you do profile assignments, profile conversions,
Figure 10-9
Paste Profile Mismatch
and
Photoshop's Profile
The source data's color profile does not match the destination document's color profile.
Source:
Mismatch
(Paste)
warning
Adobe RGB (1998)
Destination: Working
RGB
ProPhoto RGB
How do you
want to
treat the data?
9 Convert (preserve color appearance) O Don't convert (preserve color numbers)

(
Cancel
Chapter
10:
Color
Management Workflow
289
soft-proofs,
ily to let
which are really sets of conversions that are applied temporarto simulate final
you use your monitor
output
see the sidebar,
"Soft-Proofing Basics," later in this chapter.

In the case of applications like
Photoshop, where a document can only
have one
profile, these options are relatively straightforward. You can as-
document, you can convert a document to another profile's space with a choice of rendering intents, and you can set the monitor to provide a live preview of how the document would appear
sign a source profile to a
after a conversion to
some other space
so you can, for example, work

edits
on an RGB document while previewing the effects your RGB have on the file if it were converted to output CMYK.
would
With applications whose documents may contain multiple objects in different color spaces, such as page-layout applications, profile assign-
ment becomes trickier. The main factor is that objects native to the layout
application are handled differently from linked objects such as imported
graphics. (By native objects,
we mean
text, lines,
shapes, backgrounds,
and so on,
that
were created inside the application.)
Native objects inherit the assumed or assigned profile that applies to the
document
in
which they are placed
the key point

If
assign profiles to native objects directly.
the
is that you don't document has ProfileX as-
signed to
it,
all
native objects
assume
that profile as their source.
If
you
change the
objects.
document profile, you change the source profile for all native
For linked objects, however, a newly assigned profile only applies to the
specific instance of the object in that page-layout
fect the original file
document.
It
doesn't af-
to do
so,
the page-layout application would need to

file,
be able
to
go out and rewrite the linked
which the major page-layout
applications can't do.

Essentially, the assigned profile acts like
an assumed profile inside that

to the specific instance of the
specific page-layout
object to
which
it's
applied
document, and only

if
you import the image

it'll
again,
and place
it
in a different part of the page-layout doc,

profile or the default profile.
use either the embedded
We think that
it
assigning profiles other than

is
the true source profile to linked objects in a page-layout application

a dangerous practice,
and avoid
in
all
but the direst emergency. We'd
rather go back to the application that originated the object
and assign a
new profile there, then update the link in the page-layout application.
290
Conversions in page-layout applications generally apply only to native

objects, not to linked or
imported ones. We almost always try to create ev-
erything in our layout applications in final

this is impossible (because, for
CMYK from scratch, but when
example, the final CMYK isn't known when
we
all
start creating the
document), we use the page-layout applications'

necessary, do any
conversion features to convert the native objects. Then we make sure that
the linked objects are in the correct space, and
if
conversions in the applications that originated them.

Simulations always apply to the entire document, whether
it's
a single
image in
Photoshop or a whole book in a page-layout application. In some
applications, such as QuarkXPress or
Adobe PageMaker, the simulation
controls are presented as part of the color
management preferences
(see
Figure 10-10).
Figure 10-10
Color Management Preference* i Color Monogement Active
Monitor simulation
Chapter
10:
Color
Management Workflow
291
Soft- Proofing Basics

The naive view of color management, as presented in all too many
vendors' marketing spiels,
will
is
der a simulated print back to the display, and each one has its
strengths
To make
view work, you must hide any white user inthis
that
it
and weaknesses.
terface elements,
otherwise
make your prints match your

If
your eye adapts to that white

Relative colorlmetric rendering.
monitor.
you know
you've read this far, that the laws of physics
instead of the simulated paper

white,
This
is
the
way most
applications
and the color seems

cast.
to
make it impossible to do so. What color management can do, however, is to show you on your monitor how your color will appear when it's reproduced in print. This technique is known as soft-proofing, and we think it's one
of the most valuable things color
render color, including simulations, to the display. White in the

simulation
have a color
paper
white
gets
You may be tempted to conclude

from the above that accurate
soft-proofing
is
translated to monitor white,

all
and
the other colors are shifted to

that white. This type of
impossible. In
match
the strictest sense, you'd be right,
show the effect of the paper white on the overall

soft -proof doesn't
but the truth
is
that we've never
seen any proof that matched

the final product exactly, except
management
brings to the table.
color, but since
our eyes adapt to

it's still
Soft -proofing first converts the
the monitor white,

useful view.
a very
perhaps for press proofs, which

are prohibitively expensive for
document's colors to the
final
most real-world
Absolute colorlmetric rendering.
In
ric
output, then renders those colors back to the display, on the
jobs.
We learn to interpret hard-copy

proofs,
digital,
without actually changing the values in the document. It's

fly,
theory,
absolute colorlmet-
whether film-based or
and we simply have
soft proofs.
rendering, which shows the
to
do
basically a preview of the final
actual color of the paper white,
the
same with
is
should offer a more accurate
soft
you've learned to
Once interpret what
output.
Soft-proofing has limitations.
proof than relative colormetric rendering, but in practice, you

diately encounter
your display
telling you,
we be-
imme-
Your display has a fixed color gamut, and it can't show you colors that
lie
lieve you'll find that a correctly
two problems:
outside
it,
so
some
To show the color of paper white,

the monitor has to display white
as
saturated cyans and orangeyellows that are readily achieved

in print can't
configured soft proof is every bit as reliable as any other proofing system short of an actual press
proof,
something less than RGB 255,
and
it's
not only a great

flexible.
be displayed, though
is
255, 255, so
lose
deal cheaper, but also a great deal

faster
you immediately
flat.
the clipping
very
slight.
But
some dynamic range, mak-
and more
there are different
ways
to ren-
ing the color appear
Some
from the
applications offer per-object control over the rendering intent

object's space to the simulated
output space, some apply per-
ceptual rendering to raster images and relative colorlmetric rendering

to vector graphics,
all
cases.
and some simply use the profile default rendering in Most applications do relative colorlmetric rendering from the
simulation space to monitor RGB, though a few offer control over the
rendering from simulation to monitor space. We'll look at these details in
the application-specific chapters that follow this one.
292
Figure 10-11
Custom...
Proof Colors
Applications such as Adobe PhotoGamut Warning

Pixel
Proof Setup
OXr
X+
X-
Working
CMYK
Plate Plate
shop,
whose display
change the
Aspect Ratio Correction
Working Cyan
simulation controls are shown

here, let you
Zoom In Zoom Out

Flt
Working Magenta Working Yellow Working
Plate
on Screen
XO
XS80
Working Black Plate
CMY
Plates
Actual Pixels
Print Size
Macintosh RGB Windows RGB
soft-proof settings without changing the color-
Screen
Mode
>
Extras
XH
*
management preferences.
Simulate Paper White
Siinuiaie Ink BLjck
Show
VSntf)
1270 HWM canned 2200 EM MK
Snap To
Lock Guides
/ 2200
Epson Epson
Relcol+BPC absview
HWM HWM
perceptual
relcol
PM41 2200 PL OB
New
Guide...
PM41ProtoPL RWPs7 relcol
relcol
lock Slices
aar
Slices
Proof Setup
Chapter
10:
Color
Management Workflow
293
In applications
dividual profiles,
whose documents contain multiple objects with inthe rendering intent controls are the same as the ones
Adobe Photoshop, whose
allow you to choose a
offered for soft-proofing. Applications such as
documents contain only one source

rendering intent (see Figure 10-12).
Figure 10-1S
profile,
may
Printing controls
Show Mort Optiont
nfColofl
Photoshop's printing
controls
let you select a printer profile and
rendering intent.
When
you do so, Photoshop performs a com>ersion
on the data that gets sent to the printer driver.
294
Figure 10-13
'
InDesign and Photoshop

cross-rendering
Position
Source Space set
to
Proof
Source Space set to Proof
Chapter
10:
Color
Management Workflow
295
Other applications
final
er, in
may force you to actually convert every element to

is
output space as the only way to cross-render to a composite print-
which case the conversion
simply one from document space to
printer space.
Workflow Between Programs

You can convey color meaning between programs by two methods:
either, or both, of
Embedding
profiles in
any objects that
travel
between programs
Ensuring that both the originating and receiving application use the
same assumed
profiles
Our tendency, which is by no means a hard and fast rule, is to embed profiles in RGB, and assume profiles in CMYK, for two reasons:
RGB
profiles are typically small
and add
little
to the
file size,
while
CMYK profiles are often larger than the actual files themselves.
At least two important
CMYK formats CMYK

and
EPS and
CMYK DCS
EPSdon't
reliably
support profile embedding, and are often treated

applications.
as "output-ready" formats, both by people
However, when we don't embed profiles in CMYK, we always leave some

trail that tells us what flavor of CMYK the numbers in the file We represent. may archive the files in a specific folder that also contains
kind of audit
the profile, or
in the
file
we may
include the profile
name
in the
document name,
file
information, or in whatever form of metadata the
format
permits.
Workflow between applications is perhaps the one aspect of color man-
agement where
color have to
common
sense applies. All applications that deal with
RGB and
the
make some assumption about the colors represented by colors represented by CMYK. Color-managed applications
can only get those assumptions from one of two places, a default profile or an embedded profile. If you make sure that your default profiles are
synchronized across
to deal with
all
your applications, and you set your applications
embedded profiles the way you want them to, your color will
flow reliably and predictably from one to another.
296
Real World Color
Workflow Into and Out of Color Management

we can't deny the fact that large chunks of the world aren't color managed. What we call the
Even though
"color
this
is
a book about color management,
management workflow" may be
just a small piece of the overall
workflow.
We
constantly bring materials in from devices, software, and
people who don't use profile-based color management. At the other end, we prepare documents for further non-color-managed stages. For example, with some workflows, as soon as someone converts color to CMYK, he
employs more-traditional
There's a widespread
CMYK correction, targeting,
and output tech-
niques that don't involve profile-based color management.
and totally incorrect assumption that color man-
agement
is
an all-or-nothing proposition
all
unless you have profiles for

religiously,
all
your inputs and
your outputs, and you use them

If
do color management.
that
it is.
were
true,
you can't color management would be a
great deal less useful than
We routinely bring color from non-color-managed sources into a colormanaged workflow, and we
equally routinely export color from a color-
managed workflow into The Great Non-Color-Managed Unknown.
Bringing Color into a Color-Managed Environment The first question we always ask when we're confronted with bringing
non-color-managed documents into the color-managed workflow "Can we deduce the source profile?"
is,
Known
sources.
If
the source profile
is
known,
or,
with a
little
deductive
reasoning, knowable, we can simply assign it, and from then on, the offending document is color-managed. A trivial example would be an im-
age from a scanner whose software doesn't

is
embed
profiles, for
which a
We'd simply open the scan in Photoshop and assign profile the scanner profile (and then we'd very likely convert it immediately to an
available.
intermediate editing space for further work).
A less-trivial example would be an untagged image sent by a peer who

is
reachable by that most-overlooked color
management
tool, the tele-
phone. Usually, a few questions could determine which space the image
was saved in, and
again, we'd assign the correct profile.
Chapter
10:
Color
Management Workflow
297
simply
Unknown
sources. In
unknowable, either
unprofiled digital
man ones the person who created the material is either unreachable or
is
the image was shot on an camera, or scanned from a color negative or for hufor technological reasons
many cases,
however, the source profile
is
sufficiently clueless
about color management that asking questions
is
an exercise in futility.
you have what Bruce fondly calls "mystery meat." We recommend different strategies for RGB mystery meat and
In that case,
CMYK mystery meat:

In the case of RGB,
to see
there's
if
we usually try a few different editing-space profiles
one produces a more reasonable appearance than another an element of guesswork or mind-reading in this, so we don't
It's
hope for miracles.
overwhelmingly likely that the color was created

space such as ColorMatch
RGB or sRGB, or an editing space such as Adobe RGB, so those are the ones we generally try. If the image appears dark in a gamma 2.2 space, we try a gamma
in either a monitor-like
1.8 space. If
it
appears washed out
in a relatively
large-gamut space
such as Adobe RGB, we try a smaller one such as sRGB. We then assign
the profile that produces the most reasonable appearance (yes, this
is
a very subjective criterion), and use
it
as the basis for
any editing and
subsequent conversions (see Figure 10-14).

In the case of
CMYK, we
lean to the view that guessing
games
are
pointless because there are simply too
many possibilities
to address.
We take the not-entirely-unreasonable position that if someone sends us a CMYK file, he expects us to print so we assign the CMYK profile
it,
for the project to
which the document
is
related,
and use
that profile
is
as the basis for

disgusting,
if
any necessary
editing. If
the on-screen result
truly
we may try assigning some

a suitable match,
file,
different output spaces to see
we can find
and then convert
to
owr CMYK, or we
may
simply edit the
trusting our calibrated and profiled display
as an additional aid to the process.
When
The
Color
Management
we
palatable are ones
Starts
details of the recipes
gave above for turning mystery meat into
something more
portant
is
we
find useful, but what's really im-
why
they work.
And
the simple reason
why they work
is
that,
298
Figure 10-lA
JL^
**^'"^ ""'
Mystery meat
This mystery meat
image appears both dark and oversaturated

in
when we open it our Photoshop work-
(1998).
ing space, Adobe RGB A lower gamma
value will lighten the image, and a smaller
gamut will make the same numbers produce

less -saturated colors.
Assign
Profile
Assign
Profile:
C Don't Color Manage This Document @ Working RGB: Adobe RGB (1998) "CoiorMatch RGB C
Profile:
itee
Mysury
Mt
66.7X
(Rc
Colormatch
RGB has
a lower gamma than
Adobe RGB (1998)
gamma 1.8 as opposed to gamma 2.2 and

it
also has a smaller
gamut than Adobe RGB (1998). When we assign

the Colormatch
profile, the
RGB
image
appears
less
dark, with
more natural- looking

saturation.
Assign Profile
Assign
Profile:
O Don't Color Manage This Document C Working RGB: Adobe RGB (1998) ColorMatch RGB @
'
Cancel
Profile:
T^
S! Preview
Chapter
10:
Color
Management Workflow
in a
299
as soon as you
open a mystery meat document
color-managed ap-
plication, you're using a
known source
profile to look at the color.
application that
can convert color from one color mode to another
from
Any
RGB
to
CMYK,
for
example
has to make assumptions about the color

in
appearance represented by both the RGB and CMYK numbers. One of the
things that
makes color management a cool tool is that,
color-managed
applications, you can easily see and control those assumptions. All color-managed applications let you set default profiles, which they
use to interpret the numbers in untagged documents, so
when you open
an untagged document, you it/iou^ which profile the application is using as the document's source profile, and you know what color that profile
makes the document display on your calibrated monitor.

It
may
not be a source profile that represents the intent of the person
who sent it to you, but you've gone from knowing nothing about the color to knowing how it looks in, say, Adobe RGB. Color management purists
might blow a gasket
color
at
the notion, but we'd say you've already started to
manage the document. The purist (Bruce says "fascist") view of color management is that its goal and purpose is to take an original image, and represent it as faithfully as possible
on various outputs. Purists see color management as a it's neither as precise nor scalpel. We liken it more to a Swiss Army Knife
as specialized as they claim. But

In fact,
it's
it's
a lot
more useful.
impossible to not use color
management in any application
that does color conversions. All
application
makes when
it
you can do is hide the assumptions the does so, which we think is pointless. So as far
starts as
as we're concerned, color

in a
management
soon as you open a
file
color-managed application.
The
Limits of the
Knowable
Of course, when you're dealing with mystery meat, there's always an element of mind-reading because the person who sent you the mystery
meat
hasn't (yet) learned to use color
management
to
convey
his color
meaning clearly, which is bad, but he to do so, which is the real problem.
Color
of RGB or
also hasn't learned
any other way

a set
management lets you attach a specific color appearance to
CMYK numbers. Getting from that appearance to the appearance the originator intended is not something that color management can
300
address
it's
a people problem, not a technology problem. Color manage-
ment can help by letting you try out various plausible and implausible alternatives, but if people give you
untagged files with no other information,
you simply have to use your best judgment. Of course, you can always try
asking
why you're
being given untagged
files
see the sidebar, "Fear of
Embedding," on the facing page.
Tip:
Always Send Hard-Copy References. If you're dealing with someone whose workflow is obviously non-color-managed, and you're going
through multiple edit rounds, always send a hard-copy reference such as
an Inkjet print, cross-rendered to the output space, that clearly indicates

your color meaning. It's unlikely that the other person will see the same appearance you do when she opens your edited file, so the hard copy
provides a less ambiguous reference.
If
we have an agenda in writing this book, it's to make mystery meat go

is
away. Lack of clear color communication

creates extra
never a good idea

profiles
is
it
simply
work
for all concerned.
Embedding
one simple
way to remove ambiguity, but it's not the only way, and if you're dealing with someone who is seriously terrified of color management, it may not
be the best way. So do whatever you can to eliminate mystery meat, but remember that gentle persistence almost always works better than wildeyed evangelism, and in those cases where mystery meat is just a fact of life, use the guidelines we provided above to render it somewhat less
mysterious.
Preparing Materials for a Non-Color-Managed

Print
There's
Environment
no particular magic trick here. You simply have to find out as much
as possible about the printing conditions, then convert to a that bears

If
CMYK profile
you
some reasonable resemblance to those

is
conditions.
the job
large or
critical,
and you have
profiling capabilities,
may want to consider profiling the proofing system

print the profiling target the
it
^just have the printer
same way they'd print your job, then measure

and anticipated dot gain on
and build a
profile.
Failing that, try to find out the ink limits

press,
and create your CMYK document using a profile that matches those
conditions. Basically, you're aiming at the side of a barn

to hit
it
you want to try
somewhere
close to the middle.
Chapter
10:
Color
Management Morkflow
301
Fear of
Embedding
understands
workflows,
sense to
if
Very often, the reason people send mystery meat is because

they're afraid to
else
do anything
either. In some makes absolute not embed profiles, but

it,
may
take persistence to
make
it
the question percolate to a place
where
it
can do some good.)
specifically,
irrational
profiles.
they have an fear of embedding

of the
you're receiving mystery meat,

isn't
Don't
fer
make promises,
or of-
This fear can stem from
workflow obviously of them.

this
one
any guarantee other than
that profile
embedding won't
If
many sources, but some most common ones are:

Embedding
this
make
I
things any worse. Just be
don't
know how
It's
to
embed
gently persistent.
the docu-
profiles, or
profiles will
which profiles to
hard to argue with
ment
originator obviously needs
change
embed.
this one.
my color. Many people have had

experience
help figuring out how to embed profiles, decide if it's worth

providing that help
ably don't
when
they sent
color
Very often, though, you'll find

that people simply
told
a job to
someone who had
want
to
be
want
to
you probwind up givit's
management configured incorrectly, or who misunderstood its purpose. Of course, when color
management is set to work right, embedding a profile makes it
what
to
agement.
do with color manMost applications
ing endless hours of unpaid

tech support unless
to a very
make
it
difficult to
vông profile,
embed the and easy to embed

if
important
client.
it's
Sometimes
uses for his
easier to simply
the right one. So
you're tired of
find out what profile the originator
much
will
less likely that
the color
change.
Remember a single
It
cooking with mystery meat, it's always worth asking the question,
CMYK or RGB working

it
space, and simply apply

self to
your-
profile simply describes.
doesn't
do anything to the
file.
"Why would embedding profiles make things worse than they are
now?"
If
incoming work. Profiles

only
aren't the
way to convey coland
or meaning, just the simplest
My
IT
service provider/color guru/
no good answer is forthcom-
most automatic. But any small

steps
guy/drinking
buddy
told
me
ing, gently suggest that profile
you can take

of mystery
to reduce the
not to. People generally fear what they don't understand, and
try to
embedding might be a good idea

in this workflow. (If you're at the
amount
diet wall
meat
in
your
make you
a healthier and
make
sure that
no one
else
bottom of a long food chain,
it
happier color management user.
your color to final CMYK, don't embed any profiles, and submit the job. You may have to go through some rounds of proofing and
Convert
all
correction
that's
the normal, expected workflow
but your
first
submis-
sion will likely be in the ballpark.
Some non-color-managed shops will

files
claim that they can accept
RGB
and convert them to
CMYK themselves. We usually treat such claims
with suspicion, to say the
least. If the shop can tell us what flavor of RGB we at least they expect, may go ahead and try a test. But if the response makes it clear that multiple flavors of RGB is a concept they've yet to en-
tertain, we'll
walk away.
302
you submit RGB, with embedded profiles, on a CD or other non-rewriteable medium, there can be no argument about what you've
However,
if
submitted
and by accepting RGB
files,
the printer has taken the respon-
sibility for the
RGB-to-CMYK conversions. So if things go badly, you've at
least
covered your bases.
Preparing Materials for the Non-Color-Managed

Internet
The vast majority of Web browsers simply take the RGB values in files and
send them unmodified to the screen. So unless you go and calibrate the monitor of every user who is likely to look at your site, you have no way
of knowing exactly what they're going to see.
Various vendors have touted schemes for managing color on the Inter-
They all work, up to a point, but they all do so by forcing the viewer to do some kind of visual monitor characterization, which they then use to
net.
alter the
information that gets sent to that particular Web browser. Most
of these solutions are sufficiently complex and expensive that they can
only be implemented at the enterprise

is
level,
and by all accounts, no one
making huge amounts of money doing so.
One
day, all monitors will
be
self- calibrating
and
self-characterizing,
and all operating systems will use display compensation as a system-wide

feature. Until that lucky
day arrives, we suggest that the only practical solu-
tion
aim for the lowest common denominator. Fortunately, that lowest common denominator is exactly what the sRGB space was designed to
is
to
represent
it
purports to represent the "average" uncalibrated Windows

is
monitor. So our simple recommendation
to convert all
your color to
it.
sRGB, and then save without embedding a
profile,
before uploading
For
The only color-managed browsers we know of exist on the Macintosh. Mac OS 8, 9 and X, it's Microsoft Internet Explorer. If you enable Colit
orSync in Explorer's Preferences,
will
assume sRGB for untagged images

your monitor
and use the embedded
profile in all other images, using
profile as the destination profile.
And on Mac OS X only,
it's
OmniGroup's
OmniWeb, which
currently always assumes images are
sRGB and uses
display compensation.
So Macintosh users
who
use a display
gamma of 1.8 will at least have

users,
a chance of seeing correctly. For
most Windows
sRGB
is at
least in
the ballpark.
And while gamma 2.2 images will seem dark and muddy on
Chapter
10:
Color
Management Workflow
303
an unmanaged Macintosh
used to
that.
gamma
1.8 display, the
Mac
users should be
Internet Color Workflow When you prepare materials for the Internet, you'll probably have to use
a mixture of color- managed and non-color-managed applications.
aren't
you color-managed and non-color-managed applications, you don't need to do anything, but if
bothered by the color appearing different
in
all like
If
you're at
us,
There are
to us:
really
you may find that disconcerting. only two solutions to the problem that make sense
If
your work
is
sRGB
most monitor calibrators offer sRGB as a preset, and

K as the white point and
2.2 for
in the
in
exclusively for the Internet, calibrate your monitor to

for those
that don't, use 6500
gamma. Then,
do everything
sRGB. Your calibrated color
applications will closely

color- managed ones.
match your uncalibrated color
color-managed in the non-
Use monitor RGB as the source
profile for all
your Internet work.
Color-managed applications will see that your RGB is already monitor RGB, so they'll just send the values in the file to the screen, the
same way non-color-managed

is
applications do. Then,
when the work
complete, convert
it
to
sRGB.
If
you expect your
target audience to
be primarily Macintosh
users,
you may
consider targeting Apple
RGB instead of sRGB.
Neither solution
is ideal, but until such time as the Internet becomes something other than a very large collection of random output devices, they're the best we have to offer.
Understandins Workflow
In this chapter, we've tried to present the essential workflow concepts
and
features that
all
color-managed applications share, no matter
how
they're presented, while relating them to the fundamental concept that
color
management does only two
things
convey color meaning, and
convert device values to preserve that color meaning.
304
Once you grasp these

just
basic concepts, you'll find that
you can look
at
about any application and figure out what each color management
feature does, because they always boil
down
to
some combination
of
the two fundamentals. In the following chapters, we'll look at the specific
ways color management is presented in some of the most common colormanaged applications, but we can't cover them all, and it's often all too
easy to get bogged
cepts
it
down
in the details.
So use
this chapter,
and the con-
presents, to
keep the bigger picture in
with the minutiae of this or that application

simpler than
it
the answer
mind when you're grappling

is
almost always
might
first
appear.
Color
anagement
in
the Operating System

Who
Apple and Microsoft tend
Does What to Whom, When?

an overly rosy picture of color manageof your desktop
to paint
ment
as a panacea that will
make whatever comes out
printer match your monitor, automatically. Anyone who has ever printed from a desktop computer, or has a passing knowledge of the laws of physics,
knows otherwise. The
truth
is
that OS-level color

it
management does
the mar-
less
than the marketing hype, but
also does
much more than
keting hype.
It
does less in that OS-level color management can't change the gamut of
your printer to match that of your monitor
it
can come reasonably close,
but there's simply no way you'll get that RO, GO, B255 blue out of your printer
(or,
for that matter,

it
on any other reflective hard-copy medium).

it's
But
does more in that
not just a color
management system
it's
a whole architecture for color
management systems
to live in. OS-level
color management provides a whole slew of services that applications can

call to
do
all
sorts of useful things,
but in some cases makes us do more
work than should be necessary.
305
306
Color
One
Management
in
OSs, Applications, and Drivers

of color management lies in figuring One might think that in the year 2004
of the
more confusing aspects
out who does what to whom, when.
we'd have applications, OSs and device drivers that could effectively talk
to
each other and prevent obviously conflicting settings from being used.
aren't yet in the row. Therefore,
But those ducks
color conversions
happen correctly,
you want to ensure that at the right time, and only at the right
if
time, understanding the various interactions yourself is critical.
OS-level color
management is the
generic term for ColorSync on
Mac
and
OS, and
ICM on Windows.
9,
In the past, we've thought of OS-level color
management
as something that gets invited to the party
on
request,
is
how OS-level color management behaves

It
on Windows, Mac OS
and Mac OS X up
to version 10.2.x, this

it's
indeed
invited either
by applicabe
to
tions or drivers specifically written to ask the
OS
for a color conversion.

it
often requires an explicit setting in the application or driver for
to
used. There are only two actors to cause OS-level color
occur
applications, and drivers.
management
Mac OS X Panther (10.3.x) changes the rules, and comes to the whether invited or not. The operating system follows an "always party on" philosophy to color management, unless specific settings are used
But
to prevent
from being involved. So the possible actors in Panther are: applications; drivers; and the OS itself. This approach has some potential
it
pitfalls that
we
discuss in detail in
"Mac OS X Panther
(10.3.x)," later in
this chapter.
The main graphic

Macromedia, and
arts applications,
such as those from Adobe, Quark,
Corel, offer user-configurable color settings in the
applications themselves. We call these "color- managed applications." The

distinction
tions
tial
is
between color-managed and non-color-managed applicabetween settings

in
important because the operating systems don't negotiate poten-
conflicts
color-managed applications and device
drivers.
So you have to do so yourself.
Color-managed applications allow far greater control within the application than do the comparatively rudimentary settings in printer drivers, for
example. Professional users will
likely
want to
rely
on application
settings
and commands for color management, and ensure no additional
OS-level color
management occurs.
Chapter
11:
Color
Management
in
307
series
Non-color-managed applications
of assumptions
rely
on driver
settings,
and a
(made by
either the
OS
is.
or the driver), to control color
management, because
that's all there
One
of the keys to successful color
management
lies in
making sure
that OS-level color
management in the various device drivers cooperates

unexpected extra conversions into the
with the application-level color management done by color-managed applications, rather than injecting
color production chain.
With color-managed applications, you can use either application-level

color management or driver-level color management, but
we recommend
on
to avoid using
using the application controls to
manage
color rather than relying
limited printer driver options. You almost invariably

application-level
want
and
driver-level color
is
management
at the
same
time,
so
much
of this chapter
devoted to understanding
how OS-level
it
color
management
functions so that you can
make sure that
doesn't
do any-
thing you didn't expect.
ColorSync and ICM

Apple's ColorSync
technologies that
and Microsoft's ICM (Image Color Management) are the provide color management services as part of the Mac-
intosh and Windows operating systems, respectively. As previously noted,

they're
both
less
than and more than color management systems.
What Are They? What Do They Do?

The overwhelming bulk of both ColorSync and ICM
or Application
Programming
Interfaces.
relatively
is comprised of APIs, These are chunks of code that
developers can exploit using
simple
calls to
the operating sys-
tem. They provide a
way
for developers to include
color-management
capability into their applications without having to write their
own color
management system from scratch, and they also provide an architectural

framework in which third-party CMMs can
live.
For example, a programmer might use CMConvertXYZToLab to ask
ColorSync to convert CIE XYZ-based data into CIE LAB. There are APIs
for almost anything
you can think of: support
for all of the profile classes,
308
Real World Color

conversions, status of conversions, reporting of profile locations and profile
information, and ways for applications to request user settings related to

color
management
pretty much
all
the basic housekeeping services re-
lated to dealing with profiles
marily useful for programmers,
and conversions. ColorSync and ICM are priwhose lives are made easier by using APIs
instead of having to write the code themselves.
Users need relatively little interaction with ColorSync and ICM. The one
user setting everyone needs to
make
is
the display profile
most color-
managed applications ask the OS
(using ColorSync or
ICM)
for that single
piece of user-supplied information. Other ColorSync and

face elements have less obvious effects.
ICM user inter-
Mac OS 9
On Mac OS 9, ColorSync 3 has two pieces a system extension called "ColorSync Extension" and a control panel called "ColorSync." The only part
of the ColorSync Extension that might concern users
is
the AppleScript
17,
dictionary
it
contains, accessed by the Scrip tEditor. (See Chapter
Au-
tomation and Scripting.)
The control panel, on the other hand,

ulate (see Figures 11-1
it
and
is exclusively for users to manipThe control 11-2). panel is misleading because
implies that
it
will universally
use the profiles specified under "Profiles

Profiles for
for Standard Devices"
and "Default
could be further from the truth. In
fact,
Documents." Nothing applications must be written to
request this information specifically from ColorSync.

applications offer the option to
profiles,
A few of the major
use the "Default Profiles for Documents"
but we can't think of any that do so by default, and we don't know
of any that use "Profiles for Standard Devices."
The ColorSync control panel represents a laudable attempt to create a single point of access and consistent user interface for configuring color
management for
all
applications.
It
was
great in theory, but since
all
the
major applications aim for cross-platform parity, and ICM lacks any comparable features, it didn't work out in practice. So you can safely ignore the
Profiles tab of the
ColorSync control panel entirely. However, two settings
are important.
Chapter
11:
Color
Management
in
309
Figure TI-1
M H
'-
j niI'VifffMh'riiifchiiiiii
ColorSync control panel: Profiles for Standard

Devices
310
compensation,
it
provides similar results to the Adobe Color Engine (ACE)
found
If
in
Adobe
applications.
you're working in a cross-platform environment without the exclu-
sive use of the Adobe applications (which can use ColorSync,
ICM, or their
own ACE
engine),
you may want
systems. Since the Apple
to standardize on a single CMM for all CMM doesn't exist on Windows, but the Heidel-
berg
CMM exists on both, you can standardize on the Heidelberg CMM.

if
Likewise,
you have an important application or profile
that uses the
Kodak Digital Science Color Management System, you can standardize on

the Kodak CMM. However, be aware that these
so
if
CMMs don't exist for OS X,

a matter of when rather
an upgrade
is
in
your future (and frankly,
it's
than whether), you'll have to rethink your workflow for OS X, where the
only available OS-level
CMM is the one from Apple.
Monitor Settings
In the Monitors control panel, click
on the Color button and
you'll
be
presented with a list of ColorSync profiles (ICC profiles) to select (see Figure 11-4). Each display connected to your Macintosh can have a separate
display profile selected, but don't count
on applications performing
dis-
play compensation on anything other than the primary display. (Adobe
Photoshop 6 and 7 are the only applications we know of that can perform display compensation to multiple displays on Mac OS 9.)
Figure 11-4
The Color panel of the Monitors

Cfc
Cokr
Pr*ferefio#*
Monitors control panel
control panel
lets
you specify the
profile for each display.
ColorSync Profile
Generic Gray Profile Generic RGB Profile Mac Color Display Standard
NEC LCD 1530V
NTSC(1953)
Optioal9-tS-02
PAL/SECAM
Calibrate..
This setting does two things:

If
the profile contains the vcgt tag, which most do, the Display
Man-
ager updates the video card
LUTs with the correction needed
to place
the monitor in the calibrated condition defined in the profile.
Chapter
11:
Color
Management
in
311
The selected profile becomes the display profile for the current display.
The
effect of
updating the video card LUTs happens immediately and
is
usually visually obvious. Changing the display profile

effect,
may
have no
visible
but applications that query the system for the display profile use the
one you specify here for display compensation. Adobe applications are well
behaved
in asking the
system for the display
profile,
but most other ap-
watch out for this potentially major ally

Profile Locations
Profiles are usually stored in
plications require
you
to specify the display profile in their settings

pitfall.
manu-
Hard Drive:System Folder:ColorSync Profiles. However, some older applications and printer drivers insist on finding
profiles in the old location,
Hard Drive:System Folder:Preferences:Col-
orSync
Profiles.
Other applications
may store profiles in subfolders in the
Hard Drive:System Folder:Application Support folder, though the ones of which we're aware always place an alias in the ColorSync Profiles folder
to let other applications use the profiles. Since
some
applications don't
resolve aliases,
and others
don't look deeper than the root level of the
ColorSync Profiles folder,

that appears in
this doesn't
always work, so
if
you have a profile
some applications but not others, try placing a copy in the
root level of the ColorSync Profiles folder.
Location for
CMMs
CMMs are
system extensions. You can find them in Hard Drive:System
Folder:Extensions.
Mac OS X Panther
ColorSync
4,
(10.3.x)
10.3 (Panther)
the latest version of ColorSync, debuted in a previous version of
Mac OS X and persists in OS

Fortunately, this
isn't
and later. ColorSync 4
is
a frame-
work buried quite deeply within the ApplicationServices.firamework bundle.

a problem since, again,
it's
intended for programmers.
Color
is
handled in a very different way on Panther than on any other
operating system, and, like
much
of
Mac OS X,
is
work
in progress.
The
major applications still work as expected, but this operating system blurs the
312
lines
between what is and is not a color- managed application.

heavily,
It
doesn't blur
them
to
but over time

color
it
will
become increasingly easy for developers

in their applications
implement management and increasingly hard for them to avoid doing so.
and printer
drivers,
Mac OS X's color management rests on the premise that every window
is
color- managed,
whether the application that requests the window to be
drawn knows anything about ColorSync or not. This is currently achieved

through assumptions, and these assumptions are not always consistent.
Panther's color-management behavior in
flux and less stable than in previous versions.
some
cases seems
more
in
Some of these problems are

is
due to bad assumptions on the part of Apple, while others rest with device
drivers that don't
at the
work as expected. All we can do

it
report what we
know
time we're writing this chapter, as
applies to
Mac OS X 10.3.4.
Rules of Engasement Mac OS X Panther has always-on color management, as previously stated.
What does
this
mean?
It
literally
means
that the
OS
will
perform a con-
version no matter what, but the conversion could be what's called a null
transform. For display purposes, a null transform occurs
when
the
OS
assumes the current display profile as the source profile for an untagged image or object, and also uses the display profile as the destination. Since
they are the same, no conversion occurs. Likewise
raster drivers, a null conversion occurs
when printing with when Generic RGB is assumed as
source as well as destination.
Apple seems obsessed with the problems created by untagged

so they've
files,
embarked on a course of making assumptions on how to deal with them even if the untagged file is a prematched print file on its way
Making matters somewhat worse, the application of the assumptions in Panther is inconsistent, and even Apple's own applications don't always behave as expected. But here are some guidelines
to the printer driver! to help put
it
into perspective.
Display. Non-color-managed applications have
no
say, so
the operating
system assumes the display profile as both source and destination, which
means no
display compensation occurs.
Color-managed applications query ColorSync for the current display profile, and use it as a destination profile for display using either embed-
Chapter
11:
Color
Manasemcnt
in
313
ded
files
profiles for tagged
files,
or a selected
assumed
profile for
untagged
as source. This
is
is
display compensation.
The key point

color
that the application determines the sophistication of

this point,
management. At
ColorSync
will
bow out
if it isn't
other-
wise asked to be involved by an application.
Input. For scanners and digital cameras, the profiles selected in ColorSync
Utility>Devices
settings.
window are used only by applications

is
that look for these
Image Capture, which
both an application and an API provided
by Apple, looks to these settings as default. Image Capture allows you

to override the default within the application
itself.
Your manufacturer's
scanner driver invariably ignores this, and for capture purposes ColorSync
is
uninvolved, again, unless requested by the application or driver.
from any application using a raster driver, and when you print from applications that do not generate their own PostPrint.
When you
print
Script stream using a PostScript driver, a
PDF spool file is generated. The
application sends drawing commands to the OS, which in turn produces
the
PDF spool
file.
When the application sends untagged RGB, the OS embeds the Generic RGB profile.
When the application sends untagged gray, the OS embeds the Generic
Gray profile.
When the application sends untagged CMYK, it remains untagged, for

the
moment.
print driver
The behavior of the

cause
its
becomes important
and
at this time, bewill use.
settings determine the destination profile ColorSync
PostScript drivers are fairly straightforward,

this chapter.
are discussed later in
Raster drivers are the
main concern because ColorSync
affects
them
(i.e.,
no matter what.
If
you select a proprietary color management option
anything but ColorSync), then ColorSync assumes Generic

destination profile.
RGB
for the
The result is a null transform when applications sub-
mit untagged
RGB data.
314
you select ColorSync, then theoretically the profile set for the printer in the ColorSync Utility will be used as destination. More about this can be
If
found in the section on Raster Drivers

is

if neither
The key point
that ColorSync invites itself at print time even

explicitly
the application
nor the print driver has
asked for
it.
The scary part
is
that the handling of
prematched data from a
color-
managed application such as Photoshop, set to convert your image to SP2200 Premium Luster.icc, only works because of a sequence of events
that causes Generic
file,
RGB to be the source profile and the destination proclearly not Generic
either, yet that
and hence a null transform. The data is

is
RGB, and
the phi-
the print behavior
clearly not Generic
RGB
is
losophy of null transforms on
Mac OS X Panther.
prematch data don't tag will it with which means the OS Generic RGB. And so long as you files, tag
Fortunately, color-managed applications that
don't select ColorSync in the print driver, Generic
RGB will be used as the

is
destination profile also.
The end
result
is
ColorSync
a non-factor in
the conversion. But clearly Apple needs a strategy for explicitly handling
prematched print data, since all professional graphic arts applications can produce it. If you're wondering about those generic profiles, see the sidebar, "The Generics."
Displays Panel Settings

This panel
to the
is
found
in
System Preferences, and
is
functionally equivalent
Monitors control panel on
Mac OS
9.
Click
on the Color
9,
tab,
and
select the profile for
your displays here.
As on Mac OS
multiple dis-
plays are supported by the operating system, but also as with
OS 9, you'll
need to determine whether or not your specific application supports color
management for two

Figure 11-5
1*
separate displays. (See Figure 11-5.)
:Ji;A
#
DHptir
Mac OS X Displays panel:

Color tab
Amiminw "HWBi'l
>MCnX.l - TlMKiav.July
6.
2004
S Show prodljs
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Cliillrin
Chapter
11:
Color
Management
in
315
The Generics
Mac OS
9 and
X come
with two
P22 phosphors, a 6500 K whitepoint,
Don't expect
it
to
do a great job on
generic profiles: and Generic CMYK.
Generic RGB,
and a
1.8
gamma.
Generic
CMYK Inkjet or color laser print-
Make a special
On Mac OS 9.
writer. Ever
CMYK
is
er though, as the output will likely
note wherever it will stick, because

they are different!
based on the Apple Color Laser-
look washed out. For press work,

it's
wonder why you'd

results using
get
marginally acceptable, but
we
On Mac OS
9,
Generic
RGB
is
such disgusting
it
as
gamma the venerable Apple 13inch RGB display. On Mac OS X,

Generic
based loosely on the P22 phosphor set, a 9300 K whitepoint and a 1.8
source or destination for a press or

Inkjet printer?
using the U.S. Web Coated (SWOP) v2 profile that
recommend
Now you
know!
On
comes with Adobe Photoshop,

InDesign, and Illustrator. Or
visit
Mac OS X, Generic CMYK is based on sub-sampled TR 001 measurement data, so it's essentially SWOR
RGB
is
based exactly on
www.profilecentral.com for more profiles based on TR 001

.
Profile Locations Mac OS X stores profiles

make any sense,
but the system
in a variety of locations,
and
in order for
it
to
on Mac OS X is necessary. Mac OS X is designed as a multiuser operating system. You may only have one user,
a bit of background
is still
designed for more than one. Thus, the locations
for profiles follow the general rule that there are five possible "domains":
Apple
only, all users, a specific user, a specific application,
and network.
For practical purposes
we list just the first three:
/System/ Library/ ColorSync/ Profiles

here, but they can't
Âll
users can use profiles stored
be removed or supplemented unless you have a
special set of keys. Since this is Apple's
Mac OS
location
installer
domain, nothing except the should remove profiles from or add profiles to this
/Library/ ColorSync /Profiles
Âll
users can use these profiles, but only
Admin users and authenticated installers can add profiles to or remove

profiles
from this location. The preferred location for display profiles is

contained within this location, although
they'll
in the Displays folder
work if placed
in the other legitimate locations.
/Users/<username>/Library/ColorSync/Profiles
cation are only available
Profiles in this
in,
lo-
when this user is logged
and
aren't avail-
able to other users; only this user can add profiles to or remove profiles
fi-om this location.
316
More than
likely you'll
want
/
profiles available to everyone, so
we
rec-
ommend placing them in the

sions for this location, place
instead.
Library/ ColorSync/ Profiles folder. If you're
working in an administered environment where you don't have permis-
them
in
your user ColorSync
Profiles folder
Another major difference with Mac OS X is that manufacturer-supplied

"canned" printer profiles don't normally go in any of the above locations.
Instead, they're stored as resources within the printer module bundle as such aren't directly accessible
all
and
applications just as
if they
by users. However, they are available to were stored in /Library/ ColorSync /Profiles,
but they don't clutter the various Profiles folders with profiles for which
professional users may have
no use. The ColorSync Utility, discussed later
in this section, has a Profiles feature that,
among other things, shows loca-
tions of currently available profiles.
Locations for
CMMs
CMMs live in /Library/ColorSync/CMMs.

ColorSync
The ColorSync
Utility
Utility
has evolved from
its
lowly beginnings as a slightly

It
beefed-up system preference to a fairly handy toolkit.

old Profile First Aid utility,
incorporates the
and adds some nifty features such as 3D gamut

ability to
comparisons of profiles, and the

profiles.
view the individual tags inside
Preferences. The preference settings for ColorSync are no longer found
System Preferences. Everything is now rolled into the ColorSync Utility found in the /Applications /Utilities folder (see Figures 11-6 and 11-7).
in
Here, you can (supposedly) specify default RGB,

profiles for
CMYK, and
grayscale
documents that don't contain embedded profiles. You may be

conclude two things from these
settings:
tempted
to
embedded
profiles
profiles
are recognized system-wide,

will
and documents without embedded
have the default profiles assumed as source on both counts.
profiles. You'd be wrong
Chapter
11:
Color
Manascmcnt
in
317
QuickDraw, GDI, and Quartz

Each of the three operating systems discussed in this chapter,
about, so non-PostScript printer drivers for these operating
ther),
because
its
PDF
to raster
Mac OS
9.
Mac OS X and
systems must receive
RGB data.
It's
RIP does support CMYK. However, manufacturer printer drivers that convert raster data into
Windows, has its own display and print engine. On Mac OS 9, this is QuickDraw, on Mac OS X
it's
Quartz
is
different.
it
PDF-
based, and as such
knows about
printer
commands
still
for generatal-
CMYK
that
and LAB as well as RGB.
ing droplets of ink (screening
called Quartz,
and GDI
is
for
There's been
Windows.
some speculation Mac OS X printer drivers
gorithms)
expect to receive
RGB
data. That
may change
in
QuickDraw and GDI have something in common. They have no idea what CMYK is all
could accept either

data.
It's
RGB or CMYK
10.3 (Pan-
the future, but
if
theoretically possible
starting in
Mac OS X
your breath, hale now.
we
you're holding suggest you ex-
Figure 11-4
Mac OS X ColorSync
panel: Default Profiles tab
318
Mac OSX, like OS 9 and Windows, still requires developers to specifically write code into their applications to make them recognize these settings, as well as to recognize embedded profiles. An application that isn't written this way ignores these preferences, and if it doesn't know what an embedded
opens the image as though it were untagged. Apple has claimed it was never their intention to imply that the Default
profile
is, it
Profiles settings
would be used system wide. Why they chose language that
pretty clearly indicates this would happen,

it's
we don't know, but it seems like
not a very good idea, and we hope the wording will finally change in the
next version of Mac
OS X.
you like random results, use the Automatic option.
(at
The advice we give under Mac OS 9 for the setting of the Preferred CMM
applies here as well.
If
Otherwise, pick something else

else that's available
is
the time of writing, the only something

.
the Apple
CMM)
Interestingly enough, Apple also
recommends
the Apple
CMM in their "Color Management with Mac OS
X Panther" documentation, yet the default is set to Automatic.

Profile First Aid. This
is
utility for verifying
the integrity of ICC profiles

It
stored
on your system, and can repair most problems it finds.
looks for
aspects of the profile that don't conform to the ICC specification version
under which they were written
(i.e., it
applies v.2 rules only to v.2 profiles,
and
V.4 rules to v.4 profiles).
One
it
of the
most
common
it.
side effects of a
non-conforming
profile
is
that
doesn't appear
can't
in application
pop-up
menus, which, of course, means you
use
Running a repair session
in Profile First Aid,
then relaunching the ap-
plication frequently solves such problems.
We recommend
number
running a
of profiles
is
Repair session regularly because a surprisingly large

don't
conform
full to
the ICC spec. Most deviations are benign, but so
running
Profile First Aid.
Profiles. The Profiles window
shows currently installed ICC
profiles.
Here
you can view basic profile information to the right, and even click on the black arrow on the upper-left corner of the Lab Plot, to find more options.
You can view the color space in 3D in a number of color spaces other than
LAB, as well as perform gamut comparison between
11-8.) If you double-click profiles. (See Figure
on a profile,
it
opens in a separate window show-
ing information about each tag in the
profile. (See Figure 11-9.)
Chapter
11:
Color
Management
In
319
Figure 11-8
ColorSync
Utility:
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ColorSync Utility allows you to compare the gamuts of two profiles as a

graphic. The above example shows Coated (Ad) in white.
3D
Web
sRGB
(in color) plotted
against Japan
Figure TI-9
Double-clicking a profile in the window shown in Figure 11-8 opens the window
ColorSync
Utility:
Profile Info
shown at left. You can click on each tag

to
view information about
it.
Here, the
red channel of a display profile's 'vcgt' tag (which loads calibration settings
into the video card)
is
shown.
Devices. Developers can write their device drivers to register themselves
Doing so allows them to appear in this window, with possible sub-categories such as media type, or color model. Each
as ColorSync devices.
sub-category can have a profile associated with it. Developers can specify
default profiles to use for their devices,
and end users can

Profile to a
select the arprofile, for
row pop-up menu
to
change the Current
custom
example. See Figure 11-10.
320
Figure 11-10
%ee
Preferences
Profile First
Utility,
MacOSXColorSync Devices window
Aid
Profiles
Devices
Filters
Chapter
11:
Color
Manascmcnt
in
321
ngure n-n
Utility. Filters
Mac OS X ColorSync window

and
print driver,
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322
drawbacks include the lack of black point compensation and rendering intent control to the would-be proofing device. Known bugs at the time
of writing include:
The
default tab specifies profiles for untagged objects, but

profiles are used.
no matter
what you select only the Generic
At least two and possibly three destination profile pop-up

possible.
menus
are
The claimed PDF/X-3 support

stop Pro,
doesn't pass preflight in Acrobat
6, Pit-
PDF/X Inspektor,
or
PDF/X Checkup; and the OS
ignores the
PDF/X-3 documents so you can neither soft proof nor hard proof them. We aren't sure where or how PDF/X-3 is
Outputlntent in existing
supported in
OS X Panther.
Windows
ICM 2.0
(Image Color Management)
is
built into Windows
98 and higher,
including Windows XP. Like ColorSync, ICM is a set of APIs intended for use
by programmers. Outside of printer drivers, and applications specifically written to use ICM 2, there's only one user setting, but it's an important
one
to
which you should pay special
attention.
Setting the Active Color Profile for tlie Display

Each device on Windows can have multiple
device and
profiles associated with
is
it,
as
well as a default profile. Only the default profile

is
the active profile for that
the one that gets used. To associate profiles with a device,
and
to set the default profile,
go the device's Properties panel, click the

then click on the Color Management
Advanced button under

tab. In that
Settings,
window, you can associate profiles with the device and also
profile.
specify
one of them as the default
For example, to set the display

click
profile,
go to the Display control panel,
on the
Settings tab,
then click the Advanced button. In the resulting

tab, click
window,
click
on the Color Management
Add
to
open the Add

and
click
Profile Association dialog box,
then choose the profile and click Add. To set

it
the profile as the default, select

Set As Default (see Figure 11-12
in the Color
Management
tab,
and Figure
11-13).
Chapter
11:
Color
Management
in
323
Preview
Apple's Preview application
ful for
is
use-
Previewing TIFF,
JPEG, and
you save the document from Preview, such as you might do when
the current display profile) as the
source
profile.
When
displaying
PDF
It
honors embedded profiles

actually con-
as source profiles, in file types that
you wanted to change formats. TIFF and JPEG are left untagged,
while
the document, this
means
the
destination profile, also Monitor
support them, but

verts files
it
PDF
is
current
to Monitor RGB the dsiplay profile upon

files
tagged with Generic
RGB, and JPEG 2000 is tagged sRGB. The idea of converting the
data automatically on opening
is
RGB, is the same as the source, and no transform occurs. When

printing the document, the
full
opening them. While the

aren't
sequence of transforms
(it
can be
saved to disk
is
at this point,
it's
bad enough, but
to
then
embed
more than one) depends on your

print settings.
as far as Preview
concerned,
working on data that has already been converted.
obviously incorrect profiles is even worse. All these behaviors
Preview can preview, but

to save
if
To make matters worse,
this
have been confirmed as bugs. For untagged documents. Preview assumes Monitor
care about quality, don't rely
you on it
any documents that you
problem
is
compounded when
RGB
(i.e.,
care about!
Figure 11-K
Display Properties: Settings tab
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1M3
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324
On Windows, you need to be extra careful in setting the active display profile. Unlike the Mac OS, Windows doesn't get calibration information
from the
profile to update the video card LUTs, so it's all too easy for the monitor to behave differently than the way the active profile describes.
Display calibration /profiling packages should set the display profile automatically when
that
it it's
created, but
so.
if
in doubt,
double-check to make sure
has in fact done
Locations for Profiles

Where your profiles
ing,
depends on what version of Windows you're usand whether or not you chose the most typical installation (on a C:
live
to worry about these locations except for doing because housecleaning, you can right-click on a profile in any location
drive).
You
don't
need
to get a contextual
will place
it
menu containing an option to "Install Profile," which
in the appropriate directory.
Win98, Win98SE, WinMeC:\Windows\System\Color
Windows 2000, XP C:\WinNT\System32\Spool\Drivers\Color

Windows
NTC:\WinNT\System32\Color
doesn't support
NOTE: Windows NT
ICM
is
2,
and has no
built-in color
management
at
all.
Any
color
management happening under Windows

hardwired into them. So the
NT
is
done
entirely
by applications, and
location for profiles under Windows
NT
is
merely for reference.
Color
Management
in
Applications
we mentioned that color management
In the introduction to this chapter,
can be requested by either applications or printer drivers. This section looks at color management strictly from an application point of view, covering both color-managed
and non-color-managed
applications.
Color-Managed Applications
Color-managed applications know what ICC profiles are, and use them to at least some degree. Most of these applications use either ColorSync or
ICM to do color- management tasks such as color space conversions.
Chapter
11:
Color
Management
in
325
Some color-managed applications implement their own color engine, such as the Adobe applications, all of which use ACE (the Adobe Color Engine). Within each application, ACE produces the exact same results between its Macintosh and Windows counterparts. However, even when using ACE, they still make minimal use of ColorSync and ICM to request
the current display profile and to find profiles
sions are performed, by default, by ACE.
It's
on the system.
All
conver-
possible to select ColorSync
or
ICM
(and thus any available
CMMs)
in lieu of ACE in in
plications.
More
detail
on
this
can be found
most Adobe apChapter 12, The Adobe

have identical capabili-
Common
ties.
Color Architecture.
all
Note that color-managed applications don't

While
they'll
support color conversions
in
one way or another, not all
of them support color
drivers) or fully support
management to the display (such as many scanner embedded profiles.
CUPS
CUPS
stands for the
Common
CUPS
could use them without
re-
Unix Printing System. Apple

has touted
arts
quiring developers to rewrite their

drivers
the language the printer needs, accounting for media, resolution
CUPS
to the graphic
from scratch. These Printer
and other settings.

The good news? CUPS effectively
turns any printer into a PostScript-
community
as a
good
thing,
but hasn't done a very good job of telling us why we should
Modules can be ColorSync aware, and do driver-level color management. But now there are also CUPS
printer drivers
Filters
and PDF-based printer. The plug- in

filter-based architecture lets us insert different kinds of RIPs from vari-
The printing architecture designed for Mac OS X, as embodied in Mac OS 10.0 and 10.1, had,
care.
let's just say, lots
and
filters.
do conversions between
formats. For example, a PostScript
ous vendors, and use these RIPs
for
of problems.
So it got gutted in favor of CUPS.
CUPS
is
primarily a scheduling
and queuing system, handing off print jobs from applications to

appropriate filters, drivers, and printer modules. It's the center of
the print architecture, and therefore defines
it.
PDF filter converts PostScript into PDF and a PDF to Raster filter converts PDF into a TIFF or other bitmap. A PostScript RIP filter
to
any raster-based printer connected to the host computer. Stay tuned for
more developments on this front as
would convert PostScript

bitmap
see one.
too,
into a
to
CUPS matures and printer vendors decide to build CUPS drivers instead
of Printer Modules.
Interesting
though we've yet
news? Starting with

drivers automati-
CUPS
for
drivers are responsible
Panther,
CUPS
communicating with a par-
cally register with ColorSync, so
drivers.
Now we have two kinds of printer We have the original archi-
ticular printer in a
tecture's Printer Modules, for which
language it can understand. An Epson Stylus Color 3000 printer driver would
convert raster bitmap data into
CUPS
printers' "Current Profile"
settings in the ColorSync Utility
Apple created a bridge so that
are honored by ColorSync, and will be used as a destination profile.
326
The sure way to distinguish a color-managed application from a noncolor-managed application is to snoop around in the program itself.
Color-managed applications have preferences for configuring source, destination, and possibly display profiles (if they don't request the display
from the operating system). So where is the color management actually happening? From a programming point of view, it's in the application. While ColorSync or ICM
profile
may actually be
Think of it
doing the work, they're APIs, not standalone programs.

airport, did
like this: if you drive a friend to the do the work? Well, both.
you or the car
Source profiles. Color managed applications can hand off the source profile for your document to the operating system at print time along with
the data to be printed, but with the exception of the Adobe applications,
this
seems
to
be
fairly rare.
The point of doing so
is
to provide the source
profile(s),
and
let
the printer driver and operating system do any sub-
sequent color management. However, color-managed applications can

already do the conversion to print space while producing the print stream,
so
most of them
don't include source profiles in the print stream.
Non-Color-Managed Applications
Previous examples of non-color-managed applications are Microsoft
Word, Excel, and PowerPoint, as well as most Web browsers. However,

this
has become a
little
more blurred on both operating systems'
latest
versions of these applications. Microsoft Office apphcations honor
em-
bedded
the
profiles for preview.
Some applications pass source profiles onto
OS at print time; others convert to Monitor RGB first, then submit the
in the
file di-
print job tagged with the current display profile.
Non-color-managed applications send the RGB values

rectly to the monitor, so the sensible
files
assumption
for a source profile for

it
generated by these applications
is
the display profile, since
defines
the color the monitor produces in response to the
RGB values.
then import them into
To color manage files fi-om these applications, export them as TIFF, JPEG,
or as a PostScript
file
produced by printing to
disk,
a color-managed application, assign the current display profile, and resave
with the display profile embedded. From that point onward, the
color managed. This technique works
for screen shots, too.
files
are
(Mac OS X Pan-
ther screen shots are
embedded with the current display profile.)
Chapter
11:
Color
Management
in
327
Color
Management
At
first
in Printer Drivers
glance,
it
may seem that the printer driver is where all color manageand pass on
a source profile for their docu-
ment destined for print was intended to occur. Applications would manage
color within the application
ments
profile
at print time,
then the printer driver would specify the destination
and the operating system would do the necessary conversion. The truth is that printer drivers have no knowledge of the application that's
files.
sending the data, so they have to handle both tagged and untagged
However, the assumptions that different printer drivers make as to the source
profile vary widely,
and
in
our experience, they're usually incorrect.
Meanwhile, color-managed applications generally want to color manage the content of their documents completely before passing
it
off onto
the operating system for printing, sending "pre-matched data." But the
printer drivers
still
expect to do color
management
at their end,
and
to
date there
isn't
mechanism
for the application to tell the printer driver,
"Hey, buddy, don't

user,
do any more color management!" That means you, the

either the printer driver color
have to ensure that when you print from applications that do their
color
own
management,
management
is
turned off or the application doesn't convert to printer space before handing off the data to the printer driver.
With non-color-managed applications, you can use printer driver color
management to perform the conversion to volves some pitfalls that we discuss below.
print space, but doing so in-
Default Behavior
Each manufacturer seems
printer driver,
to decide a different default behavior for their
and sometimes they decide on different defaults for differdefault to proprietary color
ent models or change the default behavior between versions of the driver.
Most raster drivers

to ColorSync or
management rather than
ICM.
that default to ColorSync or ICM at least not
PostScript printers also vary their default settings, but we

directly.
know of none
They almost all use
PostScript color management when receiving
RGB data, to convert it into
when
is
CMYK in the printer itself. Some also use PostScript color management receiving CMYK data. The printer driver option that controls this
usually called something like color correction, color management, or
simulation.
328
When you use driver-level color management, the settings you use when
you
print the target to profile the device are very important. For example,
when you use ColorSync

goes on under the hood
setting,
If
is
or
ICM
that
Epson printer drivers, what actually the driver uses the "No Color Adjustment"
in
and asks ColorSync or ICM to do the conversion to the print space.
you
print the profiling target using the "Photo-realistic" setting to take
advantage of its better linearization and gray balance (putting up with the
smaller gamut) the resulting profile won't work well with ColorSync or ICM
,
selected because the printer driver won't use the "Photo-realistic" setting
when you choose ColorSync or ICM.
Source Profile Assumptions

When the application doesn't include the source profile in the print stream,
and you use ColorSync or ICM
to
in the printer driver, a source profile has
be assumed. Two things can make the assumption: the printer driver
or the operating system.
itself,
In
Windows, the assumed source
profile
is
always sRGB, whether the
printer driver or Windows itself is doing the assuming. Applications that

don't generate their own PostScript
must use GDI, which has no idea what
CMYK is.
a default
So the application must convert
CMYK content
into
RGB
for
either display or for print. A few applications use GDI+,
which will assume
CMYK SWOP profile.

number of printer drivers tell Colorwhich assumption
On Mac OS 9, the operating system assumes the currently selected display profile, although an increasing
Sync
to use
sRGB
as the source instead. To find out
your printer driver makes, print an image with a display profile selected, then select a substantially different display profile (or perhaps even a nondisplay profile such as Wide
Gamut RGB if you have Photoshop installed)

prints look the same,
and reprint the image.

ent, the driver
If the test
something is being
assumed over which you have no control, probably sRGB. If they're differis
assuming the display profile.
CMYK behavior is similar
to Windows.
On Mac OS X Panther, Generic RGB is assumed system-wide for untagged RGB at print time. As we discussed earlier in the chapter if the application does not specify a profile, Mac OS X embeds the PDF print
spool
file
with Generic RGB. For CMYK, the waters are

still
muddy because
legacy applications
use QuickDraw, so they still convert their content
Chapter
11:
Color
Management
in
329
to
RGB at print time, and this conversion is up to the developer. However,
applications using Quartz can send

rently Generic
CMYK data for display or print. Cur-
CMYK is the assumed source.
Raster Drivers
Using printer driver color management with raster printers and non-color-
managed
applications boils
is
down
to
choosing a destination profile

it's
the
source profile
application,
assumed by either the printer driver, or operating system. Where you choose the deslargely out of
your control as
tination profile
depends on the operating system.
We can't
printing to
cal
possibly cover all printer drivers, so let's use the example of an Epson Stylus Photo 2200 from Microsoft PowerPoint, a typito find similar
non-color-managed application. You should be able

If you
terminology in other printer drivers.

option in
don't find a ColorSync or
ICM
your printer driver,
then it almost certainly doesn't support ICC-
based color management.
Mac OS
the
9.
When you open the printer driver,
the default behavior
is
set
to Automatic.
To access the ColorSync option, you must select Custom in
Mode
portion of the driver, and click the resulting Advanced button
(see Figure 11-14).
ngure 11-M
B>SON
LBtter
Copies: [l
-
8P2200 7J8A
a iiiiaii m
I
Mac OS 9 Epson Stylus

Photo 2200 main dialog
Cancel
Nonnal
3iOdpl Color Controls
Pages:
9 All O Range
Plain
|
| |
A
management,
Media Type:
Paper
Color
OMack
Custom Settings
I
r
'
O PhotoEnhance 9 Custom
LD
Advanced-.
In the resulting dialog, look in the Color

fault setting is for the
Management section. The deits
Color Controls radio button, so select ColorSync
here (when you're printing from an application that does

you'd select the setting
own
color
you used when making the

See Figure 11-15.
profile
for this printer, usually
No Color Adjustment).
Epson drivers select a printer profile based on the media and resolution
settings you've selected.
Some printer drivers allow you to select a specific
330
Figure 11-15
Media Type:
Plain
Color
Management
Paper
Mac OS 9 Epson Stylus

Photo 2200 Advanced
dialog
Print Quality:
> Color
O Black
Normal
-
O Color Controls O PhotoEnhance4 % ColorSync O No Color Adjustment

Profile:
360dpi
EPSON Standard
Perceptual
Rendering Intent:
Q Micro Weave Q Flip Horizontal

,
liiiP',! L'i'S.r.i
S Edge Smoothing
[?]
Ink Conflg.-
Save
Settings...
Cancel
|
OK
profile here manually,
but in nearly all cases
it
must be the canned profile
We haven't had much success in getting Mac OS 9 printer drivers, even by replacing appear the profile with an identically named profile.
supplied by the manufacturer.
custom
profiles to
in
Mac OS
views,
X. Things are quite a bit different in
print dialog (see Figure
Mac OS X, starting with the 1 1-16). The third pop-up menu item lists different
Select ColorSync,
and the one you want is Color Management.

1
and
you'll see something like Figure
1-17.
Figure 11-16
Mac OS X Epson Stylus

Photo 2200 Print dialog
Printer:
'
Stylus Photo
2200
MK
Ji
Presets:
Standard
-[Copies
i Pages
ii Collated
^'''*" 11
Pages:
âII
Qfnm:
t<
CjEZ)
( Cancel )
Tip: Use
No Color Adjustment. When printing from applications that let

your
print,
you
select a destination profile for
choose No Color Adjust-
ment (Epson)
or equivalent in your print driver to ensure double-color

occur.
If
management does not
you
are printing
from a non-color- man-
aged application, use either ColorSync or the driver's proprietary color
management, whichever gets you results you prefer.
Chapter
11:
Color
Manasement
in
331
Figure 11-17
Mac OS X Epson
Color
Prmitr
Stylus
Photo 2200 Print dialog:
Management
options
332
Real World Color
Figure 11-18).
tion where
The
resulting
window
contains a Color
1 1-
Management
sec-
options
they're determined from a

to select
you
select
ICM
(see Figure
19)
As in Mac OS X, there are no
list
of associated profiles. We like that
the driver displays the profile that will be used by the

tion profile. Also, note that
OS
as the destinaselect
on Windows XP you need to
first
ICM if
you wish
No
Color Adjustment, such as
when using application
level color
management.
Figure 11-18
Windows XP Epson Stylus

Photo 2200 Print dialog
Q 1 1
Dttf
< Tet
Telllmge
Chapter
11:
Color
Management
in
333
figure n-SO
Windows XP
Printers
and
Faxes dialog box
334
Real World Color
PostScript Drivers ColorSync and ICM can affect PostScript output, even though neither actually
knows what PostScript
is.
generate PostScript themselves
they send drawing commands to the
Non- color-managed apphcations
don't
operating system, and the PostScript printer driver turns those Quick-
commands into PostScript. The operating system can color manage QuickDraw, Quartz, and GDI/GDI+ routines, then produce the PostScript stream already color managed. The latest Mac OS and
Draw, GDI, or Quartz
Windows operating systems can

which are PostScript source
ate their
produce CSAs (Color Space Arrays, profiles). Note that applications that generalso
own
PostScript (which virtually every color-managed applica-
tion does) aren't affected by ColorSync /ICM settings, so PostScript printer

driver color
management simply doesn't work with these
applications.
Mac OS 9. The Mac OS 9 PostScript driver is a frequent and fruitful source

of confusion due to the Color Matching section, which contains ColorSync
Color Matching (and, for

Figure 11-23.
some printers,
PostScript Color Matching). See
Figure 11-23
Mac OS 9 LaserWriter 8:
ColorSync Color
Matching
Chapter
11:
Color
Management
in
335
same as for raster printer drivers, with the exception that the current display profile is always the assumed source profile. You simply choose
the a destination profile, which normally should be the profile for your in-
tended destination PostScript device.

PostScript Color
Management is an option we don't recommend, both

it
because we know of very few people who have made

there are precious few tools to help anyone do so.
to
work, and because

it's
The way
supposed
work
is
that the
assumed source
profile (the current display profile)
gets converted by ColorSync into a PostScript
CSA
(Color Space Array).
The
selected destination profile gets converted into a PostScript
CRD
(Color Rendering Dictionary), and both are sent with the OS-generated PostScript print stream to the printer. The PostScript RIP uses the CSA
and
CRD as source and destination

If
profiles, respectively,
it
and makes the
conversion.
you get
let
it
to
work and
doesn't cause
you confusion or
misery, feel free to
us know.
Mac OS X
(10.2).
The
PostScript driver
on Mac OS X has absolutely no

any additional influence
user options for color management, apparently by design. Applications

that generate their own PostScript simply bypass
by the operating system, anyway. For
all
other applications, a PostScript
CSA
(a PostScript
source profile)
is
placed in the print stream by the op-
erating system based
on the following conditions:

profile
is
Tagged images. The embedded

it
used as the source
profile, so
becomes the CSA sent
to the PostScript printer.
Tip: Iff
Only Tagged
isn't
Iff
the Application Knows
It's
Tagged.
If
the apis,
plication being used to print doesn't know what an embedded
profile
the image
considered tagged by the operating system.
Untagged /DeviceRGB, /DeviceCMYK, /DeviceGray. With applications that generate device-dependent color, a CSA is generated from the
Generic RGB, Generic
CMYK,
or Generic Gray profiles.
Untagged /CalRGB or /CalCMYK. Applications that produce calibrated color get a CSA generated from the calibrated color tables submitted
by the application.
336
Real World Color
Mac OS X 10.2 and earlier from applications that don't generate their own PostScript to a PostScript printer. First, there's no way to avoid sending a CSA to the printThere are two gotchas inherent in printing under
er,
so there's no
way to avoid
PostScript color
is
management
(unless your
test files
RIP simply ignores CSAs, which
relatively rare).
So don't print
from such applications. Second, the destination profile is almost always the printer's built-in CRD, which is usually a generic placeholder rather
than an actual description of the printer's behavior.
Mac OS X
(10.3).
Mac OS X Panther has added a ColorSync menu option

It
to all printer drivers.
contains the aforementioned Quartz filters menu,
and also a Color Conversion menu. For raster drivers, the "In-Printer" option
is
grayed out because
it
can't
occur in the printer
itself.
The "Standard" option
is
grayed out with PostScript drivers
when you
access the driver-level ColorSync generates

its
menu
is
item from an application that

can't color manage some sensible com-
own
PostScript. This
because the OS
application-level generated PostScript. Finally, there is
munication between applications, OS, and

Figure 11-24
drivers.
See Figure 11-24.
JM^
Printer:
<
M'MiWt'mM-f*^^'^"^-'^^^"^'"'^''^'''^
Mac OS X PostScript
ColorSync menu's Color Conversion options
driver:
OOAPvS on 192.168.44.44
Standard
Presets:
-(
CoterSync
Standard
Color Conversion!
In Printer
Quartz
Filter:
None
r
(^
QaZTl
Cancel
Chris wondered
if the
dog, the pig and the
pony would have to square-
dance under a full
moon and shake hands afterward to start seeing such
examples of cooperation. However, technically the "In-Printer" option

should not apply either unless PostScript color management is selected in
the application. There's
still
room for improved communication between
the parties, but rest assured that the
OS will not modify PostScript print

is
streams from applications that generate them. For PostScript printers the option
In-Printer
is
either "Standard" or "In-Printer."
the behavior we were stuck with in 10.2, with one exception.
Chapter
11:
Color
Manasement
in
337
If you
have untagged CMYK content, also known as /DeviceCMYK, the OS
will
allow that to pass through without PostScript color management.

all
Standard causes ColorSync to do
conversions prior to PostScript
being generated, and then sends essentially untagged / DeviceCMYK data

to the printer.
The destination
printer
profile
is
set in
ColorSync Utility> Devices
window.
If your
registers itself with
ColorSync, this
method of col-
or managing output from otherwise non-color-managed applications will
be faster, and superior in quality than relying on PostScript color management used with the "In-Printer" option.
Eventually we expect Apple to provide a mechanism for sending CRDs based on ICC profiles, which should provide reasonable results from PostScript Level 2 or later RIPs. But for the time being,
if
you want good output

to
control the source profile, destination profile,
from a PostScript device, print from an application that allows you and rendering intent.
Color
Manasement
color
in
Scanner Drivers
management exhibit a
Most scanner drivers implement their own proprietary and rudimentary management by default, and some also tie into the operating syscapabilities. See Figure 11-25.
tem. Moreover, scanner drivers that do offer color

fairly vdde range of behaviors and
Figure 11-25
CoiiW9urtioii
-( Prviw
Epson Perfection 3200

Color Configuration
%Otmtimi^
BBWI
Other
(=)@
Smvc* <ScjnMr): EPSON Suntan)
CotortMch aSB
Dapla> Ewv ^""a montur companutian
O*'
3C
The best
drivers let
you specify a source and a destination
profile,
convert the data from the source to the destination during the scan, and
embed
the destination profile in the scanned image on save, while also
338
using the display profile to display the image correctly on the monitor. The
worst ones have a single button marked ColorSync or
ICM that converts
from a hidden generic scanner profile to the display profile, and produces untagged RGB as output. Most fall somewhere between the two extremes,
but the most
common problem
is
is
the inability to
let
the user specify a

cases,
custom scanner
profile as the source profile. In
most
we find that
the easiest course of action
to find out
how to turn off both color manin the
agement and any autocorrection features
scanner driver, treat it as
dumb and
raw, bring the scans into Photoshop,
profile there.
Some scanner
it's
drivers
make
this
and assign the scanner procedure more difficult
than others, but

If
rarely impossible.
you decide to use scanner driver color management, you need to confirm whether the driver embeds the scanner profile, or uses it as a
source profile for a conversion to
some
destination profile.
If
the
latter,
it's
what is the destination? If there's no explicit setting for the destination,
probably the display profile, which the scanner driver grabs automatically
from the operating system. That means that all your scans get clipped the gamut of your display, which is far from ideal.
to
Scanner drivers that operate as Photoshop plug- ins need special attention,
because the API that lets the driver pass a source profile to Photoshop
along with the pixels hasn't been implemented in any scanner software
we've encountered, so the images always
come
in as either
untagged or
working space RGB. working space RGB,

profile manually.
If
the scanner driver actually converted the pixels to
that's fine. If it didn't,
you need to assign the scanner
Using the Epson Perfection 3200 Photoshop plug-in driver as an example, note that by default proprietary color management is used. If you
select
ColorSync the driver will ask ColorSync to use the specified source
file.
and
target profiles to convert the
Remember,
after
conversion what
profile
was selected
for the
as target (destination profile)
becomes the source
scanned data. Be aware many of these Photoshop plug-in drivers do not inform Photoshop of the proper source profile. They may open in
Photoshop "Untagged" or tagged with the RGB Working Space profile. Either way this is incorrect, you will need to manually assign the proper profile if
you scanner software behaves this way. See Chapter 12, The Adobe Common Color Architecture, for more information on assigning profiles.
Chapter
11:
Color
Manasement
in
339
East
Is
East,
West
meet."
It's
Is
West
good idea
to enforce a similar separation
The old saw has it that, "East is east, west is west, and never the twain shall
generally a
between
OS-level and application-level color
management
as
much as is feasible,
and
to ensure that
It's
when
they do meet, they do so
gracefully rather than
colliding.
not only possible, but distressingly easy to have both the ap-
plication
and the printer driver managing color behind each other's backs,
is
so you need to keep track of who
doing what to whom. When you work

is
with color-managed applications, the easiest course

turn off color
almost always to
management
in the various device drivers
and simply
let
the applications handle the color management.
The Adobe
ommon
Color
InDesign,
Color Architecture
Management
and
in
Adobe Photoshop,
Illustrator
On
our bleaker days, we wonder

feel
why
it
all
vendors that implement color
management
they have to do
their way, with their
own unique
user interface and their
own unique
terminology. So
we
derive a certain
amount of comfort from the fact that Adobe Systems has at least attempted to standardize
much of the user interface and most of the terminology

main color-managed and Adobe InDesign.
applications,
between
its
three
Adobe Photoshop,
Adobe
Illustrator,
We think that Adobe has done more than any other vendor in finding
ways to present color- management options to the user, and the integration between the three applications generally makes life easier.
rational
However, since the three applications do rather different things, some

of the apparent similarities are misleading
arise.
we'll point these
out as they
And, sometimes, the more obscure consequences of some of the
settings may not be particularly intuitive, so we'll likewise flag these when we get to them.
We'll start
all
by looking
at the settings that really
do work
identically in
three applications.
341
342
Real World Color
Color Settings
Command Central
Color Settings
Real World Color
for Color
(see Figure 12- 1)
.
Adobe Photoshop, Illustrator, and InDesign all share a very similar and somewhat formidable-looking dialog box called Color Settings
Figure 12-1
Settings:
Management
Color Settings
^ AdvarKed Mode
WwUng
Spaces
Cl:[MiimC
CMYK:
Cray:
nun? CCII1-IS-S-2M
fnack
Ink -
MWi? Catl-2S->$-2M
Golar Managcnwnt PdUcics
CMVK:
{
mttm Eni<ipldd rmUts

Proftle*
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H|
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Cray:
ryreswyeCmbedded
Pramt MIsmaldKs:
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MasliK|rroflle>:
-
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-
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Comrslon Optiom
Engmc:Q
gj Um Mack Potnt CompeuMtlon

~
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Advanced Controls
~-
[^
Desjturale Monitor Colort ty:

Colars Using
W|
|1.00
Q nntd C<
Canma:
Color
Management
settings for
Color Settings
Enable Color
Management
Settings:
Real World Color
Management
H Advanced Mode
vYorKini,
Chapter
12:
The Adobe
Common
Color Architecture
343
For now,
All
let's
ignore the differences, and concentrate on the similarities.
three applications' Color Settings have areas labeled Working Spaces

Policies,
and Color Management

in
though the options are slightly different
each one.
Let's first
look at what they have in
common.
Settings
The Settings menu simply contains saved presets for the Color Settings dialog box. Settings
files
created in one of the three applications can be used
by the other two, which

fairly easy.
makes synchronizing the behavior of the three However, Photoshop has more options than InDesign, which
in turn
has more options than Illustrator
so
if
you want
to
synchronize
Photoshop's setting with either or both of the other applications, save the
settings
from Photoshop, and if you want to synchronize InDesign and Illustrator, save the settings from InDesign.
Saved settings s/iomW appear automatically
in the majority of cases, in the Settings
menu, and
of the settings
in the
files
the
they do.
file
If
you
find they don't, check the location

is .csf.
extension
On Mac OS 9, they're stored
Hard Drive:System Folder:Application Support:Adobe:Color: Settings folder; on Windows they're stored in the Program Files\Common
Files\
Adobe\Color\Settings
folder.
The somewhat anarchic

the applications under
situation that applied to previous versions of

in the
Mac OS X has been addressed
CS
release:
Photoshop CS, InDesign CS, and Illustrator CS all default to saving them in the /Users/<usemame>/ Library/Application Support/Adobe/Color/Settings folder,
though you can manually load
.csf files
saved in the main
/Li-
brary/Application Support/Adobe/Color/Settings folder, too. If you
want to
is
make
the color settings available to other users, the simplest solution
create aliases of your settings in the
main Library folder.
Macintosh users get one extra preset, labeled ColorSync Workflow. When you choose this setting, the application uses the RGB, CMYK,
and
in the case of
Photoshop, Grayscale profiles specified in the Default
Profiles for
Documents panel of the ColorSync control panel (Mac OS 9),

Also,
or under the Default Profiles tab of the Preferences panel in ColorSync

Utility
the
CMM chosen in ColorSyncsee "Engine," later in this chapter, for

you
really
(Mac OS X).
on both operating systems the application uses
further ramifications. Unless
know what both you and
the
OS
are doing,
we recommend
that
you avoid this option, which
may
well
disappear in the future.
344
Real World Color
Default Profiles
Working Spaces
(called
The Working Spaces section lets you specify default profiles

ing Spaces" in Adobe's terminology) for
that these profiles play
"Work-
RGB and CMYK. The

settings
exact role
in
the dialog box, but they always represent the default profile either assumed or assigned for untagged RGB and untagged CMYK, and for new
depends on the
you enter elsewhere
documents.
to
When the "Advanced" checkbox is unchecked, your choices are limited a recommended set of profiles for RGB and CMYK. But you can conwhich profiles appear in the lists when "Advanced"
simply show the
install there will
is
trol
lists
unchecked. The
so any profile
profiles in the
Recommended folder,
list.
you
show up
in the
This
mechanism provides an
administrator a convenient way to limit the choice of profiles in the three

applications to "safe" ones.
On Mac OS 9, they're stored in the System Folder:Application Support:

Adobe:Color:Profiles:Recommended
the Program
folder, folder,
on Windows they're stored in
Files\Common Files\Adobe\Color\Profiles\Recommended
they're stored in the /Library /Application Sup(In all cases, the folder
and on Mac OS X
port/Adobe/Color/Profiles/Recommended folder.
is
aliased to the
main
Profiles folder, so
any
profiles
you
install in
the
Recommended folder are available to those other applications that search

more than one
user Library.)
If you
lists all
level
deep
for profiles in
both the main Library and the
turn on the "Advanced" checkbox, the
RGB Working Space menu

and the
the installed bidirectional
RGB
Space
menu lists all the installed bidirectional CMYK profilesyou can't

RGB, you probably don't want
to
profiles,
CMYK Working
use unidirectional input profiles that only convert from device values to
PCS
as working spaces. (In the case of
use a device space at all
see "Intermediate Spaces," in Chapter

Policies
10, Color-
Management Workflow.)
Color
Management
The most critical choices you make in the Color Settings dialog box are the
Color Management Policies, which control the applications' behavior when
when you create new docubetween documents. They selected elements and when move ments, you
they open tagged and untagged documents,
don't affect the handling of imported objects in InDesign documents, just
Chapter
12:
The Adobe
Common
Color Architecture
345
native elements. The policies control the applications' default behavior for
assuming or assigning profiles to untagged documents and for handling tagged documents by either honoring the embedded profile, converting
from that
profile to another, or ignoring the
embedded
you
profile
and assum-
ing a different one. All three applications
let
set separate policies for
RGB and for CMYK (Photoshop lets you set a third policy for Grayscale). A complicating factor is that InDesign documents have two default
profiles,
one
for
RGB and one for CMYK elements, which can muddy the
between tagged and untagged documents. It's possible to have an InDesign document whose native RGB elements are tagged and whose native CMYK elements are untagged, or vice versa. We'll leave you to make
distinction
the call as to whether such a
document
is
half-tagged or half-untagged!
The three Warning options provide manual overrides to the policies by

displaying dialog boxes that
let
you take an action
different
from the one

here's
dictated by the current policy. Before
we look at the warnings,

off.
how
the policies behave
when
the warnings are turned
Off. This
is
the probably the most misleadingly labeled option of the three.
You
can't turn color
management
off in these applications
they always
convert from a source profile (either
embedded /assigned
or assumed) to
the monitor profile for display, and they always use profiles to convert from
RGB to CMYK. For new documents, the Off policy makes the applications assume the working space profiles for all native RGB and CMYK elements, and treat
the documents as untagged
you change the working spaces, the documents take on the new profiles, and the appearance changes.
if
For documents that are tagged with a profile other than the working
space profile, the applications discard the
embedded
profile,
assume the
working space
profile,
and
treat the
documents
as untagged.
that's
However, when
the application opens a

all
document
tagged with
It
the current working space profile,

the
sense goes out the window.
treats
document
to the
as tagged with the
embedded
effect
changes
ly,
working space have no
profile, so any subsequent on that document. Effective-
a document v^th an
is
embedded profile that matches the working space
profile
next).
treated with a "Preserve
Embedded
Profiles" policy (discussed
We think this is counterintuitive, to say the least.
346
When you move native objects from a document in one space to another
by copy and paste or drag and drop, the application simply moves the numerical values in the object.
in a different space
Preserve
Embedded
Profiles. Unlike the previous option, this
one does
profile's
what
space
it
says.
Tagged documents get opened in the embedded
(in
the case of InDesign documents, which can have both
RGB and
CMYK elements,
each keeps
its
definitions).
New documents use the cur-
rent working space(s)
untagged ^you can think of this as "preserving" their untagged status and
use the working space profiles as assumed
profiles.
and are treated as tagged. Untagged documents stay
When you move
native
RGB
objects from a
document
in
one space
to
another in a different space by copy and paste or drag and drop, the application performs a conversion from the source to the destination
and moves
a docu-
the color appearance. When you
move native CMYK objects from
ment in one space to another in a different space by copy and paste or drag
and drop, the application transfers the numerical values
in the object.
Convert to Working Space. This policy is best thought of as an automation feature. When the application opens a tagged
document,
it
performs
embedded profile's space to the current working an opens untagged document, it uses the working space as an assumed profile and keeps the document untagged.
a conversion from the
space. When
it
When you move native RGB or CMYK objects from a document in one
space to another in a different space, the application always performs a
conversion from source to destination, preserving color appearance and
changing the numbers.
As a general rule, we set all our policies to Preserve Embedded Profiles

that way,
we at least get to evaluate the image in its profiled space before

next.
deciding what to do
Warnings
Manual Overrides
color-management policy currently in determine which radio button is checked by default
The Missing Profile warnings in Photoshop and InDesign and the Profile Mismatch warnings in all three applications let you manually override the
default behavior dictated by the
effect.
The
policies
Chapter
12:
The Adobe
Common
Color Architecture
347
in the
warning dialogs, but the same options are available no matter

in effect.
which policy is designed to do

ferently in
However, since each of the three applications
is
different things, the
warnings are presented
slightly dif-
each one.
The Missing Profile warnings appear when you open an untagged document, and
offer the options listed below.
Missing Profile warning in Photoshop. The Missing Profile warning,
when enabled, appears whenever you open an untagged document

Figure 12-2).
Fisure 1S-2
(see
Photoshop Missing Profile warning
The RCI
profile.
documtM 'unuggd
ItCl.tir docs noi have an
embedded
color
Mow do you
*n to proceed?
9 Leave as
is
(don't color tnar>a9C)
O Asstgn working RCR

OAstisnproflIc:
,
ProPhoto RCB
-
MueEytX.l
Saturdty. June 26.
2004 a:0a:a6PM
^' and then convert document to tvorking RCB
Ciictt
The warning offers four options:

Leave as
is
(don't color
manage)
tells
the application to assume the
current working space profile and treat the
document as untagged.
the application to assign
Assign working
RGB /CMYK/ Grayscale

and
treat the
tells
the working space profile
document as tagged.
Assign profile
lets
you
tell
the application to assign any profile that's
applicable to the document's color

profiles to
mode (you can only assign RGB RGB documents and CMYK profiles to CMYK documents)
document as tagged.
and
treat the
Assign profile, then convert to "working
RGB /CMYK"
lets
you
tell
the
application to assign any profile that's applicable to the document's

color
mode, then convert from that mode, and

treat the
profile to the
Working Space
for
that color
document as tagged.
348
Real World Color

Missing Profile warning in InDesign. While Photoshop documents only
exist in a single color space,
CMYK elements governed by different profiles, called Document profilesso

InDesign has not one, but two Missing Profile warnings, one for RGB, one
for
InDesign documents can contain
RGB and
CMYK
(see Figure 12-3).
Note that
this dialog
If
only pertains to native

profiles
InDesign content, not to placed objects.
the
document has
this dialog.
emit's
bedded, but placed images do not, you won't see
However,
also important to realize that untagged placed images will use the Document
profiles (for
RGB and CMYK)
as
assumed source profiles.
Figure 12-3
Missing Profile
The document does not have an embedded RGB
InDesign Missing Profile
profile.
warnings
How do you want

is
to proceed?
9 Leave as (use current working space) O Assign current working space: ProPhoto RGB
OAssign
profile:
Adobe RGB (1998)
Cancti
~)
Missing Profile
Chapter
12:
The Adobe
Common
Color Architecture
349
Assign profile
the
first
you tell the application to assign any RGB profile in and warning, any CMYK profile in the second one. Untagged placed objects assume these profiles as source and remain untagged.
lets
Missing Profile warning in Illustrator. Unlike the other two applications,
warning it always the when a without an embedded document displays warning you open profile (see Figure 12-4). (This can be annoying, since Illustrator always
looks for profiles in
save.)
Illustrator doesn't let
you turn
off the Missing Profile
EPS documents, but
can't
embed
profiles in
EPSs on
Figure 1S-4
Illustrator's
Mtsslrtfl Proflic
Missing
The
r-
CMYK document docs not have How tfo you want to proceed?
an embedded
profile.
Profile
warning
O ttave as
OAtttgn
is
(don't color
manage)
current working space:

[
mVPs7 CCI(1-2S-SS-2S0
0>telg"praMe:
mitH? CCIH-25-iS-2tO
Cancel
Illustrator's
InDesign's the only difference

defined as either
Missing Profile warning provides the same options as

is
that Illustrator
documents are always

so you only get
RGB documents
or
CMYK documents,
one warning:
manage) tells the application to assume the current Working Space profile and treat the document as untagged.
Leave as
is
(don't color
Assign current working space

ing space profile
tells
the application to assign the workas tagged.
and treat the document
Assign profile
you tell the application to assign any RGB profile to an RGB document, or any CMYK profile to a CMYK document.
lets
The Profile Mismatch: Ask When Opening warning appears when you open a document with an embedded profile that's different from the current working space.
350
Real World Color
Photoshop's
Embedded Profile Mismatch warning. When enabled, this

12-5.
warning displays the dialog box shown in Figure

Figure 12-5
Embedded
Profile
Mismatch
profile
Photoshop's
Profile
Embedded
The document "Tagged ARCB.tif has an embedded color that does not match the current RGB working space.
Mismatch warning
Embedded: Adobe RGB (1998)

Working: ProPhoto RGB
How do
you want to proceed?

profile (instead
of the working space) 9 Use the embedded O Convert document's colors to the working space color manage) O Discard the embedded
profile (don't
CtnctI
The warning offers the following three
options:
Use the embedded profile (instead of the working space) preserves the embedded profile and treats the document as tagged. The embedded
profile
is
used as the source
for all conversions.
Convert document's colors to the working space

to
tells
the application
perform a conversion from the embedded

profile,
profile.
profile to the
working
space
space
and
treats the
document
as tagged with the working
Discard the
embedded
treat the
profile (don't color

profile,
cation to discard the

profile,
embedded
manage) tells the appliassume the working space
and
document
as untagged.
Mismatch warnings. Again, since InDesign documents can contain both RGB and CMYK elements, it's possible to
InDesign's
Profile
Embedded
have a profile mismatch in either or both.
Management Policies are set to anything other than Off, InDesign will embed the Document
If
the Color
mode. If neither mode is set to Off, InDesign will embed both Document profiles (RGB and CMYK), regardless of the contents of the document. When enabled, this warning displays the dialog boxes
profile for that
shown in Figure
12-6.
Chapter
12:
The Adobe
Common
Color Architecture
351
HsureK-A
InDeslgn's
Einbc<kld Profll*
Mtsmuch
Embedded
Mismatch
warnings
TIm tfecumtni'i embedded cokx ptoftk docs not
mMch tht cumm
RCt
iMOrfcing space.
Profile
Embedded
Wofking
ProPhoto RCt
Adobe RC8 (1998)

to proceed?
profile
How do you wn
(instead of the M>rking space) % (He the embedded Q Convert the document's colors to the current working space (and use current working space) O Otfcard the embedded
profile
iMbtdded
ProlU*
Mismuch
match the current
TIm document's embedded
color profile docs not
CMYK
working space.
invPs7 MaxK-O-tS-280
WMUng RWfi7CCRl-2S-S-280
How do you want
ttie
to proceed?
profile
(instead of the working space) 9 Use the embedded Q Convert document's colors to the current working space tlw embedded (and use current working space) Q OHcard
profile
C^ ^
Both warnings
offer the following three options:
Use the embedded

the
profiles (instead of the
working space) preserves

or
embedded
profiles
and
treats the
RGB
CMYK elements
become
the
in the
document
as tagged.
The embedded
profiles
Document
profiles for this
profiles for all
document, which means they are used as the source conversions of native objects, and as the assumed
source profiles for untagged placed objects.
Convert the document's colors to the current working space

application to convert the color firom the
tells
the
embedded
profiles to the
working space
profiles
(which become the Document profiles for this
document), and
treats the
document
as tagged.
It
doesn't convert
placed objects, but untagged objects use the

as
new Document profiles
assumed source profiles.
Discard the
embedded
profile (and
use current working space)
tells
the application to discard the
space profile,
profile, assume the working and treat the RGB or CMYK elements in the document as
embedded
untagged. Untagged objects use the working space profiles as assumed

source profiles.
352
Illustrator's
is
Embedded
functionally identical
warning and cosmetically very similar to Photoshop's (see
Profile
Mismatch warning.
Illustrator's
Figure 12-7).
Figure 12-7
Illustrator's
Embedded
Profile
Mismatch
does not match the current
Embedded
Profile
Mismatch warning
The document's embedded color CMYK working space.
profile
Embedded: RWPs7 MaxK-0-8S-280

Working; RWPs7 CCRl-25-85-280
-How do you want
to proceed?
profile (instead of the
9 Uê
the
embedded
working space)
O Convert the document's colors the current working space (don't color manage) O Discard the embedded
to
profile
( Ctticet )
^^^^^
It
offers the following three options:
Use the embedded profile (instead of the working space) preserves the embedded profile and treats the document as tagged. The embedded
profile
is
used as the source
for all conversions.
Convert document's colors to the current working space

plication to perform a conversion
tells
the ap-
from the embedded
profile to the
working space
working space
Discard the
profile,
profile.
and
treats the
document
as tagged with the
embedded profile
(don't color
manage)
tells
the application
profile,
to discard the
embedded
profile,
assume the working space
and treat the document
as untagged.
Annoyingly, both InDesign and Illustrator take the warning a step further by displaying an AssignedFiofile
Mismatch Warning should you have
the temerity to assign a profile other than the working space in the Missing Profile dialog box. This
is
the kind of behavior that gives color manage-
ment a bad name. Photoshop sensibly refrains fron doing so, and we hope
the other applications will follow suit in a future release!
Profile Mismatch:
lets
you override the default behavior
Ask When Pasting warning. The last set of warnings when you move elements (or in
document
in
the case of Photoshop, selected pixels) from a
one space
It
to
another in a different space, by copy and paste or drag and drop.
only
Chapter
12:
The Adobe
Common
Color Architecture
353
applies when both source and destination
document are in the same color

you move elements from one
mode
color
RGB to RGB or CMYK to CMYK.

all
If
mode to another, a conversion always occursyou can't paste RGB

three applications (see Figure 12-8).
values into a
CMYK document or vice versa. The warning offers the same
pair of options in
Figure 12-8
Paste Profile Mismatch
warnings
It
TlM tourct du'i color preAU dot net match th dMtifMiten 4ecumflt't cokK profile.
Sourct
AdotX RCI (199t)

-
OtiimMion Working RCI
ProPhoto RCI
tttt
How do you Mnl lo trtM

OOen'l
dl7
O Cenvart (prMrv color apptannct)

convert (preitrv* color numbril
c*^
Photoshops Paste
Profile
Mismatch warning
ruM ProAto IMtmMch
The tourct
data'i color profile does net destination documeni't color proftle.
match tha
Source
Oattlnalion
RCI Adobe RCI (1998)

ProPtioto
lo treat the data?
How do you want

Don't
Q Convert (preserve color appearance)

CoRMit (prtsama
color numbers)
C^^3
InDesign's Paste Profile Mismatch
warning
Paste Proflic Mismatch
354
Real World Color

Convert (preserve color appearance) makes the application convert
the object from the source document's assigned or
to the destination object's assigned or
assumed
profile
assumed profile, preserving the
color appearance.
Don't convert (preserve color numbers)
moves the numerical values in
the object to the destination document, where they will likely generate
a different color appearance.
We
ments
usually leave
all
the warnings turned on
they provide a useful

we'll
reality check. If we
know that we'll be dealing with a large number of docuworking space,
in a space other than our current
change the
working space rather than turn
off the warning.
Advanced Options
Default Conversion
all
Settings
When you enable the "Advanced" checkbox, new controls appear that let you control how the applications perform conversions, including not only
the ones discussed above, but
other conversions that don't present a
user interface with a choice of conversion options. This includes choos-
mode from Photoshop's ImagoMode menu. Illustrator's FiloDocument Color Mode and Filter>Colors> Convert to RGB /CMYK, or InDesign's Color palette pop-out menu (see Figure 12-9).
ing a different
Figure 12-9
Conversion Options
Engine:
!
Adob (ACB
KelaBve Cotorlmetrlc
Conversion Options
Bl
Use
llacfc
Intent:
[
^^ Ml
Punt Cofiipensatlon
Use Dither (8-bit/channel images)
Photoshop's Conversion Options

Conversion Options
Engine:
Intent:
{
Adobe (ACE)
S5 Use Black Point Compensation
InDesign's Conversion Options

Conversion Options
Engine:
Intent:
^
Adobe (ACE)
'
^ Use Black Point Compensation

Illustrator's
Conversion Options
Chapter
12:
The Adobe
Common
Color Architecture
355
Engine, rhis option allows you to choose a specific
CMM from the ICCIts
compliant CMMs installed on your computer. We're big fans of the Adobe
(ACE) engine
it
seems
is
to
be remarkably bug- free and accurate.

only available inside
only
if
major downside
that
it's
Adobe
applications, so
you need to make sure that you're getting exactly the same conversions inside and outside Adobe applications, you'll need to settle on a CMM
that's installable as a
standalone.
Most of the items on the menu are self-explanatory it's simply a list of different CMMs but Mac users get one extra item, Apple ColorSync,
that's
bit
more mysterious. When you choose Apple ColorSync,
the ap-
plication uses the

9) or the
CMM specified in the ColorSync control panel (Mac OS
ColorSync panel found in System Preferences (Mac OS X). If you choose Automatic, each profile looks for its preferred CMM, which then
gets used for the conversion
tive aspect of this is that
between that
that
profile
and the PCS. The
posi-
you ensure
any
profiles containing "secret
sauce" that's reliant on a particular

tential.
CMM will get used to their fullest po-
The negative is that it's very unlikely that you'll know at any given moment which CMM is doing what to whom!
Intent. This option lets
is
you choose the default rendering

also affects the
intent,
which
used
for all conversions that don't let

trivia,
it
you specify a rendering intent at
conversion time. For those into

Info palette, so
if
LAB values
in the
don't
match up
to actual
you are wondering why the LAB values in the Info palette measurements, it's because this setting isn't set
relative colorimetric with
to absolute colorimetric.
Note that the default rendering intent

black point compensation, which
is
is
all
not at
the
colorimetric without black point compensation see "Use Black Point
same thing
as relative
Compensation," below. We leave this setting at the default, but if you find
that you want to use
some other rendering intent more than half the time,

it
you may want to change
to the
one you use most
often.
Use Black Point Compensation. This proprietary Adobe feature plugs a hole in the ICC profile spec. It ensures that black in the source is always
mapped to
the input is
12-10).
black in the destination, so that the entire dynamic range of
mapped to the entire dynamic range of the output (see Figure
356
Real World Color
Figure 12-10
Black point
compensation
black point compensation on
black poin t compensation off

is
Black point compensation ensures that black in the source
always
translated to black in the destination, preventing the loss of shadow detail that's evident in the above right image.
When "Use Black Point Compensation" is turned off, it's possible to get
either of two undesirable outcomes:
If the
source has a lower black point than the destination,
all
values in
the source that are darker than destination black get clipped to black,
destroying
If
shadow detail.
the source has a higher black point than the destination, the con-
verted color contains no true blacks, so the result appears washed out.
"Use Black Point Compensation" avoids both these problems. The only
reason
we can
see for turning
it
off,
other than to see what
it
does,
is if
your workflow depends on having exactly the same conversions available inside and outside the Adobe applications and quite honestly, we
find
it
so valuable that
it.
if
you do have such a workflow, you may want
to
consider changing
Manual Assignments and Conversions

The Color
Settings dialog
box
is
mostly concerned with the behavior of
newly opened or newly created documents, but the three applications
you perform profile assignments and conversions while you're working on a document.
also let
Chapter
IS:
The Adobe
Common
Color Architecture
357
Like the Color Settings, the controls described in this section operate
at the
document
level.
They
don't affect the behavior of linked graphics
with
embedded
profiles in InDesign,
although they do affect the assumed
profile for linked
untagged graphics.
Assign Profile
All three applications offer
an Assign Profile command.
It
lets
you do three
things:
Untag any document
(don't color
manage). Working spaces are
as-
sumed
as source.
If
Assign the Working Space profile to a document.
the
document was
untagged, assigning the profile turns
it
into a tagged one.
Assign any profile to a tagged document, overriding the one that was
previously in force, or to an untagged document, thereby turning
into a tagged one.
In Photoshop, Assign Profile
is
it
found on the Mode submenu under the

it's
Image menu.
Profile dialog
In InDesign
and
Illustrator,
on the Edit menu. The Assign
Photoshop and Illustrator. Since InDesign documents can contain both an RGB and a CMYK document profile, the InDesign Assign Profiles dialog box lets you make separate
box is virtually identical
in
assignments for
Figure 1S-11
RGB and CMYK
(see Figure 12-11).
Assign Profile(s) dialog boxes
358
Tip: Don't Trust Illustrator's
bug that has

in the
Document Info Palette. One Illustrator 10 made its way into Illustrator CS is that the profile information Document Info palette usually doesn't update until you close and
and the bug has persisted
in
all
reopen the palette. At the time of writing, the current version of Illustrator
is
11.0.0,
versions of Illustrator 10, so
we
can only conclude that fixing it isn't a high priority. The Document Profile
display from the
pop-up menu at the lower left of the document window,
however, operates as expected.

InDesign's Assign Profiles
profile
command is different in other ways, too. The

little
assignments apply not only to native objects, but also to linked,
imported objects that are untagged. To make matters a
more con-
fusing, the rendering intent choices apply to both native
and imported
Image
objects,
whether tagged or
not,
by
default.
You need
to use the
Color Settings option, discussed later in this chapter, to specify a different

rendering intent.
Convert to Profile
Photoshop and InDesign both offer a command labeled Convert to Profile, but due to the different nature of the two applications, they do very different things.
Photoshop's Convert to Profile. Photoshop documents are always governed by a single profile, so assignments and conversions are both relatively straightforward.
Photoshop's Convert to Profile
command is found
a render-
on the Mode submenu of the Image menu. The dialog box lets you choose
a destination profile, a
ing intent,
12-12).
CMM (or Engine, in Adobe terminology)
and a "Use Black Point Compensation" checkbox
(see Figure
Figure 12-12
Convert to
Profile
Photoshop's Convert to
Profile dialog
box
Chapter
12:
The Adobe
Common
Color Architecture
359
The conversion
files,
applies to the entire document. In the case of layered
the dialog also offers the option to flatten the
document
it's
usu-
ally a
good idea
to
do
so, particularly
when
the conversion also includes

in the destination
lets
mode
change, because layers
may
blend differently
space, changing the document's appearance.
The Preview checkbox
you preview the
result of the conversion.
InDesign's Convert to Profile. InDesign's Convert to Profile dialog box
looks
fairly different
two
Figure 19-13
InDesign's Convert to
Profile dialog
profiles
one
from Photoshop's, since InDesign documents have
for
RGB, one
for
CMYK (see Figure
12-13).
SourttSpact
RCa ProlUt
Worfcing
KCB
ProftMMo RGB
box
CMYKfroMt
360
Color Managing Imported Graphics

All the controls
we've discussed so far operate primarily on native objects
in a
document, not on imported graphics such as placed images. But we have

because the color-management pol-
to leave in the weasel word, "primarily,"

icies
do have an impact on how imported graphics are handled, and these
interactions can be subtle
and quite often counterintuitive. Moreover,
all
three applications have quite different controls.
Placed Graphics
Photoshop
is
in
Photosliop
It
pretty straightforward.
has a Place command, but any
placed elements end up as part of the document, and are governed by

the document's assigned or
assumed
profile.
Photoshop always places

its
the numerical values contained in the placed document, so
embedit
ded profile
is
ignored. Basically, once an object
is
placed in Photoshop,
ceases to be a placed graphic.
Placed Graphics in InDesign When you place a graphic in InDesign, the

as part of the print stream.
It
numerical values in the
file
are always preserved InDesign never changes these numbers except

lacks the ability to go out
source
file.
All
it
can do
is
take the
numbers
in placed graphics
and change the and put
different interpretations
profiles are used for display
on them by assigning or assuming profiles. The and for conversion to output space at print
16).
time (and for exporting to PDF, discussed in Chapter
InDesign also
allows you to specify rendering intents for placed objects, both as defaults
and on an object-by-object basis

controlled by Color Settings.
the rendering intents are used only for

is
the conversion to output. Conversion to the display rendering intent
Placing tagged graphics. InDesign always tracks
embedded
profiles in
placed graphics, even if you choose the Color Management Off preset in Color Settings, but it doesn't necessarily use them. To make InDesign
ignore an
embedded profile when you place a graphic, you can do any of
the following:
Set the Color
Management
Policy in Color Settings for the graphic's
color
mode to Off;
Chapter
12:
The Adobe
Common
Color Architecture
361
Uncheck "Enable Color Management"

or
in the Color Settings dialog box;
Check the "Show Import Options" checkbox

Import Color Options (see Figure 12-14).
in the Place dialog box,
then turn off the "Enable Color Management" checkbox in the Image
Hfuren-M
Image Import Options
362
Real World Color

Tagged host documents have two Document profiles assigned, one for RGB, one for CMYK. Changes to the working spaces don't affect the doc-
ument
or the
If
Document profiles, and therefore

Document profiles
don't affect the placed
graphic.
you change the
(by using Assign Profiles

is
or Convert to Profile), then the placed untagged graphic
affected.
Untagged host documents have Document profiles that aren't assigned to them, but are assumed from the working space profiles. If you change
the working spaces, you also change the
fore the behavior of untagged graphics.
Document profiles, and there-
The source profiles for untagged placed graphics are the Document profiles:
Assign Profile and Convert to Profile change the Document profiles, and hence
the source profiles for untagged placed graphics. InDesign documents can
also
be half-tagged
(or half-untagged)
if
a profile
is
designated for one color
mode but not the other. The above rules apply to that situation too.
Image Color
Settings.
The Image Color
Settings
command lets you
as-
sign a different profile to placed graphics on an object-by-object basis

(see Figure 12-15).
Figure 12-15
Image Color Settings
^ Enable Color Management

Profile:
Use Document Default Use Document Image Intent
Wj
Cancel
Rendering Intent;

intent to a placed object.
lets
you assign a
specific profile
If you
assign a specific profile,
and rendering it becomes the as-
signed profile for that instance of the placed object,

until
and remains in effect
it by assigning a different profile through Image Color choose Use Document Default in Image Color Settings, you you're in effect asking InDesign to treat the image as untagged, which
you change
Settings. If
means the Document profiles will
apply.
Placed Graphics in Illustrator We often finding ourselves wishing that Illustrator would decide what it
wants to be when
that's
it
grows up.
It's
true that
it's
an amazingly
flexible tool
used for everything from page layout to Web page design, but all too
Chapter
18:
The Adobe
Common
Color Architecture
363
often the process winds up being a bit like doing brain surgery with a Swiss
Army
knife,
and we've seen
Illustrator's
approach
to color
management
reduce grown
placed in
men to tears. This is particularly true in the case of images

is
Illustrator.
The
first
key point to understand
that Illustrator always includes a
copy of the placed image in EPS files. Illustrator itself doesn't seem to be aware of this if you don't specifically include the linked files when you
save an EPS from

the linked
file,
Illustrator,
if it
and reopen the EPS

it, it
in Illustrator,
it.
it
looks for
and
can't find
asks you to replace

it
But
if
you place
the EPS in a page-layout application,
will display
files
and
But this doesn't happen with native Illustrator
print correctly.
if
you want these
to
be self-contained, you need to save using the "Include Linked
Files" option,
or uncheck the "Link" checkbox in the Place dialog when you place images.
The second key point

either the
to
understand
is
that Illustrator color-manages
copy
that's
always embedded in EPSs, or the copy that's embed-
ded
in native Illustrator files, either

link. Illustrator
by explicitly embedding or by refresh-
ing the
never converts the linked image.
The
third key point to
understand
is
that Illustrator always converts

If
placed images to the document color mode.
you place an RGB image in
a CMYK Illustrator document, the copy that goes in the Illustrator file will be converted to CMYK, and if you place a CMYK image in an RGB Illustra-
document, the copy that goes in the Illustrator file will be converted to RGB. You may get error or warning messages that would lead you to
tor
believe otherwise, but we've

that they're bogus.
All
done enough
testing to
be pretty confident
conversions of placed graphics use the
CMM and rendering intent

profile
is al-
specified in Illustrator's color settings,
and the destination

are
ways the document profile. So the only real questions
Does a conversion occur?

If so,
what
is
the source profile?
Placing untagged
an
Illustrator
When you place untagged one of two document, things happens:

files in Illustrator.
files in
If the
placed file is in the same color mode as the Illustrator document,

file
the numerical values in the placed
are transferred to the Illustrator
document with no conversion.
364
If the
placed
file is
in a different color
mode from the Illustrator docuis
ment, the copy in the

Space
Illustrator file
converted using the Working
profile for that color

if
mode as the assumed source profile.

in a
For example,
tor
file,
you place an untagged RGB image

use the
CMYK Illustra-
Illustrator will
profile for the conversion to
RGB Working Space profile as the assumed document CMYK.

consider placing images in Illus-
Placing tagged
trator
files in Illustrator. If you
documents as a pasting activity, things make more sense, including the occasional Paste Profile Mismatch dialog box you get when placing
images.
If
the placed
Illustrator
file is
in a different color
mode from the
Illustrator
document.
always performs a conversion using the placed file's
embedded profile as the source. If the placed file is in the same color mode
as the Illustrator
file.
Illustrator
works the same way as Photoshop's past-
ing behavior, which depends

Off:
on the Color Management Policy selected.

in the file get placed (pasted).
The numerical values
Preserve
Embedded Profiles:
Placing (pasting)
RGB
in
an RGB docu-
ment preserves the color appearance (Illustrator converts using the embedded profile as the source and the Document profile as the destination). Placing
CMYK
in a
CMYK document
preserves the color
numbers and doesn't do a conversion.

Convert to Working RGB/CMYK:
the color appearance
Illustrator
always preserves (pastes)
it
converts from the
embedded
profile to the
Document profile.
Of course, if the source and destination profiles are the same, no conversion occurs.
If you've
checked "Ask When Pasting"

the Link checkbox
file
for Profile
Mismatches
in Color Settings, you'll only get a Paste
above default behaviors

dialog. If you
if
Mismatch dialog to override the is unchecked in the Place
choose to Link the
to
be placed, you won't get a Paste
Mismatch warning.
If
you
find this collection of paste behaviors counterintuitive, you're
not alone! The only silver lining is that they're consistent in all three Adobe
apphcations.
Chapter
IS:
The Adobe
Common
Color Architecture
365
Simulations
and Soft-Proofing
One of the most valuable capabilities of the Big Three Adobe applications
is
their ability to simulate,

or, in
on the monitor, the
result of conversions to
other profile spaces,
the case of Illustrator and Photoshop, the result

file
of sending the unconverted

All
to different outputs.
soft
three applications
let
you invoke a
proof by choosing Proof
Colors from the View menu. Soft proofs are window-specific, so you can
view the same document with different simulations by opening multiple
windows and assigning different soft proofs to each one. The default simulation is for the CMYK working space, but you can change and control the simulation by choosing Proof Setup from the View
menu. At
they
this point,
however, the applications diverge in the controls that

with
Illustrator,
offer. We'll start
since
it's
the simplest.
Simulations in illustrator
Illustrator's
Proof Setup dialog box
is
relatively
simple (see Figure 12-16).
Fl9urc 18-16
Illustrator's
Proof Setup
366
The Intent menu lets you choose a rendering intent for the conversion
from document space
to simulation space, allowing
you
to
preview
the effects of different renderings.

Illustrator doesn't let
you control the rendering from the simulation
space to the monitor space

point compensation
if it's
it's
always relative colorimetric, with black
checked in Color Settings, and without it if not.
Note also that the Color Settings "Use Black Point Compensation" setting also affects the conversion from document to simulation space.
Simulations in InDesign
InDesign's Proof Setup dialog box
is
rather different from Illustrator's. In
InDesign, rendering intents are applied to individual
document elements
rather than to the document as a whole, so the Proof Setup dialog box has no
rendering intent control for the conversion from the various source spaces
used by the document elements to the simulation space. Instead, each ele-
ment
is
rendered according to
its
specified intent.
As with
Illustrator,
the
Color Settings "Use Black Point Compensation" setting applies globally to

the conversions from
all
the source spaces to the simulation space.
Unlike
Illustrator,
InDesign offers control over the rendering from the
simulation space to the display (see Figure 12-17).

Figure 12-17
InDesign's Proof Setup

dialog box
Chapter
12:
The Adobe
Common
Color Architecture
367
paper,
and its influence on the rest of the color. When

is
it's
checked, the
"Ink Black" checkbox "Ink Black,"
automatically turned on and dimmed.
when checked, turns off black point compensation for the
rendering from simulation to the monitor, so if the simulation space black is lighter than the monitor black, "Ink Black" will show you the
washed-out blacks you'd get on output it's most noticeable when you're simulating low dynamic range processes like newsprint.
When both "Ink Black" and "Paper White" are unchecked, which they
are by default, the rendering from simulation to display
is
relative
colorimetric with black point compensation, which
means
that the
simulation white
black
is
is
displayed as monitor white, and the simulation
displayed as monitor black.
For a more in-depth discussion on the pros and cons of the different
renderings to the monitor, see "Soft-Proofing Practices and
in this chapter.
Pitfalls," later
Simulations in Photoshop
Of the three applications, Photoshop offers the most complete set of softproofing controls. Photoshop's Proof Setup is shown in Figure 12-18.
ngure
12-18
rntfSttm
Photoshop's Proof Setup

dialog box
rreflte:
Hnvfi? ccRi-2s-8s-2ao
(
1^ Preserve Color Numbers
( (
Cancel
)
) )
bNcnt: '^Relative Cotontnctric
^^
Save-
fl Use Uack Point Compensation

SimuUle: fl Paper White
>/lnk Black
Photoshop
offers the
recall.
unique
ability to
name and
you
save different proof
setups for fast
The Setup menu
lets
recall
proof setups that

this is the Sys-
you've saved in the special Proofing folder. (On
Mac OS 9,
tem FolderiApplication Support:Adobe:Color:Proofing folder. On Mac OS

Xit's the /Library /Application
Support/Adobe/Color/Proofing folder, and
in Windows,
folder.)
it's
the Program Files\Common Files\Adobe\ Color\Proofing
You can save proof setups anywhere on your hard disk by clicking
368
Real World Color
Save,
in
and load them by clicking the Load button, but the setups you save the Proofing folder appear on the list automatically. (Even better, they
appear
at the
also
bottom of the Proof Setup submenu, where you can
choose them
directly.)
is
unique in offering a live preview the window updates while the dialog box is open when the "Preview" checkbox is
Photoshop
also
checked. We find that this makes

different rendering intents.
it
much easier to compare the effects of
The remaining controls operate like those in the other applications.

The
Profile
menu allows you to choose the destination profile for the
simulation.
The "Preserve Color Numbers" checkbox tells the application to simulate
you sent the numerical values in the file, so it's only available when the simulation and document profile are in
if
what would happen

to
the
same mode RGB
RGB
or
CMYK to CMYK.
The Intent menu allows you to choose a rendering intent for the conversion from document space to simulation space, letting you preview
the effects of different renderings.
The "Use Black Point Compensation" checkbox lets you choose whether or not to apply black point
compensation in the rendering from the
document space
to the simulation space.
The Simulate checkboxes control the rendering from the simulation

space to the monitor.
when checked, produces an absolute colorimetric renfrom the simulation to the monitor, showing the color of the dering paper and its influence on the rest of the color. When it's checked, the
"Paper White,"
"Ink Black" checkbox
"Ink Black,"
is
automatically turned on and dimmed.
when checked, turns off black point compensation for the

if
rendering from simulation to the monitor, so

black
is
the simulation space

will
washed-out blacks on output

lating
lighter than the monitor black, "Ink Black"

it's
show you the
most noticeable when you're simulike
low dynamic range processes
newsprint.
Chapter
IS:
The Adobe
Common
Color Architecture
369
When both "Ink Black" and "Paper White" are unchecked, which they
are by defauh, the rendering from the simulation space to the display
is
relative colorimetric
with black point compensation, which

is
means
that the simulation white

lation black
is
displayed as monitor white, and the simu-
displayed as monitor black.
Soft-Prooffins Practices
Using
soft
and
Pitfalls
little
proofing successfully requires a

First,
it's
forethought and a
little
knowledge.
useful to distinguish
between "Preserve Color Num-
bers" simulations,
and simulations of actual conversions. We use Preserve
Color Numbers in two different scenarios:
With RGB, we use Preserve Color Numbers

graphics. Choosing the Windows
in conjunction with Web RGB and Macintosh RGB settings lets
us see approximately
how Web
graphics vdll appear on uncalibrated
Mac and Windows systems.

With CMYK, we use Preserve Color Numbers to see how existing CMYK
files will
work on
different printing processes. For example,
we may
or
use Preserve Color Numbers to decide whether we can get away with
using the
if
same file for several slightly different printing conditions,
we need to create a separate file for each one.
Most of the time, though, we use Proof Setup to preview conversions to final output space. But no matter whether you're previevdng straight output
or conversions, there are a few things you need to
know about
InDesign's
and Photoshop's "Paper White" and "Ink Black" simulation settings. You might expect the absolute colorimetric rendering of the simulation
to the display that you get
from checking "Paper White" to be the most ac-
curate of the three possibilities.
any white user-interface elementsInDesign's Pasteboard, or any menus or palettesdisplayed on the screen, your eye adapts to that white, so the
simulated paper white looks wrong.
In Photoshop,
all
The problem, though,
is
that
if
you have
it's
the palettes, and use full-screen mode with the menu age we hide bar hidden and get an honest absolute colorimetric soft proof. In InDesign,
relatively easy to hide everything except the
im-
though,
it's
just
about impossible to do
so.
Hence
in InDesign,
we
only use paper white simulation
when we're dealing with papers that are
370
Real World Color
a long
way from white
or
when we're comparing the
screen display with

9,
actual hard copy. (See "Viewing Environment" in Chapter
Evaluating
and Editing Profiles, for a thorough discussion of the pitfalls of screen-toprint comparisons.)
With both Simulate checkboxes unchecked (and always

since
it
in Illustrator
lacks them), the rendering to the screen
is
is
with black point compensation, which means that paper white

to
monitor white and ink black
is
mapped mapped to monitor black. We find that

for
this is generally the
most useful view

is
making
overall
judgments on
optimistic
tone and color.
Its
only flaw
that
it
provides a
somewhat
rendering of low dynamic range processes such as newsprint or Inkjet on
uncoated papers.
In those cases, we'll use the ink black simulation to
make quick reality

set-
checks on shadow
tings to
detail,
but we
still
rely primarily
on the other two
make
critical
judgments.
Tip:
Change the Default Proof Colors from Working CMYK. The de-
fault setting
when you choose Proof Colors

(in
is
for
Working CMYK, using
the rendering intent and black point compensation settings specified in
Color Settings, with
InDesign and Photoshop) simulate Paper White
and Ink Black turned off. If you want to change the default, simply choose Proof Setup with no documents open, enter the settings you want as the
defaults,
and click OK. The application will use the new settings whenever
you choose Proof Colors.

Although Proof Setup
is
primarily for on-screen simulations,
it
also
plays into the applications' printing architectures, which are the penulti-
mate stop on our journey through Adobe's color-management features.
Printins
Photoshop,
Illustrator,
and InDesign can
all
perform a conversion on the
data that gets handed off to the printer driver.

If
you use these features

pitfall to
and we encourage you to do sothe one

management performed by the
up so
that the driver does cor-
major
avoid
is
also having color
printer driver.
It's
quite easy to set things
rections to the already corrected data,
and the results usually aren't pretty.
See Chapter
11,
Color Management in the Operating System.
Chapter
IS:
The Adobe
Common
Color Architecture
371
The
features in these applications' printing controls allow
you
to
do
essentially four things:
Send the numbers
in the
document directly to the
printer driver.
Send the numbers in the document, along with a profile that describes
their
meaning,
to the printer driver (with the
printer driver will be able to

useful with
it).
assumption that the interpret the profile and do something
Convert the numbers in the document to the printer space, and send
the converted
numbers
to the printer driver.
Convert the numbers in the document to the space you specified

in
Proof Setup, then convert those numbers to the printer space, so

is
that the resulting print
space
Let's
a hard-copy simulation of the Proof Setup

is
this is
sometimes called cross-rendering. (This option
not
available in Illustrator.)
look at
how the controls operate to let you accomplish these vari-
ous ends. The layout of the dialog boxes is different in each of the three applications, but the controls have the same labels. In InDesign, they're
in the Color
Management panel
of InDesign's Print dialog box. In Photo-
shop, they're in the Color
Management section of Photoshop's Print with

raster printer dialogs. The dialog
Preview dialog box.

PostScript drivers
And
in Illustrator, they're in Illustrator 10 options for
and as an extension to
boxes are shown
in Figure 12-19.
Each dialog has a section labeled Source Space and a section labeled Print Space. Source Space has only two options (except in Illustrator):
Document uses
Space section.
the
Document
profile (or profiles, in the case of In-
Design) as the source profile for any conversion specified in the Print
Proof Setup (Proof in InDesign) makes the application perform a conversion from the
document
it
profile (s) to the profile specified in Proof
Setup. In Photoshop,
uses the rendering intent specified in Proof
Setup. In InDesign, each object in the

intent.
document has its own rendering

passed to the Print Space
The
results of this conversion are
section of the dialog.
372
Fljurc 12-19
Positior
Print Color
Management
and InDesign
Top:[
Left:f
in Photoshop, Illustrator,
Photoshop's Print with Preview

dialog box
3 Show More Options

[
Color Managtment IH^ -
Source Space:
Chapter
12:
The Adob
Common
Color Architecture
373
Hsurc 18-19
Print Color
Management
in Pliotostiop, Illustrator,
and InDesign. continued

panel oflnDesign's Print dialog box
374
Second, the choice of profiles in InDesign's Print Space

the choices you
Print dialog
is
governed by
make in the Color menu of the Output panel of InDesign's

(see Figure 12-20). If you
box
choose Composite RGB, only
RGB profiles are available, while if you choose Composite CMYK or Separations, only
CMYK profiles are available.
While the number of possibilities that exist is extremely large, the printing controls offer easy support for three fairly obvious workflow options:
In
an early-binding workflow, where all the color is already in final out-
put space, setting the Source Space to Document and the Print Space
to
Same
as Source lets
you print the document values unchanged
to
the final output device.
You can
also print proofs to
some other device by selecting its
profile
you choose absolute colorimetric rendering, the will proofing printer lay down ink in the paper white areas to match
in Print Space. If
the paper white of the final output, while relative colorimetric will
scale the final paper white to the paper white of the proofer.
In a late-binding workflow,
where the document
is
in a space other
final
than the
final
output space, choosing the profile for the
output
device in Print Space makes the application convert the color to the
final
output space
you'd use this when you're actually printing to the
final
output device.
To generate proofs in a late-binding workflow, you can set Proof Setup

to the final output space, then select Proof in the Source Space,
and
the profile for your proofing device in Print Space. This instructs the
application to
first
convert the color from the source spaces to the final
output space specified in Proof Setup, then to convert that color to the
space you've specified in Print Space. The result is that the printer simulates the final output. Again, absolute colorimetric rendering
makes
the proofer simulate the final paper white, while relative colorimetric
scales the color to the paper white of the proofer.
One caveat: InDesign only applies

the contents of frames.
It
absolute colorimetric rendering to
leaves the paper white areas paper white,
which defeats the point of the excercise since our eyes promptly adapt
to the blank paper white. An easy workaround
is
to place a blank frame
on the background of the master page.
Chapter
12:
The Adobe
Common
Color Architecture
375
Flsurc 12*20
'
InDesign's Print Output
frtm PrvMt:
(Custom)
options
The choice you make

in the
Output pop- up
profiles
menu determines
which
become
aiwlable
in the Color
Management panel shown in Figure 12-19.
376
sensitive to the wavelengths
we
are possible
some cameras use CMY

still
interpret as green. Other arrangements

filters
instead of RGB, because they
transmit
Figure 12-21
more light, while
others
may add a fourth color.

In a Bayer Pattern color filter
array,
each photosensor is
it
Bayer pattern Color Filter Array
filtered so that
captures only
red, green,
a single color of light:

or blue. Twice as
filters
many green are used as red or blue
because our eyes are most

sensitive to green light.
But no matter
how the
color
filters
are arranged, each element in the
sensor simply records a brightness value in the raw file. To produce color,
the raw image must be "demosaiced" to interpolate the missing channels
for
each
pixel.
Camera Raw and Color

The demosaicing process
profile to
necessitates
some assumptions about the colo-
rimetric values of red, green,
and blue. Most raw converters use a camera
encode
this
assumption. Adobe Camera
Raw takes
a different
approach.
Camera Raw Input. For each supported camera. Camera Raw contains not one but two built-in profiles, one for D65, the other for lUuminant A.
Camera Raw's White Balance

see Figure 12-22.
controls
color temperature and
tint
let
you interpolate between, or even extrapolate beyond these two profiles
On the dozen
or so cameras we've tried,

color
good any of the raw converters that rely on a single static profile most cameras respond very differently under tungsten and daylight, particularly in the
approach allows us to get
we find that the Camera Raw much more easily than we can with
blue channel, and the dual-profile approach addresses this issue capably.
Chapter
IS:
The Adobe
Common
Color Architecture
377
Figure 12-22
Adjust^
Detail
Camera Raw white

balance controls
378
Figure 12-23
Color spaces and clipping
The gamut plots below, produced using Chromix ColorThink, plot color in Lab space. You're looking at a side elevation
of the color space, with the Lightness axis running vertically. The a* axis, from red
to green,
runs almost straight toward runs from

left to right.
you out of the page; the b* axis, from blue

to yellow,
Even an innocuous image like the one at right can

contain colors that
lie
well
outside the range thai either Adobe RGB (1998) or
sRGB can
represent.
The image above plotted

(as squares) against the color gamut ofAdobe RGB
These dark yellows
and
(1 998)
(1998) (shaded solid)
oranges
lie
outside the
gamut ofAdobe RGB

orsRGB.
The image above plotted

(as squares) against the
color gamut
ofsRGB
(shaded solid)
If you really
need camera raw output in a space that isn't supported by
the Camera Raw plug-in, set it to produce a 16-bit /channel Pro Photo
RGB
image, then convert that image to your working space of choice.

unlikely that Pro Photo
It's
highly
RGB will clip any visible colors, and any loss in the conversion from 16-bit/channel ProPhoto RGB to another space will be
visually (and probably numerically) insignificant
If it strikes
see Figure 12-24.
you as odd
to
ment
as
we admit
anyone as fanatical about color managebeing would advocate a solution that relies on gethat
neric profiles, bear in
mind the following.
Chapter
12:
The Adobe
Common
Color Architecture
379
Figure 12-24
SpKf
^l#HuU> RGB
Camera Raw
workflow controls
Color
Management in Macromedia FreeHand 10 and 11

lip
Capable but Quirky
Macromedia must have a whole bunch of customers with an
interesting
variety of legacy needs, because Macromedia FreeHand doesn't have just
one color management system. Exactly how many it has depends on your point of view, but we'll concentrate on the ones that use ICC profiles, with
a brief overview of the others
if
only so that you can wonder, as
we do,
why they're even there. FreeHand has many strengths, but we can't count color management as being among them. With most OSs, FreeHand works (or fails to work)
as described in this chapter. But at the time of publication,
FreeHand
10.0
and
11.02 both exhibit bizarre behavior that defies detailed explanation

(10.3.x).
when running under Mac OS X Panther

sions at output time,
intermittently unreliable
RGB
to
CMYK convernot.
and the onscreen previews of such conversions, are and more often unreliable than
We can report that an early binding workflow placing CMYK images and using an assumed profile set in the Separations printer pop-up menu
don't trust
provides decent soft proofing of placed and native content, but if you want
FreeHand to perform conversions at output time,

a lot of testing. FreeHand honors
them without
embedded
TIFF images, and
lets
you
assign profiles to
imported RGB RGB TIFF and JPEG imported

profiles only in
images, and all CMYK elements are invariably assumed to be output CMYK.
If your
workflow is to design in
RGB and convert to CMYK at output time,

3S1
382
FreeHand's color management can serve you well. Likewise,
your work in
previews,
final
you do all FreeHand can with CMYK, provide you good on-screen
if
and will pass the
CMYK values unchanged to output.

all
For any other workflow,
bets are
off.
And even
in these
two simple
workflows, FreeHand offers plenty of opportunities for mistakes

this chapter, we'll try to steer you clear of the shoals of confusion
so in
and guide
you
to the safe harbor of smoothly functioning color
management.
Freehand's Color Preferences

The Preferences dialog box has a series of categories on the left-hand side.
When you select Colors, the dialog box shown in Figure

Figure 13-1
Preferences
13-1 appears.
n^maii
FreeHand Color Preferences dialog box
Category
Guide
color:
General
Objea
Text
Swatches shows:
Document
hnpon
Export
Soelling
O Container color Text color

fl Auto-rename
colors
split color
S Color Mixer/Tints panel uses

Color managenrient
box
Colors
Panels
Redraw
Sounds
Chapter
13:
Color
Management
in
Macromedia FrecHand 10 and
11
383
Figure 13-2
Color management types
384
Color Tables. This type of color management
is pointless. It depends on Kodak Digital Science or Apple ColorSync, and builds Color Tables based on existing ICC profiles. Since you have to base the tables on ICC profiles
anyway, you might as well just learn to use ICC color management.
see no advantage to this method,
We
and would be glad
to see
it
removed
from FreeHand.
Kodak
Digital Science
and Apple ColorSync

to cover
Referring back to Figure 13-1,

getting to the Setup dialog, the
we need
two checkboxes before

course.
their on-screen
meat and potatoes of this

you color manage just
Color manage spot colors

preview. You don't
lets
manage
their
CMYK values
for output,
because
they're hardwired based on FreeHand's built-in Pantone
tables. (In
FreeHand
1 1
10,
these are the older pre-May 2000 tables, while FreeHand
uses the newer post-May 2000 ones.) See "Named-Color Systems"
in
Chapter
18,
Building Color-Managed Workflows.
Rebuild Color Tables uses the settings in Setup to build color tables
for
use with the Color Tables type of color management previously

let's
mentioned, but since we told you not to use this feature,

to the contents of the Setup button.
move on
The Color Management Setup dialog box offers seven options (see Figure 13-3). FreeHand 10 isn't particularly assiduous in looking for
profiles
folder.
on Mac OS X,
it
only looks in the /Library/ ColorSync /Profiles
On other platforms, it ignores both subdirectories and aliases in the
usual directories for profiles
so
it
doesn't, for example, find display profiles
stored in the Displays subfolder in the
Mac OS 9
all
ColorSync Profiles
folder.
FreeHand
11
successfully finds profiles in
legitimate locations.
Monitor. This is where you select your current display profile

doesn't get this information automatically from
FreeHand
ICM or ColorSync.
Monitor simulates. The options offered are None, Composite printer, and
do no display compensation. If you use this option, neither embedded profiles nor assumed profiles get used for on-screen display, though they may be used for output.
Separations printer. "None"
literally means
Chapter
13:
Color
Manascmcnt
in
11
385
Figure 13-3
Color Management Satup
lasK
Color Management Setup

dialog box
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you use either of the other options, RGB images are displayed by converting from their embedded profile or the "Default RGB image
If
source" profile to the Composite or Separations printer profile (depending
on which one you choose

display profile.
in the
Monitor simulates pop-up), then
to the
CMYK
images, however, are always converted for display using the

if
Separations printer profile as source, even
Monitor simulates
to "None,"
is
set to
"Composite
uses
its
printer." If
you
set
Monitor simulates
FreeHand
built-in
unmodifiable table as the source for display conversion
of CMYK instead.
Separations printer. This setting lets you choose a
becomes the assumed source profile

ported images, even
ply ignores
profile,
it
for all
CMYK profile, which CMYK content, including improfile
if
they have an
profiles in
embedded
FreeHand sim-
embedded
imported CMYK. As the
CMYK source
profile
affects
on-screen preview of CMYK native elements and placed

to
objects.
If
you print from FreeHand

is
an RGB device, the

all
you
CMYK content. The only CMYK-to-CMYK conversion FreeHand performs is to a composite CMYK
select here
used as the source profile for
printer when "Composite simulates separations"
is
turned on
again, the
Separations printer profile
is
used as the source.
Intent. This
It
affects
RGB-to-CMYK conversions
pop-up lets you specify a rendering intent for all conversions. at print time, and also affects RGB-
to-RGB and CMYK-to-RGB conversions when the Composite printer is an RGB printer (and the output device is non-PostScript). This is the only
rendering intent control FreeHand
offers.
386
Composite simulates separations. This checkbox only affects the output, not the on-screen preview. It makes the composite device simulate the
separation printer by converting
printer
all
non-CMYK
content to Separations
CMYK,
assigning the Separations printer
CMYK
profile to all
CMYK content, then converting the resulting Separations printer CMYK

to the
composite printer space.

conversions use the rendering intent you specify under Intent,
All the
so
it's
impossible to use perceptual or relative colorimetric rendering to go
from the source profiles to Separation printer CMYK, then absolute colorimetric rendering to go from Separation printer CMYK to the Composite
printer space.
If
you want the composite
printer to produce a reasonable
simulation of the final separations,

to Relative Colorimetric.
we recommend that you set the Intent
Composite
you may select an RGB or CMYK profile for a composite printer. If you select an RGB profile, the "Convert RGB to process" checkbox in the FreeHand print dialog is ignored, though it isn't
printer. Here
grayed out. But selecting an

to printing see "Printing,"
RGB profile here is quite dicey when it comes

later in this chapter, for
more information.
To select a profile here, you must check the "Composite simulates separations"
checkbox previously described. There's no
logical reason for this;
that's just the
way it
is.
You can temporarily check the box to change the

it
profile,
and then uncheck
to
ensure separation simulation does not

profile
is
occur.
Even though the selected

it's still
grayed out
when
this
box
is
unchecked,
set as the
Composite printer profile.

profile selected here
Default
RGB image
source.
The
is
automatically as-
signed to
untagged imported
RGB
images rather than simply acting as the
assumed profile. We make this distinction because images imported while

profile "A"
is
selected will retain profile "A" as their source if you subsequent-
ly change the default
RGB image
source to profile "B." Only subsequently

If
is
placed images will use profile "B."

set in the
you choose "None," the display profile,

assigned as the source.
Monitor pop-up menu,
The
enced
profiles automatically assigned to
imported
RGB images
If
are refer-
in the saved
FreeHand document, but not embedded.
you open
the file on another workstation that doesn't have the profiles installed, you'll
get a cryptic
warning dialog listing the missing profiles when you open the
Clupler
13:
Color
Managcmcnl
in
Macromedia FrccHand 10 and
11
387
document
(see Figure 13-4).
source will be used instead

profile
is
The dialog says that the default RGB image that means whichever default RGB image source
document
is
selected in Preferences at the time the
opened.
nflur13-4
Missing image sources
Ifyou get this
warning dialog,
Missing Image Sources
The following RGB Image Sources re not installed. The default Image Source will be used for display and printing.
ColorMaichKCB.tcc
the prudent thing to do is make a note of the missing profiles, click the Cancel button, then go find the
missing profiles and install them. Once you relaunch
FreeHand and reopen the

Cawfl )
document, the warning will no longer appear.
Note that
this setting applies only to
imported graphics. Native

in
is
RGB
dis-
elements are always treated as untagged

play profile as their source profile. This
native elements
profiles
FreeHand, assuming the
on two
different workstations
will print differently.
annoying because the same have different RGB source

To avoid major differences
all
assumed, and
when
printing native elements, you need to calibrate
monitors to the
same standard. Even then, there's typically enough variation from display
to display that you'll
still
get
minor differences.
Imported images will display and print the same from multiple workstations, but native elements probably won't. It's a major gotcha and oversight
by Macromedia.
Manual Assignments
FreeHand
offers only
it
one manual
control, for assigning profiles to im-
ported images, and
applies exclusively to imported
RGB images.
Object Palette
The Object palette
space, as well as a
which you open by choosing Object from the Inspectors submenu of the Windows menu shows you the type and color
file
pop-up menu showing the source profile, of a currently
selected imported
RGB
graphic (see Figure 13-5).
388
Real World Color

''O'C
Figure 13-5
o
Propcfties
Object palette for
RGB
TIFF and for CMYK TIFF
Chapter
13:
Color
Management
in
11
389
Tip: Create
Output-Ready
CMYK PDF
file
Files.
To create a
CMYK print-
ready
PDF
file,
print a PostScript
from FreeHand
to disk
which
that
will
make FreeHand color manage the output

Acrobat
Distiller
(see "Printing," later in this chapter) then process the PostScript
following the rules for printing

file in
and make a PDF
Voil^,
output-ready PDF
you can
place in your page-layout application.
But for the brave or foolish,

far in the
we'll
document what we've learned thus
hopes of shaming Macromedia into making FreeHand's Export

rational in a future version of the application.
features
more
TIFF
TIFF export
is
always to untagged RGB.

is
It
doesn't matter
if
the entire
content of your document

controls in
end up as an RGB TIFF. The the Export dialog box for TIFF are limited, and don't include
it
CMYK
will
options for
All
CMYK export or profile embedding. CMYK elements and images get converted
pop-up
in
from the Separations
printer profile to the display profile, using the rendering intent set in the
Intent
FreeHand's Color Management Setup.
RGB behavior is controlled by the Monitor simulates setting. If it's set to "None, "RGB objects aren't color managed on export the raw RGB values
are simply written to the TIFF
ite," If it's
set to "Separations" or to
"Compos-
RGB
objects get converted to the Separations or Composite printer
profile, respectively,
then to something we've been unable to determine
perhaps a hardwired internal space
and
finally, to
monitor RGB.
EPS and PDF

PDF exporting have a Setup button to access their options, and both offer a "Convert colors to" pop-up menu containing three choicBoth EPS and
es:
CMYK, RGB,
or
CMYK and RGB. The similarities end there.

files
EPS. The three options produce EPS
on Export
as follows:
CMYK.
This option produces an all-CMYK EPS. All
CMYK
objects,
whether native or imported, simply have their raw values written into the EPS file. RGB native elements use the Monitor profile as the as-
sumed
and RGB imported images use their assigned profile. Both are then converted to an unknown CMYK destination. We haven't
source,
to figure out
been able
what it is, or get an answer from Macromedia,
but it definitely isn't the Separations printer profile.
390
Real World Color
RGB. This option produces an all-RGB EPS. Native and imported CMYK elements use the Separations profile as the assumed source,
and are converted to an unknown RGB destination. Imported RGB images use their assigned profile as source, and are also converted to an
unknown RGB destination. RGB native elements are left unconverted,

and the raw RGB values
are exported to the
file.
CMYK and RGB. This option produces a mixed-mode EPS. Imported CMYK images, as well as RGB and CMYK native elements, are left unmodified. Imported RGB images are converted to CMYK using their embedded or assigned profile as source, and an unknown CMYK destination profile.
PDF. The three options produce
PDF files on Export as follows:
CMYK. You get a mixed-mode PDE Imported CMYK images and CMYK
native elements are unmodified, so their
raw values are exported. Im-
ported RGB images are exported unmodified with raw RGB values intact. RGB native elements use an unknown source and unknown destination, and are converted to CMYK.
mixed-mode PDF. Nothing is converted ues are exported for all images and elements.
RGB. You also
get a
raw val-
CMYK and RGB. Same as for RGB.

If
anyone can provide a
rational explanation for this set of Export be-
haviors, we'd love to hear
it!
Printing
FreeHand using color management is relatively straightforward. The main thing you need to do at print time is to tell FreeHand
Printing from
whether you're printing

printer (see Figure 13-6).
In the
If you
to the
Composite printer or
to the Separations
FreeHand portion of the

it,
print dialog
is
a Separations checkbox.
check
the Separations printer profile you selected in Color
Man-
Chapter
13:
Color
Management
in
11
391
Figure 13-6
FreeHand Print dialog box
392
Real World Color
Figure 13-7
Output Options
Include invisible layers
Print
Prim setting: g]
-t-Hormal
^
Setup
[Separations
Paper Setup
Labels
j4m
Output Options and Print

lnii||:
Split
complex paths
S Use PPO JB
UserPrep
file
DOAPv
None
A Marks
Setup: Imaging tab
Binary
Include OPI
comments
l_2
Separation names
File
IP
Convert RGB to process

color steps
fi| Maximum
^ name and C Crop marks marks Q

date
Registration
Flatness
Imaging Options
( Cancel )
up O Emulsion down
Emulsion
@
3
Positive
image
Negative image
Output Options
Objects: _; Include invisible layers
Split
complex paths
OPI comments g Q Convert RGB

Include
to process
DefMK
[>*fwlt
l/jki
Maximum
color steps
Cancel )
f^-OK-^-j
On Mac OS X, the default printer, set in the Print Center utility, must be
a PostScript printer. Otherwise, FreeHand assumes that you're printing to an
so you'll
RGB raster device and produces exclusively RGB PostScript,

most likely end up with a mess.
Be Careful
you can produce good results using FreeHand's color management. You can either work entirely in final CMYK, or work in RGB
If
you're careful,
and separate
to final
CMYK
on output.
If
you work
in
mixed RGB and
CMYK, make
sure that any imported
CMYK is
already in the final print
space. If you need to export CMYK from FreeHand, the only way that works is to use the rather laborious process we describe in the Tip, "Create
Output-Ready CMYK PDF Files,"

features are currently unsafe at
earlier in this chapter.
FreeHand's Export
any speed!
Color
in
Management CorelDRAW 10
It
Manages Everything
But
Its
Own
Files
CorelDRAW has a
rather clever user interface for color

relatively obvious,
management that
makes the way it functions
but
its
use of icons instead
of menu options makes it a little hard to describe in writing. Like Macromedia FreeHand, CorelDRAW sees CMYK as press-ready,
it
so
doesn't
do any CMYK-to-CMYK conversions except when you make a
composite
CMYK printer simulate the Separations printer. Also like Freelater in this chapter) or on export.
It
Hand, CorelDRAW only performs conversions on output (with one exception
see "Manual Controls,"
supports
embedded profiles in RGB images for import and export of TIFF, JPEG, and
.PSD (Photoshop) formats, but
it
doesn't support profile
embedding in
its
own document format.

CorelDRAW settings are application-wide, so they apply to all open documents. CorelDRAW documents are always governed by only two
profiles,
one for RGB and one
for
it
management
to a specific
files is to
is
that
doesn't
CMYK, embed
but the gaping hole in CorelDRAW's color

these profiles in
its
own native files,
and doesn't offer any other mechanism for recording the settings that apply
document. So the only way to color manage native CorelDRAW
note the settings manually, and associate them somehow (text file,
Mac OS Finder Info) with the document
a kludge
at best.
393
394
Color
Preferences Management You

access the Color
Management
Preferences by going to Color
Man-
agement on the Edit menu in Mac OS 9 and X, and on the Tools menu in Windows. The resulting dialog box shows a series of icons and arrows
representing workflow (see Figure 14-1).
Figure 14-1
Color Management
CorelDRAW Color
Management dialog box
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- Prtni.Lustr
440
@*^
Custom (Currant MttinQS not uw*d)
isr+R
*='
CorelDRAW's Color Management dialog box uses icons and

arrows
to represent the color
management workflow.
This dialog box works a
little
differently than most.
As you move your

If
mouse around, the cursor periodically changes into a hand.

pause, a description of what the
14-2)
.
you briefly
hand
is
pointing to
appears (see Figure
Each icon has a description, as does each of the arrows that serve to
enable or disable color

Figure 14-2
management in the
direction of the
arrow
Mouse over in Color
When you mouse over the icons and arrows, rollover help boxes
appear.
Intemal RGB
-
Management dialog box
This
is
the central color
space that images are converted to and from. Cick the icon to set Advanced options
Generic -
RGB
Profile
7n
Chapter U: Color Management
in
CorelDRAW
10
395
for
To
select a profile, click
once on the black arrow below the icon
the device/ feature you want to change, and a pop-up
menu
of available
CorelDRAW finds ICC profiles profiles appears

on each platform.
In addition, three of the icons
in their usual locations
have advanced options
that are accessed by clicking
nothing happens, that

At the very
you click on an icon and icon doesn't have advanced options.

once on the icon.
If
bottom
is
a Style
pop-up menu. These are presets
once
you've configured
to
CorelDRAW to your liking, you can click the "+" button save your settings as a preset. The ColorSync Workflow preset grabs
from ColorSync, such as the
settings
RGB default, CMYK default, and the

in the
current display profile. At least
on Mac OS X, we've found the behavior to

ColorSync panel
be inconsistent, so don't
rely
on making changes
without also going into Corel's Color Management dialog to

the profiles you want are selected.
We'll describe
make
sure
each settings icon
including any advanced features
starting with the center icon, followed by the monitor, then clockwise
from
there.
Internal
default
RGB
its
is
The center icon represents the RGB editing space used in CorelDRAW. By
it's
effectively disabled since
profile
is
the
same as the Monitor
profile, so no display compensation
in effect,
still
although import, export,
printer,
It's
and scanner conversions can
happen.
important to understand that Internal

all
RGB
is
the
assumed RGB
It
source profile for

get
RGB
it
content, both native and imported.
doesn't
embedded into CorelDRAW documents when you save, so you need to

consistently. If you share
pick a profile and use
documents with others

need
to tell
who
also
want
to use color
management,
you'll
them what
you used for Internal RGB. If you change the Internal RGB profile while working on a document, the color behavior of all RGB content is
profile
updated immediately
to reflect the
new
but a change to the assumed profile so the numeric values for RGB content don't change but their color meaning, and hence their appearance,
does.
profile.
This
isn't
a conversion,
When you click once on the Internal RGB icon vanced Settings dialog box (see Figure 14-3).
itself,
you get an Ad-
396
Figure 14-3
ecopttoM
The Advanced Settings dialog box for

Rendefing htent:
Internal
RGB: Advanced Settings dialog box
Apple CohirSync
3
j
3
i^
Internal
ing intent and

sions.
RGB lets you set the renderCMMfor all conver-
C*nat
(^
^ ia<
)i
K<*!i
Rendering Intent. Rendering Intent

Colorimetric
control.
affects all conversions except those
going to the display profile for on-screen preview purposes

is
Relative
probably the best choice considering the lack of per-object
Color Engine. Color Engine
lets
you choose a
CMM. On Mac
OS,
if
you
choose ColorSync, CorelDRAW uses the

ColorSync Utility>Preferences (OS X
Science CMM,
CMM you've selected in the Coland if you choose Kodak Digital
orSync control panel (OS 9) or System Preferences (OS 10.2 or older) or

10.3),
CorelDRAW uses that CMM for all conversions. On Windows,
the options are Microsoft
ICM 2.0 CMM or Kodak Digital Science CMM.
Monitor
This
where you select the profile for your display. When you chck on Monitor, the Advanced Display Settings dialog box appears (see Figure 14-4).
is
If
you have activated
either of the arrows
coming from the Composite
or Separations printers, then the "Highlight display colors out of printer
gamut" option becomes available. It does exactly what the name imif the color can't be printed on the output device the display is plies
simulating,
CorelDRAW superimposes
a chosen warning color instead.
ngure 14-4
The Advanced Display Settings dialog

lets you set the gamut warning and control the display of spot colors.
box
in
CorelDRAW
10
397
What determines whether
the on-screen simulation
is
based on the
Composite or Separations printer profile is whether the arrow to the Monitor icon comes from the Composite or Separations printer icon. If
it
comes from the
Internal
RGB
icon, the software just performs display

profile to the display profile.
compensation from the Internal RGB
Map spot colors

in
into
CMYK gamut. This option displays spot colors us-
ing their Pantone-specified process equivalents (which are pre-May 2000
CorelDRAW
10)
piped through the Composite or Separations printer
profile (used as the source profile),
and then to the display profile (used as
the destination profile) to

,
show how those CMYK builds would output on

custom
the simulated printer.

colors
It
doesn't create
CMYK builds for Pantone
it's
an on-screen simulation
only.
Composite Printer
This can be either an
RGB or CMYK profile. CorelDRAW supports ftill RGBto-RGB and CMYK-to-RGB workflows. To make the Composite printer
simulate the Separations printer, click on the large curved arrow at the
bottom of the Color Management dialog, which then deactivates the row between Internal RGB and Composite printer.
ar-
Import/Export
By default, no profile is selected for this icon; click on it once and you'll get the Advanced Import/Export Settings dialog box (see Figure 14-5). Above all,
note that this dialog pertains only to RGB.
ignores
On CMYK import, CorelDRAW

profile instead.
embedded
profiles
and uses the Separations
Figure
U-5
[Import/Export Senmgs
The Advanced Import/ExportSettings

dialog box
lets you control profile on import and export. handling
Advanced Import/ Export Settings dialog box
IColorM***
RCe
lA<Kta -RCe(I*aSj
o*
O'
C^D
398
The
ICC
first
options in the import and export sections ("Use
embedded
are the set-
and "Embed Internal RGB profile," respectively) we recommend. The others are potentially dangerous. tings
profile"
Import: Use
the
embedded
ICC profile. This option
makes CorelDRAW use
embedded
profile as the source profile for tagged
RGB
images, and
the profile that you choose here as the source for untagged
From
there,
CorelDRAW converts images
to the Internal
RGB images. RGB profile. If

untagged
you choose "None" then it assumes the Internal RGB

images, and no conversion occurs.
profile for
Import: Always convert using. This option ignores the embedded profile,
substitutes the selected profile as the source profile,
and converts the im-
age to the Internal

idea. If there's a
it
RGB space. Needless to say, we don't think this is a good

profile in
problem with the embedded
an image, correct
in the originating application.
Import: Ignore
embedded
ICC profile. This option ignores
embedded
ICC
profiles, doesn't
convert the image, and assumes the Internal
RGB
profile.
RGB profile. This option embeds the Internal RGB profile in exported RGB files.
Export:
Internal
Embed
Scanner/Digital
Select a profile here to
Camera
be used as the source
profile for acquiring
All
images
from the
File
menu's Acquire Image command.

are converted to Internal
through Acquire Image
images that come in RGB when Internal RGB
and Scanner/ Digital Camera
are set to different profiles.
Separations Printer
This setting
accommodates only CMYK
profiles.
The
profile
It's
here
is
used as the source profile for all CMYK content. used
also
you choose used as the
destination profile for the conversion that takes place
when you print to

time
the Separations printer. (Which profile

or the Composite printer
is
depends on settings in the printer driver,
at print
this profile
which we discuss
in "Printing," later in this chapter.)
in
CorelDRAW
10
399
Tip:
Check Your Output Conversions. Make absolutely certain that the arrow between Internal RGB and Separations Printer is turned on, or Corel-
DRAW won't use ICC color management for its RGB to CMYK conversions.
Instead,
it
will
use a built-in table whose separations are uncontrollable and
usually pretty hideous. For the Composite printer,
make sure that either the
arrow from Internal

printer
is
RGB
or the large curved arrow from the Separations
activated, for the
same reason.
Importing
Importing
the rules.
File
files
into
CorelDRAW
is fairly
straightforward once you
know
The Import dialog box appears when you choose Import from the menu (see Figure 14-6). When importing a file with an embedded
the "Extract
profile,
embedded ICC
profile"
checkbox
is
enabled.
If
you
check
this box,
then immediately after clicking the Import button for

presented with a Save dialog box that
in the
lets
this dialog, you're
you save the
profile embedded
image.
Figure
U-6
EmMi: [ AM
FHt Fonnatf
Import dialog box
53
Ntwwfk
^SmackUp
[U>C Ttt lm>9i
ColorMacMnc
400
Real World Color
CorelDRAW does
ample
see
embedded
it
profiles in
CMYK images,
as the exInstead,
it
figure shows, but
doesn't retain
them upon import.
always assumes the Separations printer
profile as the source for
any im-
ported
For
CMYK,
ignoring the
embedded profile.
profiles
RGB
importing,
CorelDRAW honors embedded

(if you've configured the
and uses
them
as the source profiles
Advanced Import/
tested TIFF, JPG,
Export Settings to use

TIFF, JPEG, PSD,
embedded
(Corel
profiles) in the following file formats:
and CPT
PHOTO-PAINT). We've
and PSD, and we're confident that those formats
are reliable.
Tagged RGB images then get converted on import to Internal RGB. Untagged RGB images use Internal RGB as their assumed profile.
Manual Controls
CorelDRAW has no manual
it
controls for per-object profile assignment.
However, you do mode changes on already-imported bitmap images, such as from RGB to CMYK, CMYK to RGB, RGB to RGB, and even
does
let
from RGB or CMYK to LAB.

To convert
RGB
Color (32-bit)
CMYK, select an RGB image, then choose CMYK from the Mode submenu on the Bitmap menu. The imto
age gets converted from the Internal

printer profile.
RGB
profile to the Separations
To convert CMYK to RGB, select a CMYK image, then choose RGB Col-
Mode submenu on the Bitmap menu. The image gets converted from the Separations printer profile to the Internal RGB
or (24-bit) from the
profile.
To convert
Profile
RGB
to
RGB,
select
an
RGB
image, then choose Apply ICC
from the Mode submenu on the Bitmap menu, which opens the
Profile dialog
Apply ICC
in the
box
(see Figure 14-7).
The profile you choose
pop -up menu is used as the source profile for the conversion
is
the destination profile
always the Internal
RGB profile.
Chapter U: Color Manascment
in
CorelDRAW
10
401
Flsurc ^k7
ApH ICC
>fO<ll
The Apply ICC Profile dialog box lets you choose a source profile for conver-
Apply ICC
Profile
if|>il OlplMI lwnti>C*^rÔ<w
dialog box
sions to Internal RGB.
Exporting
The previously described Color Management Advanced Import/Export Settings dialog box implies that if you select "Embed Internal RGB profile,"
CorelDRAW will embed the Internal RGB profile in the supported formats,
and
this
is
true.
At export time, the Bitmap Export dialog box appears, which contains an
"Apply ICC profile" checkbox (see Figure 14-8). This control has varying
depending on just what you're exporting. When exporting RGB, seems to have no effect.
effects
it
Figure
U-8
iUMpExport
ÂwlylCCproM.:
Bitmap Export and EPS

Export dialog boxes: Color
Q^
||A|pttCCpraMi
~f
(J) CofnpaM* pnntar proM
Q Sapvaum* pmUr
(IMCH Odll'ZS'aS'ZSO)
profit*
Management options
H iiiM. {^D
r
300
ffl
C^DC
Color management in
Bitmap and EPS Export
The EPS Export dialog box contains a Color Management section (see Figure 14-8). If you don't check "Apply ICC profile," you get a hardwired
separation instead of one that's ICC based.
You can choose the Composite
or Separations printer profile as the destination using the radio buttons
CorelDRAW also
displays the
name of the specific profile.
402
Real World Color
When you select CMYK Color from the Color pop-up menu, the document is converted to CMYK using Internal RGB as the source and the Separations Printer profile as the destination
is
but only
if
"Apply ICC profile"
checked. Otherwise you'll get a remarkably ugly hardwired conversion
to
CMYK.
Profile
Embedding
states that the
The documentation
supported export formats
for
em-
bedding profiles are TIFF, JPEG, EPS, PDF,
PSD
(Photoshop),
CPT
(Corel
PHOTO-PAINT), and CDR (CorelDRAW). However, EPS files only seem to

contain a reference to the profile, not the profile
itself.
The CDR format doesn't even appear as an export format option. Since
we get no profile mismatch warning when opening an exported CDR file,

even with an Internal
bedded
in the
RGB profile that doesn't match what should be emdocument, we can't tell whether or not a profile is really
embedded.
The PDF format isn't an export format option, but CorelDRAW offers a Publish To PDF command on the File menu. CorelDRAW doesn't embed
ICC
profiles in PDF, at least as far as
Photoshop and Enfocus PitStop Pro
are concerned.
We
can confirm that CorelDRAW does embed profiles in

files. It
RGB
TIFF,
JPEG, and PSD
never embeds profiles in
CMYK exports.
Printing
For color-management purposes, the options in the Print dialog are
straightforward.
fairly
The
first
option selects the
Separations printer profile
Composite printer profile or as the destination for RGB-to-CMYK or RGB(see Figure 14-9). In the Print dialog, un-
to-RGB conversions at print time

der the Separations tab, the
separations."
first
option on the upper-left corner
is
"Print
is
When
this
is
unchecked, the Composite printer profile

it's
the destination, and

is
when
checked, the Separations printer profile
the destination. To produce simulations of the Separations printer

printer,
on
your composite
uncheck "Print separations," and
select the large
curved arrow that goes from the Separations printer to the Composite
printer in the Color
Management dialog box.
Piece of cake.
Chapter
^k:
Color
Manascmcnt
in
CorelDRAW
10
403
Figure 14-9
Print dialog box:
T-T
.^1
Separations tab
51
kOk
Real World Color

Second, you must pay attention to the "Output color bitmaps as" pop-
up menu if you want RGB output. Even if you select an RGB profile for the Composite printer and it appears under "Apply ICC profile," if you don't
select
RGB from
the "Output color bitmaps as" pop-up, your images get
converted to
CMYK or grayscale instead.
Strengths
and Weaknesses
CorelDRAW lets you work entirely in CMYK, using color management for
on-screen previews and proofing.
cording to the Color
It
successfully color manages exports acsettings
Management
and a simple
set of rules for a
limited set of file formats. You can print to

built in
RGB printers, but native elements

biggest plus for
CMYK may not turn
out the
way you want. The
CorelDRAW is its Color Management dialog box user interface. The glaring
weakness that it doesn't embed the profiles that define RGB and CMYK into
managed content from CorelDRAW, but the only way to manage CorelDRAW files themselves
its
it's
own documents. So
relatively
easy to export color
is
to
keep track, manually, of the RGB and CMYK profiles you used to create
the document.
Color
Management
n QuarkXPress
Incremental Improvements
In print production, QuarkXPress
is still
very
much the 800-pound gorilla,
so
we can't
ignore
it,
but
we find
a certain irony in the fact that despite be-
ing one of the first applications to offer color- management capabilities way
back in the early 1990s, those capabilities have improved surprisingly little
in the intervening decade. In this chapter,
we
cover QuarkXPress 3.32r5
through QuarkXPress 6 because many sites still use older versions of it, and
the third-party solutions
we discuss work with all three versions.
QuarkXPress 3 effectively lacks built-in color management, and the QuarkXPress 4 CMS lies somewhere between almost-usable and totally
maddening. QuarkXPress 5 offers color-management capabilities that are

generally useful, with
capabilities in
some annoying limitations. The color management

6.1 are essentially
QuarkXPress
particularly
annoying bugs have been fixed.
unchanged, though some Nevertheless, we have effec-
tive solutions for all three versions.
So fear not. In this chapter we'll look at solutions for the most common
QuarkXPress output workflows:

destinations, the Web, proofing,
CMYK output destinations, RGB output

and miscellaneous
grayscale and duo-
tone images, spot colors, and spot-to-process, simulating spot colors with
RGB
or
CMYK builds.
405
406
Turning
It
Off
The simplest way of doing something is usually the safest, and often the most efficient. If you use early-binding workflows, the safe and simple way
to
handle color management in QuarkXPress

All the
is
to turn
it
off.
elements you import into your QuarkXPress documents

art, etc.
es,
vector
imagmust be "print-ready" and already converted to
final
CMYK. You need to do this anyway with grayscale, duotone, triand tone, quadtone images, all of which must be targeted specifically for the output method in question before you place them into QuarkXPress.
output
Any CMYK
device
colors specified in the Color palette
must
also
be output-
ready, because their actual color appearance depends on the output
a CMYK build won't look the same on newsprint as

builds in
it
will in a
magazine. Consider creating your CMYK
an application such as
Photoshop or Illustrator, then simply using the

Press,
same numbers in QuarkX-
and not worrying about display discrepancies
they'll print the

OK
same even if they look different.

Note that with color management turned off in QuarkXPress, you can't
use RGB images and native elements
because while
wind up
they'll often look
onscreen, they'll either separate poorly or

plate.
entirely on the black
CMYK images,
file,
on the other hand,
print according to the
numbers
in the
but often look like neon onscreen.
Turn Off QuarkXPress 3

profile format, so
it
CMS (Mac OS Only)

in-
QuarkXPress 3.3.2r5, the most recent and last version of QuarkXPress 3,

cluded a color management
system called "EFIColor."
It
predated the ICC
used
its
and
you
is
best avoided try finding software for making EFIColor profiles

futility.
own proprietary profiles,
never worked well,

if
enjoy exercises in
Turning color management off is the only practical solution in QuarkXPress

3,
unless you resort to a third-party XTension such as
Compass Pro
XT (which we
three
discuss later in this chapter). To do so, you need to delete
components on the Macintosh: the EFIColor system extension, the EFIColor folder, and the EFIColor XTension.
Chapter
15:
Color
Management
in
QuarkXPress
407
Turn Off QuarkXPress 4, 5 and 6

Color Management Preferences
CMS
The first method is to close a// documents, then go to the Edit: Preferences:
window and uncheck "Color Manageall
ment Active."
document.
It's
ifery
importantthat you do this while
documents
are
closed, otherwise you only turn off color management for the foreground
The
absolute, sure-fire
4
method of
disabling color
management
in
QuarkXPress
and 5
is
to physically
remove the Quark
CMS
XTension
from the XTensions

folder.
folder,
found inside the QuarkXPress application
Built-in
Color
Management
CMS
rid of
it
We've already told you the bad news about EFIColor, the built-in
in QuarkXPress 3 for Macintosh get
before
it
hurts you. The
Windows
tially,
version has no built-in color
management
in
whatsoever. Essenei-
there's
no
built-in color
management
QuarkXPress 3.32 on
ther platform. In a way, this
isn't
a bad thing because you can be certain

or
QuarkXPress 3.32 will send the

is,
RGB
first.
CMYK values in the document as
without massaging the data
QuarkXPress 4
QuarkXPress 4 includes the Quark CMS XTension, which brings a certain
ICC support. It works in conjunction with ColorSync on Mac OS, and ICM 2 on Mndows 98 and higher.
level of
You need
to
be either brave or nuts before deciding to use the Quark

it
CMS
RGB
in this version of QuarkXPress. In theory,
will color
manage any
CMYK TIFF and native colors from the Color palette, and let you convert them to a CMYK or Hexachrome destination (with no control over
or
rendering intents).
the issue.
It
sounds
is
limited,
and
it is,
but the limitations aren't
The
real
problem
that QuarkXPress 4.11 has
qualify as a lifetime
employment program
for the Orkin
enough bugs to man. QuarkX-
Press 4.04
to
and 4. 1
don't have as
many problems, but they still have enough
be considered dangerous.
408
Here's a short laundry
list
of QuarkXPress 4.1 1
use,
CMS
problems:
QuarkXPress 4
sees,
and claims to
it
embedded profiles in RGB and

it
CMYK images,
but
doesn't actually use them. Instead,
uses the
Default Source Profiles. To
make matters a little more complex, when

embed-
you change the Default Source Profile, imported images with
ded profiles (which QuarkXPress ignores) continue to use the Default Source Profile that was in effect at the time they were placed as their
source
profile.
Profile.
Untagged images, however,
will
use the
new
Default
Source
Separations from
RGB
to
CMYK produce different results depending

is
on whether the source
profile
embedded, or manually selected
in
the Profile Information palette.

In the Print dialog box, in the Profiles tab, the "Composite Simulates
Separation" option implies that QuarkXPress can cross-render final
CMYK to a composite printer for proofing. It can't. Whether the option

is
checked or not,
it
makes no
difference in output.
all
A cautious
and bugs
person might be able to incorporate
of the limitations
into
an
effective
workflow using the Quark CMS, but we're

so,
hard-pressed to think of any real benefits to doing

potential for disasters. If you
considering the
need built-in color management for specific
features such as soft proofing,
we recommend
reading the next sections

in
on QuarkXPress 5 and 6's CMS, and the coverage of InDesign CS

ter 12,
Chap-
The Adobe
Common
Color Architecture, then upgrading to either
of those packages.
QuarkXPress 5
The Quark CMS in QuarkXPress 5 is, according to Chris, "nearly usable." It doesn't support color management of EPS, unlike InDesign CS; however
like
InDesign CS
it
also doesn't color
manage
grayscale
files.
These are
limitations of which
If you
you need to be aware.

for proofing,
frequently use EPS or grayscale images, you can't really use the
"Composite Simulates Separation" feature
because some
content proofs correctly while other content is left untouched by QuarkXPress.
And while QuarkXPress
5 supports
RGB
output device profiles in
Chapter
15:
Color
Management
in
QuarkXPress
409
the Composite Output pop-up menu, QuarkXPress disables "Composite
Simulates Separation"
is
when one
is
selected. Therefore, built-in proofing
only available for
CMYK Composite devices.

is
For such workflows, a so-
lution that effectively handles all content
needed
such as Compass
we
discuss in
Pro XT, discussed in this chapter, or
some
of the solutions
Chapter
17,
Automation
& Scripting.
to
biggest question mark with the version 5 Quark CMS is in regards RGB-to-CMYK conversions. Certain combinations of profiles produce
The
discrepancies of
5%-10% compared
in
to using the
same
profiles,
CMMs,
and other settings
Photoshop. In
is
our experiments, the most

the
likely sus-
pect to trigger this problem
when
RGB profile
profiles
such as Wide Gamut RGB, ProPhoto RGB, and some scanner

profile.
RGB image
uses a wide gamut
as the source
Because of the uncertainty that surrounds this particular issue, we can't
recommend using the Quark CMS for RGB-based workflows. But at the same time, we can't not recommend using it at all. The following features
all
appear to work
Soft proofing:
reliably:
The Quark CMS properly displays RGB and
CMYK im-
ages, including the ability to simulate the output
from the composite
or separation printer onscreen.
Hard proofing: The Quark
CMS "Composite
Simulates Separations"
feature lets you produce proofs
on a composite PostScript printer, but The option

isn't
only using
relative colorimetric rendering.
available
for non-PostScript printers.
However, a major practical problem
is
that
to
by default placed
CMYK
images are
set to
no color management
CMYK destinations. That

image,
includes proofing. Unless you change this setting prior to image place-
ment
in preferences, or
when importing the
CMYK images are

is
not color managed. After image placement the only option

"Color
to
check
Manage
to
CMYK Destinations" in the Profile Information palis
ette for
each image. This
very tedious and probably impractical for
many workflows unless the job was originally created with color management for CMYK content in mind.
410
CMYK-to-CMYK conversions: used for repurposing images for output

processes other than the ones for which they were originally separated.
RGB-to-RGB conversions: for RGB workflows with RGB source images

outputting to
RGB
destinations.
CMYK-to-RGB
is
also supported.
Embedded Profiles: QuarkXPress 5 both recognizes and uses embedded profiles in TIFF only. Embedded profiles in other formats are ignored, which
is
obviously potentially dangerous.
Once ignored the
Default profiles apply instead.
The most useful
feature by far
is
soft proofing.
With the caveat that
only TIFF, IPEG, PICT, and native colors used in the Color palette are color
managed,
it
can be helpful to
many workflows. No third-party product is
capable of bringing customizable soft proofing to QuarkXPress; however
Enhance Preview XT does produce a close
SWOP simulation.
QuarkXPress 6
The QuarkCMS in QuarkXPress 6 has essentially the same limitations and
bugs as QuarkXPress
files
5.
QuarkXPress
6.1 fixes at least
now found in all of the locations in on Mac OS X, including subfolders, and it

are
profiles.
one problem. Prowhich profiles can be stored

correctly resolves aliases of
is
One
other problem that seems to be fixed
that
RGB-to-CMYK
conversions
now match those of Adobe applications, minus the effect of

all
Black Point Compensation, with
the profiles we've tested.
QuarkCMS
continues to be relatively simple to use if your requirements
are simple because
by default
it
treats
It's
untagged and tagged
CMYK the
same. Neither are color managed.

ing only,
if
also easy to configure for soft proof-
you have a
CMYK workflow and that's all you care about.

lost its ability to
But QuarkXPress hasn't
annoy the color management
aficionado either. Besides glaring problems like ignoring

files in
embedded pro-
formats other than TIFF, even seemingly small things like automat-
ically
OS are still not implemented. PDF has the same color QuarkXPress export management capabilities as printing, but it can produce neither PDF /X- la nor PDF/X-3 you'll need a utility that can bring the appropriate PDF/X compliance level to your
grabbing the display profile from the
PDFs.
Chapter
15:
Color
Management
in
QuarkXPress
411
Color
Manasement Preferences
Pay particular attention to the behavior of the Color
Management Prefer-
ences window. To set the application-level color- management preferences,
you must choose Edit:Preferences:Color Management with no documents

open.
On QuarkXPress 6 on Mac OS X,
title
find the
QuarkCMS
option in the
QuarkXPress>Preferences. The
bar then reads, "Color
Management
Preferences." This application-level setting serves as the default settings

for
any newly created documents.

bar reads, "Color
If
open, the preferences apply only to the foreground document,

title
you have one or more documents and the
Management
Preferences for <documentname>."
The Color Management Preferences window is where you configure the

Quark CMS (see Figure 15-1). The interface and 6. We'll now decode it for you:
Flsurc 15-1
Preferences
is
the
same
in
QuarkXPress 5
QuarkXPress Color
Application
Color
Management
Active
Management
Preferences
Display
Interactive
^^-Destination Proftlet
Save
Monkor
Composite Output
Separation Output
OSS 60bd
nativel 61
23296:
Undo
XTensions Manager Font Mapping avenue.quark File Ust
Default F^th Full Res Preview
'
Cmcy aCSOO/EFI
Prlntef
US. Whb Coated (SWOP) v2
Ôtfauk
Source Profiles-
CMYK
-Solid CokM-s:
Profile:
'
'
Browsers Index
Hexachrome \~
>bberwocky
PDF
Placeholders
CblorMatch RGB
Rdetive Colorirnetrlc
When you choose Color Management Preferences

with no documents open,
Fraction /Price
Rendering Intent:
^
JH
Projea
XML
Import
Images:
Profile:
f
Default Print Layout General
CbtorMatch Rffl
Rriitive Colorinnetric
you set the global

application- level color-
Measurements
Rendering Intent:
'
management preferences.
Ifyou
Paragraph Character Tools
choose Color
Color Manage RGB Sources to
RGB
Destirtations
Trapping
Management Preferences when one or more

documents are open,
CMS
Layers Default WIeb Layo lyout General
I
U
Display Simulation:
Separation Output Color Space
you set the preferences

for the foreground
( CarHiel )
document instead.
412
Color Management Active checkbox: This turns color management on
and
off.
Destination Profiles, Monitor: This

play profile.
is
where you
set
your current
dis-
The Quark CMS
doesn't grab your display profile from the
operating system automatically. This
may
not sound
like a
it
problem,
will
but if you open a legacy document three months from now,

its
have
own
color
management
preferences associated with
it,
including a
display profile that probably bears
no
relationship to the current one.

is
Destination Profiles, Composite Output: This
the profile for

In
your composite
workflows,
it's
printer.
It
can be an
RGB
or
CMYK printer.
most
the local color printer used for proofing, but in nonit
press workflows
may be your final output device.
In workflows with a contract proofing device that simulates the press,

you'll
want
to specify the press profile here as well as in the Separa-
tion
Output pop-up
proofing systems and presses are effectively the

is
same device in these workflows.

Destination Profiles, Separation Output: This
ration device, such as a printing press.
in this
the profile for a sepaprofiles that
The only
appear
pop-up menu are CMYK and six-channel profiles. The way it's
actually triggered for
making conversions
in the
at print
time
is
by check-
ing the "Separations" checkbox
QuarkXPress Print dialog
see
Figure 15-6.
When
unchecked, the Quark
CMS
uses the Composite
Output profile.
Default Source Profiles, RGB,
spective tabs,
CMYK, and Hexachrome: Within the reimages and
you can
select default source profiles for
solid colors. By untagged images and all solid colors. For images, you can use either the Get Picture dialog box or Profile
default, they affect
Information palette to specify a profile other than the Default Source

Profile.
QuarkXPress doesn't
let
you
select
RGB output device profiles
as Default Source Profiles.
The Rendering
you use "Get
Intent pop-ups serve as default rendering intents
when
We usually set all of the tabs to Relative Colorimetric for RGB and CMYK images. Relative Colorimetric for RGB Solid Colors, and Absolute Colorimetric for CMYK Solid Colors.
Picture" to place images.
Chapter
15:
Color
Management
in
QuarkXPress
413
These are colors specified in the Color palette used for text, shapes, or backgrounds. The models affected are RGB, LAB, and CMYK only. If you add Pantone, Toyo, Trumatch, or DIC colors, color
Solid Colors:
management
doesn't apply
instead, you get the hardwired RGB or
CMYK values specified in those palettes.

Color Manage
RGB Sources to RGB Destinations/Color Manage CMYK

let
Sources to CMYK Destinations: These options
you allow or disallow RGB-to-RGB or CMYK-to-CMYK conversions. Checking the box lets
for
you place images targeted
one kind of color space or device and

selecting a
repurpose them for a different output device. For example, placing

all
images separated
for
SWOP, then
newspaper
profile,
repurposes the images for newsprint.

In
another example, you could assume
all
CMYK
images are "press
ready." Unchecking the box in the CMYK tab prevents CMYK images from being converted by the Quark CMS. At the same time, RGB-toCMYK conversions for output and onscreen simulations are still al-
lowed
to
happen.
Conversely, in
RGB
output workflows, you can disallow RGB-to-RGB

all
conversions, assuming
RGB content is output-ready,
while
still al-
lowing CMYK-to-RGB
But,
it
conversions.
if
you uncheck "Color Manage RGB Sources to RGB Destinations,"
completely disables Display Simulation for those images as well.
Therefore, they don't preview as they'll print to either
RGB
or
CMYK
output devices. The monitor
is
an RGB destination, but this checkbox

effects
would be a
lot
more
useful
if its
were confined solely to RGB

including the monitor.
printers, rather
than to any
RGB destination,
And there's an annoying bug. "Color Manage CMYK Sources to CMYK Destinations," when unchecked, passes CMYK values directly to CMYK
output with no conversion, as one would expect. But they preview as
if
they would be converted, so the onscreen simulation is incorrect, and the setting also prevents placed CMYK images from proofing to CMYK
destinations.
414
Hexachrome
actually use
is
tab:
couple of aspects of the Hexachrome tab are a

it
bit misleading. First,
should be
named
"Six-Color" because
it
will
any
six-
color ICC profile not just Hexachrome, which
a proprietary six-color ink set developed by Pantone. Second, we're
confused by the presence of a Default Source Profiles tab to begin with

since QuarkXPress doesn't color
manage DCS
2.0
files,
which are the

get
only way we know
of to save six-channel images

first
and
them
into
QuarkXPress in the
place!
Display Simulation: This option tells QuarkXPress how the display simulation should function.
None means exactly that: don't simulate anything

Composite Output Color
on the
display.
Monitor Color Space means convert from the source
profile to the display profile for display only.
Space makes the display simulate the Composite printer. Separation Output Color Space makes the display simulate the Separations
printer.
Note that Display Simulation
isn't
wired to the "Separation" checkbox
in the Print dialog that controls
whether the Quark
CMS converts
it's
to
the Separation Output or the Composite Output profile. So

sible for the display to simulate
pos-
one device when you actually intend
to print to the other.
The Quark
CMS
only looks at the root level of the ColorSync profiles

within the ColorSync Profiles fold-
folder, so profiles stored in subfolders
er aren't visible. This includes the Profiles
and Recommended
aliases to
folders containing
(1998),
Adobe
profiles
such as ColorMatch RGB, Adobe

If
RGB
and
cess to those profiles
them in
v2, among others. you want acfrom inside QuarkXPress, you need to put copies of the main ColorSync Profiles folder aliases of ICC profiles don't
U.S.
Web Coated (SWOP)
work, either.
Manual Controls
QuarkXPress
offers only
two manual controls. The controls in Get Picture
apply when you're opening images for import, while the Profile Information palette applies to images that have already
been imported.
Chapter
15:
Color
Management
in
QuarkXPress
415
Get Picture
The Get
Picture dialog box appears
when you
use the Get Picture comis
mand from
appears
Figure 15-2
at
the File
menu
(see Figure 15-2).
When color management
active for the current
document, an extra tab called Color Management the bottom of the Get Picture dialog box.
CttPKM*
Get Picture dialog box
EiuWt
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set the
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mtd/graytRCailif
>-
assumed source profile and the rendering

intent for the image.
li PhoioOtM RCI urg*l

frifKn Tett fMl
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OOCHNICINS
RCtpnmntsi.lSOiif
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NCI tiff
PttStU
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6/27/04
1
St SI na
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MMUft le *C> Ontkuttons
( Cancel
Perhaps it's a small bug or user interface oversight, but the Color Man-
agement tab contents remain grayed out unless you check the "Preview" checkbox in the upper-left corner of the dialog.
The
Profile
pop-up menu snaps

profile, or to
to
Embedded
if
if
the image you select

is
has an embedded
Default
the image
untagged. You can
override these settings by selecting another profile from the
pop-up
list,
which then becomes the assumed source
profile for the image.
The Rendering
fault
Intent
pop-up
snaps to the intent specified
under De-
Source Profiles in Color Management Preferences. You can override
this here, if you wish.
The "Color Manage to RGB /CMYK Destinations" checkbox reads RGB when you click on RGB images, and CMYK when you click on CMYK images.
416
It
has the same function as the checkbox found in Color Management Prefer-
ences in the Default Source Profiles section, and it uses the settings specified
there as defaults. You can override this here,
if
you wish.
Profile Information
You open the Profile Information palette by choosing Profile Information from theView menu with QuarkXPress 5 and earlier. In QuarkXPress 6, You'll
find
Show Profile Information in the Window menu Its controls offer identhe Get Picture dialog's Color
tical functionality to
Management
tab (see
Figure 15-3).
It
applies only to the currently selected image. As previously
mentioned, the "Color Manage to
RGB /CMYK Destinations" checkbox has
some bugs. We recommend you review them, and be careful.

Figure 15-3
Profile Information
Profile
Information
palette
Chapter
15:
Color
Management
in
QuarkXPress
417
Flsurc 15-4
Print dialog box: Output tab
WntUyputl
mm
Stytt:
focfauH
PKgts:
All
Coptts:
s*
^^M
With color manage-
ment actii>e,
the Print
Colors pop- up menu only shows the mode

that matches the profile specified for the
Composite printer
418
You invoke XPress's built-in hard proofing by checking the "Composite

Simulates Separation" checkbox in the Profiles tab of the Print dialog box.
It
always uses relative colorimetric rendering, so simulating the source
white on your proof isn't possible. The potential gotcha is the "Color Man-
CMYK Sources to CMYK Destinations" checkbox associated with each image. When this is turned off, the CMYK image isn't color managed at all, including to the Composite Output device. The CMYK values in the
age
image pass
takes place.
Last,
straight
through to the composite
printer, so
no simulation
and
certainly not least,
you may have noticed there
are
two pos-
sible
output
one
is
is
profiles: Composite Output, or Separations Output. Which used as the destination? In the Layout tab of the Print dialog box
a "Separations" checkbox.
When
unchecked, the composite profile
is
used,
If
and when checked the separations profile is used

PostScript to
final
(see Figure 15-6).
you print composite you need to select your

it's
your imagesetter or platesetter RIP,
output profile as Composite Output
when
time to print.
Print
Figure 15-6
Print dialog box: Layout tab
Print Style:
(
Layout 1
Default
All
~^Q
Pages:
Copies:
l^^l
limpHllpi^
CS
Setup
Output
Chapter
15:
Color
Management
in
QuarkXPress
A19
Hard
QuarkXPress 3 has no press simulation features, and the ones
Press 4 don't work, so hard proofing using built-in color
isn't
in
QuarkX-
management
applicable. QuarkXPress 5
and 6's built-in method of producing hard

if
proofs on composite devices has some limitations:

only; can always use the "Color Manage
you use TIFF images

to
CMYK Sources
CMYK
Desti-
nations" option; and don't need to proof Pantone, FocolTone, or other
named
color systems, the built-in

relies
method works
quite well. But
if
your
workflow
on EPS files, or Pantone, Focoltone, or other named color
systems, you'll need to look for a third-party solution.

Third- party proofing solutions come in several forms. Praxisoft's Com-
pass Pro
all
XT XTension, color servers, and self-contained proofing systems

cost, support,
have strengths and weaknesses, including

issues.
and deploy-
ment
We recommend
be sure that
for
terested
in, to
you see a demo of any products you're inthey'll meet your needs. See the next section
on Compass Pro XT
more information.
Vector Pro. Compass Pro XT's companion application, Vector Pro, can
simulate Pantone or Focoltone colors using hand-tuned RGB,
CMYK,
or
multichannel builds. Vector Pro then outputs these customized, outputdevice-specific colors as Vector Pro palettes,
which you can import
into
Compass Pro XT. Without Vector Pro, Compass Pro XT does a decent job of
simulating solid colors, but if you're looking for an extra level of accuracy,
you'll
want Vector Pro.
Compass Pro XT
Compass Pro
QuarkXPress
XT, discussed in
5
more
detail below,
is
an XTension
for
3, 4,
and 6 that
sufficiently large
gamut into
It's
you turn any profiled printer with a a proofing device, and offers an assortment
lets
of other useful features.
published by Praxisoft (www.praxisoft.com),
for
and the currently available versions are: v2.2 for QuarkXPress 3 and 4, v5 QuarkXPress 5, and v6 for QuarkXPress 6.
420
Proi. For individuals
and
relatively small organizations, this
is
probably
If
the least-expensive
way
to
produce proofs with existing equipment.

its
you can also exploit other features offered by Compass Pro XT,
increases exponentially.
value
Cons. This product
is
feature-rich,
and despite decent documentation

it
and a
fairly
straightforward user interface,
has a learning curve
it's
not a point-and-print kind of system. In larger organizations, even with

the price breaks Praxisoft offers for purchasing multiple quantities, you'll
quickly find yourself in a price range comparable to that of the other solutions.
Compass Pro XT can convert documents

nation, be
it
for
any RGB or
CMYK destiIt
the Internet, a large-format Inkjet, or a printing press.
can
also convert documents for proofing purposes, so your lower-cost printer
can simulate
final output.
It's
flexible
enough
workflow calling
for this kind of functionality

it
to be used in virtually any from within QuarkXPress.
The
file
types
supports include not only the usual TIFF, JPEG, and

also
PICT suspects, but

as Pantone
EPS (including
colors.
QuarkXPress Color palette colors
It also manages and CMYK (in RGB, LAB, modes) as well
Illustrator EPS).
and Focoltone
It
doesn't, however, support PDF.

features:
Compass Pro XT
It's
offers three
unique
happy allowing multiple source profiles in a document: you can place images directly into your documents whether they're from
totally
Photoshop,
its
digital
cameras, scanners, or stock photography, each with
own source profile. You can mix and match RGB and CMYK images into the same layout, and Compass Pro XT converts a// images (except
for grayscale,
which
it
leaves untouched) properly to the desired des-
tination.
It's
the only
way to
color
it
manage EPS
files
inside a page-layout proin-
gram. Not only does

side
color
manage RGB, LAB, and CMYK colors

It file.
EPS
files,
but also Pantone and Focoltone colors.
even color
manages EPSs or TIFFs embedded within an imported EPS

It
supports
it
RGB output
lets
device profiles, so in an RGB-destination
workflow,
all
you
color
manage content
versions of QuarkXPress,
proofers.
RGB output devices in including both RGB final output devices

to
and RGB
Chapter
15:
Color
Management
in
QuarkXPress
A21
Another useful feature
is
the ability to
make
a duplicate of an entire
QuarkXPress document, images and all, converted to a specific output so you can rework those files instead of the originals, or send profile
the press-ready duplicate back to the originator, to the service bureau, or to the printer.
One last note is that the features in Compass Pro XT are extremely customizable. Even hard-core CMYK-only output workflows going to known
specific presses
can take advantage of
this
XTension. For example, you
can disable
all
CMYK-to-CMYK
conversions, but enable
RGB-to-CMYK
You
conversions to catch the occasional
RGB image
that slips through.
can also take advantage of Compass
Pro's solid-to-process conversions,
which use builds calculated
for
your specific press condition instead of
the generic ones published in the Pantone Solid to Process Guide. Get a
copy for each workstation that does preflighting to weed out RGB images that haven't been separated yet, and rebuild solid-to-process colors correctly as a standard operating procedure.
The 800-Pound
ties,
Gorilla
still
QuarkXPress
dominates the page-layout market despite some

its
stiff
competition from Adobe's InDesign, but
color
management
capabili-
though greatly improved
in version 5
and
6, still
have rather more
than their fair share of quirks. Nevertheless, as long as you're aware of the
limitations
and occasional
oddities,
you can make the Quark
CMS work
Compass
well in
many
workflows. For those workflows that need a

is
more capable
solution, XPress
well supported both by XTensions such as
Pro
XT and by external color servers.
Color
Management and PDF

"Once upon a time, there was a great
Chris's initial thought
...
no
wait,
wrong
story"
is
often
when
the subject of PDF arises. So
much
promise,
so
many problems
(just like color
management, sometimes), but anything

of work. Over the years,
worthwhile usually involves a
fair bit
PDF
has
been touted as the solution to so many different problems as Bruce to a dessert topping and a floorwax" that often been hard to
say,
"it's
it's
likes
figure out just
what
it is
good
for.
PDF workflows can

most of which
bring
numerous
benefits
and numerous
pitfalls,
we'll ignore in this chapter.
We won't attempt to compete
v^th the variety of excellent books and primers on PDF; instead we'll simply give
you a
status report
on the interaction between PDF and color

lot,
management. We
color
can
tell
you a
but there are
still
a huge
number
of
unknowns, so you're doubly on the bleeding edge when you deal with
management in PDF.
Why a chapter on PDF and not on Acrobat? First, PDF is much bigger
than just Acrobat
real story is
many PDF workflows don't even use Acrobatso the

is
about PDF. The Portable Document Format (which

for) is
what
types
PDF
stands
designed as a platform-neutral container for
all
of digital content, allowing that content to be distributed without requiring the recipients to possess, or even have any knowledge
of,
the various
423
424
Real World Color
applications that generated the various
components
in the
document.
This flexibility is a mixed blessing for print publishers, so
much of the on-
going
effort in
developing standards for PDF workflows involves defining

is
subsets of PDF features that define what
and
is
not allowable in PDFs
designed for print workflows.

It's
important to keep in mind that there are two halves to PDF: the
file
format half of PDF that gets most of the attention, and the equally important but often-overlooked usage half. We intend to focus primarily
on the
usage of PDF in a color management context, but to do

to talk
so,
we first need
about the various flavors of PDF that interest
us.
The Flavors of PDF

Unlike PostScript, the Portable
an open one Adobe publishes current versions of the specification so vendors can decide which aspects of each version they want to implement. Sounds
is
Document Format
like a recipe for chaos,
and
in
some ways
it is,
but there's also a method
to the
madness.
PDF Versions
There are four basic versions of the
PDF specification: we're primarily interested in only one of them, but we mention the others for the sake of
completeness.
PDF
1.2.
This
is
the version of
PDF produced by Acrobat
3,
and
it's
completely ICC-unaware, lacking any mechanism for supporting ICC

profiles.
PDF
1.3.
This is the highest version of PDF produced by Acrobat 4, and

It
the default for Distiller 5.
supports the embedding of ICC profiles on
a per-object basis. This

the color
is
the version of PDF that's most interesting to
management world.
This
is
PDF
1.4.
the version of
PDF produced by Acrobat

5. It
5,
and the
highest version produced by Distiller
too supports ICC profiles,

lie
along with transparency and a host of other features that

the scope of this book.
outside
Chapter
16:
Color
Management and PDF

will
425
PDF
1.5.
Acrobat 6 Standard and Professional

this specification.
It
produce PDF con-
forming to
supports ICC profiles, transparency,
better compression including IPEG2000,

tion,
enhancements
to encryp-
and again
all
sorts of things outside the scope of this book.
Embedded
and bitmap as well as
profiles.
PDF supports multiple objects (images both vector text, shapes, backgrounds, etc.). PDF can contain
and each object can have an ICC profile associated with it as long as that mode supports ICC profiles. You could, for example, have multiple RGB, CMYK, and grayscale objects, each with
objects in different color modes,
a different source profile.
To minimize
file size,
each object references

in
its
of having the profile
embedded
the object so
source profile instead

with Adobe
six objects
RGB
(1998) as their source profile don't cause six copies of
Adobe RGB
six
(1998) to be
embedded
in the PDF,
but rather just one copy referred to
times.
These objects have a color space called "ICC-Based," which means

object that doesn't reference an ICC profile
as:
they're considered device-independent.
Any
is
device-dependent,
denoted
/DeviceRGB, /DeviceCMYK, and /DeviceGray, as the case
may be.
Other noteworthy items. Rendering intent
is
set at the
time the profile
is
embedded and
at least
is
not related to the default rendering intent in the ICC

not
profile. Also, destination profiles are
embedded
in
PDF documents,
not
yet.
PostScript Color
PostScript's
Management
its
color-management philosophy has affected PDF's color-manbehavior, so a

little
agement philosophy, and thus
history
is
in order,
PostScript color management predates ICC-based color management,
and
is
built-into RIPs with PostScript version 2017.xxx
and
greater. Post-
Script profiles are always unidirectional, so there are always at least

profiles for an output device.
two
One profile is used as a source profile (device
to PCS) called a Color Space Array, or
CSA for short. The other is used as

so there's
a destination profile (PCS to device) called a Color Rendering Dictionary,
CRD for short. CRDs only contain a single rendering intent, a separate CRD for each rendering intent.
or
426
Fundamentally, PostScript color management operates in the same
way ICC-based
color
color
management
does:
CSAs and CRDs,
like profiles,
establish a relationship
between device values and PCS
values,
and the
management system uses
the information they contain to convert
the device values, using a specified or default rendering intent.
Where do CSAs and CRDs

it's
live?
The usual location

CSAs and CRDs
is
in the
RIP
itself,
and
real-
all-too-common
for built-in
to
have no basis in
ity either as
assumed source profiles or as descriptions of the behavior of
the output device in question, so the resulting conversions are frequently

hideous. Recent products
in particular, newer color laser printershave

CMYK CRDs,
But
that's
more reasonable RGB CSAs and
so the printers can receive

still
RGB graphics and convert them properly to printer CMYK.

the exception rather than the rule.
The other location is

uses the CSAs and
If
in the PostScript print
stream itself. The RIP then
CRDs in the PostScript file instead of the built-in ones.

CSAs but not CRDs, the
you
create a PostScript stream that contains
built-in
CRDs are used.

its
In theory, each object gets
own CSA (source profile) and is also tagged
with the
CRD that should be used (because the CRD controls the rendering intent). Then the RIP uses each CSA and included CRD to perform
color space conversions in the RIP. In practice, though,
out that
some RIPs
ignore
CMYK CSAs altogether,
you quickly find others ignore CSAs in

others ignore
the print stream and use only built-in CSAs, and

as well.
still
CRDs
When it comes to implementing such a system, you usually end up with a mess (the fact that the most common page-layout program,
QuarkXPress, can't produce either CSAs or
CRDs doesn't help).

1.3,
PostScript to PDF,
PDF to PostScript. Enter PDF
which uses ICC profiles,
not PostScript color management. Adobe created a mechanism whereby with PDF
1 .3
and higher, profiles and CSAs can be interchanged when the
document is converted from PostScript to PDF and vice versa. When you
print a
PDF to a PostScript printer, it's turned back into PostScript, and all
all
the ICC source profiles

Script into PDF,
become PostScript CSAs. When you convert PostCSAs are converted into ICC profiles, and any CRDs
are simply tossed into the bit-bucket.
Chapter
16:
Color
Manasement and PDF
427
You may have experienced Acrobat
Distiller 3
and 4 converting CMYK
images into LAB. This generally happens when those versions of Distiller
encounter a PostScript CSA embedded
in a
CMYK
EPS (probably from
Photoshop with the "PostScript Color Management" checkbox selected).

Distiller
5 either converts the CSA into an ICC profile or ignores
it
entirely,
depending on the Distiller color settings. With the possible exception of thoroughly troubleshot proofing
tems,
you're
sys-
we recommend
avoiding PostScript color
management
it
unless
reli-
one of the handful of people who've already gotten

you have, congratulations
to
work
ably. If
maybe you should write a book!
PDF/X
PDF
many different types of digital content, but it doesn't really help your PDF print workflow at all when the PDF contains the sixth
supports
Brandenburg Concerto or the latest Star Wars movie. So the PDF/X format and usage guidelines were created to ensure that PDF/X compliant PDFs
contained only the data required for
print.
PDF/X
is
rapidly emerging as
the standard for PDF-based print workflows.
Did
the
we say "standard"? Of course, life is rarely that simple, and while PDF/X bandwagon continues to gather momentum, PDF/X isn't just
Instead,
it
one standard.
has several different conformance

1
levels, predi-
cated primarily on the
PDF
.3
specification, that
fall
under the umbrella
of International Standard ISO 15930 as follows:
PDF/X- 1 a:200 1 This version, defined in ISO 1 5930- 1 :200 1

.
is
for "blind transfer" of print data in press-ready form the PDF
designed
itself
contains
all
the elements needed to print. Color must be

all
CMYK (plus
optional spot) only, and
based on the PDF

ency.
It's
1.4
images and fonts must be embedded. It is spec, but explicitly prohibits the use of transpar-
also a pure subset of PDF/X-3:2002.

is
PDF/X-2:2003. This version, defined in ISO 15930-2:2003,

ally similar to
isn't
functionit
PDF/X-3 but allows
for externally referenced data, so

1.4.
usable for blind transfers, and uses portions of PDF
PDF/X-3:2002. This version, defined in ISO 15930-3:2002, allows device-
independent color. This includes LAB, as well as tagged RGB and tagged
CMYK data.
Untagged device dependent data

it's
is
also allowed.
As with
images
PDF/X-la:2001,
designed
for blind transfers,

It's
and hence
all
and fonts must be embedded.
a subset of PDF/X-2.
428
All versions of
PDF/X were updated

but transparency
is
in 2003.
The current versions
all
have 2003 in the name, but the changes are more
clarifications. They're
based on PDF
1.4,
expressly prohibited for example.
We know of no third-party products supporting the 2003 versions. Effectively,
the versions listed earlier are currently supported.
We expect that PDF/X- la will become the dominant standard for blind
transfers in the United States since this
market
is
primarily
CMYK-only
(plus optional spot) rarely works with device-independent data requiring additional handling at output time. Both PDF/X- la and PDF/X-3
will
and
become
the
dominant standards
for blind transfers in the
European
market. PDF/X-2 can be used anywhere an OPI workflow is currently being

used,
and as an internal format inside large
enterprises. Since
it
supports
usage of externally referenced data, and supports both device-dependent
and -independent color, PDF/X-3 documents.
it
can reference images,
fonts, or
PDF/X- la and
Various third-party tools

discuss
make
creating
PDF/X
straightforward
we
some
of
them
in "Third-Party Stuff," later in this chapter.
While
you can make PDF/X directly using Acrobat 6 Professional, and InDesign CS, third-party tools are still very useful, and sometimes necessary.
For more information on
PDF and PDF/X, check out these resources:
www.planetpdf.com/
www.pdfx.info/index.html
www.pdfzone.com/
Outputlntent. All PDF/X documents must have an Outputlntent specified.
This can be an ICC -registered print condition name or an ICC profile. That
means
there's
an
check out the ICC registry really vague, in our opinion

org/ registry2.html,
ting the Outputlntent with
implicit
and an
explicit possibility.
The
implicit
at
one
is
www.color.
set-
and you'll see what we mean. So we recommend

an actual ICC profile,
If
at least until the registry
matures into something useful.
you produce a PDF/X-2 or PDF/X-3
document that contains device-independent data, the output intent profile
must be
fully
embedded.
Chapter
16:
Color
Management and PDF
429
PDF/X-la. By
far.
PDF/X-la
interests us the
most since
it's
relatively
straightforward and has strong vendor support. Objects must be devicedependent (CMYK plus spot) color ICC-Based color isn't allowed. How-
an Outputlntent is required. It's important to realize that while you can use an ICC profile for the Outputlntent, the objects in the document
ever,
are
still
device-dependent because PDF/X-la prohibits per-object ICC
profiles.
The primary
purposes
fication
intent of the Outputlntent in
PDF/X-la
is
for veri-
it's
there to ensure that the
document has been

if
color
managed
and
to a specific destination in
mind, and
that doesn't
match
what's in the job order or ticket,

get clarification.
is
it
someone needs
was used
to pick
up
the
phone
The Outputlntent
the PDF's content, so
the profile that
for color separation of
becomes the source
profile for all
CMYK content
(which
is
everything except for spot color).
PDF/X-3.
PDF/X-3 can contain device-dependent data
(either
untagged
RGB
or untagged
CMYK, but
not both in the same document), as well
as device-independent data (tagged RGB, tagged
CMYK, and
LAB). Each
device- independent object, by definition, has an ICC profile associated
with
it,
and the actual color space
is
referred to as "ICC-Based."
For PDF/X-3, the Outputlntent
is
the source profile for the untagged
device-dependent data, and is the intended destination profile for device-
independent data. So the device-dependent data must be separated

the intended output already, as
it
for
won't be converted again. This
is
the
only
PDF/X variant that
Allows a destination profile to be included in the
PDF for the explicit
purpose of performing conversions

Supports device-independent data Supports
RGB output devices

a superset of PDF/X-la, which
PDF/X-3
is
means
that anything that
claims to be a PDF/X-3 compliant reader must also correctly handle PDF/

X-la. Likewise
PDF/X-2
that's
is
is
a superset of PDF/X-3.
The numbers
are out of
sequence, but
If
the order the standards were agreed upon.
your goal
to convert everything to
CMYK
in
advance (an early

file,
binding workflow), and submit a CMYK-only (plus optional spot)
you
430
Real World Color

should make PDF/X-la. The notion that one would create CMYK-only PDF/X-3 is silly because that's not what it was designed for, whereas it's
inherent in PDF/X-la. There
is no advantage to a CMYK-only PDF/X-3 can be done, and the disadvantage is that it's
document, even though
it
potentially a source of confusion.
PDF/X-la
is
not "for the U.S." and PDF/X-3
is
not "for Europe." That
the two markets have different ideas about color management and printing implies that PDF/X-3 will be
more popular
in Europe, but there are
markets for which PDF/X-3 would be well suited in the U.S. This includes
large format printing,
all,
which has essentially no standard print condition at
and digital presses. The latter have excellent register but with generally
poor adherence to
SWOP even though they like to claim so, and hence are
implementing a PDF/X-3 workflow.
good candidates
for
In subsequent sections of this chapter, you'll find that specifying per-
object ICC profiles isn't for the faint of heart,
and requires special workflow
and software considerations. Once you have a PDF/X-3 document, printing or proofing it requires both faith
and courage. You'll need to use proddocuments to effectively proof and
ucts that specifically support PDF/X-3
output them.
Distiller
5
Adobe Distiller isn't the only product capable of converting PostScript into
PDF, but
it's
one of the most common, and
it
application
you use.
serves well as an example
^just look for similar features and settings in the application
Compatibility We previously mentioned the various versions of PDF.

tions dialog
Distiller's Job Opone of the places where they're directly relevant to color management. The Compatibility pop-up menu in the General tab
box
is
of Job Options affects the options available in the Color tab.
If
you
select
"Acrobat 3.0 (PDF
1 .2) ,"
your only color management policy options are to
leave colors unchanged or to convert them. Since
PDF 1 .2 doesn't support
ICC profiles,
there's
no way to simply tag the documents. Unless you have
good reasons to do otherwise, we recommend choosing "Acrobat 4.0 (PDF 1.3)," because that's what PDF/X is based on (see Figure 16-1).
Chapter
16:
Color
Management and PDF
431
Figure 16>1
Job OpMonK DQAPOptMMdvS

/"
Acrobat
Distiller 5.0
Ot)rU \/ Cwnpr>Hon\/ Font* \/Ce(er\/ Advanced \
Compatibility settings
432
Real World Color

^mm
Figure 16-2
Job Options: DDAP0ptimizedv5
Acrobat Distiller 5.0

Color Settings
/^
General \y^Compression^^/^ Fonts \/ Color \/Advanced\
Adobe Color
Settings
File:
Settings
Color
Management Off
.
Color
Management Policies
Default
Leave Color Unchanged

intent:
[_
Save As!.
.Working Spaces.
Gray:
{
Gray Gamma
2.2
RGB:
$RGBIEC61966-2.1
CMYK:
-
U.S.Web Coated (SW0P)v2
Device-Dependent Data
Preserve Overprint Settings
Q Preserve Under Color Removal and Black Generation

1
Remove
t| Transfer Functions
Q Preserve Halftone Information
open and display files, then let you edit them in some fashion. just a completely different beast, and has policies to match.
Leave Color Unchanged
the PostScript the PostScript
file
file,
Distiller is
this means preserve the numeric values in

converting
it
when
and
into a PDF. Ignore
any CSAs
in
don't
embed the Working Space profiles.
Tag Everything for Color Mgmt (no conversion)

the numeric values in the PostScript
file
also means preserve

converting
it
when
into a
PDF. CSAs associated with objects are converted into per-object ICC
profiles.
The selected Working Space profiles are embedded, and apply
to all other objects. All objects are considered tagged.
Tag Only Images for Color Mgmt (no conversion)
means the same as
tagging everything, except that only images are tagged. So vector objects,
including text, are untagged, and considered device-dependent.

All Colors to
Convert
sRGB
any CSAs associated with objects are
used as source
profiles as
profiles.
Objects with no CSAs take the Working Space
assumed sources. The destination profile is sRGB, so every-
thing
is
converted to sRGB.
Chapter
16:
Color
Management and PDF
433
A brief note on the Intent pop-up. Rendering intents are chosen at the time of PDF creation, just as in PostScript, which seems backwards we generally find that we can't tell which rendering intent will work best for a given object until we know the output destination. But that's the way it
currently works.
The Default option

that points to the
file
is
unclear
it's
either the default
PDF
rendering
file,
intent (relative colorimetric), or
it's
the intent, set in the PostScript
CRD
that
would have been used had the PostScript

Distiller.
been interpreted by a PostScript RIP rather than by

it
gest setting
to relative colorimetric then you
We sug-
at least
know what you're
dealing with.
Morking Spaces. The Working Space profiles are the ones that are used for
tagging,
depending on the color management policy selected. For example, if your document contains a mix of RGB, CMYK and gray-
scale images,
and you
print a PostScript
file,
then
distill
with one of the
Management" management policies, a single copy of each working space is embedded in the PDF document. The RGB Working
color
"Tag for Color
Space
profile
becomes the source
profile for all
RGB
images, the
Working Space profile and the Gray Working Space profile becomes the source profile for all grayscale images. Whether these embedded profiles apply to non-image
objects depends
becomes the source
profile for all
CMYK CMYK images,
on which color management policy you
selected.
The key thing to note is that "Working Spaces"

the profiles that are
in Distiller really
start
means
embedded
into the
document. They
out as as-
sumed
profiles
and become embedded
profiles in the PDF.
Any objects in the PostScript stream that have CSAs associated with them don't use the Working Space profiles, but have their CSAs converted
which are embedded into the PDF along with the Working Space profiles. CSAs are the only mechanism that allows Distiller to specify profiles on a per-object basis. Distiller also ignores embedded
into
ICC
profiles
ICC
profiles in the PostScript print
stream (which usually appear only

file
when you
print a
document containing an EPS
with an
embedded
ICC profile).
Device-Dependent Data. As the
device-dependent data,
to
name implies, these settings only affect and prior to PDF generation typically only apply
all
EPS
files,
since the options are
based on PostScript functions. With
434
Real World Color

the possible exception of overprint settings, ICC-based objects aren't
fected by these options.
af-
good idea to preserve overprint settings. If they exist in the PostScript file, they have to be preserved in the PDF file if you want the
It's
generally a
document to
"Preserve
print the
way the
originating application intended.

exists
Under Color Removal and Black Generation"
for legacy support. If your
mainly images have already been separated to CMYK,
then placed into a page-layout application, and output to PostScript, the
images are "press-ready" so PostScript

exist to
UCR or GCR functions

is
shouldn't
begin with, and preserving them

transfer functions unless
moot.
know what you're doing, and have a specific reason for using them. Since a PDF could end up beRemove
you
really
ing printed anywhere,
it's
almost always best to remove them
it's
usually
counterproductive to use
them on other people's equipment. Unless you explicitly want an element to override RIP settings because
you placed an EPS with specific halftone screens in your page-layout software, you usually want to remove halftone information too.
Making PDFs
Three main factors
affect
your
ability to
make decent PDFs whether you
intend to use them for the Web, soft proofing, or final output (plain PDF,
PDF/X-la, orPDF/X-3):
Proper preparation of all support files in their respective applications,
especially the final application
Distiller will process.
you use to print the PostScript file that
This includes page settings, font embedding, im-
age preparation and linking, and so forth.
Use of an appropriate PPD file for your PostScript printer driver (which
includes making the application you're printing from aware of the
PPD something that may or may not happen automatically).
Use of appropriate settings in Distiller, paying special attention to the

color settings.
Chapter
16:
Color
Management and PDF
435
Output-only
sources on
PDF prtts.
to
As previously mentioned, there are
many
re-
how
make good PDFs,
so we'll stay focused on the color

of the three factors mentioned
aspects. We've already discussed the
first
above
in the earlier application chapters.
mentioned above are workflow-specific, but very important. We've come to trust and recommend as a starting point
third factors
The second and
the
DDAP PPD, and their accompanying Distiller Settings Files, which are
Distiller Settings File turns color
available for both platforms at www.ddap.org/tools/univppd/.
Note that the

you'll
management
off,
so
end up with a device-dependent PDF. This works
as long as
you
produce output-ready PostScript prior to building the PDF The resulting PDF won't have automatic soft-proofing or hard-proofing capabilities,
since there's no source profile
embedded
it's
in the
document.
(If
you
refer
back to Figure
settings
file
16-2, you'll see that
based on the DDAPOptimizedvS
unchanged and untagged.) From here, you can feed the PDF to an application such as Apago PDF/
for Distiller 5. Colors are left
X-1 Checkup, or Enfocus Certified
PDF
(part of PitStop Pro

it
and
can
Server,
fix,
and Instant PDF), which
preflights the PDF, fixes problems
and
Assuming everything can be fixed, you end up with a PDF/X-la document.
makes a note of those
it
can't.
Color-manascd PDF
desktop. This
it's
is
PDF
that has profiles associated
for all objects. While
possible to produce a
others,
PDF that has profiles associ-
ated with
some
objects and not
we recommend you avoid doing

"output- ready"
so unless you enjoy lessons in ftnstration.
Using
Distiller,
we recommend producing an
final
PDF
in
your page layout application, as previously described in "Output-only
PDF
press," only embedding the

is
it all
output device's
profile.
Since
all
the color
scribe
already converted for one kind of output device, you can de-
with a single device
profile.
Embed that profile, and Acrobat 5

PDFs may be able to repurpose
and Acrobat Reader 5 use it automatically for on-screen preview, while other
applications that can read color-managed
the content for
some other device
(such as for proofing
see Figure
16-3).
436
Figure 16-3
Job Options: Print
Adobe Distiller Settings:

color-managed PDF
/General\/CompresslonAy^ Fonts \/ Color \/Advanced\ Adobe Color Settings

Settings
File:
None
.
Cancel
Color
Management Policies
Tag Everything for Color

Intent:
Mgmt (no
conversion)
Save
As..
Working Spaces
Gray:
Dot Gain
25%
RGB:
ColorMatch RGB
CMYK:
.
U.S.Web Coated (SW0P)v2
Device-Dependent Data
B Preserve Overprint Settings

D Preserve Under Color Removal and Black Generation
[
Itemove
Transfer Functions
D Preserve Halftone Information
Be
careful: as configured in Figure 16-3, Distiller won't convert any-
thing in the
document, so you must make sure that all the color is already
it
converted for output before you feed
to Distiller. Distiller
is
just being
used
to tag objects with a source profile (and of course
make
PDF file).
Also, while you can effectively use such a PDF for soft and hard proofing,
it
isn't
necessarily repurposable
since
all
objects, including black-only
text,
become device-independent, they won't be black-only if repurposed. The real problem is that Distiller's options don't really offer enough
choose "Tag Only Images," non-image objects will only intended destination and will look wrong everyif
flexibility. If you
print correctly to the
where
else,
whereas
"
you choose "Tag Everything For Color
Mgmt
(no
conversion) and print to a destination other than the intended one, black
text gets
converted to rich black, which can create major problems.
PDF/X-3 addresses the problem by

device-dependent, so that
device, while tagging
all
it
will print
you define black text as as black-only on any destination

letting
objects that
need color management to produce
the correct appearance.
Chapter
16:
Color
Management and PDF

in the previous
437
Color-managcd PDF
Internet. The suggestions

if
two sec-
tions generally provide the best results. But
you want
to create the
smallest possible
files,
and have the color display reasonably well on the

to try these settings instead.
File to
random collection of uncalibrated monitors that serve as the delivery system

for the Internet,
you may want

tab,
In Job Options,
Color
change the Settings
None
the Web
Next, set
Graphics Default color settings file is useless with Adobe

the Color
set
Distiller.
Management
if
Policies to "Convert All Colors to sRGB." Finally,
whatever output profile you used to create the PostScript as the work-
ing space
your document
is
entirely
Adobe RGB
(1998), for example,

it
set that as the
RGB Working Space
so that Distiller uses
as the source
is
profile
when it converts everything to sRGB.
Likewise
if
your document
CMYK, set the working space to the CMYK profile you used as the destination when you created the PostScript file (see Figure 16-4).
Figure 16-4
'
Jan OiMMis: Scr*(POFU)

Color \/ Advanced \
IB
Adobe Distiller settings: Convert to sRGB PDF
/6wnil\/ciwpreilon\/fonti\/ Adobe Color Settings

Settings
File:
None
Cancel
Color
Management Policies
Convert All Colors to sRGB

Intent:
Save As-
Default
-WMldiic Spaces.
Gray:
I
None
IIGB:lMobeRGB(l998)
CMVIC US. Web Coated (SW0P)v2
^ Device-Dependent Data
n Preserve Overprint Settings D Preserve Under Color Removal and Black Generation
[
Preserve
Transfer Functions
Preserve Halttone Information
438
Real World Color
Acrobat 5
Compared
to Adobe's other applications, Acrobat 5's color
management
capabilities are just as
funky as
Distiller's.
its
While the Color Management

is
Preferences dialog box looks familiar,
other applications,
the world
compared to the and printing from Acrobat makes us wonder what in

scope
limited
Adobe was thinking.
The redeeming feature of Acrobat is that color management really just

happens without any configuration. Acrobat grabs the display profile automatically from the operating system, and uses embedded profiles automatically and seamlessly, regardless of the color management preferences.
Setting
up remote soft proofing is
as simple as calibrating
client side.
and
profiling a
monitor and installing Acrobat on the

course,
(On the "server" side, of
someone needs
to
embed the correct profiles into the PDFs.)
Color
click
To open Acrobat's Color Management Preferences
on "Color Man-
agement"
in other
in the
list
on the
left
of the General Preferences dialog box (see

files
Figure 16-5). Like Distiller, Acrobat can use Color Settings
created
Since
Adobe
applications as well, but
it
can't create
them
itself.
Acrobat always uses either an embedded or assumed source profile, color
management is always on, even though there's a "Color Management Off"

settings
Figure 16-5
-
file.
Acrobat Color
Accessibility
Senings;
U.S. Prepress Defaults
Batch Processing
Color Management
Working Spaces
Comments
Digital Signatures
RGB
Adobe RGB (1998)

U.S.
_BP _^P _^9
Display
Extract Images
CMYK
Grayscale:
I
Web Coated (SWOP) v2
Forms
Full
Dot Gain 20X
Screen
-
Identity
Conversion Options
Engine:
I
JavaScript
Layout Grid Online Comments
Adobe (ACE)
-HP
Options
Self-Sign Security
Spelling
TouchUp
Update
( Cancel )
Chapter
16:
Color
Management and PDF
439
all
The Working Spaces

tagged objects in
are the
assumed
set the
profiles
they apply to
un-
PDF
files. If
you
RGB Working Space to monitor

no color management,
isn't
RGB
(your display profile) the

,
numbers in untagged RGB images get sent
straight to the display, so you're effectively getting
but everything else gets color
managed and there
anything you can
do about
it.
Embedded profiles are always honored, and thus override the Working
Spaces. Therefore, be cautious about what profile you select for the Working Spaces, because they affect untagged objects, which in the
are fairly
for
PDF world
If you set your RGB Working Space to ProPhoto RGB, most RGB content in PDFs will be superbly oversaturated example, compared to any intent the original producer had for the PDF
common.
scribed later)
The Conversion Options only affect conversions and for printing.
for Proof Colors (de-
Printing
Source profiles are either embedded
in the
PDF document,
or
assumed
by Acrobat's Color Management Preferences, but you need to specify a

destination profile. Yet for non- PostScript printers,
Adobe has provided

profile or a renderit
absolutely no mechanism for specifying a destination

ing intent.
When you
print to a non-PostScript printer,
converts from
the source profiles to the display profile.
So when you print to raster printers from Acrobat, you're best off selecting ColorSync or
ICM
in the printer driver.
We've confirmed that Acrobat
hands off the display profile to the operating system as the source profile
for the data
stream at print time. From there, the destination profile
is
dictated by the printer driver.
When you print to

er contains
a PostScript printer, the
Adobe
section of the drivin non-PostScript
an Advanced button that doesn't appear

it
printer drivers. Clicking
opens the Print Settings dialog box, with no
fewer than seven color-management-related options, not one of which

is
a rendering intent setting
see Figure 16-6!

first
If
We
generally ignore the
three checkboxes regarding halftones,
transfer functions
and UCR/GCR.
know it
time.
you aren't sure, only experiment when you have The same goes for "Apply Overprint Preview" which
if if
you need
to use these features,

lots
is
you
of spare
useful for
forcing Acrobat to render the overprint function
your printer doesn't
support
it.
440
Figure 16-6
Tiling
Print Settings
Acrobat Print Settings

(PostScript printer only)
Chapter
16:
Color
Management and PDF
4A1
Distiller
6
Very little has changed in the way of color management in
Distiller 6
com-
pared to version
5.0.
Therefore
we recommend starting with that section,
and then reading this one, which discusses additional features found only
in Distiller 6.0
The major change in Distiller 6.0 is that it can create PDF/X-la and PDF/X-3 documents directly from PostScript. See the new presets in Figure 16-7. PDF/X-la will likely be the
more
viable in
most workflows be-
cause of limitations with
PDF/X-3 generation. If you need to produce PDF/X-3 documents, check out the section on InDesign CS later
Distiller 6's
in this chapter.
ngurc 16<7
Acrobat
Distiller
AAA
6 presets
ob! and Reader 4.0 and
later.
Oirrcni
File.
file
tnformalion
nOM
( Cncl )
Un
Sourta:
Frogreit
Status: Ittatf
OK
Soma: AinniniOe*tiiopA.ayoiit I ps DMinalon: /UMnAMMOMklafMLayout 1 pdf Adeb* PDF SMkigr AitanShiiMMdotM PDF 6X}/Senngs/Prsn CkiaWyjoboptont DMi Tbna: 6 fMonds (OOflODS) **** **** End at Mb
When set to produce either of these PDF/X flavors, Distiller 6 internally

normalizes a PostScript file to PDF, then it essentially preflights it for PDF/
X-la or PDF/X-3 compliance, and

tion
fix
is
if it
passes a
PDF is saved. The distincability to
important because neither
Distiller
nor Acrobat has the
minor problems that might prevent a
file
from being valid PDF/X-la
or PDF/X-3. For that you'll need one of the products mentioned later in
this chapter.
442
PDF/X-1a, PDF/X-3
If
you intend
is
to
make PDF /X- la from

custom
Distiller,
hopefully the "PDFXla"
preset
already sufficiently configured for your needs. But chances are

settings,
if
many
is
of you will need
for
no other reason than
to set
an Outputlntent
the default.
profile other
than "U.S.
Web Coated (SWOP)
v2" which
new area of interest in Distiller 6 is found in the PDF/X section of the Adobe PDF Settings dialog, located from the Settings dropThus, the main
down menu (see Figure

fact
16-8).
A major oversight in the user interface is the

both PDF/X-la and PDF/X-3
at the
you can apparently

it, it
select
same
time. Don't try
doesn't work,
and will likely cause aberrant behavior in
Distiller that will make you homicidal or suicidal, or both, when you attempt
to troubleshoot the
ensuing problems. Please select one or the other.

Stttings:
Figure 16-8
{ General
Adobe PDF
Images
POFXla
Advanced MIBP/X
Fonts
Color
Adobe PDF
Settings dialog
PDF/X Reporting and Compliance Enforcement
PDF/X-la i; PDF/X-3
When
jf
not compliant:
Cancel job
3
(Points):
Neither TrimBox nor ArtBox are SpeciHed
O Report as error
Set TrimBox
Left;
to
MediaBox with offsets

Top:
Rrght:
Bonon-
If
BleedBox
is
Not Specified
Set BleedBox To MediaBox

C Set BleedBox To TrimBox with offsets (Points):
Left:
Right:
Top:
in
'.<
Bonom:
Default JVajues
if
Not Specif ied
the
Document
v2
Outputlntent Profile Name:
U.S.
Web Coated (SWOP)
mm
OutputCondition:
RegislrvName(URL):
http://www.color.org
Insert False
ffli
Trapped:
3ffl
Help
Cancel
^totiOKwwa^
The remaining area of interest, from a

is
color
the selection of the Outputlntent Profile Name.
management perspective, Make sure you have an

as to
explicit
understanding with the receiver of the

If
file
what the Output-
Intent should be for the job.
they accept PDF/X-la, they should

if
know
what
this request is about,
and
they don't
it
should raise a red
flag until
you have the contract proof in your hot little hands.
Chapter
16:
Color
Management and PDF
443
The RegistryName(URL) field defaults to the ICC Web site, since with device-dependent PDF/X including PDF/X-la, it's not necessary to embed a
full
ICC
profile as the Outputlntent. Instead

If
colorimetric behavior.
registered behaviors,
the Outputlntent you select
you can reference the is not one of these
you should either provide a valid URL or leave it blank. If you fail to do this, your job won't be hosed, but technically it won't
be a valid PDF/X-la
It's
file.
technically possible to create

it,
PDF/X-3 using
Distiller,
but
we
don't
recommend
If
for several reasons.
the PostScript
file
contains only CMYK, you're almost certainly better

If it
off creating
PDF/X- 1 a instead.
a PDF/X-3.
file
contains CMYK and Lab, Distiller can
and
If
will create
the PostScript
contains RGB,
Distiller's
PDF/X-3 preset expects all
RGB objects to be tagged with CSAs, and if they aren't. Distiller will fail to
produce a PDF/X-3. Very few applications
insert
CSAs
in the PostScript
stream. The one that does so reliably, InDesign CS, has a PDF/X-3 export
feature that
we recommend using instead of Distiller.

on the existence of CSAs, you can change the Color
Instead of relying
Management
ment.
will
If
policy in Distiller to Tag Everything for Color
Manage-
you tag only images,
any RGB
fail,
objects that
remain untagged
then cause PDF/X-3 creation to

is
so that's a limitation.
A bigger
one
that everything that's
CMYK
in the
document will also be tagged,

later.
including images you may not want repurposed
But if your docu-
ment contains only RGB and LAB content, this could be a viable means
of creating PDF/X-3.
You can
set the
CMYK Working Space profile to match the OutputlntPDF/X portion

of the dialog. That way,
ent profile you select in the
CMYK objects undergo a null transform at output time, and RGB and
LAB
objects are dutifully converted to
CMYK. But
that
means
you're
stuck vdth that Outputlntent in order to ensure
CMYK
objects null
is its
transform, thereby negating the whole point of PDF/X-3, which

portability to unknovâi destinations.
The bottom
line is that Distiller's
PDF/X-3 support seems
fairly
dubi-
ous for any serious usage of PDF/X-3. You'll almost certainly prefer using InDesign CS, which exports PDF/X-3
documents
directly,
a whole lot
more easily, and with far fewer limitations.
kkk
Real World Color
Acrobat 6
There are a number of subtle but useful added features in Acrobat
6,
but
otherwise it behaves very much like Acrobat 5, so we recommend reading
both sections to get a complete picture.
Color
dialog,
The preferences
by default.
shown
tant addition the "Outputlntent overrides working spaces"

It
in Figure 16-9, has
one new and imporis checked

as the
makes Acrobat use the Outputlntent profile
assumed
It's
source profile for untagged content, for viewing purposes only.
the
source profile for viewing
all
content in PDF/X-la documents, and for

It is
viewing untagged objects only in PDF/X-3 documents.

source profile
Figure 16-9
not used as a
when printing,
so
it is
also non-binding.
Acrobat 6
Preferences
AccessibJttty
Batch Processing Catalog Color Management
Settings:
Web Graphics
Defaults
Commenting Convert From PDF Convert To PDF

Digital Signatures
Forms
Screen General
Full
Identity Internet
favaScript
Multimedia
Page Display Reading Reviewing

Search
Smoothing
Spelling
Startup
Touch Up
Trust Manager
Units
& Guides
Updates
Web Capture
Chapter
16: Color
Management and PDF
445
Proof Setup and Proof Colors

This feature works as in other Adobe applications (see Figure 16-10). For
more information see Chapter

Unfortunately
it
12,
The Adobe Common Color Architecture.
neither shows nor automatically selects the Outputlnt-
ent profile when you
open a PDF/X- la or PDF/X-3 document. Unless you know what the Outputlntent profile is, and have it separately installed,
you cannot fully workaround.
soft proof.
See the discussion on Acrobat Preflight for a
Overprint Preview simulates overprints on-screen, which
is
important if
your document
calls for overprints
because
they'll look very different on-
screen without this option selected compared to
how they would be print-
Figure 16-10
446
Real World Color
Hgure
16-11
6^^
List
List all List all
Preflight: Profiles
Acrobat 6
Preflight: Profiles
JPEG compressed Images
images
objects not 4c
List all List all
objects not 4c or spot

overprinting objects
List all potential

List all
problems
transparent objects
1 plate
More than
j
More than 2 plates More than 4 plates

Not supported Not supported
Not supported
in PostScript 3 In PostScript Level 1 in PostScript Level
Output not 100% predictable
POF/X-la compliant
POF/X-3 compliant
{4c + spot)
DF/X-3 compliant (ICC/Lab OK)
^
(
Validation
, }
)
Edit...
POF/X...
Rgure 16-12
Acrobat 6 Preflight: Results
ooo
B
<
Preflight:
Resuto
OOO
Q
PriiBgtit:
KmuIis
Pages from "Untitled-4.pdf"
9 Problflnw
'>
Pages from "Untitled-4.pdf"
Used proHe; "POF/X-1 a compliant"
Used
profile:
"PDf /X-3 compliant (ICC/Lab OK)"
IÔocumant
GTS.POfXVersmn not POf/X-1 GTS_POFXConformance not POF/X- 1a

information
No problam* found
infomntion
OOvwvim* ^ (3 Document
*
*>
IQ Detailed
o
Output Intents
Outputlntent: "Custom (Custom)" ^ condition: "Custom"
Output intents
Layers: rx>oe
files:
Output
^ Einbedded
none
<
QPlQi:!
neittier
4c nor spot # Object % Object neither 4c nor spot ^ # Ahemate color space rwt POf/X-la compliant # Alternate color space not POF/X-1 a compliant
Output condition identifier: "Custom" Info: "U.S. Sheetfed Coated v2"

ICC output profile: "U.S. Sheetfed Coated v2"
>
<>
Profile version
number: "2.1.0"
type:
Color
Management Module (CMM)
"AOBE"
o
>
^'
^00vwvtm>
ProfJe/Oevice class signature: "Output Device profiie (prtr)" Color space of data: "cmyV data (CMYK)"
Profile
-Dp^m
'>
Connection Space (PCS): "Lab
daU
(Lab )"
Preflight information
Magic
number "acsp"
'>
Pnmary Platform: "Apple Computer, Inc. (APPL)" Device manufacturer "Adobe Systems Incorporated (AD6)*
Device model:
""
o
Acthate Snap
Background color
HKaperrule:
f
'
light
gray
25K
> '^
AM
ProNe creator: "Adobe Systems Incorporated (AOBE)" Creation date: "07/26/2000. 06:1 1 :25"
Default rendenng intent: Perceptual
Profile
Heport...
Validate...
lUummant
> >
Copyright information; "Copyright

Profile description: "U.S.
2000 Adobe Systems.
Inc."
Sheetfed Coated v2"
Document failed PDFIX-la compliance

^ ^
Subtype:
GTS_POFX
none
Layers: none
Embedded
files:
Color spaces
^Hl Images
S GraphK state properties
Prefhght information
Q
Document passed PDF/X-3 compliance, also shows Outputlntent info and ICC
profile
(
Activate Snap
Background color
Hits per rule:
'
'
light
gray
2S*
All
Mpon...
) (
ViMdnt...
embedded.
Chapter
16:
Color
Management and PDF
A47
You'll
note two different items for PDF/X-3, one which implies only
CMYK+spot, and the other that ICC/ LAB are acceptable. By definition PDF/X-3 allows for CMYK, spot, ICC-Based, and LAB colors. We recom-
mend
using the "ICC/Lab
OK"
preset for
PDF/X-3
verification. Again,
if
you want CMYK-only plus optional spot color, use PDF/X-la. If you have a PDF file that is not PDF/X-la or PDF/X-3 but should be
capable of complying with one of those standards, click the PDF/X.
ton,
. .
butat
which reveals a new
the top.
verify,
Note the specification The "Save as PDF/X-la" or "Save as PDF/X-3" option

dialog.
if
pop-up menu
will first
and then
the
PDF
passes
it
will
convert the
file
to the selected
conformance
Figure 16-13
level. See Figure 16-13,
Preflight
PDF/X
Acrobat 6 Preflighl:
uw rorpt-i tptenktmtoit
JSw
PDF/X dialog
r/X-3...' Mi prght your POF W, ik you for an ICC prsitar proM* and thn rt your POF M to POF/X-3. con
Sm* m
f Sw
^^
>f PDF/X-3...
) ^
VNtfy-'MflprvAgMyourPOFMaviddMck whMhwornotRitavAIPOF/X-SMa.
(
^^
^^
Extract
^ ^
Eitract CC proNo...* IM you taHnct an ec output intant proNa that haa baan ambeddad
into a
f
'^
KX
proMt...
) ^
POF/X-3 hh.
Romova POF/X." ramovas ifl POFA tpwific iBlomMrtion.forbothP0f/X-3andP0f/X-1af[iat.
(
^^
Remove
PDF/X...
) ^
Through "POF/X-3 Sets..." you can configure your aattingi for tha POf /X-3 convarmion.
Z'
^^
PDF/X-3
Sets...
'
Extract Outputlntent. The third option in the Preflight:PDF/X dialog

tract
is
"Ex-
ICC profile.
"
.
This option will extract the Outputlntent profile from
a PDF/X- la or PDF/X-3
document if it was fully embedded in the PDF You

soft
can then install the profile in the correct location, and now you can select
it
in Proof Setup:
Custom for both
and hard proofing purposes.
448
Printing
There are two big changes in Acrobat
6's
printing abilities. First,
you can
now color manage

From
prints using
ACE to
non-PostScript printers. Second,
you can print proofs.

the print dialog, find the Advanced button and click
it
to reveal
the Advanced Print Setup dialog (see Figure 16-14). In the Advanced Print
Setup dialog, ensure that you select Output in the
list
on the far left.
Printer Profile. This functions like the Print
Space pop-up
menu in other
be
Adobe
applications. Select a profile for the printer

If
you
will currently
printing to.
you don't want any color management to occur at print time, select "Same As Source (No Color Management)".
Apply Working Color Spaces. Although it's as mysterious in Acrobat 6 as in Acrobat 5, you probably want this selected so that Acrobat will use the
Working Spaces as source profiles for any untagged content in your PDFs. If you find a reason to not check this option, we'd like to hear about it.
Apply Proof Settings. Checking this option references back to the profile and other settings selected in Proof Setup: Custom, and lets you do cross
rendering. Unfortunately that profile
in other Adobe applications.
is
not listed in the print dialog, as
The rendering intent options are affected by
the simulation checkboxes in Proof Setup: Custom.

Relative Colorimetric, with Black Point
Compensation
is
the default
with neither Paper White nor Ink Black checked.

Relative Colorimetric,
no Black Point Compensation
Ink Black
is
checked.
Paper White
.
is
checked (and Ink Black
is
checked and grayed out)
InDesign CS Export
it
PDF
InDesign's Export
pitfalls. It
InDesign CS can export PDFs directly, without the need for Distiller. When
comes to color management,
PDF capability is pretty

fully
good, with a couple of potential
produces
color-managed
Chapter
16:
Color
Management and PDF
449
Figure 16-U
Acrobat 6 Print dialog

box,
PrtflMT
Stytut noto
2200 PK
and Advanced
Print
Setup dialog box
Unlit
lnch*>
Zoom:
9M
WPfJc^^
Advncd
c>^)
Print
Sttup
rmmr.
IMm PiMM 2100 PK

Color
QPrMAslmig*
450
PDF Export
The PDF Export
Presets
Presets dialog,
which you open by choosing FiloPDF Export Presets>Define, lets you create and save presets for making PDFs, and is a real time-saver (see Figure 16-15). We suggest you familiarize
yourself with the various
PDF
settings for
two reasons
familiarity with
most of the
them seems
to
make
all
the difference in the world between exporting

don't discuss
problematic and problem-free PDFs, and we

settings
because they don't pertain to color management.
Figure 16-15
PDF Export Presets

Presets
InDesign CS
PDF Export
[eBookJ
(Screen!
[Print]
Presets dialog box
[Press]
c
(
Delete
3
^
IPDF/X-la] [PDF/X-3] [Acrobat 6 Layered]

Preset Settings:
P>g:
All
Spreads: Off
Compatlbilltv: Acrobat S ITOF 1.4) Standards Compliance: NtMic
Cencrate Thumbnails: Off
Optimize POf
On
Screen and eBook. These presets set the Destination Profile to
Document
RGB on some machines, and Monitor RGB on others. We don't know why,
but the bad news is that in either case "Include ICC Profiles"
so you're guaranteed to see the color differently
is
not selected
that
on every machine
views the resulting PDF. Create your own preset with a rational destination
profile (sRGB?)
and include the ICC
profile.
PDF/X-la. This preset works as advertised.
Any RGB
or
LAB content
is
converted to
CMYK using the selected Destination Profile, which is then
embedded as the Outputlntent profile.

PDF/X-3. This preset works with the following limitations: your destina-
want any tagged CMYK objects. InDesign produces compliant PDF/X-3 with a CMYK Outputlntent only, and all CMYK objects in the layout are untagged /DeviceCMYK in the resulting
tion
is
CMYK, and you
don't
document contains placed tagged CMYK images, the tags ignored and not embedded when making PDF/X-3.
PDF.
If
the
are
Chapter
16:
Color
Management and PDF
A51
Due to limitations in the Export PDF interface, we recommend you live

within these limitations.
If
you have more sophisticated requirements,
use a third-party application such as PitStop Pro to re-tag
CMYK objects
you want tagged, or to create PDF/X-3 brave and even more cautious.
for
RGB destinations, and be very
Export PDF
The Export PDF dialog
is accessed one of two ways: by choosing and selectingAdobe PDF as the format, or by choosing a preFiloExport set from File>PDF Export Presets. We prefer the latter. In the left column is
an Advanced option, which
is
where
you'll find the
Color and
PDF/X
sections (see Figure 16-16).
Figure 16-16
Lxport PDF
InDesign CS
Export
^tw I wy/K-ui
dkm
Color:
PDF dialog box

CMYK
|
0sttMtton ProMt:
.
OociiwmW CMYK - UA Mmi

(
Wk
)
Include ICC Prohlts

Ink Manajtf...
Omptii
imtm
AroWc:
( Sjv
Preset. .. )
452
Real World Color

Destination Profile. Here
select a destination profile for output. If the
you
destination
is
a press,
make sure you select Document CMYK as the destiIf
nation, which is the default.
you don't, InDesign will convert everything,
tagged and untagged, because it sees the
CMYK source profile, Document
CMYK,
as being different than the Destination Profile.
Include ICC Profiles. This option

selected Leave Colors
embeds ICC
profiles into the PDF.
If
you
used in the document

the document to
since
all
Unchanged in the Color pop-up menu, each profile is embedded in the PDF. If you choose to convert
that destination.
RGB or CMYK, only the destination profile is embedded,
document content is converted to
Simulate Overprint. This option does two things.

overprint
itself before
It
makes InDesign do the
producing the PDF, which is useful for making dual-
purpose PDFs for screen and print because many consumer devices and even some PostScript RIPs have no idea what overprinting is. But it also
preparing PDFs for press use the Ink Manager instead.

Ink Manager.
are described in the InDesign User Guide.
affect the
If
converts spot colors to process, so
it's
not an option you want to use when
The Ink Manager can perform a variety of functions, which

you make changes here, they
exported PDF, not your InDesign document. Be careful with

if
these settings
you rely on InDesign to perform trapping, because some

spot colors to process, they're
of them are used by InDesign's trapping engine.

If
you
select the option to convert
all
converted using the CMYK equivalents supplied by Pantone in whichever
Pantone library you used to specify the spots. They aren't converted using ICC-based color management, so your process Pantone colors probably
won't look right unless you're really lucky.
PDF/X Output Intent
Profile.
Ensure you select a profile for the intended

this
output conditions with this pop-up menu. With the PDF/X- la preset,
will
Profile, and vice versa. Unfortunately, snap even though PDF/X-3 allows RGB Outputlntents, InDesign CS does not.
to
match the Destination
Chapter
16: Color
Manascment and PDF
453
EPS, PDF,
ICC profiles.
It
and Al Formats
uses either for on-screen preview, as well as for outputting
InDesign CS will color-manage EPSs containing either PostScript CSAs or
PostScript and exporting PDF. InDesign assume Document profiles as the source profile for untagged EPS, which means if the Destination Profile
is
something other than Document CMYK, untagged
CMYK
EPS
will
be
converted.
Placing
PDF or AI
Keep
in
formatted
files
is
similar rules.
mind PDF
an InDesign document follows a container format, so it can contain

into
multiple objects with different source profiles, as well as untagged objects.
The untagged
objects inherit the
Document
profiles.
The only ways
to
prevent objects from being converted during

Select Leave Colors
PDF export are
Unchanged.
Make
sure that the
Document
Profile (the
assumed source
for un-
tagged objects) and the Destination Profile you select in Export

are the same.
PDF
Because of the complexities of these formats, and the simplicity of the

InDesign Image Color Settings interface,
it is
not possible to change the
source profiles, either assumed or embedded, or per-object rendering in-
Image Color Settings is grayed out when placing EPS, PDF and AI (Adobe Illustrator) documents.
tents from within InDesign. Therefore,
Third-Party Stuff
There are a number of really good products on the market, but the one we've worked with the most, and hence can discuss with some authority,
is
Enfocus PitStop Pro 5 for Acrobat
5,
and version 6
for Acrobat 6.
Enffocus PitStop
on PDFs, but
lated.
Pro
lets
This plug-in for Acrobat

we'll
you do
all
kinds of manipulation and editing
only look at the ones that are color-management re-
Consider it one of the necessary tools in the arsenal if you're a heavy

(Or for high-volume workflows, consider the industrial- strength
PDF user.
PitStop Server
for more information, go to www.enfocus.com.)
454
PitStop Pro strengths. PitStop Pro offers the following useful capabilities
for creating
It
and massaging color-managed PDFs:
distinguishes between device-dependent (RGB,

color spaces
CMYK,
Gray) and
LAB and ICC-Based

It lists
on a per-object
basis.
the
embedded profile associated with each object.

profiles to objects,
you untag objects, reassign profiles on saving the PDF.

It It
lets
and embed
which any object can be converted. It supports RGB-to-CMYK, CMYK-to-RGB, and RGB- or CMYK-to-grayscale conversions using ICC profiles.
lets
you specify a destination
profile to
It
lets
you do any of the above object by object, or globally.
It
preflights
and produces
certified
PDF/X-la, and PDF/X-3 docutracks changes to the
ments with a
preflight report,
and
PDF
as
it
moves through production.

It
offers
downloadable "PDF Profiles" that extend its ability to preflight

such as the Internet.
PDFs
for other target viewers,
PitStop Pro weaknesses. However,
it
isn't perfect,
and has the following
weaknesses:
It
offers
no rendering
intent control for conversions,
which use the
destination profile's default rendering intent.

It
doesn't directly support
RGB-to-RGB or CMYK-to-CMYK converfirst
sions, though you can work around the limitation by an object into LAB as an intermediary space.
It
converting
doesn't support DeviceLink profiles.
Chapter
16: Color
Management and PDF
455
Other Products We haven't worked with these products as much as we have with PitStop
Pro, but they
come recommended by people whose judgment we trust:
Apago PDF/X Checkup, www.apago.com

(Dallas
PDF/X Inspektor
(free),
and PDF
Inspektor, www.callas.de/
Dalim TWIST and SWING, www.dalim.com

OneVision (various products), www.onevision.com

If,
as
we
suspect, print publishing will be forced by brute
economics
to
make the transition from arcane craft to modern manufacturing process,

it
seems
likely that
PDF workflows, whether based on the current PDF/X

exist, will
standards or on ones that don't yet
become prevalent. But while

creator
unambiguous communication of documents between

and linked graphics
and pro-
ducer will ultimately benefit both sides, note that the shift from delivering
application
files,
fonts,
to delivering a print-ready
PDF/X- la involves a
In
shift
of responsibility back to the content creator.

is
some
ways,
PDF/X
to
a 2P'-century equivalent of the PostScript
dumps Bruce used
send to service bureaus in the mid-1980s
when
things went wrong, the
promise, but they're
still
blame was always his. PDF workflows hold huge experimental, and you can always spot the pio-
neers by the arrows protruding from their backs
so
if you're
considering
PDF workflows, take it one step at a time, test thoroughly, and don't attempt
untried procedures
when you're facing critical deadlines.

The Smart Way to Be Lazy
Unfortunately, our desktop applications

RIPs,
and
printers
don't always give us the exact color-management

lot
and our equipment
scanners,
options
we
need. Fortunately, automation and scripting provide us not

of power and
only with solutions to these limitations, but also bring a

flexibility to
workflows that
we may not otherwise have considered.

it's
The purpose of this chapter isn't to cover every conceivable automation

or scripting option, or even to serve as a primer. Instead,
meant to give
solve
you a
taste of the kinds of things
automation and scripting can do, and
teach you the right questions to ask
when you look for products to
your particular needs.
Why Automate?
We use automation for the following reasons:
To free humans from
repetitive, brainless
grunt work that doesn't re-
quire intelligent human decision making or intervention
To make
efficient
use of our available processing power
To work around color-management limitations in our applications or
equipment
A57
458
Real World Color
For example,
profiled,
we may have scanners

we need
or digital cameras that we've
but the software that drives them doesn't

profile
embed
profiles.
We
(or
know which
scripting) to
to assign to the
images they produce, so
rather than doing so manually in Photoshop,
we can use automation
batch
embed
the appropriate profile in a single image, in
multiple images, or even in folders of images. Since we don't need to open or display the images, the performance advantages can be significant,
especially with
selves
RAM-gobbling high-resolution images, and we free ourfrom mind-numbing, repetitive button-pushing. A good example of using automation to work around an application's
is
limitations
using a color server to address desktop applications' near-
universal lack of color- management support for vector
EPS
many auto-
mation products can process EPS files, and sometimes even embedded EPSs
or TIFFs within EPS
files.
On
the device end,
it's
not
uncommon for an
no idea what ICC
imagesetter, platesetter RIP, or proofing device to have

profiles are. Color servers placed in front of
such hardware can perform
color
management
tasks before PostScript or

offers
PDF get to the RIP.
Color
tion so specialized, in as
management
one other very specialized type of automafact, that many people don't even recognize it
DeviceLink profiles offer an elegant way to
an automation
feature.
store specific, hardwired device-to-device conversions

Profiles," later in this chapter.
see "DeviceLink
Color Servers
Color servers are sometimes called batch processors, or generically, au-
tomation products. Color servers placed

vice /RIP
at the front-end of
files,
another de-
do
their
the numeric valuesthey don't damage the integrity of the PostScript or
work by parsing PostScript or PDF
changing only
PDF files. When they process bitmap information

rewrite the
file.
(such as TIFF, JPEG, or
bitmap EPS), they effectively open the file, perform the conversions, then
Common color server features include

Processing multiple
files
or folders of files.
Chapter
17:
459
Performing color conversions on TIFF and JPEG.
Some
also support
EPS (both bitmap and
vector).
Supporting embedded
profiles
if
profiles,
with a mechanism for assuming

present.
for converting
no embedded
profile
is
Using a LAB-based look-up table

also Focoltone) colors to
Pantone (sometimes
builds.
custom RGB or CMYK

batch removing
print
Batch embedding
profiles, or
embedded
profiles.
Most support hot
folders.
Some support
queues that appear on
the network as though they were PostScript printers.
Color Server Pros

Like any other technology, color servers have their pros
and cons
we'll
look at these in a general

Fast processing
way before
is
getting into specific examples.
processing
much faster than doing an equivalent
procedure in an application such as Photoshop, because the files don't
need
to
be opened or displayed.
Configurability
you can set up color servers to do tasks ranging from

files for
simply embedding profiles into images to simultaneously producing

multiple converted
sions.
scatter proofs
and monitor soft-proof verset

it
to
manage TIFF, but not EPS. You can color manage RGB images, but not CMYK.
You can
set
it
to color
Front end to almost any hardware
sticking a color server into a

you can simply add another
workflow provides a single front end for color-managing a variety of

devices.
When you add
new
proofer,
queue to support that device without having to worry if it supports ICC profiles, and your future purchasing decisions don't depend on
built-in color
management support.
Hot folders and print queues available over network you can set up hot folders to accommodate remote clients over a network and
publish print queues on the network, too. Users don't have to deal with
configuration issues or decide which profiles to use for source and
destination
instead they simply place the

and
less
files
into the appropriate
hot
folder. Faster,
prone to
error.
460
Named color system supportlets you

color systems like Pantone
deal effectively with
named
and Focoltone by generating custom CMYK

it
equivalents for
your specific devices. Equally important,

all
uses the
same
CMYK
equivalents for
instances of a given Pantone or Fo-
coltone color, effectively solving the seemingly unending problem of

applications that use libraries containing different
for the
CMYK equivalents
same
solid colors.
Color servers are very well suited to repurposing already separated jobs
(coated to uncoated, or between inksets) or to turning any device with a
large
enough gamut
into a proofer, even
if it
doesn't have explicit color
management support.
Color Server Cons

Lest the picture we've painted above sounds overly rosy,
to point out the following
we
feel
bound
downsides to most server-based automation
products:
Costly
especially
if you're
used to the prices for desktop applications.

to
Prices range
from just under $1,000
about $3,000.
Limited rendering intent control

late-binding workflows
if
such as using all-RGB page layout, and print-
you plan on using a server
in
ing
RGB
CMYK spaceyou generally can't specify per-object rendering intent

control.
PostScript to a color server that converts to the appropriate
(We don't know of any page-layout applications that can genYou can,
erate a PostScript stream that contains rendering intents.)
however, specify rendering intents for classes of objects, such as "images" and "vector graphics," to use something else.
Limited source profile control

erates a PostScript stream,
it
when a page-layout application genembed ICC

file
doesn't
profiles for formats
other than EPS, and
it
only does so for EPSs that already contain em-
bedded
profiles. If
you use TIFF or JPEG
formats with a variety

profiles.
of source profiles, the color server can only
assume source
Again, you can specify source profiles for different classes of objects,
but
that's
it.
Chapter
17:
461
Most of these cons have workarounds. The subtle differences between

and perceptual rendering may be within acceptable

so the limited choice of rendering intent
tolerances for
many workflows,
may only be
And
if
a problem in workflows aimed at very high-quality output.
the limited source profile control

profile
is
you can standardize on a single source space in the page layout, isn't a problem because the assumed
always correct.
Late-binding workflows that use color servers for final conversion
simply don't provide per-image control over conversions
but even in
can
still
high-end workflows that
demand per-image
have
control, servers
explicit
do
conversions to use devices that don't
color-management
support as proofers,
and
to assist with solid-color matching.
Examples
This
is
by no means an exhaustive review of every server-based automa-
tion product available. We've chosen the following examples both because
we're familiar with
them and because they provide good
illustrations of
the capabilities of server- based automation in general.
Praxisofft ICC
Autoflow. ICC Autoflow, available
for
Macintosh and
Windows, processes PostScript, EPS, and on Windows only PDF. A reduced-cost desktop version doesn't support hot foldersyou point
it
manually
to a folder,
then the
files
it
contains are processed according

let
to the configured settings.
Both versions
you create and save multiple
configuration sets (see Figure 17-1). Note that this product doesn't process
grayscale content
it
simply passes through unchanged.

15,
As discussed in Chapter
Color Management in QuarkXPress,VectOT-
Pro creates custom palettes that are also supported in ICC Autoflow.
GretagMacbeth iQueue. iQueue comes in several flavors: 110, 120 and 140. The primary differences are that 110 doesn't support PostScript (or
EPS), while the other two do. In addition to 120's features, 140 adds
PDF
and print queue support instead of just hot folders
(see Figure 17-2).
462
Real World Color
ngure
Praxisoft
17-1
ICC AutoFtow" Batch
Window
ICC Autoflow
j
i:!,:!>j.\!j}uJJ:j'.y
Disable Queue
I |
Show Queue
Activate Queuei
ISS
Convert to
SWOP
Process Normal
Main window
Color Queue Settings
Color Queue:
Convert to
SWOP
Color Set:
Process Normalization
Select Input Folder...

Bfgooe ;Users :chr is :Desktop :(ncoming
;
Select Destination Folder...

Bigone ;Users ichris :Desktop :Prooessed
:
Add a
Prefix to the File
Name.
Prefix to Add: IA_

.
Alter Conversion
t) Delete Files from Input Folder
O Move Files from Input Folder

j
Select Folder..!
Color Queue Settings
Active Set:
^
Process Normalization
Actions \/ Color Controls \/VectorPalette\/BcceptionColors\

Action
iU
InputAource
Profiles
Alvays Enntod FkMl
Profllt
(InugM
only)
Images^
RGB:
Vector Colors.
ColorMatchRGB.icc
USSheetfedCoated.icc
I
IJ
i
\
|
PhotoCAL Profile Oct
1..
CVMK:
USSheetfedCoated.icc
Rendering Intent:
Perceptual
~$1
Absolute Colorlmetric
Output/Destination Profiles
Output
Proofer:
I
USWebCoatedSWOP.Icc
Proflto for the ffeul output
dtvkx.
(None
|
Proofer Rendering intent:
Absolute Colorlmetric
I
Rondering Intent for the Proofer
Cancel
||
Done
Color Sets
Chapter
17:
463
Figure 17-2
GretagMacbeth iQueue
Main window, Queue Setup window, and ICC Options
A few other features:

Explicit
support for PDF/X-la and PDF/X-3 (140 version)
DeviceLink and abstract profile support

Additional
file
formats: BMP, Scitex CT,

server that lets
and
PNG
status
A built-in mini-Web
workstation
you obtain job
from any
Color Server Questions

If
you're contemplating a server-based automation product, here are
three important questions you need to ask:
464
Real World Color
Which file formats are supported? Most though not all workflows
re-
quire PostScript (and hence EPS) support. Increasing numbers want
PDF support.
What black-preservation options are offered? Does black-only text remain black-only when converted? What about black-only drop shadows? Most products have some means of ensuring that blackonly text
is
ignored,
and thus remains device black instead of being
converted to a rich black.
What
is
my intended use
also
for the color server?
discussed, color servers are well suited to
As we've previously repurposing and proofing.
They can
make
is
separations in high-volume workflows in which
the separation
subsequently checked by a skilled operator. The lack
of per- image rendering intent or source profile control

able in
maybe accept-
some workflows and not in others.
DeviceLink Profiles
DeviceLink profiles are one of the seven profile classes defined by the
ICC
specification.
A DeviceLink doesn't describe a device instead,

It
it's
concatenation of two or more profiles, in a single file.
acts as both source
and
destination. They're
an automation feature because the

file
alternatives
involve manually manipulating

in this chapter.
content,
which is why we cover them
More about
Links
Three things make them different from the device profiles we've discussed throughout this book: They're an apparent exception to the rule that you
need
at least
two
profiles to
file, it
make
a conversion happen. Even though a

profiles.
DeviceLink is a single
always contains at least two device
The DeviceLink itself is not a device profile. They rarely contain a PCS;
therefore they cannot describe device behavior in relation to a device-
independent color space. This also means you can't embed them into images. They don't describe a single color space, but a hardwired conversion
from one
set of device values to another.
Chapter
17:
465
The source and destination

conversions are directly from
tables both contain device values, so the
RGB
to
CMYK,
or
CMYK
to
CMYK,
de-
pending on the device

is
profiles used to build the DeviceLink. (The PCS
involved in the
initial
joining of the two profiles, but once that initial

its role.)
concatenation occurs, the PCS has played

DeviceLinks are always unidirection
profile that
conversions are only from the
was originally defined as the source to the profile that was origi-
nally defined as the destination at the time the device link was created.
Some
and
that
if
caution
is
required
when
building workflows around products
scripts that use DeviceLink profiles.
Most implementations assume
you are sending
documents
to
be processed by a DeviceLink that
you are doing so with foreknowledge that any

be ignored
is
embedded ICC profiles will

This implies content
if that's
in favor of the DeviceLink's
source
profile.
normalized to favor the DeviceLink's source profile, and
not the
case you will get less than ideal results. Thus, DeviceLinks are well suited
for proofing
and repurposing
scenarios, but will require
more caution
if
you use them for making separations. They're just a look-up table, afterall, but due to the lack of a PCS in the middle, their unique channel data
is
not lost in the course of a
PCS becoming involved
in the conversion.
These advantages seemingly defy traditional color management convention, and are at least as much about automation as color management, if
not more so about automating.
Why
100%
use DeviceLinks?
profile-to-profile conversions
Normal
want. For example,

black, but
we
usually want 100% black (CO
sometimes do things we don't MO YO KlOO) to stay

four, so there's
CMYK conversions through the PCS always turn the four
original channels into three before turning them back into
just no way they can preserve black- only text or drop shadows. They turn
into a rich black, with the attendant registration headaches, instead.
DeviceLink lets you force the conversion to 100% black.

Likewise,
vice profile
for
you have a yellow background, or yellow text, normal deconversions v^ll add scum dots as it attempts to compensate
if
hue differences between source and
destination.
The most common
instance of this is when proofing, but it could just as well be a job originally
separated for a low-quality stock and the job
now needs to be
printed
try
on a higher- quality stock
as well. Traditional color
management will
466
Real World Color
to
match the dingier gray yellow on the lower-quality stock, and a DeviceTraditional workflows will use simple curves to adjust for tone repro-
Link can be set to preserve channel purity.
duction differences, but they cannot compensate for differences in ink
hues where you should compensate for them, such as in photographic images,
nor do curves compensate for differences in wet
trap.
A DeviceLink
can, while also preserving channel purity unlike output device profiles.
Making DeviceLinks
For generating DeviceLink profiles, our favorite tool
Left Dakota Inc. (www.leftdakota.com)
,
is
Link-o-lator 2.0, by
because it offers controls and options

trial
we
haven't found anywhere else.
You can download a
version,
which
comes with documentation in PDF format describing the nitty-gritty of various features (see Figure
Figure 17-3
17-3).
Two features are particularly valuable:
oe
Source Profile
Link-o-lator 2.0
Chapter
17:
467
You can specify pure channel preservation with dot gain compensation,
which can be used to preserve black, or any of the other channels in the
destination profile. Most products offering black channel preservation
do only that, preserving the black channel exactly so the pre-conversion and post-conversion black is identical. This is rarely useful, because the source and destination devices often have different black dot
gain. Black channel dot gain
compensation preserves the black channel
purity while compensating for the dot gain difference, so
you
still
get
a black-only drop shadow
when you repurpose CMYK images, but the
tonal characteristics of the black channel are preserved.
Another application
also
for
making DeviceLink
profiles
is
UltraLinks
1.0,
from
Left Dakota.
profiles.)
(We
are convinced they are totally obsessed with

is
DeviceLink
to
This application
uniquely suited for building
RGB
CMYK DeviceLinks. You can ensure 255 R, G, OB always converts to specific CMYK values that, for example, contain no cyan or black. Or 255
R,
255 G, OB always converts to 100% yellow.
There are controls
to affect the blending
between
this "color-by-the-
numbers" approach, and the colorimetric result mandated by the original

source and destination profiles. While
uct through the wringer,
of problems
we have
not fully put this prod-
we
think
it's
interesting
and
solves a
number
conventional
some people consistently complain about with RGB to CMYK conversions.
respect to
How
None
to Use These Darn Things?

book
profiles.
of the major color-managed applications discussed in this
While long in the tooth, Apple's free ColorSync Plug-ins for Photoshop provide support for DeviceLinks on import and export, and but most of the time DeviceLink profiles belong in RIPs,
support DeviceLink
in color servers,
and in prepress equipment that explicitly supports them.
Some scripting methods, such as AppleScript, discussed later in this chapter,

will also
support DeviceLinks.
468
Prepress Solutions
Prepress solutions are proprietary modules that
press workflow, such as Creo Prinergy or the
fit
into
an
existing pre-
Rampage,
Inc.
Their features vary widely some only offer color-manage-
Rampage System made by
an extra-cost add-on; others have very limited colormanagement functionality. While they vary in their capabilities, these types of solutions generally share two common characteristics:
capability as
ment
The workflows
into
which they integrate are inherently late-binding.
Conversions happen at the prepress stage, immediately prior to printing, rather
than at the design or customer approval stages. You
can't
get
much later than that.

are proprietary. In contrast to color servers,
The solutions
which are
designed to work with practically anything that has a
profile, inte-
grated prepress solutions work only in the specific prepress workflow
system for which they were designed.
Who
Should Consider Prepress Solutions?
These products plug into complex and expensive prepress workflow systems that cost tens or even hundreds of thousands of dollars, and cri-
beyond the scope of this book. If you're an individual or a small shop, and such workflow systems are something you neither want nor need, the only reason to read this section is to gain
tiquing such systems
is
well
some
insight into the kinds of things that

it.
happen
to
your job once you
submit
This discussion deals solely with the pros and cons of the color-man-
agement aspects of the products, and its only purpose is to help you decide
whether you'd be better served by a proprietary color-management module for your existing (or intended) workflow system or an open color-man-
agement solution. The trade-off is typically one between convenience and cost. A proprietary color-management module offers the convenience
of seamless integration into your workflow system
and one- stop shop-
Chapter
17:
469
ping for service and support, but you can expect to pay a hefty price for
something that more or less replicates the standard color-management features found in desktop applications. That said, prepress solutions can
help in several situations.
Effective late-binding woricflow solutions. For workflows
where the
in-
tended output
is
unknown during
the design process, products in this
category offer per-object source profiles

control, so that
ally
and per-object rendering intent

for separation without actu-
you can prepare the content
knowing the destination. Once the destination becomes known,

is
ev-
erything
ready to create final separations. In

in
lower-volume workflows,
that's
you can color manage the content

less practical in
QuarkXPress at print time, but

rely
high-volume workflows that
on high-end prepress
solutions.
Hard proofing. Some of the products

printer support. Enabling color
sufficiently large
in this
category offer explicit Inkjet

Inkjet with a
management can turn an
gamut
into a proofing device.
Postflight normalization.
If
preflight rejects a
submitted job solely be-
cause
it
contains a few
RGB
is
images, the workflow system can assign apsilly
propriate source and destination profiles, and convert those
RGB
al-
images into
ternatives,
CMYK.
This
much more
efficient
than the traditional
which are either
to reject the job, or to
have someone open
the images in Photoshop, convert them, update the placed images in the
page-layout application, then output another PostScript
file....
Solid color substitution. Prepress systems can often parse the PostScript
to find instances of solid-to-process
Pantone or Focoltone color conversions.
When
it
finds them,
it
can substitute your custom hand-tuned
CMYK
no
equivalents, so you get the best possible simulation of solid colors,
matter which application originally specified them.
470
The Downsides
You need to judge the downsides to these solutions in the larger context of
the entire workflow system, of which the color- management
component
may be a relatively tiny part.

Price.
None
of the vendors we've spoken to are willing to quote exact
prices because "they vary"
depending on the particular workflow bundle.
That
said, while pricing covers a fairly wide range, the approximate

is
numcolor-
ber we keep seeing "thrown out there"
$5,000,
which sounds like a hefty
chunk of change
to replicate
what boils down to the basic desktop
management
will
features.
With growing demand, we predict that color-management capabilities
become standard in future prepress solutions, but for now, they often
The best piece of advice we can offer you is to be a savvy conlots of questions, and see demos (including ones with typical,
to see just
cost extra.
sumer ask
and maybe a few atypical, jobs)
what they'll buy you.
Training. The challenge with closed proprietary systems
is
finding people
who can train you how to use them and integrate them into your specific workflow. The few people who are really knowledgeable about integrating color management into proprietary workflow products tend to command
top dollar.
Examples
The two products presented here typify the potential differences in this class of product and illustrate the need for careful research. Color-management support
others. But the
is
available in Xinet,
Rampage, and Apogee, among
term "color-management support" means quite different things to different vendors. You need to dive in and find out what each one means.
Helios ImageServer
and PDF Handshaice. These
are separate products,
but are complementary in many workflows. ImageServer used to be called

Helios EtherShare OPI, and
is an image handler more than a prepress combines OPI and color-management features, so it
workflow solution.
It
can change image size, resolution, and compression, in addition to doing

color
management. Unique
features
we like about this product include:
Chapter
17:
Automation and
Scripting
471
Print
queue support.
In Helios ImageServer, configured print
queues
appear as virtual printers, so the user simply prints to the appropriate print
queue such as "Coated Stock #2" or, for a proofing queue, "EpslOK Mgl CS#2" (to denote an Epson 1000 using a Mitsubishi glossy
#2).
coated paper, simulating the press using coated stock
systems are workflow-specific the point

Remote
proofing. You can upload
Naming
you can name the as whatever makes sense for workflow and your people. queue your
is
that
PDFs
to
PDF Handshake, which
rasterizes and color manages it, then soft-proof the result in a Web browser on a suitably calibrated and profiled display. Note, however,
PDF Handshake honors embedded profiles in all content, both bitmap and vector. For bitmaps, PDF Handshake lets you remove or reassign profiles in bitmaps when you don't want to use the embedded
that
one, but for text and vector content, you'd need to use something like
PitStop Pro or Server.
Creo Prinergy. Prinergy

goes into Prinergy
is
a full-blown prepress workflow system that's

it's
similar to Scitex Brisque, except that

is
PDF-based, so everything that
in
PDF
format. Prinergy offers two levels of color-
management
support:
Standard. The standard level sees and uses the
embedded profiles for

to
each object
in the
PDF
as source profiles,
and converts them
one
hardwired SWOP-based destination
profile. If
you're satisfied with a
workflow that converts from the embedded source profiles to a SWOP

destination, the standard level of color
management is
all
you need.
Advanced. The advanced color-management license lets you override

or assign source profiles for each object in the PDF, and select a custom
profile for the destination.
It
supports not only CMYK, but up to eightprofiles, so
channel ICC output device

separations.
It
you can use
it
to
make
Hi-Fi
also supports DeviceLink profiles, black preservation,
and proofing.
Prinergy can perform color-management tasks (embed, change em-
bedded, or convert) when the job

at
is first
brought into the workflow, or
any time
thereafter,
but proofing conversions happen only
when you
472
generate the output stream to the proofer, so

rate proofing
profile,
file.
it
doesn't create a sepa-
You
is
select the job, the proofing device,
and the proofing
then the job
converted so that the proofer simulates the selected

.
destination (the press or a contract proofing system)
If your
proofing sys-
tem does its own color management, and you prefer it, you can submit the
job for proofing as final press
so that you don't end
CMYK without specifying a proofer profile,
up with double color management.
Important Questions
If
you're contemplating introducing such a product into your workflow,
here are
some
of the questions
we think are critical:
Does the product support black preservation? It's almost always a problem when 100% black-only text and drop shadows get converted
to rich black, or
when your
carefully crafted black channel vanishes
because
it
gets converted to LAB, then reseparated. This always hapfor repurposing
pens when you use color management
(CMYK-to-
CMYK)
conversions.
for a lowis
Does the product support black scaling? A black channel

quality uncoated stock won't give good
results
if
when the job
repur-
posed
for a higher- quality coated stock

is
the black channel
is
simply
preserved. What's really needed
to preserve the tone reproduction

this,
curve of the black channel, not the original numeric values. For
you need a
vices. If the
scaling function for the black channel to
compensate
for
the differences in dot gain between the source and destination de-
product you're looking

it,
at doesn't
have
this feature,
and
you think you need
see
if it
supports DeviceLink profiles instead
(see the section, "DeviceLink Profiles," earlier in this chapter),
Can automatic RGB-to-CMYK conversions give me the quality I need?

This
is
something you can
test
without buying or upgrading existing
equipment.
Profile conversions are
age content they're

With good
profiles,
made with no knowledge of the im-
one-size-fits-all, treating a picture of a black cat in
a coal cellar exactly the same way as a picture of a polar bear in the snow.
you may be able
to create acceptable separations
without any intelligent human intervention, but premium-quality work
Chapter
17:
A73
usually needs image optimization either before or after separation. You
need
to look at the
work you
do,
and
test
the quality of your automatic
profile-to-profile conversions, before
you can answer this question.
Are DeviceLinks supported?
Many
of the above issues can not only
be resolved, but resolved more easily and with greater flexibility if the product supports DeviceLink profiles, and you use one of the products
mentioned
in the
DeviceLinks section, earlier in this chapter.
In-RIP Color
In-RIP color
Management most
management
is
commonly used for proofing, because
the total lack of control inherent in in-RIP separations usually doesn't
work
in other workflows.
It
occurs in three different ways:

is
Front-end. The conversions are done before the PostScript

preted. This
uct,
is
inter-
like
having an integrated color server in your RIP prodin
and
is
most
common
proofing products such as the BestColor
RIP You can treat bitmap and vector objects separately, and automatically replace solid
Pantone colors with process

is
CMYK equivalents.
Back-end. The PostScript
interpreted, creating a rasterized page
image which
is
then color-managed and sent to the output device.
Since there's only one raster object, there can be only one source and
one
destination. This
needs an example
In-RIP. This
approach
is
usually adequate for basic proofing
is
the now-orphaned
Adobe PressReady.
is
is literally
in-RIP conversion
color management
per-
formed by the PostScript interpreter as part of the PostScript interpretation

process.
The two
flavors are PostScript color
management and ICClevel 2
based in-RIP color management. In theory, any PostScript

at version 2017.xxx or higher
RIP
supports PostScript color management,

is
but in practice, workable PostScript color management

hen's teeth. Global Graphics' Harlequin RIP has
rarer than
an ICC option that
literally builds an ICC-based color-management engine into the RIR
so
it
uses regular ICC profiles to perform the conversions.
474
The Good
We're generally not fond of solutions that rely on sending our jobs into a
mysterious black box, but proofing
is
from output CMYK to proofer CMYK or RGB via absoan exception to our general lute colorimetric renderingthat The
enough conversion
it's
a simple enough and unambiguous
rule.
main advantage
files to
it
confers
is
simplicity ^you simply send the final output
the proofer, and the RIP takes care of the necessary conversion.
The Bad (and The Ugly)

In-RIP separations do involve sending your data into a mysterious black
box,
and hoping that the mysterious black box does the right thing. In-RIP
separations tend to rely on

tents
assumed source
there's no consistent or reliable mechanism for specifying custom,

and rendering intents. mechanism
for creating Post-
profiles
and rendering
in-
per-object source profiles
InDesign 2 does provide a consistent
Script source profiles for each object (Color Space Arrays, also called
CSAs), and PostScript destination profiles with the proper rendering intent for each object (Color Rendering Dictionaries, also called CRDs). But
you need a RIP that consistently uses them. Some RIPs ignore CSAs and CRDs entirely, others honor RGB CSAs and ignore CMYK CSAs, and some
use CSAs but ignore downloaded
CRDs and use
only the RIP's built-in
CRD. If you're tenacious enough or lucky enough to sort through the mess
more complex than basic proofing conversions, we take our hats off to you and as we mentioned
and create a functioning system
elsewhere,
for anything
maybe you should write
a book!
Scriptins
We sometimes find it strange that smart people who use computers every
day to carry out tasks of great complexity simply glaze over as soon as the word "scripting" is mentioned. If pressed, we'd have to confess that we
often number ourselves
among those smart people we're far from being but we often use simple scripts, and we've seen what scripting mavens,
the
more complex ones can do.

enormous amounts of time and eliminate equally
Scripting can save
enormous amounts of mind-numbing drudgery. But making it do so demands a hefty initial investment of time and energy.
Chapter
17:
Automation and
Scripting
475
What
Is
is
Scripting?
the act of writing a script in a language like AppleScript, Java-
Scripting
Script, or Visual Basic, that

it's
makes the computer do useful things. As such,

is
a bit like programming in the way parking a car
Space Shuttle
learn, but
both require attention to detail and

to a lot
a bit like landing the

that you have to
a lot
skills
one requires attention

the other.
more
details,
and learning
more skills, than
Writing scripts is a great deal simpler than writing code, but it does require
you
to learn a scripting language,
and while
scripting language resembles

it's
natural
human language much more than programming languages do,
not by any stretch of the imagination natural
human language.
What Can
Scripting
Do?
It
Scripting can do almost anything you can imagine.
lets
existing applications for example, Photoshop 7 offers extensive JavaScript support,
you leverage
and almost anything you can do in Photoshop can be JavaScripted. You can also write scripts that automate the communication
between applications
to Photoshop,
for example, an AppleScript could pass off images

run a JavaScript to
resize, rotate,
have
it
them, and then pass them onto QuarkXPress for

possibilities are nearly endless.
and color manage automated layout. The
Scripting Advantages One of the biggest advantages

tools
is
that
it's
essentially free
the tools for scripting are already built

is
that scripting has over other automation
into your operating system. (Of course, your time
thing too.)
find
But scripting offers other advantages
here are the ones we

is
probably worth some-
most compelling.
that
Customizability. Perhaps the biggest benefit of scripting
it
can
automate almost any custom task as long as you can break it down into manageable chunks. Some scripting languages and tools such as Apple-
Script vdth AppleScript Studio,
and Visual Basic
let
you create actual
standalone applications, including a user interface to prompt the user for

information or to provide status report feedback.
Leveraging existing applications. With AppleScript, you can leverage

the unique capabilities of existing applications as well as existing scripts.
476
For example, you can create a script that launches Photoshop, asks
it
to
open a folder
full
of images,
embed
a profile, then resave the image in a
different format.
You can do many of the same kinds of automation using Photoshop's

Actions, but Actions don't allow conditionals, while scripts do.
If
you simwill fail
ply use an Action to

if
embed
a profile in a folder
full
of images,
it
the folder contains images in different modes; with a script, you can
make Photoshop run a different Action to embed the

in
appropriate profile
RGB and CMYK images.

interaction,
Speed. By eliminating unnecessary human tically reduce the total time from beginning
you can dras-
to completion. We've seen
advanced, moderately complex scripts cut task time from 30-45 minutes
down to
1-2 minutes.
Scripting Disadvantages
The only real disadvantage to scripting is that you have to learn to do it, and complex scripting seems to require a certain mind-set that some
people have and others simply have not. You can't buy scripts off-the-
way you can other automation products, though the Macintosh platform supplies some handy scripts that automate simple color-manshelf the
agement
tasks.
On Mac OS
9,
they're in the
Apple Extras:ColorSync Ex/
tras:AppleScripts folder;
/Scripts folder.
on Mac OS
X, they're in the
Library/ ColorSync
Learning the scripting language is only one part of the challenge. While
you can eventually save time using custom scripts to automate common tasks, the development, testing, and debugging time is often quite
lengthy
Scripting
vaScript,
Examples
The three scripting methods that we've selected

and AppleScript
certainly
is
Photoshop Actions,
Ja-
aren't the
only ones, but they're the
most widely supported, and probably the most widely used. Photoshop
Actions are mostly cross-platform, JavaScripts are almost completely
cross-platform, while AppleScript
only available on
Mac OS.
Chapter
17:
Automation and
Scripting
kTf
Our example scripts show what it takes to make all three scripting methods assign a profile to an image (ColorMatch RGB), convert it to U.S.
Sheetfed Coated v2, and then save
it
with U.S. Sheetfed Coated v2 embed-
ded. These scripts were provided courtesy of Nathan Wade,
who can be
instead of
reached
at
nwade@nwade.org
(in
case you'd like to hire
him
learning scripting yourself).
Photoshop Actions are by

with your
mouse
in
you can do it Photoshop, you can probably record it as an Action.

far the easiest of the three
if
it
Then you can
either run
manually,
make it
into a droplet, or use
it
with
the Automate:Batch
platform the main problem area

somewhat
Figure 17-4
different syntax
command. Photoshop
is file
Actions are generally cross-
and folder navigation, which uses

(see Figure 17-4).
on each platform
Photoshop Action example
478
Real World Color
Figure 17-5
if
{
documents length >

.
JavaScript example
try
{
var docRef = activeDocument
var cmykProfileName = "U.S. Sheetfed Coated v2"; docRef .colorProfileName = "ColorMatch RGB"; docRef .convertProfile( cmykProfileName, Intent .RELATIVE-
COLORIMETRIC, true, false ); alert "Your document has been converted from ColorMatch RGB to U.S. Sheetfed Coated v2 using Relative Colorimetric Intent, Black Point Compensation, and No Dither. The file will now be saved with embedded profile." docRef. save(
(
catch
{
//An error occurred,

throw
}
e;
// Everything went Ok.

}
else
{
alert "You must have a document open to " add the filename
( !
) ;
AppleScript Studio,
new in Mac OS X,
is
an AppleScript development
application that lets suitably motivated individuals create full-blovm applications with
an actual user interface. AppleScripts in Mac OS X can also
access
UNIX command-line scripts, and make XML-RPC calls and SOAP
requests for remote procedures over the Internet. Very cool stuff for those
who understand it.

In the AppleScript
example we've included,
you'll first notice
it's
a lot
longer, because AppleScript assumes nothing. You have to teach it pretty much everything, including the fact you want to open an image. While
you need to be a lot more specific and detailed when using AppleScript, it lets you do things that would otherwise only be possible if you became
a programmer (see Figure 17-6).
Chapter
17:
479
Figure 17-6
.
on run
AppleScrtpt example '^'^ '^
display dialog "Assign the default RGB ^, ^ ^ , Profile to an image, Convert to the default CMYK and Save with Profile Embedded. Profile, Modify the script to embed another profile instead." t somefile to choose file with prompt "Choose an
,
image"
open somefile
ad run on open draggeditems tell application "ColorSyncScripting" to launch display dialog "Assign the default RGB Profile, Convert to default CMYK Profile, and Save with Embedded Profile?"
set sourcefiles to filelistFromSelection draggeditems ) repeat with thisFile in sourcefiles tell application "Finder" to reveal item
(
thisFile
set thisFile to thisFile as alias tell application "ColorSyncScripting" set sourceProf to default RGB profile set matchProf to default CMYK profile
try
match thisFile from source sourceProf to destination matchProf matching with relative colorimetric intent using quality best
end try end tell end repeat tell application "ColorSyncScripting" to set quit delay to 5
-end open
dragged files OR files at first level of one dragged folder on filelistFromSelection theselection set hasfolder to false tell application "Finder" repeat with thisltem in (theselection as list) if (class of item thisltem is folder) or (class of item thisltem is disk) then
(
)
returns
480
Fiaure 17-6
*^
hasfolder to true
end if
AppleScript example, continued
end repeat end tell if ((count item of hasfolder then
theselection as list)) >
1)
and
display dialog "Drag multiple files or a single folder." buttons {"OK"} default button 1 return
end if tell application "Finder" if hasfolder then set filelist to (every item of folder (item 1 of (theselection as as alias list list) else set filelist to (theselection as list) end if end tell return filelist end fllelistFromSelection
) )
Hybrid Scripting and Remote Profile Access

Our
friend
Nathan Wade (www.scriptingpro.biz) has provided a simple

demonstrates the power of combining technologies.
profile remotely
script that further
This script
stored
is
an AppleScript that accesses a destination
on a
server, installs the profile,
then uses JavaScript to instruct
Photoshop CS to convert a document, and save it with the profile embedded. Because it uses JavaScript, this capability is not limited to just
Photoshop CS.
On Windows
machines, you can use Visual Basic to access the
URL
location for the remote profile,
download and
install
it,
and then have
Photoshop CS execute the JavaScript.

Platform-specific scripting
this
is
used to enable the Web access portion of
automation sequence, with a bulk of the code in platform- independent
JavaScript to perform
image handling and conversion.
Chapter
17:
481
The AppIeScript is shown in Figure

load Profile
-
7-7
make sure you name

The
it
it
"Downis
Use with Photoshop CS

17-8
shown in Figure
files you
make sure you name
JavaScript.scpt".
JavaScript
"rwcm.js". These are the only
need, and you can download them from www.colorremedies.com/
realworldcolor.
Figure 17-7
AppIeScript to download
remote profile
set the target_URL to "http://www.colorremedies.com/ downloads /rwcmprofile. ice" set the destination_file to (" /Library /ColorSync/Profiles/ rwcmprofile ice"
. )
toll application "URL Access Scripting" download target_URL to file destination_file replacing yes with progress nd tell
tell application "Adobe Photoshop CS" to do javascript ((path to desktop as string) & "rwcm.js")
file
Figure 17-8
JavaScript to convert
try
var docRef = new File (app. path. toString

;
image using remote profile, and save with

profile
embedded
"/Samples/Dune. tif") open (docRef); var downloadedCMYKProfile = rwcmprofile ice activeDocument convertProfile downloadedCMYKProfile
' '
Intent. RELATIVECOLORIMETRIC, true, false); alert ('The file has been converted from its working to the profile located at http: //www.colorremedies. space com/downloads /rwcmprofile. ice using Relative Colorimetric Intent, Black Point Compensation, and No Dither.');
}
catch(e) throw e;
>
482
The Automation Trade-Off

The
trade-off inherent in automation
is
that
you gain
efficiency at the
expense of control over individual elements.

that trade-off needs to
that
it's
It's
up to you to decide where

is
lie
in
your workflow, but a good rule of thumb
if
you
find yourself doing exactly the
same
task over
and over
again,
good candidate for automation. The kind of automation you choose
will
a good idea to keep your eyes
depend on your workflow, your budget, and your skills, but it's always open for aspects of your work that cry out for
in
entire organization
automation. When you think about it, you probably have more computing
power on your desktop than NASA had

launched the Voyager program.
drudgery,
If
its
when it
that
power can free you from
repetitive
why not let it?
Building
Color-Managed Workflows
Bringing
it
Aii Togetlier
And
so
we come
all
learned
end of our color management odyssey. You've about the many and varied ways our eyes interact with photo the
we call color; how we use colorants such as inks, filters, and phosphors to make our color-reproduction devices emit or reflect photons that we interpret as color; and how we use profiles and CMMs to control these colorants so that we have a better chance of seeing the color we want. We've also told you repeatedly that color management
tons to produce the sensation
does only two things
if
you
can't
remember what they
are,
you
aren't
ready for this chapter!
More
importantly,
we hope you now realize that color management is

It's
part of a bigger picture.
more than just making or using ICC profiles
it
requires calibration, process control, collecting
understanding application and driver settings,

-these together into a coherent workflow.
good measurement data, and above all, bringing all
We've tried to give you the insights and the vocabulary you need to
think critically about color management, to understand the hidden mean-
menu commands and dialog boxes that you encounter in your applications and device drivers, and to break down the color management operations those menu commands and dialog boxes
ing behind the often-abstruse
control into their
component parts.
483
484
Why? Because
in this chapter, we'll
show you how
to bring all this
knowledge together to build a color-management workflow that suits

your unique requirements.
We can't possibly spell out every possible color- management workflow,
We don't want to simply tell you which buttons to pushbecause for one
thing,
for another, as
will
because there are probably as
many workflows as there are practitioners.
you won't really learn anything except for a rote set of steps, and soon as you've learned the steps, one or another vendor
rename, move, or change the functionality of the buttons, leaving you
back at square one.

Instead, we'll
show you how to break a workflow down into its essential

to ask,
components, step you through the questions you need

course, include
and show
of
you the possible strategies to use in building your workflow.

of the possibilities rather than hard-and-fast rules.
We will,
some examples, but you should take them as illustrations
The Four Stages of Color Management

All
color-management workflows can be broken down into four basic steps, and understanding these steps is the key to analyzing, and then
meeting, your needs. The basic steps are:
Defining color meaning
specifying just what colors your RGB and

RGB
or
CMYK numbers represent, or collecting LAB measurements of colors

that you'll eventually translate into
CMYK.
Normalizing color
bringing
is
all
your color elements into a
common
from the
color space. This step

simplicity
it
optional, but most workflows benefit
brings.
Converting for output
producing the set of numbers that

final
will
make
your final output device(s) produce the desired color appearance.

Proofing
making sure that your

in detail.
output
will, in fact,
have the
desired color appearance.

Let's
examine these steps
Chapter
18:
Building Coior-Managed Woricflows
A85
Defining Color Meaning

You
can't
match a color
until
you know what that color

is
is,
so the
first
step in a color- management workflow
always to attach a specific color
meaning to the document or object. lust how you accomplish that, and which color meaning you attach, depends on the nature of the document
and
its
source.
Profiled captures. Profiled captures are pretty straightforward.

capture device driver can
can't,
If
the
it
embed the capture profile,

profile manually, either in
allow
it
to
do
so. If
you must assign the
an editing applica-
tion (such as Photoshop) or using automation (such as AppleScript).
Unprofilcd captures. Unprofiled captures are trickier. You have to decide
on a color appearance, perhaps

assign an editing space. In the
arbitrarily. Typically, you'll either assign
a profile that produces something close to the desired appearance, or just

first
case,
you should convert
to
an
inter-
mediate editing space, and in either case, you'll probably color-correct the document see "Workflow Into and Out of Color Management" in
Chapter
10,
Color Management Workflow.
Unprofiled legacy images. Unprofiled legacy images present similar

challenges to unprofiled captures. With
that a monitor-based profile such as
RGB images, there's a good chance Colormatch RGB (gamma 1.8) or
produce close to the desired appearance, since they're almost certainly based on monitor appearance (see "When Color
2.2) will
sRGB (gamma
Management
is
Starts" in Chapter 10, Color Management Workflow). With CMYK images, our philosophy is that when the CMYK destination known, you should simply assign that CMYK profile and edit as neces-
sary
in
if the
CMYK destination is unknov^ni, you have no business working

the
first
CMYK in
place. In desperate situations, though,
we may
try
assigning different
CMYK profiles, then convert to
our CMYK space.
Vector
art.
Some vector
art applications insist that all the
content in a
document must be
accept imported
art files,
either
RGB
or
CMYK, though you can

mode.
force
them
to
graphics in the other
In the case of legacy vector
you have two options:
486
If
you know the new destination, make it the source profile, and rework
file.
the
If
you know the
original destination,
(either
make
it
the source profile, then
repurpose the
file
by converting
at print
time in a desktop ap-
plication, or using automation).
In the case of new vector art
files,
you have three options:
Work in RGB using the same space you use in your other applications,
but realize many of the colors in this space won't exist in the
final out-
put space. Take advantage of soft-proofing to a generic

(such as
CMYK space
SWOP)
to get a general idea of such limitations.
Work
widest-gamut device space in which the artwork could possibly be used, and the one with which you're most familiar.
in the
If
the destination
is
known, assign that profile, and work in that space.
Spot colors. Spot colors probably cause more trouble than any other type of color element. First, unless the color will actually be printed as a spot
color,
it
makes
little
or
no sense
to
choose a spot color from one of the
many Pantone or Focoltone libraries, because many of these colors simply

aren't reproducible
by
CMYK printingyet a depressingly large number

accompanying disappointment when
of people continue to do so, with
the job hits production. Second, the published
CMYK values in the variin
ous solid-to -process color guides are only valid for the printing process
that
was used to
print the guides
if
you use these values

libraries in
your job, the
resulting color
may bear little resemblance to the intended one.

Pantone
Currently, only the non-process
CS use LAB
they automatically produce custom RGB and CMYK values

profile. All
Photoshop 7 and
based on the active document's

ies
other applications use librar(see Chapter 15, Color and Scripting, Automation 17,
containing hard-coded
CMYK values for print

and Chapter
Management in QuarkXPress,
for suggestions
on how to deal with solid-to-process).
Normalixing Color
Once you've defined all your color, you may well find that you have a raft
of profiles
fault
several different capture devices, a default RGB and a de-
CMYK profile in each application, and possibly some legacy CMYK
Chapter
18:
Building Color-Managed Workflows
487
profiles.
It's
conceptually possible, and even, with
some difficulty,
practi-
cally possible to carry these profiles
put
but your
single
through the workflow to final out-
life will
be made a great deal easier if you normalizeaW your

or,
color by converting it to a single space,
more practically, to a single RGB

life in
and a
CMYK space.
two ways:
in all
Normalizing your color simplifies your

It
frees
you from having to deal with
profile
mismatch warnings
stages of production except the

It
initial
ones.
you rely on assumed profiles. Even if you prefer to embed profiles, most vector applications don't embed profiles in EPS files, so they force
lets
you to rely on assumptions. Normalizing your color makes it much more likely that the default assumed profiles will be the correct ones.
In addition,
most RGB capture spaces don't work

these reasons,
practical.
particularly well as
editing spaces since they're typically neither perceptually uniform nor gray-balanced. So for
all
we recommend that you normalize
your color as soon as
is
Standardize defaults. All color- managed applications

profiles for
let
you
set default
endangered if you make sure that all your color-managed applications use the same default profile for RGB and CMYK. Even if you're fanatical about embedding profiles, the occasional untagged
above, vector EPS
files
file
RGB and CMYK. Your sanity will be much
less
may slip through, and as noted

embedded profiles.
If
often don't contain
you nor-
malize
all
your color by converting to a single

set
RGB and
a single
CMYK,
will
and then
your defaults to these
same
profiles,
your workflow
be
much more robust than if you fail to do either.

Wlien to normalize. In the vast majority of cases, we recommend normal-
RGB color as soon as your applications will allow you to do so. Ad and marketing agencies can normalize stock photography to the desired RGB
izing
intermediate space early in the design process, and ask photographers to
supply files in the same space.

Prepress and printing shops already have dedicated preflighting, and
can include normalization as a part of it. Typically, prepress shops will normalize everything to CMYK, converting RGB content to CMYK and
repurposing CMYK content when the source is different fi-om the intended
488
destination. Converting
RGB content to CMYK before the CMYK destina-
tion
is
known
isn't
normalizing
it's
premature binding (see the sidebar,

Color Management Workflow)
out!
text.
"Premature Binding," in Chapter

is
10,
and in
an idiocy we'd like to see stamped The one exception is black-only
For example, neither InDesign
nor QuarkXPress exclude black-only

InDesign,
it's
text
from color management

QuarkXPress
it
in
Document CMYK, and
in
If
uses the
CMYK
Default Source Profile for Solid Colors.
these sources aren't identical to
the destination profile used on output, you'll get rich black text, and registration headaches on press. We'd like to see vendors treat black text by
default as device-dependent,
and untouchable by color management.
Converting for Output

At
some
point,
The question
until
you need to convert your color to the final output space. is, when? Obviously, you can't convert to the output space
convert.
you know what that output space is. Once you know, two issues bear
on the decision of when to
One output or many? If you're going to a single output process, the question of
when
to convert boils
down
to the trade-off
between seeing and
editingyour color in final output space, and working with smaller,
more agile
RGB files. If you find that automated conversions in a color server, or even
in the RIP
itself,
give you acceptable results,
you can achieve significant pro-
ductivity gains
by working
in
RGB and
adopting a late-binding workflow.
The downside is that you

If
don't see the separations until they're
on press. on
you have multiple output destinations, the question then becomes,

files for
do you prepare separate
each output scenario, or do you
rely
late-binding separations? The
issues are confidence
and
quality. If you're
confident that you can obtain usable results fi"om automatic separations,
a late-binding workflow where final separations
or RIP
happen in a color server
may make sense.
Editing in output space. Our experience has taught us that for the ultimate
in quality,
you need
to
make
final edits in the
output space. Automated
conversions can get you in the ballpark, but they only
know about
color
all
spaces, not about the colors in the actual document. Hence they treat
content identically, ignoring the kinds of perceptual issues we raised
all
the
way back in Chapter
(see
"Where the Models
Fail" in
Chapter
1,
What Is
Chapter
18: Building
Color-Managed Woriffiows
489
and so they sometimes produce results that fall short of ideal. If you need to edit color in the final output space, you need to make separate
Color?),
files for
each output scenario.

edit in
You can, however,
an RGB working space while looking
at a
simulation of the final output, which in

editing in final
to
many cases
is
almost as good as
if
output space (see "Soft-proofing," below). But
you need
make different edits for different outputs, you'll need to make separate
each output.
files for
Proofing
You can't, obviously, proof your color until you know the final destination. But
you can proof your color before converting it
to the final
output space.
Soft-proofing. Most color-managed applications

tion of final output while you're working on files in
let
you view a simula-
some other space
for
example, previewing
CMYK output
while working in
10,
RGB
(see the side-
Chapter While some types of edits, such as tweaks
bar, "Soft-Proofing Basics," in
Color Management Workflow).

to the black plate,
can only be
made
in
for tone
CMYK, you can easily make many other kinds of optimization and color on an RGB file prior to conversion, using an accurate
display simulation as a guide.
Hard proofing. The majority of color-managed applications let you print

a simulation of your final output to a composite printer, even if you haven't
yet converted to final output.
We don't recommend using prints made in

even
if
this fashion as contract proofs,
you can get the other party to agree
to them, but they
can be helpful
in cutting the
number of contract proofs
you eventually need down
to a single set. In a multiple-output scenario,
this feature is particularly useful,
because you can proof the different out-
puts before converting to final output from the same master file by simply
changing the
final
output
profile.
More-sophisticated proofing systems let you send the final output data
to the proofer,
and
either perform
an internal conversion in the RIP or
color server, or configure the hardware to emulate the final output. In

either case,
you can make your

final
color- managed application
perform the
conversion to
output space as part of the print process
so again,
when
dealing vdth multiple output scenarios, you can proof each one
final
from the same master file by simply changing the
output profile.
490
Real World Color
Step-by-Step Color Management

The breakdown of color management that we've presented above should
help you conceptualize the necessary steps in the workflow, from color
capture or specification, through editing, to proofing and final output.
The next
it
stage in building a workflow
is
figuring out just
what you need
to do.
Determining Your Needs

At the beginning of this chapter,
we pointed
out that there are probably
as many color- management workflows as there are practitioners. We can't
possibly spell out
all
possible workflows in detail. Instead, we'll step
you
through the questions you need to answer to determine your specific workflow needs.
Software, File Formats,

The
first set
and Devices
and hardware you use to
of questions deal with the software

following:
do your work. Ask yourself the
Which
applications will
use?
What file formats will I need to support?

What
devices will
I
use to capture and reproduce color?
Applications. Your workflow options depend on the capabilities of the

applications you use.
to
Some applications let you attach a different profile

job,
each element in a
some
are limited to a single
RGB and
a single
CMYK profile, and some force you to normalize all your color into a single
profile's space.
If
you're working with a single application, the choices are relatively

if
straightforward, but
you're working with multiple applications,
need to make sure that your workflow accommodates them all
and that
you
almost invariably means making sure that the workflow can handle the
most limited application of the
set.
Chapter
18: Buiidins
Color-Managed Workflows
491
File formats. TIFF,

profiles,
JPEG, and
to
PDF have
them
robust support for
embedded
fail
though you need
be vigilant for applications that either

incorrectly.
to detect
embedded
profiles or use
EPS and DCS EPS,
however, are
much
less reliable in
terms of profile embedding.
You need to figure out which parts of your workflow can rely on embed-
ded
profiles,
and which parts must
rely
on assumed
profiles.
you have appropriate safeguards certain that the correct profiles are assumed.
Dcvkcs. Capture devices vary widely in
profiles.
need
to ensure that
in place to
Then you make
their ability to
handle and
embed
Can your input devices, or their drivers, embed profiles correctly,
or do you need to assign

into
them manually? Can they convert the captures an intermediate space and produce normalized captures, or do you
need to handle normalization elsewhere?

Proofing devices also vary in their capabilities. In theory, you can use
any device whose gamut wholly contains the gamut of the

a proofer.
final
output as
to ac-
The question
is
whether you can configure the proofer
cept
final
output data (as you can with a proofing RIP or color server), or
to rely
whether you need
on
application-level color
management to send
a simulation of final output to the proofer.
What Outputs Do
Your output needs
Neeci?
a single output that's
may vary from
known
before
you
start the job, to multiple
outputs that
may be unknown
until the last
minute, or may even be unknown until after you've submitted the job. The
issue
is
when to
convert to final output space. You can't do that until you
know what the final output is.
Known
you know the output right from the start, and you're dealing with a single output process, an early-binding workflow, where everything is converted to output space early in the process, makes a great
output.
If
deal of sense, particularly
if
you have
to interact with outside providers
who aren't color-management savvy.

If you
have to deal with multiple known outputs, things become a
litfle
more complex. Early binding keeps things simple, but increases the workload
because you have to prepare separate documents for each output process.
492
One possible solution is to keep images and critical vector color in RGB
until
it's
time to generate
final output,
while defining black text and non-
CMYK, then assign the final output profile when you generate final output. You may have to tweak some CMYK color
critical native color elements in
builds, but
your black-only elements such as
text stay black-only,
and
your imported RGB elements get separated to final CMYK when you create the final output
file.
Unknown output. If you have to prepare files for unknown outputs, you'll
almost certainly find that the political issues outweigh the technical ones.
From a
technical standpoint, the best solution
device-independent form such as profiled

real world, though, the
RGB
submit the job in a color, or even LAB. In the

is
to
after
it's left
chances of such a job getting processed correctly your hands are uncertain at best. If you can obtain a signed
contract stating unambiguously that the
downstream operation
will ac-
cept
files in
a specified,
named RGB space (or in LAB), and will take full re-
from then on, by all means submit profiled RGB or LAB. Absent such a contract, you're almost certainly inviting trouble.
sponsibility for the color
Often, you'll be forced into a premature-binding workflow instead

(see the sidebar,
"Premature Binding," in Chapter
10,
Color Management
Workflow).
From a color management standpoint, such workflows make
no
sense, but
we do have to live in the real world, which of course doesn't

If you're
always
make sense.
stuck in a situation like
this,
we offer the fol-
lowing suggestions:
Specify a contract proofing system, such as
ColorArt, by
Kodak Approval or
Fuji
name, then separate
for the proofing
system and sub-
mit proofer
CMYK along with the hard-copy proofs created from the

information as possible about the output
CMYK data.
type of and choose a press, coated or uncoated stock, anticipated dot gain
Obtain as
much
generic profile that approximates those conditions. The press profiles
accompany Adobe Photoshop, Illustrator, and InDesign, for example, are fairly "safe," but the more you know about the printing prothat
cess, the better
your chances of picking an appropriate
profile.
Chapter
18:
493
Absent any better information, use Adobe's

(or, if
SWOP Coated v2
on uncoated
profile
you know
that the job will be printed

profile).
stock, the
SWOP
Uncoated v2
The
results
may
not be ideal, but they
should be usable.
If
the three suggestions above are equally applicable.
you have to deal with multiple unknown outputs, the first and last of The unknown is the
it's
unknown, whether
file that's
one or many
the best you can do

clearly.
is
to provide a
approximately suitable for printing, preferably accompanied by
hard-copy proofs that indicate your intentions
Automation
anci Quality
Automation can save a great deal of time and effort. But automated processes are dumber than the dumbest person you've ever had to deal
with
we hold firm to the view that the acronym "AI" stands for Applied
Artificial Intelligence!
Ignorance rather than
Automated color management knows nothing about images, nothing

about color context, nothing about
one-size-fits-all operations,
memory
colors.
It
it
simply performs
has no means of
one
pixel at a time,
and
evaluating
its
own
results.
Automation does the same thing every time.
What you can automate. Good candidates for automation include things
RGB captures to a single RGB editing space. For example, your image sources embed profiles, you can safely set Photoshop's Color Management Policy for RGB color to "Convert to Working
like
normalizing profiled
if all
RGB." Then, whenever Photoshop encounters an image whose embedded

profile
is
different
profile
embedded
from the working RGB space, space to working RGB.

course,
is
it
converts
it
from the
The downside, of
whether or not the embedded
Photoshop has no way of knowing it just blithely profile is the correct one
that
ôes ahead and makes the conversion. So if you also receive imagery from sources that don't embed profiles correctly, the automation may produce
a bad result, creating work instead of eliminating
it.
Automated output conversions can often work

treat all color identically.
well,
but again, they
So you'll get good quality, but not as good as
you'd get with a skilled operator optimizing each image. You can, however,
create optimized solid-to-process conversions for solid colors, then apply
them automatically using a color server or Praxisoft's VectorPro.
494
Real World Color
What you
intelligent
can't
automate. You
intervention
human
optimizing images, choosing different
can't really
automate anything requiring
outcomes on a case-by-case basis. That said, it's often worthwhile, albeit humbling, to compare totally automated results with those produced by
your careful handwork. The questions you need to ask in making such a
comparison are
Is
there a discernible quality difference between the two?

a business case for preserving that quality difference?
Can you make
Once you've defined your needs, the last step in building your workflow
is
to look at the
workflow tools that your applications and device drivers

to
offer,
and decide how best
employ them
in the four stages of color
management.
Workflow Tools
You understand the stages of color management, and you've determined what you need to produce. The last step is to look at the various tools your
software and hardware
offer,
and decide how to apply them.
Embedded
Color
or
is
Assumed
Profiles
only offer two ways to define color
management workflows
really
meaning, which
always accomplished by associating a profile with the
document or object:
Embedding a profile
Assuming a profile
Each approach has its pros and cons. Our very basic rule of thumb is that we generally embed profiles in RGB, and we generally assume profiles for CMYK. We always try to use CMYK as a final destination CMYK- to-CMYK
conversions do work, but they rarely give as good results as going back to
the original
RGB and reseparating so we seldom need to deal with more

flavor of CMYK.
than one flavor of CMYK at a time. That makes CMYK an ideal candidate for
an assumed profile, since we know we have only one
Chapter
18:
Buildins Color-Managed Workflows
495
CMYK. We often make families of profiles for a given CMYK process, with
different black generation characteristics. For example,
different profiles to create the
we used
three
CMYK
in this book, with different black
shapes, but
we
only used the different profiles to convert from
RGB
to
CMYK. Once the content is converted to CMYK, the black generation used
in the profile
is
no longer
to the
relevant.
In this kind of workflow,
a color
meaning
all the assumed CMYK profile does is attach CMYK values by acting as a source profile. Any of
the three profiles
we created can do that equally well
its
sole
purpose
is
to provide a source profile for display simulations
CMYK profiles are also quite large the ones we used for this book are
and hard-copy proofing.

have to sling a
2.4
MB each so embedding would mean we'd
lot
more
data around, and since all our CMYK is the same CMYK,
much of that data
would be redundant.
RGB. RGB matrix
profiles,
on the other hand,
are tiny.
We normalize our
is
RGB color into an
editing space as soon after capture as
practical,
and
editing space profiles are tiny, so
we always embed them.

meaning is automatically meaning is applied
One key difference between embedded-profile workflows and assumedprofile workflows are that in the former, the color
attached to each element, while in the
latter,
the color
manually by you, the user.
The other key difference is that, in an embedded-profile workflow, each

element can have a different
profile
embedded, while
in
an assumed-
profile workflow, you can generally have only one

profile. Therefore,
RGB and one CMYK
tion
making sure that

do
so,
the trick to making assumed profiles work is normalizaa// your
content
is
converted to just one flavor of
RGB and just one flavor of CMYK before it enters the assumed-profile part of your workflow. Do that, and you can safely rely on assumed profiles.
Fail to
and
all
bets are
off!
Normalization and Editing Spaces

The case for normalizing CMYK in an individual job should be obvious
ultimately,
it's all
going to print using the same four

for normalizing
so:
CMYK inks
on the
same
paper.
The case
RGB
is
little
less so.
Here are the
main reasons we tend to do
496
Real World Color
We prefer not to edit images in capture spaces because they're usually

far
from gray-balanced or perceptually uniform, so we convert

it
to
an
intermediate editing space. That being the case,

to settle
usually makes sense
on a
single intermediate editing space.
Applications vary in their ability to handle

rectly,
embedded
profiles cor-
QuarkXPress being an example of one that often does

all
not. If we
set
know that
it
our
RGB
is,
for example,
if
Adobe RGB
(1998),
fails to
we can
as the default RGB. Then, even

profile,
it's
an application
honor the
embedded
we know that it will use the
correct interpretation
of RGB because
It
the only interpretation available.
simplifies the workflow.
Some very quality- conscious workflows may need multiple RGB spaces:
all
editing spaces represent a series of trade-offs,

results for all
...,"
and no
produce ideal
Pixel's
image sources and destinations see "One
single
one can
lourney
later in this chapter, for
an example. In most
cases,
though, the incremental gain from using multiple
RGB
spaces
is
out-
weighed by the increase
in complexity that doing so brings.
Choosing an
space
is
RGB
space. Our main criterion
when choosing an RGB
that
its
intended output without wasting a
gamut provides a reasonable match to the gamut of our lot of bits on color definitions that
don't correspond to anything we can capture, reproduce, or possibly even

see. This is
always a trade-off.
all
Spaces defined by RGB primaries, white point, and tone curve

a distinctive 3-D shape.
have
An RGB
it
gamut
lot
of most
CMYK outputs has to be very large indeed so large that a

contains don't correspond to real colors. For
space that completely encompasses the
of the color definitions
example, in ProPhoto
RGB
(which is certainly large enough to encompass
any output process we've experienced),
0,
G
all
0,
B 255 corresponds
(L*)
in
LAB
to a blue that's fully saturated but has a
luminance
of zero! That
doesn't correspond to anything
we can see
colors with a luminance
of zero look the
same to
us,
and
they're black.
We
use a variety of specialized editing spaces for different purposes,

is
but our general recommendation

editing space such as
to start out with a single
mainstream
stick
Adobe RGB
(1998) or
Colormatch RGB, and
with
it
unless and until you run into a specific limitation that another
space can better address.
Chapter
18:
497
Some workflows avoid RGB altogether, and use LAB as the normalized
space. Hardly
anyone
in the
United States seems to use such a workflow,
but they're quite popular in Europe, where Heidelberg has evangelized
them
for years (see the sidebar,
"LAB
The Great Normalizer").
The Cop
sign,
ter
at the
Door
Warnings
is, it
Some applications, notably the Big Three from Adobe

and
Hlustrator
can be configured to warn you when they encouncontains an embedded color that hasn't been normalized that
from the one specified as the
default, or in
Photoshop, InDe-
profile different
Adobe termi-
nology, the "Working Space."
You set this option by turning on the "Profile

in the respective applications'
12,
Mismatch: Ask
Color Settings (see "Warnings Manual Overrides" in Chapter
When Opening" checkbox
The
Adobe
Common
Color Architecture). Unfortunately, no applications warn
you when you sai>e a file in a space other than the default. Most other applications lack such features, so you have to develop your
own procedures for checking and enforcing normalization, perhaps using

scripting (see "Scripting" in Chapter 17,
Automation and Scripting).
LAB
like
^The
is
Great Normalizer
a
LAB-based workflows may seem

a great idea
LAB workflow has
LAB
the following
possible eight-bit-per-channel
relatively
disadvantages:
Eight-bit-per-channel
LAB values actually correspond

LAB
to real visible colors, so
files
unambiguous (you do need to specify white point and standard

observer, but unless otherwise
indicated,
it's
encod-
ed LAB contains a
lot of val-
are fairly fragile things. Since
safe to
assume D50
LAB encoding has
ues for which there are no real

visible color equivalents.
to cover the
2-degree LAB), and by definidon, it contains all colors. So why not
entire range of vision, the data
simply use LAB until convert to output?

Well,
if
it's
time to
points in LAB channels are stretched pretty far apart. So

it's
LAB
isn't
the most intuitive
space for editing or specifying

colors.
hard to make subtle edits
the output
all
is
known,
on eight-bit-per-channel LAB
files.
and you deal with
your image optimization issues before you convert to LAB, a LAB workflow
is
applications and some key file formats don't sup-
Many key
port LAB.
If
Since
contain
see,
it's
LAB encoding has to all the colors we can

also forced to contain
just fine. Likewise,
if you're will-
tions
ing to accept the gamut mappings
many
values that don't corre-
you understand the limitaand the requirements of
you get from automated conversions, a LAB workflow is equally

fine.
spond to colors we can see. The

estimates we've heard indicate
that
LAB-based workflows, you can
make them work, but they're quite

specialized.
But
if
you plan
to optimize
somewhere between 5 and
your color for different outputs,
7 million of the 16.8 million
498
Black Preservation and Device-Dependent Data

One
of our biggest reasons for avoiding
CMYK-to-CMYK
conversions
is
that K-only elements such as black text or black-only drop
shadows
al-
most always wind up being converted

inks besides black. This
is
to a rich black that contains other

it
almost never a desirable outcome since
in-
troduces all kinds of registration problems on press.
The simplest solution

tive
for page-layout applications
is
to define all na-
elements in RGB so they can be repurposed, and to define black-only
text
and anything else for which you want specific CMYK values preserved
that their
in
CMYK. Then ensure
CMYK source profile is the same as the
destination profile to prevent conversion.
Early-binding workflows don't usually have this problem, but late-
binding workflows often do. There's no single ideal solution. For QuarkXPress users, Praxisoft's
Compass Pro XT XTension

(see
black-only objects from color conversions
you exempt 100% "Compass Pro XT" in

lets
Chapter
15,
Color Management in QuarkXPress). For other users, server-
based conversion products or devicelink profiles, both of which we discuss in Chapter 17, Automation and Scripting, provide possible solutions.
Otherwise, you simply have to watch out, and assign the output profile
manually to prevent any undesired conversion.
Named-Color Systems
Named-color systems such as Pantone and Focoltone present some special color-management problems. Some are technical Pantone is noted for
revising
its libraries,
so that different applications often wind
ferent definitions of the
same color. Some are human
users specify spot
up with dif-
colors for process jobs, or specify the
swatchbook, failing to realize that the

tally
CMYK values from a spot-to-process CMYK values provided may be to-
inappropriate for the job at hand. Both cause trouble.
Libraries.
Wherever
possible, standardize your
named-color
libraries so
this isn't
li-
that
all
possible applications tend to use proprietary formats for their color brariesbut always a good idea to check for updates, then apply those
it's
your applications use the same definitions. Sometimes
updates in a controlled fashion so that
all
your applications match.
Chapter
18:
499
The
solid-to-process values for Pantone colors changed around

result of a
May
2000 as a
change
in the press
behavior Pantone selected. The
applications containing the post-May 2000 guide values are Photoshop CS,
InDesign CS, Illustrator CS, and QuarkXPress
5.
FreeHand 10 and Corel-
DRAW
10 both use pre- May 2000 equivalents.
However, we've found that

driven solid-color
builds.
If
we can almost always improve on profilesimulations by creating our own hand-tuned color
accurate simulations of spot colors are very important in your
workflow, consider one of the automated solutions for substituting hand-
tuned color values
for spot colors that
we discussed in Chapter
17,
Auto-
mation and Scripting.
Applications. Applications exchange
named
color through
EPS or DCS.
When you create artwork in an application, the CMYK equivalents defined

in the libraries are included in the
ite
EPS file so
that
it
can print on compos-
four-color devices. So artwork prepared with Illustrator 10

10 produce EPSs that contain different
color,
and
Free-
Hand
CMYK equivalents for the

that get honored. Neither
for
same Pantone
EPS
and those are the values
QuarkXPress nor InDesign modifies the

colors in
files.
CMYK equivalents
Pantone
However,
if
or vice versa,
you open a QuarkXPress 4 document into QuarkXPress 5, native colors get updated the CMYK equivalents used at
print time for native Pantone elements are determined
by the
libraries
belonging to the application from which you print.
People.
It's
not easy, and
it's
to train our users to refrain
sometimes impossible, but we always try from specifying spot colors for process jobs.
are outside the
Many spot
colors in the
commonly used systems
gamut
of CMYK printing, and specifying one of them for a
CMYK job inevitably
leads to disappointment (or worse) later in the production process.
Simulations
final output.
and
Soft Proofs
Most color- managed applications let you force the monitor to simulate the
We find this vital in image-editing applications such as Phoalso find

it
toshop, but
we
surprisingly useful in page-layout applications.
500
Our eyes always

great in isolation
final layout.
force us to judge color in context,
and elements that look
sometimes look quite different when they're placed in the

If we're
When we're working on a job with a single known output, we

working on a job with multiple known
always view the simulation.
outputs, we look at the worst one!
Even when the final output is unknovôi, we often use a CMYK simulation
(assuming the job
will eventually
wind up being printed with some kind
of four-color-process printing). Doing so helps us anticipate the excesses

of over-optimistic designers
who make use of the full RGB

Coated v 2
palette. If you
are one of these over- optimistic designers, try setting your monitor simulation to Adobe's U.S. Sheetfed
profile
CMYK may get a
little
better than that on very high-quality jobs, but if you're designing for print,
it
will give
you a reasonable estimate of the color palette you can use
for
the job.
Hard Proofs
We don't typically bother with hard-copy proofs before we know the output process
tell
they basically won't us anything that our monitor can't do less expensivelybut we often make use of our applications' capability to
produce a hard-copy simulation of final output before we actually
convert to final
CMYK.
final conversion, so that
Printing hard-copy simulations of your final output can alert you to potential
problems with the
you can take any necafter you've
essary remedial action before the potential problem turns into an actual
one.
It's
also a
to final
output ^you may find very slight differences between the proof
management
good idea to print hard- copy proofs
converted
of the simulation and the proof of the final converted result.

It's
unrealistic at this stage in the acceptance of color
to try to use cross- rendered proofs as contract proofs (though
many pe-
riodicals
do
so,
having achieved a confidence level through repetition).
But they are useful for guidance. Of course, they don't show problems
with screening or defects on the film or plates, but neither do most other
digital
proofing systems short of a Kodak Approval or Creo Spectrum. That
said, Inkjet printers are
beginning to approach the resolution needed to
produce actual dot-based proofs

area in the next few years.
we expect to see a
lot
of action in this
Chapter
18:
501
One
seems
of the consequences of the adoption of direct-to-plate printing

to
be that nobody knows how to proof anymore. We've had the experience where a printer provided film-based proofs Matchprints,
in fact
for a job being printed direct-to-plate. More disturbingly, the

all
Matchprints were
around 20 percent heavy on the cyan: a
call to
the
printer provided us with the assurance that "the red always heavies
press" which
up on
left
us wondering why they'd gone to the time and expense

first
of running film in the
place!
In the end, the profiles we'd built for the press

at the press check, the press
proved accurate, and
closely as soon as
is
it
was brought up
is
matched our Epson Inkjet guidance prints to density. The moral of this litde tale
that contract proofing

it
as
much about
responsibility
and confidence
as
is
about accurate color matching.
Output Conversions
Converting all your color accurately to the final output is the ultimate goal
of color management. The keys to achieving that goal are
first
to
make
trivial
sure that you've selected the correct profile for output the and to make sure that each element in the has the corsecond, part job rect source profile the nontrivial part.
that's
that's
Early binding. In an early-binding workflow, each element is either created

in final output space or
is
converted to
final
output space early in the proIt's
cess, so early-binding workflows are relatively straightforward.
always a
good idea to preflight the job, either using the built-in tools offered by the
applications or a dedicated preflighting tool, to
images have slipped through

ally
but in general, early-binding workflows usu-
make sure that no stray RGB
mean
that
someone, somewhere
color.
in the production process has seen
and checked the final
Late binding. In a late-binding workflow, things are a lot trickier
in exSo you
treme cases, the
final color
may not
exist until
you burn
is
plates.
need to be very sure that every element

reduces the
final
in the job
handled
correctly.
Normalization is a good safeguard for late-binding workflows, because

it
output conversion to one conversion from a single
source to final output
you
still
need to make sure that each element has
the correct rendering intent applied, but you don't have to worry about
multiple source profiles.
502
Real World Color
Final Analysis
If you've
going to
like
planned your workflow carefully, you should know exacdy what's happen to every element in the job, including the tricky ones
text,
black-only
and spot colors destined
for conversion to process.
Remember the stages of color management, and ask yourself the following questions:
Has each element's color been
correctly defined?
as
Has each element been normalized

or output
needed
to either default
RGB
CMYK?
Does each element have the correct rendering intent applied? Have
special cases such as black-only text, black-only drop shadows,
and spot-to-process conversions been adequately addressed?

Are
all
the color-reproduction devices in the chain properly calibrated
to ensure that they behave the
way the profiles predict they will?
When you can answer each question with a yes, you can be pretty certain
that you have a relatively bulletproof color-management workflow.
One
Pixel's Journey...
To
illustrate at least part of the
it
workflow we used
to trace the
to create this book,
we
life
thought
might prove instructive
journey of just one of the
many
pixels that
went
into
its
making. This particular pixel started

,
one atypically sunny San Francisco afternoon in August 200 1 as photons reflected from one of the many fine specimens in the Dahlia Garden in
Golden Gate
Park.
Capture a Pixel
Bruce captured these photons in his Kodak DCS 460
digital
camera, took
them home, and found, upon opening

quire plug-in, that they produced an
the image in the
Kodak DCS Ac-
RGB
value of R 248,
13,
(see
Figure 18-1).
He then acquired the image
into
Adobe Photoshop.
Chapter
18:
503
Figure 18-1
The capture
Define the Color

many Photoshop Import plug-ins, the Kodak DCS Acquire plug-in doesn't embed profiles. In fact, it has no facility for using profiles at all. In the ProPhoto RGB working space that Bruce usually uses for Kodak digital
Like
captures, the pixel's values translated to a screaming fluorescent orange
with LAB values of L* 60, a* 128, b* 103, quite different from the dahlia red
that
first
attracted Bruce's attention.
So the first step on the pixel's color-management journey was to obtain

the right color meaning by assigning a profile that correctly described
its
appearance
in this case, a
4.0.
custom
profile
he
built for the
camera using
MonacoPROFILER
translation from
Assigning
this profile in
Photoshop changed the
b* 72 (see Figure 18-2). Thus

that
RGB to much more reasonable LAB values of L* 50, a* 90, we gave the pixel (along with all its siblings
made up the rest of the image) not only a specific color meaning, but
the desired color meaning.
504
Figure 18-2
Defining the color
Normalize the Color

Unfortunately, L* 50, a* 90, b* 72 simply
press can reproduce, so
isn't
a color that our four-color

significant
we knew that the image would need

if
editing to preserve the spirit,

nal
not the
literal
color values, of the origi-
when rendered
neither gray-balanced nor perceptually good editing environment uniform so we decided to convert the image to the ProPhoto RGB workit's
in print.
The DCS 460
profile space doesn't provide a
ing space for editing, using Photoshop's Convert to Profile
command
(see
Figure 18-3).
RGB with relative colorimetric rendering preserved the LAB L* 50, a* 90, b* 72 values, while changing the RGB values to R 174, G 53, B 19. (We used ProPhoto RGB because converting the same clipping both the green and pixel to Adobe RGB produced R 2 15, G 0, B blue channels and LAB L* 53, a* 80, b* 69. It's not that Adobe RGB is a
Converting to ProPhoto
bad space;
it
just doesn't work well in the
extreme reds with
this particular
camera and profile.)
Simulate the Output

In this workflow, our final output was
known from the start

it
other books on this press, and we'd already profiled

relatively early binding. Before converting to
so we went for
we'd printed
CMYK, though, we opted to
Chapter
18:
505
Figure 18-3
Normalizing the color
view a simulation of the CMYK conversion using Photoshop's Proof Setup

feature (see "Simulations
and
Soft- Proofing" in
Chapter
12,
The Adobe
Common Color Architecture).
Optimize for Output

The
soft
proof immediately confirmed our fears
the predicted CMYK
values of
0,
M 88, Y 89,
produced corresponding LAB values of

still
L* 52, a* 68, b* 48.
We edited the image,
in
RGB mode, while viewing
the
simulation, and by increasing saturation and reducing lightness we were able to change the predicted CMYK to C 0, M 91, Y 93, K 1,
in
CMYK
which we felt was as far as we could go
further editing until we'd converted to output
RGB mode. We decided to defer CMYK.
Convert for Output We converted the image to our output CMYK, using the settings that we'd
determined worked best by looking
at the soft
proof
still
our heavy GCR

detail.
press profile gave us the best saturation while
holding
One
more edit produced a final output value of C 0, M 93, Y 95, K 2, LAB L* 50,
a* 69, b*
48
far cry
from the
original,
but the best
we
could do in the
circumstances (see Figure 18-4).
506
Figure 18-4
Converting for output
Proof the Output

Thus far, we've described the journey of our sample pixel from capture to
output. But
ios.
it
also took
some
side-jaunts in the various proofing scenar-
to
make
Photoshop always does a conversion on the data sent to the display: the monitor reproduce our ProPhoto R 174, G 53, B 19, it had to
send R 221,
G 0, B
to the monitor. (You can't get this information directly

it
because the conversion happens under the hood, and

that
isn't
it
normal people need to track anyway
we just mention
anything
to illustrate
that the pixel's journey isn't quite as straightforward as might

glance.)
seem at first
when we proofed the image on our Epson 2200 using Premium Luster paper, Photoshop sent R 245, G 41, B 102 to the printer to make it produce the same color as press C 0, M 93, Y 95, K 2.
And
it's
also mildly interesting that
Hand Off the Color We saved the converted image as a CMYK TIFF with no profile embedded, and placed it in PageMaker, where the default CMYK source profile and the
Separations profile were both set to our final output press profile. This
ensured that our pixel had the
final
output profile assumed as
its
source,
so no conversion would take place

curate display
Figure 18-5
and accurate
pixel
is
our
Inkjet
on output, but we could still enjoy acproofing. The final image is shown in
dahlia.
in
one of the petals on the left edge of the
Chapter
18:
507
ngurc
18-5
The final image
The
Devil
Is
in
the Details
this
Throughout
book, we've pointed out that color management
is
in es-
sence quite simple, since it does only two things: define a color meaning and
preserve that color meaning. But in a complex production workflow, you'll
encounter a host of details, each one of which must be addressed.

In Part
I,
we laid out the foundations for color management
the way
we see color, the ways we make our devices produce color, the models we use to relate what we tell our devices to do with the results we see, and
the basic operation of color
management
systems.
We also
pointed out
the limitations of color management, and

effects that the
showed a few of the perceptual
models simply don't take
into account.
In Part
II,
we told you not only how to build and tune profiles for your
various devices, but also the things you must do before and after profiling
to
make sure that your devices behave
and continue to behavethe way

for
their profiles predict.
No
color
management system can compensate
uncontrolled device variation. We also pointed out the importance of the
environment in which you make your color judgments

is critical.
correct lighting
508
In Part
III,
we
laid out the
ground
rules for parsing
color-management
of
workflows.
We examined the color management features
some key ap-
plications, and walked you through their uses and their potential pitfalls, but if
we've done our jobs correctly,
necessary to analyze
we also gave you the vocabulary and insights new applications, and to build a color management
workflow that suits your unique needs.
The
rest is
up to you!
PART
Appendices
Appendix A
Profile
Anatomy
The ICC
specification prescribes a format for various classes of what are

is
generically referred to as ICC profiles. The intent of the format
to
be both
platform-independent and application-independent. Before the work of

the ICC, profiles were either platform-specific or application-specific.
This appendix provides color geeks with more technical information
about what various ICC profiles contain. Naturally it's not a substitute for
the ICC spec
itself,
which is available at www.color.org, the Web site of the

set to circulate as a Draft International Standard,
it's
International Color Consortium.
The
specification
is
with possible approval by the end of 2004 as ISO 15076. After approval
expected that the
complete ISO version
will
be released as version 4.2 of
the ICC specification to bring the two into parity.
511
512
Real World Color
Profile Structure
All
ICC
profiles
have the following three segments: a

(see Figure A-1),
profile header, a tag
table,
and tagged element data
Figure A-1
ICC Profile cross-section
Profile
Header
128 bytes
Tag
Table
I
Tag Count
Sig
Size
4 bytes
12 bytes for
each tag
Tagged Element Data
various sizes
2002 ICC
Profile
Header
The profile header contains information that allows searching and sorting ICC profiles the header is always exactly 128 bytes. The profile header
contains the following encoded parameters, in order:
Appendix A:
Profile sixc.
Profile
Anatomy
513
The
total profile size in bytes.
CMM Type signature. This specifies the preferred CM Meffectively the

default
CMM.
It's
possible to define no preferred

conflicts.
CMM.
Signatures
must
be registered to avoid
Profile version.
The version of the ICC specification
to
which the
profile
conforms. There are placeholders for major revisions (defined as newly
added/changed required tags, necessitating an updated CMM to use the profile); minor revisions (defined as newly added/changed optional tags that don't require an updated CMM to use the profile); and bug fix
revisions.
Profile Class. This defines the class of profile.
Device Class
514
Primary platform signature. Defines the platform on which the
profile
was
created.
The
six possibilities are:

Inc.;
Corporation; Silicon Graphics,
Apple Computer, Sun Microsystems, Inc.; Taligent,

Inc.;
Microsoft
Inc.;
and no primary platform.

Profile flags. There are two flags.
One
specifies
whether the
is
profile
is
currently a standalone profile (not embedded) or
embedded in a docu-
ment. The other specifies whether or not the
profile,
be extracted from the document in which

a standalone profile.
it's
when embedded, can embedded, and made into
Device manufacturer and
model signatures. Signatures for devices must

list
be registered with the ICC. Too many devices are registered to
here.
Device attributes. This describes the media associated with the device the
profile applies to.
Options
are: reflective or
transparency; glossy or matte;
positive or negative; color or black
and white. This frequently contains

performance of the
profile (like
incorrect data,
all
which doesn't
affect the
of the data in this segment), but forces us to differentiate profiles using
the profile
name rather than the device attributes signature.

specifies the default rendering intent table in the
Rendering intent. This
profile. Options are perceptual, media-relative colorimetric, saturation,
and ICC-absolute
colorimetric. See Figure A-2 for the "mother" cross-
reference of rendering intent tags.
Profile Creator signature. This identifies the creating manufacturer

of the profile from the device manufacturer signatures
previously).
list
(mentioned
Profile ID. This
is
generated with the
MD5
fingerprinting
method
a
is
value of zero indicates the ID hasn't been calculated. This signature

currently optional.
Appendix A:
A-8
PnfUe
Profile
Anatomy
515
Flflurc
Profile class to rendering
intent cross-reference
516
Required Tags
The ICC
profile specification includes
both required and optional

profile.
tags.
The following required tags must be in every ICC
This contains the profile

profile
profileDescriptionTag name that appears on menus. The file name and

name are two different things. The profileDescriptionTag is the real
name. This
is
profile
required by the additional profile classes as well.
mediaWhitePointTag
This
is
the
measurement
of
media white,
in
CIEXYZ, which
is
used
in
the calculation of the absolute colorimetric rendering intent. Absolute

colorimetric rendering
is
computed from the AtoBlTag and BtoAlTag in
conjunction with a mediaWhitePointTag.
chromaticAdaptationTag
If the
actual illumination source
is
not D50, this tag is required, and is used
to convert the actual illumination source to the
PCS illuminant (which is
D50).
copyrightTag
The profile copyright is stored
additional profile classes.
as a 7-bit ASCII string, also required
by the
Appendix A:
Profile
Anatomy
517
Input Profiles
Input profiles support grayscale, RGB, and
CMYK input devices.
In theory,
we don't know of a package that makes CMYK input profiles, let alone multi-channel
they could describe multichannel input devices as well, although
ones.
(We aren't aware of a package that makes monochrome input profiles

So the options
are,
either.)
RGB matrix, RGB table-based, and RGB matrix-
and-table-based input
profiles.
Matrix-Based Profiles
For
RGB
matrix-based input
profiles,
only two additional tag types are

in these
required, for a total of 10 tags.

small,
The data contained
two tags is very
which
is
why RGB
matrix profiles are typically only a few kilobytes

tags are:
in size.
The additional required
MatrixColumnTas. The three required MatrixColumn tags are redMatrixColumnlag, greenMatrixColumnTag, and blueMatrixColumnTag. They
contain the
XYZ
tristimulus value of the primary (red, green, or blue,

is
respectively).
CIELAB
not supported in matrix profiles.
TRCTag. There are also three Tone Reproduction Curve (TRC)
tags: green-
TRCTag, redTRCTag, and blueTRCTag.
Table-Based Profiles
For
RGB
table-based input profiles, there

it
is
only one additional tag
required, but
can contain a substantial amount of information when
compared
to matrix-based profiles.
AtoBOTag. This table contains device-to-PCS data

tual rendering intent.
for the percepis
Only the perceptual rendering intent
required
for table-based input profiles, although other rendering intents are
supported as well. Both 8-bit and 16-bit precision are supported. The PCS data may be represented as either CIEXYZ or CIELAB.
Hybrid Profiles
The ICC
matrixspecification, version 4.0, supports input profiles that are
both
and table-based.
518
Display Profiles
Monochrome
display profiles are supported by the ICC spec with just a
much more common color display profiles are, like input profiles, RGB matrix-based, RGB table-based, and RGB matrixsingle grayTRCTag, but the
and-table-based profiles.
The required
tags for
RGB
matrix-based display profiles are identical
to those for RGB matrix-based input profiles. Table-based
and hybrid dis-
play profiles require one additional tag, described next.
BtoAOTag
This contains the PCS-to-device perceptual table. This tag
is
required to
ensure that display profiles are reversible. Though the perceptual table
is
required, this does not
mean
that perceptual rendering
is
used: this
tag almost always contains colorimetric data, so renderings are always
colorimetric
either relative or absolute.
Output
Profiles
The ICC
specification allows for TRC-only
monochrome output profiles,
although we're again hard-pressed to think of a package that makes them.

For
all
practical purposes, you'll find that output profiles are generally

rarely) grayscale
RGB, CMYK, and (much more
table-based profiles. The
ICC spec currently supports up

but the
to 15-channel profiles (in version 4.0.0),

profiles.
common CMMs
support only up to 8-channel output
Here are the required
tags.
AtoBTag and BtoATag

There are six possible tags representing both the rendering intent and the
direction (to the
PCS or from the PCS). It's easy to get them confused

to think "A to P"
one
and
way to remember is
"B to A," where "P"
and "P
is
to A" instead of "A to B"
is
the
PCS and "A"
the device.
Appendix A:
Profile
Anatomy
519
The AtoBOTag is device-to-PCS perceptual rendering The AtoBlTag is device-to-PCS colorimetric rendering The AtoB2Tag is device-to-PCS
The BtoAOTag is PCS
saturation rendering
to device perceptual rendering

to device colorimetric rendering
The BtoAlTag is PCS

The BtoA2Tag is PCS
to device saturation rendering
Notice that there's only a single colorimetric table. See "mediaWhitePointTag" for more information. For a description of how rendering intents
are actually applied in conversions, see the sidebar "Rendering Intents
and
Conversions."
SamutTag
This table contains
PCS values on
1
the input side, and on the output side

1
a single value, either
or
0.
value of
means
the
PCS value
is
out-of-
gamut, and a value of
means the PCS color is in-gamut.
Rendering Intents and

When we
perform conversions,
let
can only use the rendering intent

in the
most applications only
us
matrix profile, so
if
either
if you request a from a matrix-based conversion
For example,
choose a single rendering intent, yet both source and destination

profiles contain rendering intents
source or destination profile is a matrix, the conversion between it
Adobe RGB
editing space profile such as (1998) to a CMYK
and the PCS uses the matrix rendering intent. If the other profile contains the specified rendering intent, that intent is used in the
output profile using Perceptual rendering, the source-to-
that
can apply
to the conversion.
Here's
If
how it works.
PCS conversion
that's the
will
use relative
both source and destination used
colorimetric rendering because
profiles contain the rendering
conversion between the PCS and

that profile.
If
intent
you
specified,
it's
for
(1998) contains,
only intent Adobe RGB and the PCS-to-
both the source-to-PCS and PCSto- destination conversions.
no rendering
intent
is
speciin-
destination conversion will use
fied, either
because the user
However, matrix-based
profiles
terface doesn't allow it or because
perceptual rendering. This is why rendering intents
only contain a single rendering

intent, usually (as
lier in this
you chose "Automatic," the

nation
intent
is
desti-
sometimes appear
effect
to
we noted
ear-
profile's default rendering
have no
if
you convert from one
appendix) relative coloif it's
used
for
both source-toif
rimetric,
even
often labeled
PCS and PCS-to-destination,

rendering intent.
matrix profile to another, the conversion can only use the

rendering intents contained in
the profiles.
as perceptual. Conversion be-
the source profile supports that
tween matrix profiles and the PCS
520
Profile Classes
Besides device profiles (including "virtual device" profiles such as
Adobe
for
RGB
(1998),
Colormatch RGB and sRGB), the ICC specification allows
four additional classes of profile. The additional profile classes are: DeviceLink, Color Space Conversion, Abstract,
and Named Color.
DeviceLink
DeviceLink profiles allow for direct device-to-device conversions they're essentially profiles that contain a conversion from one profile to
another. While they typically contain only a single source
tion profile,
and destina-
any number of device and nondevice spaces in series can be combined in a DeviceLink profile, though the first and last profiles
in the chain
must represent device spaces. Four
tags are required for
Device-Link profiles: profileDescriptionTag, AtoBOTag, profileSequenceDescTag, and copyrightTag.

DeviceLinks
profiles to
at least
may appear
to
break the rule that you always need two
make
a conversion, but under the hood, a devicelink contains
two
profiles
even though
it's
a single
file.
ProfileSequenceDescTag. This describes the sequence of the profiles

contained in the
link.
ColorSpace Conversion
ColorSpace conversion profiles are used by
different device-independent color spaces,
CMMs
to convert
between
such as between CIELAB and
CIELUV. These profiles can be embedded in images
if
you have a LAB
image that
profile
isn't
based on D50, you need a suitable ColorSpace Conversion

it.
embedded in
Abstract
Abstract profiles are intended to perform image editing by transforming
color data within the PCS. In practice they are rarely,
if
ever, used.
We
know
of only two packages that create them:

Edit.
Kodak Custom Color ICC,
and ITEC ColorBlind
Appendix A:
Profile
Anatomy
521
Named
custom
Color
as
Named color profiles (often referred to named color systems such as Pantone,
colors.
NCPs) are used
to
support
Focoltone, or vendor-specific
The requirement
is
for the
named
colors to be associ-
ated with a device-independent (typically LAB) value. The optional, but
most
practical aspect of
NCPs is
to reference
each named color to device
values, thereby ensuring the best possible reproduction of a
named color
on a specific device.
Appendix B
Workflow Templates
Some time after the topic of woricflow templates came up, Chris stumbled upon a Mac OS X-only application called OmniGraffle. Developed by
the
for
OmniGroup (www.omnigroup.com), OmniGraffle

diagramming and charting
(see Figure B-1),
list
It's
is
used primarily
application with too
many
features to
an amazingly deep in addition to here, but
supporting layers, transparency, and tons of other stuff

ally rings
the one that re-
our chimes
is its
unique auto-layout
feature.
The more complex the workflow, the more

feature can be.
It
useful this auto-layout
uses the established relationships between your workflow
components
to alter the layout, using settings in Layout Info.
The auto-
layout results
may
not be the prettiest thing you've seen, but they let you
see your workflow in
new and often surprising ways.
One of Chris' more endearing qualities is his boundless energy and enthusiasm, and he immediately hatched grandiose schemes for exquisitely
diagramming
all
kinds of color
management workflows. When Bruce

relatively
pointed out that
fully
diagramming even the
simple workflow
we used to produce this book would demand an eight-page foldout, Chris

finally relented, realizing just
what a rabbit hole
it
could turn
into.
So
what we're providing in this appendix is simply a taste that diagrams some
specific
workflow situations.
523
524
The more complex your workflow, the more important it is to plan, and to figure out the interactions between departments and customers,
whether or not they are using color management.
incredibly useful in assisting the
We
find OmniGraffle
workflows, and
figure out
recommend
it
to
diagramming anyone who needs
of color-managed
to sit
down and
complex production scenarios.
Figure B-1
(gt,
oj f e

Prwtout
Ntxi
c-""
OmniGraffle
EM
Htm
\_^^^^
ig
ConcfMot
pig \H7
]B|
^ ^
Connwao
9 Forcc-dircacd
nctkFMd
Dnoim
Diudul
Oiadtv
Appendix
Figure B-8
B:
Workflow Templates
525
Legend
action user
needs to take
dialog box option
526
Figure B-4
design job
(define sources,
A rational workflow for

content creators
normalize as needed)
receive press or
proofer profile fi-om printer or

service
supply printer with tagged files*
bureau
convert
to
output
supply printer
in-house
interim
press -ready files
proof
*and an
explicit notation
of the profiles
to
be
assumed for files that don't support
embedded profiles
Appendix
B:
Workflow Templates
527
FlturcB'S
A sadly typical workflow

for content creators
design job (define sources, normalize as needed)
^^cperience
prayer
A
Ouija board
decide on best
astrology
guess for output
hutangan
advice
good luck charm
convert
to output
optional
in-house
interim proof
pply printer
y^reiss-ready" files
get back
proofs
J
color correct
The
1.
iterative proof- then-color-correct cycle
ends when:
The proofing budget dries
up.
2.
3.
You get fed up (or someone gets injured or killed). The proofs come back looking the way you want.
528
Figure B-6
Traditional
send press or
proofer profile
to
and ideal
providers
workflows for print

receive
customer
customer files
Ideal Workflow
Traditional Workflow
normalize
see mystery
meat
workflow
optional: interim
proofs based on
"best guess" for
you get to sell proofs

ifyou're lucky, otherwise have fun
output
with cranky customer who wants
determine output
(could be contract
proof)
you
to fix his files
forfree
convert to output
*embedded or assumed profile

well
documented
Appendix
B:
Workflow Templates
529
n9urcB-7
Using Adobe's Missing Profile and
Profile
Mismatch
warnings
Use as warning,
go
to Assign Profile
Do Not
Color Manage
Convert
to
^\
)
Working Space
^ ^ ^ Untagged/Assumed ^
Tagged/Assigned
image opens, no dialog
530
Figure B-8
Dealing with
CMYK Mystery Meat
The image
color
is
effectively
managed because
it
CMYK Mystery Meat
Use Missing Profile

dialog as warning
you're evaluating
in
a calibrated environment. The numbers
may
not produce the desired

color appearance, but
they produce a known, rather than a random,

color appearance.
The image
color
it's
is
"officially"
managed because
tagged with a
profile.
D D
Go
to
The gray areas represent bad options. You have
no idea what this image is, so you aren't in a

position to assign a
profile
without looking
ifyou
Image >
Mode > Assign

Profile
at the image. (And
and select
want tradition,
well,
we
Leave untagged,
color correct until
another profile
can't help you.)
T
Convert
to
proofs right. Traditional waste-
it
Working CMYK
of-time workflow
V
Color correct: tweak until you
really like
it,
still
using
monitor as guide
T
Ready for proofing,
layout,
output workfiow
Appendix
B:
Workflow Templates
531
Figure B-9
Dealing with
RGB Mystery Meat
RGB Mystery Meat
Use Missing Profile

dialog as uHiniiiig only
The image
color
is
effectively
managed because
CobtrManagt
you're evaluating it in a calibrated environ-
ment. The numbers
may
not produce the desired

color appearance, but
Look at the image
they produce a known, rather than a random,

color appearance.
I
Go to Image > Mode >
Assign Profile and select
another profile
D D
The image
color
it's
is "officially"
managed because
tagged with a
profile.
Assign a
profile
The gray areas represent bad options. You have no idea what this image is, so you aren't in a position to assign a
profile
without looking
well,
at the image. (And ifyou

Leaiv untagged,
color correct until
it proofs right. Traditional waste
want tradition,
can't help you.)
we
of lime workflow
Early-
binding
Color correct: tweak until
Late-
binding
you
Separate/ convert for
really like
it,
still
using
monitor as guide.
output
Save& embed
Ready for proofing,
layout,
output workflow.
532
Figure B-10
Mac OS
10.3 raster printing
ColorSync null transform
driver uses
proprietary color
management
Glossary
AE
(Pronounced
"delta-E.") Generically, the
computed degree
to
which two colors appear to match. Usually calculated

but other color-differencing systems
exist.
in CIELAB,
absolute colorimetric
See colorimetric intent.
achromatic
The attribute of light from a surface or light source that
relates to the
amount of li^t
additive primaries
specifically, its brightness.
Contrast with chromatic.
Three light sources chosen so that they can reproduce other colors by
addition of wavelengths.
(red),
One primary contributes long wavelengths

(green),
another the
medium wavelengths
and the other the
short wavelengths (blue). See also subtractive primaries.
AM screening
Also
known as a halftone. In printing, a method of doing screening

(the screen frequency, or the
where the frequency of the dots

the effect of tones
num-
ber of dots per inch) does not vary throughout the screen. Instead,
is
created by varying the size of the dots (hence
"amplitude modulation"). Contrast with
FM screening.
anisotropy
The phenomenon whereby a printer produces slightly different color depending on the orientation of the paper movement
through the
printer.
533
534
Real World Color
aperture
A small opening. Color-matching experiments usually involve the

test subject viewing colors
through a small aperture, and measure-
ment instruments
artifact
also
view samples through a small aperture.

In general,
Something added
that
is
visible in
any undesirable effect a displayed or printed image, but was artificially

artificially.
introduced by the equipment or software. Examples are banding,
compression
assigning a profile
artifacts,
moire patterns,
etc.
The term used in Adobe applications for the act of tagging a docu-
ment with a profile. See the sidebar on page 282.

assumed profile The
profile that acts as the source profile for
untagged documents
(or ones that the active application sees as untagged). See the side-
bar on page 282.
banding
An
artifact where there are noticeable
jumps from one tone level
to the next.
black generation
In four-color printing, the
method used
to generate the black,
or K, channel from the color channels.
The two main kinds of
black generation are
UCR and GCR.
black level
On
a monitor, the setting that controls the base black of the
display.
On a CRT, this is just the brightness
(or offset) control
on
the monitor.
black point
The
density,
and occasionally the
color, of the darkest black

is
reproducible by a device. For a printer, this
the density and
neutral color balance of the darkest black achievable using the

printing inks; for a monitor this
is
the density of the monitor when
displaying black,
and can be adjusted by setting the black level.
black point compensation
A setting in Adobe Photoshop that makes sure that the black point
in the source profileis
profile,
mapped to the black point of the destination

range
is
and the
rest of the tonal
scaled accordingly.
blackbody radiator
A light source whose photons are entirely due to heat energy given
by the source. According to the laws of physics, there's a very predictable correlation between the temperature of the blackbody
off
and the color of the light
lower temperatures are red, higher tem-
peratures are white, and the highest temperatures are blue.
Glossary
535
brightness
The perceived response to light intensity. This response (in a human

observer)
is
non- linear.
calibration
Modifying or adjusting the behavior of a device (such as a color

reproduction device or a measurement instrument) to a desired
state (often a factory specification, or
some state that helps simulate
some other device).

camera metamerism
The type of metamerism where two
color samples
match
to a hu-
man
observer, but not to a certain camera, or vice versa (the human
does not see a match, but the camera does).
candela
The
unit of
luminous
intensity.
cathode ray tube
See CRT.
CCD
Charge-Coupled Device. A light-sensitive microchip, used
in scan-
ners and digital cameras as the basis for capturing a digital image.
characterization
See profiling.
Technical word for saturation.
chroma
chromatic
The
attributes of light
from a surface or
wavelength composition of the light
light
source related to the
specifically, its
hue and
saturation. Contrast with achromatic.
The chromatic
attributes
describe the properties of the photons
in the light, while the
achromatic component describes the quantity of photons in the light.
chromatic adaptation
CIE
See color constancy.
Commission
Internationale d'Eclairage (International
Commission
on
Illumination).
An
international association of color scientists
that has assembled

colorimetry.
many
of the standards used as the basis for
CIE
LAB
(Also
known
as L*a*b*.)
One
is
of the two
main
color spaces
proposed by the CIEto attempt a perceptually uniform color space.

L*
is
the lightness value, a*
the red -green opponency, and b*
is
the blue-yellow opponency. CIE
LAB is one of the two color spaces
used as a PCS in /CC-based color management.
536
Real World Color

CIE LCh
(Also
known
LAB
as
LCH,
for Lightness,
Chroma, Hue). A
derivative
of CIE
that uses polar coordinates rather than rectangular
ones, often employed as a user interface for manipulating device-
independent data. The LCh space is cylindrical: lightness runs along the vertical axis from white (100) to black (0), chroma (saturation)
is
represented by the distance from the central
axis,
and
hue
is
represented by the angle around the cylinder, with reds

degrees, yellows
around
around 90 degrees, greens around 180
degrees, and blues around 270 degrees.
CIE
LUY
(Also
known as
L*u*v*.)
One
of the two
main
color spaces proposed
by the CIE to attempt a perceptually uniform color space.

CIE xy diasram
(Also
known as the CIE xy chromaticity chart.) The horseshoe-shaped
diagram representing the relationships of the colors in the CIE

system.
CIE
XYZ
Shorthand for the CIE XYZ color space. This defines colors in terms
of three theoretical primaries, X, Y,
and Z, that are based on the CIE
research into
human color response (the CIE Standard Observer).
XYZ
is
not perceptually uniform and therefore can't be used for
computing color distance. XYZ is one of the two color spaces used
as a possible
PCS in /CC-based color management.
click-balancing
Gray-balancing an image by clicking on an area in the image that
you know should be
neutral.
CMM
Color
Management Module. Some people know

case, a
it
as
an abbre-
viation for Color
Matching Method, or Color Manipulation Model.

is
In
any
CMM
a drop-in component that provides the

It
"engine" for profile-to-profile conversions.
defines how colors are
computed using the sample points in the
profiles as guidelines.
CMS
Color Management System. Software dedicated to handling deviceto-device conversion of colors.
The /CC-based model
for a
CMS
consists of four components: a PCS, device profiles, a

set of rendering intents.
CMM, and a
colorant
Something, such as a dye or pigment, or phosphors on a monitor,

that produces color
on some other medium.
Glossary
537
color bar
A strip of color patches,
usually printed in the margin of a printed
page, and used for process control.
color bar
is
by definition
device-dependent and should be created
in the color
model of the
(100%)
printing device. Color bars contain at least the
maximum
of each primary and complementary color.
Many also
contain
50%
coverage areas of primaries and their overprints, as well as neutrals.
color constancy
The tendency of the

object to
visual system to consider the color of an be constant despite changing viewing conditions. If all
the colors in a scene change in the

tribute this to a
same way,
the eye tends to at-
change
in illuminant,
and discounts the change.
color color
gamut
See gamut. See CMS.

In a visual
management system
color-mixing function
system or color- measurement device (such as a camera, or
colorimeter), the
unique mixture of red, green, blue responses to
different color samples. Visual systems
and measurement devices
don't really have a gamut, they have a color-mixing function.
color
model
general system for assigning
numbers
to colors.
An example
is
would be the RGB color model, where each color

terms of three numbers; the
first
defined in
(as yet
the
amount
of
some
undefined) red primary, the second a green primary, and the third
a blue primary. Contrast with color space. color space
An
or
instance of a color model in which every color
is
represented
by a specific point in space, and thus has a specific set of three
more numbers
that describe
it.
An example would be the RGB
space of a particular monitor, where a certain color has a specific
numbers representing the amounts of the red, green, and blue phosphors needed to produce that color. Note that
set of three
there can be
(for
many
color spaces that use the

its
same
color
model
example, every monitor essentially has

all
own specific color
space, but
use the
RGB color model).
538
color temperature
A description
of the color of light in terms of the temperature of
the light source, in kelvins. Lower temperatures are redder, higher
temperatures are white, and the highest temperatures are bluer.

Technically
we should
only refer to the exact color temperature

If the light
of a blackbody radiator.
radiator,
source
is
not a true blackbody
then it's more correct to speak of the correlated color tem-
perature of the light source.
colorant
Something used to produce color, such as the dyesin inks or toner,

or the phosphors in a monitor.
colorimeter
device for computing colorimetry (color matches) from

surface.
measurements of a
colorimetric intent
The two rendering
ors colors are mapped to an exact match wherever possible, and

is
intents that try to preserve colorimetry of col-
where not possible (because the color

the color
is
out of the target gamut),
mapped
to
its
nearest equivalent. In most cases, this
conversion should include a remapping of the white point so that

this colorimetric
match is relative to the target white point
this is
known
as relative colorimetric. In
some
cases
(in certain stages
of
proofing), the colorimetric
match should be absolute
the colors
should be converted as
if
the
source device's white point
match were being done relative to the
this is
known as absolute colorimetric.
colorimetry
The science of predicting color matches based on ever-growing research into typical human color vision.
Much colorimetry is based
on the work of the

ColorSync
CIE.
Apple's implementation of /CC-based color
management. On Macintosh computers, the components in the Mac OS that handle such things as making profiles and CMMs available to
programs that need
to convert colors.
complementary colors
Two colors that make gray (or white) when combined. For example,
red and cyan are complementary colors.
cones
See photoreceptors.
Glossary
539
continuous tone
A device that can
represent
laser printer
is
not
many tonal values for each unit pixel. continuous tone as it can only lay down a
blank
printer dot or leave
it
to produce tones,
is
it
needs to use
the trick of screening.
A monitor
continuous tone as every

by varying the
intensities
displayed pixel can represent tone
levels
of the red, green, and blue
light.
contonc
contrast
Shorthand
for
continuous tone.
lightest
The difference between the

See color temperature.
and darkest areas of an image.
correlated color temperature
CRD
Color Rendering Dictionary. In PostScript color management, the
CRD is the equivalent of the destination profile, and either resides

in the
RIP or
is
sent to
it
at print time.
CRI
Color Rendering Index. A measure of how well colors are rendered
by different lighting conditions as compared to a standard light source. CRI values range from 1 to 100, whereby 100 means that
all
colors that
match under the standard would
also
match under
the measured lighting conditions.
CRT
Cathode Ray Tube. The most
common type of computer monitor,

when
consisting of tube with a source of electrons (a cathode) at one
end, and a flattened end coated with phosphors that glow

excited by the electrons. (See also LCD.)
CSA
Color Space Array. In PostScript color management, the

the equivalent of an ICC source profile that
PostScript RIP together with the documents
is
it
CSA
is
downloaded
to a
describes.
curing time
Time needed
after printing
inks in Inkjet printers
for the printed image to arrive

illuminants.
by some colorants
for example, the

at a stable
appearance.
D50
One of the CIE standard
D50 is a specification of day-
light with a correlated color temperature of 5000 K.
D65
One of the CIE standard illuminants. D65 is a specification of daylight with a correlated color temperature of 6504 K. This is the stan-
dard white point XhdX we recommend for monitor calibration.
540
delta-c
See Ê.
densitometer
density
A device for computing density from measurements of a surface.

The degree to which a surface absorbs light. Density is a logarithmic
value
a density of 3.0D
is
ten times darker than a density of 2.0D,
and a hundred times darker than a density of l.OD.

destination profile
In a color conversion, the profile that defines how to convert colors
from the
profile
connection space {PCS) to the target color space.
See also source profile.
device profile
See
profile.
device-dependent
The property of a color model whereby the exact meaning of a set of numbers depends on the specific device. For example, RGB
is
a device-dependent color model because a specific set of RGB

(say, 10, 20, 30) will
numbers
produce a different color
"mean" a different thing i.e., it will depending on what RGB device you are
using. See also device-independent.
device-independent
The property of a color model where the exact meaning of a set of numbers is unambiguous and does not depend on any specific device.
set of LAB numbers "means" the same thing represents the same color regardless of any device. See also device-dependent
i.e., it
For example,
LAB is device-independent because
a specific
display profile
Also
as a
known as a monitor profile. A profile for a display device such

computer monitor.
ditliering
(l)
screening
(2)
Any technique
that simulates colors or tones
by intentionally
printing or displaying dots of various primary colors in various
patterns to give the illusion of a larger set of colors.
A halftone
is
a type of dither (called an ordered dither) where the dot pattern
uniform and uses the primary ink colors together with paper white to give the illusion of many colors. Another example of dithis
ering can be seen
in 256-color mode the illusion of additional colors
when viewing a full-color image on

is
a monitor
created by
displaying the limited palette of 256 primary colors in various dot

patterns.
Glossary
5A1
dot fain
The growth of halftone dots during print reproduction. The main

cause of dot gain
is
the spreading of ink as
it
hits paper,
but slight
dot gain can also be introduced during imaging to film.
dpi
Dots Per Inch. Usually, but not always, used when referring to the
resolution of printers. Often incorrectly used as
ppi, or
synonymous with
sometimes
spi.
dye
soluble colorant. Dye-based inks exhibit color drift over time,
especially
when exposed
to light
and other elements. Often used
in Inkjet printers. Contrast with pigment.
dynamic range
A range from brightest white to darkest dark as measured in density.

The dynamic range of measurement devices (such
darkest black the device can measure before
differences in brightness,
it is
as scanners,
cameras, or densitometers) describes the distance between the
unable to detect
and the brightest white it can measure without overloading. Also applied to media (for example, prints or
transparencies) and images, to describe the range from the darkest black to the brightest white.
early-binding
A workflow strategy that converts all colors to the final output space
as soon as possible; for example, converting
to printer
all
scans immediately
CMYK.
editing space
A color space intended specifically for editing of color values. An RGB editing space should ideally (1) be gray-balanced; (2) be perceptually uniform;
and
(3)
have a gamwf large enough to contain
the values being edited.

electropliotostatic
The
class of printing devices that use a laser to set a static charge

to control
on a point-by-point basis,
where toner particles
stick.
embedding
a profiie
Saving a profile in a document
file.
The
profile defines the source
profile used when converting the color values in the file to
any other
color space.
The embedded
profile effectively provides the
mean282.
ings of the color
numbers in the file. See the sidebar on page

light.
emissive
Having the property of emitting (giving off) a computer monitor are emissive.
A lightbulb and
542
encodins
(l)
In a color space, a specific set of numerical values that can
represent a specific color. For example, in a monitor's
RGB space,
each encoding
is
a specific triplet of eight-bit numerical values,

16.7 million
and approximately
(2)
encodings are available.

colors.
The act of assigning specific numerical values to
error diffusion
A form of FM screening.
The absorption of light energy at one wavelength and re-emission
at a different
fluorescence
wavelength.
all
FM
screening
In printing, a method of screening in which the dots are

size,
the same
but the effect of tones
is
created by varying the frequency of the
dots in a given area (hence "frequency modulation"). Contrast with
AM screening.
fovea
The area
at the center of the retina that
is
populated predomi-
nantly by cones. This is where color vision occurs and where visual
acuity (sharpness)
is
highest.
fovea! vision
The viewing condition where the image is focused on the fovea of

the viewer, and thus produces the best acuity and color vision.
gamma
(1)
The degree to which a device or color spaceis non-linearin tonal
behavior, represented as the exponent of a

(2)
power function.
between input voltage
In CRrdisplay systems, the relationship
and output luminance.

(3)
In color spaces, the
mapping of tonal values to perceived bright-
ness.
A gamma value of around 2.2 is generally considered percep-
tually uniform.
gamma
curve
A simple example of a tone reproduction curve typical of most devices. This

is
a simple non-linear curve.

colors
gamut
The range of
and density values reproducible on some
the range of colors limited by the primaries used and the dynamic rangethe range of brightnesslevels fi-om
into the color gamut
output device such as a printer or monitor. This is sometimes split
the darkest black to the brightest white of the device.
Glossary
543
gamut compression
The remapping of color and tone values from a

smaller one.
large
gamut to
gamut mapping
The remapping of color and tone values from one

another.
If
color space to
the destination color space has a smaller gamut, this

will require
remapping
gamut compression.
CCR
Gray Component Replacement. A method of black generation that replaces an amount of CMY with the equivalent amount of K.
Graphics Device Interface. Microsoft's name for the display engine
in
CM
geometry
gray-balanced
Windows.
See measurement geometry.
A color space in which any neutral pixel has equal R, G, and B values
is
said to be gray- balanced.
gray-balancing
(1)
Correcting
R,
RGB
values in an image so that neutral grays have

values;
balanced
(2)
G, and B
Adjusting the behavior of a device to achieve good reproduction
of neutrals.
liaiftone
In printing, the
effect of tones
is
most commonly used method

is filled
for screening.
The
created by dividing the image into equally spaced
halftone
cells,
each of which
with a dot of a
known
size
larger dots create darker tones; smaller dots create lighter tones.
high-bit
A general term
scanner
for anything higher

levels).
than the
minimum 8 bits
16-bit
file.
per
channel (256 tone
A high-bit file is a
A high-bit
may be a
10-, 12-, 14-,
or 16-bit scanner.
HLS
An
adaptation of the
RGB
color model, stands for hue, lightness,

is
saturation.
When lightness
at
maximum,
the color
is
white.
HSB
An adaptation of the RGB

brightness.
color model, stands for hue, saturation,
to
its
Common in many color-managed applications. Similar HLS except that when brightness is at maximum, the color is at
brightest.
HSV
An adaptation of the RGB

value,
color model, stands for hue, saturation,
and
is
synonymous with HSB.
544
hubris
Overbearing pride or presumption, arrogance. A condition that leads

those afflicted to attempt to write books on color management.
hue
The property of the light from a surface or we perceive its dominant wavelength.
light
source by which
ICC
International Color Consortium. A consortium of color-related com-
panies that have cooperated to standardize pro^/e formats and pro-
cedures so that programs and operating systems can work together.
ICM
Image Color Management. The implementation of the ICC specification in Microsoft Windows.
profile
illuminant
A light
source defined spectrally
in other words, by the relative

visible
amount of energy at each point in the

infrared
(//?)
spectrum.
The non-visible region of the electromagnetic spectrum just

visible spectrum.
below the low-energy, or red end, of the

input profile
profile for
Not
intensity
to
an input device such as a camera or be confused with a source profile.
digital
camera.
The sheer amount of light from a surface or light

regard to
the
light.
source, without
how the observer perceives it; the number of photons in

Compare
to brightness,
which
is
the perception of the
light's intensity.
interpolation
The computation of unknown values (usually measured or sampled) values.

See
infi-ared.
that
fall
between known
IR
ISO
The International Organization for Standardization. An organization that coordinates networks of standards bodies
around the
world. (ISO
"isos,"
is
not an acronym, but rather derived from the Greek
meaning "equal.")
ITS
One of a family of targets used for calibration and profiling of scanners and printers.
Icelvins
(K)
The unit physicists use to describe temperature, with the scale
starting at absolute zero

activity stops.
the temperature at which
all
atomic
Glossary
545
LAB
late-bindins
SeeCIELAB.
A workflow strategy that delays conversions to final output as long

as possible, perhaps even doing this conversion in the RIP.
LCD
Liquid Crystal Display.
The second most common type of comcrystals that
puter monitor, consisting of two layers of polarized plexiglass be-
tween which are liquid
change shape
in
response to
electrical currents. (See also CRT.)
lishtncss
Relative brightness. The brightness of a surface or light source relative to
some absolute white
reference.
linear
A simple relationship between stimulus and response, whereby (for

example) doubling the stimulus produces double the response.
The human sensory system

linearization
(1)
is
predominantly non-linear.
calibration
(2)
The
act of
making a device
linear (which
is
a specific form of
calibration).
liquid crystal display
See LCD.
losarithmic
A method of arranging numbers on a scale that compresses as the

numbers get larger. This is convenient when the same scale has to
represent both very small and very large numbers. (See the sidebar
on page 33.)
lookup table
{LUT)
table that allows input values to be looked
up and
re-
placed by corresponding output values. For example, an RGB-to-
XYZ lookup
look up an
.
table
would
let
you
(or a color
management system)
RGB triplet and find
the equivalent
AYZ triplet.
Ipi
Lines Per Inch. This always refers to the resolution, or screen

frequency, of a halftone. Not to be confused with dpi, which refers
to the resolution of the
microdots used by a digital printer, not the
resolution of halftone dots.
luminance
The amount of light energy given

luminance
off
by a
light source,
indepen-
dent of the response characteristics of the viewer. More precisely,

is
the luminous intensity per unit area of the light-
emitting surface. (For a
more
detailed description of luminance,

213.)
luminous flux, and illuminance, see sidebar on page
546
luminous intensity
The amount of light energy given off over time from a point light source. This is measured in candelas. (See also luminance, and
sidebar on page 213.)
LUT
(Pronounced
"luht.")
See lookup
table.
LUV
matrix
SeeCIELUV.
An
ordered set of numbers
listed as
a rectangular
grid.
A 3x3
(or
"3-by-3") matrix can be used to convert from one 3-channel color
space to another
for example,
it
can convert any triplet of numbers
RGB values of a color, to another triplet of numbers representing the C/EXYZ values for the color. All profiles use
representing the
either a 3x3 matrix, or a lookup table {LUT), to convert values.
measurement geometry
The physical geometry of a measurement device that defines the relative angles of the light source, measured surface, and detector.
These are important when dealing with such surface texture on the measurements.
effects as glare
and
memory color
A color such as
to get right
a skin tone, grass green, or sky blue
that has a
memory
special association for the viewer,
and is therefore more important
than other colors for which the viewer has no
reference.
metameric ink/dye
slight,
but
common
misuse of the term metamerism.
When
someone
says that a printer has "metameric inks,"
he generally
mean that the inks are vulnerable to wide shifts in apparent color
depending on
lighting conditions.
metamerism
The condition where two color samples, with different spectral properties, produce the same color sensation under certain viewing conditions,
conditions.
and a
different color sensation
under
different
metamers
Two
color samples that exhibit metamerism. In other words, they

all,
match under some, but not

monitor profile
Also
viewing conditions.
known as a display profile. A profile for a computer monitor.

color space represented
monitor
RGB
The
by the display profile.
Glossary
547
monochromatic
lishl
Light consisting of photons

length.
all
of the
laser.
same energy level or wave-
An example would be a
nanometer
non-linear
inm)
One billionth of a meter.

relationship
A complex
between stimulus and response, where (for example) increasing the stimulus produces less and less response. The human sensory system is predominantly non-linear.
null transform
When the source profileand destination profileare the same, CMMs

ensure no conversion occurs.
observer metamerism
The type of metamerism where two
color samples
match
to
one
observer, but not to another observer. Examples of this are scanner
metamerism and camera metamerism.
opponency
The theory of color

that
vision
(now well
verified
by experiments)
red-
we experience color in terms of various opponent pairs:
green, blue-red,
and light-dark. This has now been reconciled with
trichromacy with research that shows that one layer of the retina
has the three photoreceptors, and the next layer seems to sort this
information into the opponent pairs.
ordered dither
output profile
halftone.
A profile for an output device such as a printer or proofing device.

Not to be confused with a destination
profile.
PCS
Profile
Connection Space. The color space used as the intermedifor conversions
ate
form
from one
profile to another. In the
ICC
specification, the
PCS is either CIEXYZ or LAB.
perceptual intent
The rendering intent that tries to preserve the perceptual relationships in an image, even if this means remapping all colors both
in-gamut and out-of-gamut. This
but
is
usually, but not always, the
preferred rendering intent for images that contain
many out-of-
gamut
colors,
if all
colors are in-gamut for the target color
space, relative colorimetric may
be preferred.
perceptually uniform
The property of a
in
whereby distances between points the space correspond well to perceived distances between the
color space
colors they represent. Close colors are represented by close points;

different colors are represented
by distant points.
548
Real World Color Manascment, Second Edition
phosphor
A substance that absorbs

energy
(in
energy and gives off photons, usually of
a very specific wavelength.
The photons
is
are not the result of heat
other words, this
not blackbody radiation), but rather
of specific properties of the atoms in the substance. Prime examples

are the red, green,
and blue phosphors
in a Ci?r monitor.
photon
A fundamental packet of electromagnetic energy traveling through

space. In
some ways photons behave
like particles
and
in other
ways photons behave like waves.

photoreceptors
Light-sensitive nerve cells in the retina.
ceptors.)
(Sometimes called simply recones,
The two main types of photoreceptors are rods and
so called because of their shape. Rods are responsible for low-light

vision,
and cones for daytime vision. There are three types of cones,
to a different part of the visible spectrum.
each sensitive
pif mcnt
An
insoluble colorant. Pigment-based inks greater stability over
time, even
when exposed
to light (including UV)
and other
elements, than dye-based inks. Used in press inks, toners, and
outdoor printing. Contrast with

polarization
Filtering light in
dye.
such a way that only

is
light
waves of a particular
orientation pass. Polarization
a key part of how
LCD monitors
work.
ing
Many measurement instruments
also incorporate polariz-
filters to
reduce glare issues with glossy targets.
posterization
See banding.
Pixels Per Inch. This is usually used when referring to the resolution
ppi
of a digital image. Contrast with dpi.
primaries
Shorthand
for color primaries.
A set of colors that,
used together
in controlled
amounts, can reproduce all other additive primaries and subtractive primaries.
colors. See also
process color
The combination of three or more
primaries, in various amounts,
to simulate the reproduction of full color. In printing, often
used
cyan,
as a shorthand for four-color
process printing using

inks.
magenta, yellow,
and black (CMYK)
Glossary
549
profile
A file that contains enough information to let a CMS convert colors
space
ries
into or out of a specific color space. This

in
may be
a device's color
which we would
call
it
a device profile, with subcatego-
input profile, output profile, and display profile {for input, out-
put,
and display devices
respectively); or
an abstract color space
such as a uôrking space like Adobe

profile mismatch
RGB
(1998).
rhe condition that arises
when you open
file
that contains
an
embedded
profile OT
profile other
than the opening application's assumed
working space.
by measuring the current state of the
characterization.
in
profiling
The
act of creating a profile
device.
Sometimes
also
known as
Quartz
Apple's
Apple's
name for the display engine

name
for the display
Mac OS X. Mac OS
9 and
earlier.
QuklcDraw
engine in
See
also Quartz.
reflectance
{R)
The
ratio of light
shone onto a surface

is
to the light reflected reflection
back
to a detector. This
the
measurement used by a
densitometer to compute density.

reflective
Having the property of reflecting light off a surface. A sheet of paper and ink have reflective components. See also transmissiue.
See colorimetric intent.
rendering intent
The
management system how to handle the issue of converting color between color spaces when going from
setting that tells the color
a larger gamutto a smaller one. The /CCspecifies four rendering intents: perceptual, saturation,
and two types of colorimetric intents.
retina
The layer of nerve cells lining the back of the eye and receptive to
light.
RIP
Raster Image Processor.

or a separate
is
The RIP
is
either part of a digital printer
computer attached to the printer. The job of the RIP

page image from vector form (usually expressed form needed by the marking engine of
to convert the
in PostScript) to the raster
the printer.
Some color- management processing and conversions

RIP.
can also happen in the
550
Real World Color

rods
See photoreceptors.
saturation
The property of the
light
from a surface or
we
perceive the purity of the light
how much does the
light
source by which
light
contain photons of only a certain wavelength (highly saturated)

or a mixture of many wavelengths (less saturated).
saturation intent
The rendering
intent that tries to preserve the saturation prop-
erties of colors as
much
as possible, even at the expense of

is
hue
accuracy or perceptual relationships. This
usually, but not
always, the preferred rendering intent for information graphics
such as graphs or maps, where
it's
desirable to maintain satuis
rated vivid colors, or where the saturation of different regions
designed to convey information.
scanner metamerism
The type of metamerism where two color samples match
to a hu-
man observer, but not to a certain scanner, or vice versa man does not see a match, but the scanner does).
screen angle
In a halftone, the angle of the lines that
relative to horizontal.
(the hu-
form the halftone screen,
screen frequency
In a halftone, the
number
of halftone
cells,
or "lines" per inch or
centimeter.
screening
In printing, the
method used to simulate different tones and tints of
ink by breaking the ink into dots of controlled size and frequency.
simultaneous contrast
The
effect
where the perception of a color is affected by other col-
ors seen simultaneously in the

successive contrast.)
same
field of view.
(Compare
to
smart monitor
A monitor with a direct connection to the host computer

than just an analog connection via the video card) that
(rather
lets
the
computer
soft-proofing
control the monitor's analog controls directly
Using your monitor as a proofing device

of how a
displaying a simulation
how to convert colors
document will appear when printed.
source profile
In a color conversion, the profile that defines
from the first color space to the profile connection space [PCS). See
also destination profile.
Glossary
551
space
The
final frontier
(2) In
color and color management, shorthand for a color space.VJe
often refer to the
"RGB space"
of a monitor, or the
"CMYK space"
of a printer,
when referring to the specific definitions of the colors
reproducible on that device in terms of its primaries.

spectral ciata
A sampling of spectral power distribution,

of bands supported by the
limited to the
number
measurement device. Colorimetric and
density data can be derived from spectral data.

spectral
power
distribution
The amount of each wavelength contained

or reflected
light.
in a
sample of emitted
spectrophotometer
device for measuring the spectral properties of a surface

light in different regions
the
degree to which the surface reflects

the spectrum.
across
spectrum
The fiill range of possible energy levels {wauelengths) of photons. The

visible spectrum refers to the
range of energy levels (wavelengths)
visible to the eye.
spi
Samples Per Inch. This is usually used when referring to the resolution of a digital camera, scanner, or a scan. See also dpi.
spot color
A non-process
printed
color, usually
based on a named color system,

press.
on a separate
default"
plate
on a
sRGB
A "standard
Internet.
RGB
color space intended for images
on the
Standard lllumlnant
One
of the standardized
list
of illuminants defined by the CIE as
representative of typical light sources.

are the
The best known of these
A illuminant
(incandescent bulb), and the
D50 and D65
daylight illuminants.
Standard Observer
The
definition formalized by the CIE of the visual response of a
typical
human observer.
Stochastic screening
strip
A form of FM screening.
An instrument designed to read a row or several rows of color patches at a time.
reader
You feed the target,
in strips, into the instrument.
552
subtractlve primaries
Three pigments chosen that can reproduce other colors by the subtraction of wavelengths from white. One primary (cyan) subtracts
long wavelengths, another (magenta) subtracts the
lengths,
medium wave-
and the other
(yellow) subtracts the short wavelengths.
See also additive primaries.

successive contrast
The effect whereby the perception of a color is affected by other colors seen immediately before.
(Compare to simultaneous contrast.)

an
object.
tagging a document
The
act of associating a source profile with
You can
tag
an object either by assigning a
profile inside an application, or
embedding a
profile in the object as
you save
it
to a
file.
(See the
sidebar on page 282.)

target descriptor file
[TDF]
file,
used for scanner and
digital
camera
profiling,
that contains the

profiling target.
premeasured values for the color patches on a
TDF
tonal compression
See target descriptor file.
The remapping of tonal values from a wide dynamic range to a

narrower one. Often part of gamut compression.
tone reproduction curve
(TRC) The graphed curve that describes the tone reproduction

properties of a device.
The graph shows the
relationship
between
input values to the device and the resulting tone.

total ink limit
The
limit
on the maximum amount

If
of ink allowed at a time durall
ing four-color printing.
you allowed 100% of
four inks to
get printed at a time, this
would be a 400% coverage. As paper
cannot hold this

transmissive
much ink, the limit is usually set well below 400%.
Having the property of transmitting light through a surface. Backlit media and the RGB color filter layer of an LCD display are
transmissive. See also refiective.
transmittance
(T)
The
ratio of light
shone onto a surface

is
to the light transmitted
through
to a detector. This
the measurement used by a transmisdensity.
sion densitometer to
compute
Glossary
553
trichromacy
The theory of color vision (now well verified by neurophysiology)

that
we have three types of photoreceptors, each responsive to dif-
ferent regions of the visible spectrum.
tristimulus
Consisting of three stimuli. Used to describe
measurements and
target stimulus
experiments that ask a
test subject to
match a
by
adjusting the intensities of three pre-chosen stimuli.
UCR
Under Color Removal. A method of black generation black only in the neutral and gray areas.
(
that uses
ultraviolet
UV) The non-visible region of the electromagnetic spectrum just above the high-energy, or violet, end of the visible spectrum.
See
ultraviolet.
UY
UV brightenen
Additives used in papers, inks, and even detergents, to
make
whites look brighter by absorbing non-visible ultravioletlight and

re-emitting visible
light.
videoLUT
The lookup table {LUT) located in the memory of a video card. The videoLUT is accessible by software on the computer, which can use
it
to convert
all
RGB
values as they are sent to the monitor. This
provides an easy way for software to control the overall and a;/2ire pom f characteristics of the video system.
visual calibrator
gamma
make
Software used for monitor calibration that requires you to

visual judgments based
on targets displayed on the screen, rather
than exact measurements using a device.

visible
spectrum
That part of the spectrum containing the range of wavelengths visible to the eye, approximately 380-720 nanometers.
In a periodic wave, such as a light wave propagating through space,
wavelength
the distance from one

are
wave
crest to the next. Light
wavelengths
measured
in
nanometers
is
(billionths of a meter).
its
The wave-
length of a photon
related to
energy the higher the energy,
the shorter the wavelength.
white luminance
The luminance of the white point of a monitor.
554
white point
(l)
The color
(often described in terms of color temperature)
and
intensity (often
measured
as either
luminance or
density) of the
is
brightest white reproducible by a device. For a printer, this
the
color
and brightness of the paper. For a monitor

and can be modified.
this
is
the col-
or temperature and luminance of the monitor

white,
(2)
when
displaying
The color
(usually described in terms of color temperature) of
a light source.
white point adaptation
The
ability of the
eye to adapt to a change in white point. This
is
related to the perceptual task of color constancy.
woricing space
The
color space chosen as the default space for
documents of a
mode. For example, in Adobe Photoshop an RGB working space is used as the default color space for new RGB documents, and a CMYK working space is used as the default for new CMYK
certain
documents. In most cases the best choice of working space editing space, but any bidirectional space can be used.
is
an
xy chromaticity chart
See CIExy diagram.
XY
plotter
A rig used with a measurement instrument for measuring a page

full
of color patches.
The instrument is mounted in the XY plotter,

strip reader.
which can move the instrument precisely in horizontal or vertical

position
on the page. See also
XYZ
See CIEXYZ.
Index
A-E
(delta-E) values, 43, 186. 267,
S33
Proof Setup feature, 445

third-party tools. 428. 453-455
3-channel encoding. 62
3-color dye-sub printers. 192-193
Acrobat Acrobat Acrobat

Acrobat
3, 4. 5,
6,
424, 430 424, 430 424, 438-440 424, 428, 444-448
4-channel encoding. 62. 63

8-bit color. 61.
98
8-bil encoding, 61
16-bit color. 98 16-bit encoding. 62
Actions, Photoshop, 476, 477
additive primaries. 19-20. 21. 52, 533
24-bit color. 61
Adobe
Acrobat. See Acrobat
256 levels, encoding color for, 61-63
black point compensation feature, 355-356
Camera Raw. See Camera Raw

absolute colorimetric rendering, 89, 91, 291
Abstract profiles, 520 color engine. See ACE
color- managed applications, 341. See also specific
ACE, 310,325.355
achromatic components. 32-34. 533
Acrobat. See also specific versions
applications
consistency of user interface, 341, 379

Distiller.
See Distiller
Color
Management
preferences, 438-439, 444
Illustrator.
See Illustrator
and PDF versions, 424-425
InDesign. SeelnDesign
and PDF workflows, 423

Preflight tool,
PageMaker, 290
Photoshop. See Photoshop
PressReady, 473
445-447
printing
in,
439-440
555
556

477-480
SWOP. See SWOP
scripts for,
Adobe Color Engine,

Adobe RGB
310, 325. See also ACE
in
untagged documents, 285-286
space, 278
assumed-profile workflows, 283-284
afterimages, 22-23
assumed profiles, 534

assuming profiles, 282, 285, 295
AtoB
tables, 102,
AI
files,
453
algorithms, screening, 57
264-265
AM screening, 56, 57, 533

ambient
light,
AtoBTag, 517, 518-519
212-215
56, 57,
autoexposure features, scanner, 116, 117, 153

533
automation, 457-482
Amplitude Modulation screening,

analog controls, monitor, 138-143
anisotropy, 191, 192, 533
vdth color servers, 458-464

with DeviceLink profiles, 464-467
Apago, 455
aperture, 534
with in-RIP color management,
473^74
with prepress solutions, 468-473

spectrophotometer, 165-166
aperture
APIs, 307
size,
purpose
of,
457-458
with scripting, 474-481

trade-offs inherent in, 482
Apple ColorSync. See ColorSync Apple Computer, 85 Apple Preview, 323

AppleScript, 467, 475, 476, 477, 479-481
automation products, 458
B
backing, measuring targets
backlight, 127, 138
AppleScript Studio, 478

Application Programming Interfaces, 307
applications
on black, 168
backwards transform, 102

banding, 60, 534
color-managed, 30&-307, 324-326
CorelDRAW, 393-404
FreeHand, 381-392
Illustrator,
Barco Calibrator V, 130
BasICColor Display, 130 BasICColor Print3c, 174, 190, 191 batch processors, 458
Bayer-pattern color
filter array,
341-375
InDesign, 341-375
Photoshop, 341-375
QuarkXPress, 405-421
375-376
BestColor proofing
RIP, 171
non-color-managed, 306-307, 326
binding
early,
late,
overcoming limitations
of,
457-458
275-276, 277, 280, 50 1
Applied Science Fiction, 153

artifacts, 60,
275, 276-277, 280, 501
534
sources, 15. See a/50 light sources
premature, 281
biology, color events and, 6
artificial light artificial
trichromats, 21
Bitmap Export dialog box, CorelDRAW, 401

bits,
Artisan Color Reference System, Sony, 130
61
assigning profiles
in Adobe applications, 356-358
in
black
in
CMYK model, 53
of,
color-managed applications, 93-94
density
65
against, 168
defined, 282, 534

in in
measuring targets
objects,
documents with multiple

FreeHand, 381, 387
289
black generation, 197, 205-207, 534

black
level,
140-141,534
Index
black
lights. 15
557
defined. 114, 121.535
black point
and dynamic
applications, 355-356
range, 138
and Adobe
and gamma
goals
of.
settings, 133, 135,
220-222
defined. 534 as device variable. 63
121-122
and monitor analog controls, 138-143

and monitor geometry
settings. 137
measuring. 65-66
and monitor calibration. 218-220

testing.
and monitor refresh
rate,
137
218-220
and monitor resolution, 137
black point compensation, 35S-356, 534

black-point
test.
and mouse point movements, 144

preparing
for,
218-220
136-143
black preservation, 472, 498

black scaling. 472 black start settings. 195. 196. 198. 199. 200
printer, 194-195
recommended frequency of, 136

role of measurement in,
1
19-122
blackbody
radiators. 10. 13.
534
and screensavers,
tools available
for,
136, 144
blind spot, in
human eye,
15,
17
128-132
for,
bluing agents,
brighteners
167
using densitometers
visual, 129, 145,
vs. profiling, 84,
38-39
553
115,129
settings,
fluorescent, 15, 167
UV, 8-9. 553

brightness
as achromatic attribute, 32-34
and white luminance and white
138-139
point, 65-66, 133, 134-135
Calibrator V.Barco. 130

calibrators, visual, 129, 145,
defined, 32, 535
553
detecting variations
in,
32
Callas,
455
157, 161, 244,
of LCD displays, 138
camera metamerism, 29-30,

to,
535
non-linear response
representations
vs. lightness,
of,
31-32
Camera Raw, 375-379

buih-in profiles, 161, 376-377
calibrating,
36-37
34
249-255
browsers, Web, 302. 306
and
file
color,
376-379
BtoA
tables. 102.
266
formats, 375-376
BtoATag, 518-519
bytes, 61
input, 376-377
output, 377-379
and Photoshop, 375

purpose
Calibrate controls,
calibration,
of,
375
Camera Raw, 249-255
recommended book on, 379
126-146
RGB spaces supported by, 250

White Balance controls, 377
workflow controls, 379
cameras. See also digital cameras
as artificial trichromats, 21
adjustments made during, 126-128
and black level
settings,
140-141
and black point, 218-220

choosing senings
for,
133-135
and color constancy, 48

142-143
color
filter array,
settings,
157-158, 375-376
common problems with, 217
candelas, 213, 535
558

CIE XYZ Primary System, 41
CIELUV,
69, 72
candles, 13,213
cathode-ray tube monitors. See CRT monitors
CCD arrays, 8
CCDs, 535
classes, profile, 100-102, 513, 515,
520-521
click-balancing, 536
CFA cameras,
157-158, 375-376
CMM Type signature, 513

CMMs, 86-88
choosing
specific, 88,
Champollion, Jean Francois, 79

channels, color, 59, 62, 63
characterization, 114
96
competition among, 87
defined, 536
charge-coupled device arrays, 8 chaiê-coupled devices, 535

chemistry, color events and, 6
ICC-compliant, 86, 88
meaning of acronym,
purpose
of, 83, 86,
83,
86
chroma, 535
chromatic components, 34-37, 535
chromaticAdaptationTag, 516
87
specifying preferred, 513
storage location
for,
311, 316
Chromix, 78. SeeakoColorThink/ColorThinkPro

CIE, 11,69,535
using multiple, 86
and white point adaptation, 87

CMSs, 79-98
assigning/embedding profiles vdth, 93-94
CIE colorimetric system, 41-43, 45-46, 71 CIE LAB, 70-72. See also LAB model
and color- management workflows, 279

defined, 535
components
of,
83-92
to,
conveying color meaning

of,
280
importance
official
70
72
critical tasks
performed
by,
80
name for,
defined, 536
limitations
of,
and opponency/trichromacy, 25
99
25, 79
and PCS,
84,
513
color,
by,
meaning of acronym,
84
and perceived
and one-way
vs.
two-way profiles, 100-101
primaries used
70
and opponency, 25
performing conversions vwth, 94-97
role of PCS in, 82
purpose
of,
42
CIEL*a*b*(1976),72
CIE LCh,
69, 72,
536
and trichromacy, 25
CIE LUV, 536 CIE L*u*v'

(1976), 72
CIE models. See also specific models

caveats regarding, 45-49
official
CMYK dye-sub printers, 199-200 CMYK halftones, 55. See also halftones CMYK Inkjet printers, 196-198 CMYK model
analog origins
of, 52,
names for, 72
25
53
of,
opponency/trichromacy in,
CIE Standard lUuminants,
1
device-specific nature
digital evolution of,
67
1-12, 41
57-59
CIE uniform color spaces, 42 CIE xy diagram, 536 CIE xyY diagram, 4 1 CIE xyY model,
69. 72
meaning of "K"
in,
53
CMYK numbers
attaching color
meaning to,
80, 84,
93-94
changing, for specific devices, 80

converting, with profiles, 94-97
CIEXYZ,536
CIE XYZ
(1931), 69, 72, 79, 84
CMYK printers, 57, 62, 64,
193-200
Index
559
CMYK printing, 53 CMYK separations. 53, 179. CMYK simulations. 500
and ICM,
199
324. 326
profiles.
and source
326
from specific companies

Adobe. 341
Corel. 393
CMYK-to-CMYK conversions
and black preservation, 472, 498
in
CorelDRAW, 393
profiles.
Macromedia, 381
494
Quark, 405
and embedded
in
FreeHand. 385 454
color-managed workflows. See color- management

workflows
color
in PitStop Pro.
in
QuarkXPress. 410. 413. 421
management
306-307, 324-326
CMYK-to-RGB conversions
in in
in applications,
CorelDRAW. 397
FreeHand. 385
454
RIPs. 185
Acrobat, 438
CorelDRAW, 393-404
Distiller.
in PitStop Pro.
441
and PostScript
in
FreeHand, 381-392
Illustrator,
QuarkXPress. 410. 413
341-375
color-banding, 256
color bars, 537 color blindness, 22
InDesign, 341-375
Photoshop, 341-375
Color Checker, ProPhoto RGB. 250-251

color constancy. 46-48. 537 color copiers. 194. 195 color definitions. 63
color-difference calculations. 43
automating, 457-458, 493-494. See also automation
and color constancy, 47-48 and color gamut, 72-73, and colorimetry, 43-44
determining needs
disabling, 292
for,
74,
88
490-494
color events. 5-37

defined. 5
illustrated. 5
and dynamic range, 72-73 and fluorescence,

genesis
in-RIP.
of,
15
and metamerism. 27. 29-30

participants
in.
81-82
473-474
role oflight in, 6-12 role of object in. 12-15 role of observer in, 16-37
key concepts regarding, 3^, 50, 507-508
and LAB model, 71,79

in operating system, 305-307. See also OS-level color
color color
filter
array cameras, 157-158. 375-376
management
and PDF workflows, 423-424
filters.
152
color gamut. 64. 72-78, 100 color laser printers, 119. 194-196
color- managed applications. See also specific applications
and PostScript, 425-427

in printer drivers,
327-337
and
profile accuracy, 110, 113
benefits
of,
306-307
325, 326
profile-based, 85
in
and ColorSync,
differences
scanner drivers, 337-338
among, 325
and screening algorithms, 57

simplicity of, 98, 507
distinguishing from non-color-managed. 326
and ICC
profiles,
324
and spectrophotometry, 45
560
stages

484-490
color models. See also specific color models
of,
systems. See CMSs
caveats regarding, 45-49

defined, 537
terminology, 282, 533-554
ultimate goal
of,
46
device-independent, 69-72
device-specific, 67-69
official
workflows. See color- management workflows
and WYSIWYG myth, 83

Color Color
names for, 72
Management Modules. See CMMs Management

431-433
Policies settings,
color monitors, 54. See a/so monitors color names, 48-49

color- negative scans, 147, 153
Adobe, 344-346,
color-management systems. See CMSs

color- management workflows, 271-304
Color Reference System, Sony Artisan, 130

Color Rendering Dictionaries. See CRDs
basic steps
in,
484-490
Color Rendering Index, 539

color reproduction, 99 color samples, relationship between, 26
bringing color into, 296-297

as
component of overall workflow, 296

meaning
in,
conveying color
defined, 272
280-285
Color Savvy ColorMouseToo!, 169

color servers, 458-464
determining needs
for,
490-494
common features of, 458-459

examples
of,
and display conversions, 274

earlyvs.
461-463
of,
late-binding, 275-277, 280, 501
pros and cons
459-461
and hard proofing, 489 and non-color-managed environments, 296-303

between programs, 272, 295
vdthin programs, 272, 285-295
questions to ask about, 463-464
Color Settings dialog box

Illustrator,
342-356
InDesign, 342-356
questions to ask about, 502
Photoshop, 342-356
Color Solutions, 130
color space
and
soft-proofing, 288-295, 489

in,
timing of conversions
tools for, 494-501
273-274, 275-280, 488
converting, 94-97
defined, 20-21, 537
variables that differentiate, 273-274
Color Manipulation Model, 86

color matching
gray-balanced, 543
and trichromacy, 20-21

uniform, 42
vs.
and color gamut, 72-73

device limitations, 72-73, 88
color gamut, 78
and dynamic range, 72-73 and

lighting,
Color Space Arrays. SeeCSAs

color space profiles, 109 color space signatures, 513 color temperature
212
and metamerism, 28
Color Matching Method, 86
color
meaning
and CIE Standard Illuminants,
1-12
assigning to
CMYK/ RGB numbers, 80, 84, 93-94

defined, 13, 538
and color-management workflows, 273-274, 280

conveying, 280-285
defining, 484, 485-^86. 503-504
graph, 12
setting, for
CRT monitors,
142-143
color-mixing function, 73, 537
color vision
Index
achromatic chromatic components
561
vs.
of,
32-37
defined, 40, 538
and brightness. 32-34. 36-37 and color constancy, 46 and hue, 34-35, 36-37
loss of,
purpose
of,
40
ColorLab, Logo. 225, 228-232, 261
ColorMouseToo!. Color Savvy. 169

color(s)
22
and metamerism. 25-30 and

non-linearity. 31-32
additive
vs.
subtractive, 19-20, 52
calculating differences between, 43
and opponency. 22-25 and

saturation, 35-37
capturing with scanner/ digital camera, 54-55
comparing. 186
simulating. 21
complementary. 21
eye. 16-18
and structure of human

theories
of,
complexity
of.
78
18.23-24
defining. 4-6. 484. 485-486. 503-504
and trichromacy. 16-21

colorants
displaying
on monitors, 54
encoding. 59-62
files.
and CMYK/ RGB
53.
57
how light
affects,
5-6
defined. 53. 57. 536. 538
matching. See color matching
and device
profiles.
100
measuring, 37-45, 51
measuring. 63. 64
tone-reproduction characteristics
of.
memory,
100
49,
546
metameric. 25. See also metamerism

mixing, 73, 537
ColorChecker. GretagMacbeth. 151-152, 223-224

colorimeters
normalizing, 484, 486-488, 504-505

trichromats. 21
and
artificial
out-of-gamut, 74, 83, 88-92

plotting relationships between, 20-21
defined. 538
limitations of. 43
primary. See primary colors

process, 548
and metamerism, 43
purpose
vs.
of,
38
as property of light, 5
as property of objects, 4
spectrophotometers, 131, 165
colorimetric intent, 538 colorimetric rendering
psychological attributes
of,
48-49
representing on computers, 51
89. 91, 92,
absolute
vs. relative.
291
reproducing, 99
spot,
and color constancy, 47-48

objective tests
for,
486
profiles,
210
colors, 89, 91
ColorSpace Conversion
ColorSync, 307-322
520
and out-of-gamut
and
vs.
soft-proofing, 291
control panel, 308-309
other types, 50, 92
and CorelDRAW, 396

defined, 538
colorimetric system, CIE, 41-43, 45-46

colorimetric values, 38
colorimetry, 40-44
and FreeHand,
history
of,
382, 384, 388
85
as basis for quantification of colors, 50
and Mac OS 9, 308-311

and Mac OS X Panther, 31 1-322
preferences, 316
Profiles folder, 145,311
and CIE colorimetric system, 41^3 and color management, 43-44
and colorimetric
vs.
perceptual renderings, 50
562

of, 85,
purpose
306
and rendering intents, 519

RGB-to-CMYK. SeeRGB-to-CMYK conversions
role of destination profiles in, 85, 94-95, 96, 108
ColorSync Consortium, 85
ColorSync Extension, 308
ColorSync
Utility,
314, 316-322
78, 186, 236-237, 257,
source-to-PCS, 519
ColorThink/ColorThink Pro,
Colortron, 169
261-262
timing
of,
273-274, 275-280, 488

for,
using profiles
94-97
ColorVision, 131, 138, 139, 141, 143
Convert to Profile
11, 69.
command
Commission Internationale de i'Eclairage,

CIE
See also
InDesign, 358, 359
Photoshop, 358-359
copyrightTag, 516
Common Unix Printing System, 325

Compass Pro XT, 419-421
complementary
composite
colors, 2 1 538
,
CorelDRAW, 393-404
Apply ICC
Color
Profile dialog box, 401
CMYK printers,
for,
193-200, 374, 385, 393, 416
Management preferences, 394-399

397
composite printers
building profiles
and ColorSync, 396

193-200
Composite Printer
settings,
and CorelDRAW, and FreeHand,
397, 399, 402-404
exporting from, 401-402
386, 390 409, 412, 414, 416
Import/Export settings, 397-398

importing
Internal
files into,
and QuarkXPress,
399-400
compression, tonal, 552
RGB settings, 395-396

396-397
computer monitors. See monitors

Computer-To-Plate workflows, 205
computers, representing color on, 51
cones, in
manual controls, 400-401

Monitor
printing
profile
settings,
in,
402-404
402, 404
human eye,
17-18
embedding in,
continuous-tone color, 59-60

continuous-tone devices, 56, 57, 539
contone, 539
contrast
defined, 539
Scanner/ Digital Camera settings, 398

Separations printer settings, 393, 396-397, 398-399, 402
similarities to
FreeHand, 393
of,
strengths/weaknesses
cornea, 16, 17
393, 404
simultaneous, 22, 46, 550

successive, 23, 46, 552
correlated color temperature, 13

crayola-jet printers, 198
Conversion Options settings

Illustrator,
crayon-spitters, 198
354-356
CRDs, 425-426, 474, 539

Creo Prinergy, 468, 471-472
CRI, 539
cross-rendering, 293, 294
InDesign, 354-356
Photoshop, 354-356
conversions
CMYK-to-CMYK. SeeCMYK-to-CMYK conversions

CMYK-to-RGB. SeeCMYK-to-RGB conversions
CRT monitors.
See also monitors
and ambient light, 212 and black level settings, 140

calibrating, 132, 133, 136. See
and data loss, 97-98

earlyvs.
late-binding, 501
ako calibration
input-to-output, 81-82
cleaning, 137
PCS-to-destination, 519
profile,
and color temperature settings, 142-143

controlling variability
in, 1
288
19
Index
controls
563
for.
127-128
supplying
vs.
CMS with. 95
profiles, 100,
defined. 539
output
108
and gamma
settings. 133
device attributes, 514
increasing apparent contrast of. 214

as light sources,
1 1
device-dependent color models, 540

device
drift,
114-119, 122
warm-up period
and white point
for.
136
settings. 138
device-independent color models, 69-72, 278-279, 540

device profiles. See profiles device signatures. 514
device-specific color models, 67-69
and white luminance
settings, 133
CSAs. 425-426. 474, 539
CTP workflows, 205

CUPS. 325
curing time. Inkjet, 188-190. 539
curves, spectral, 9. 10
device-to-device transformations, 82
device-to-PCS transformations, 102
DeviceLink
profiles,
464-467
applications, 467
and color-managed
and ICC
cyan. 53. See also
CMYK model
specification, 464, 520
Cymbolics
Lightlet. 191
making, 466-467
and prepress solutions, 473
D D values. 40
D50 light
D65
boxes, 214
purpose
of,
464
reasons for using, 465-466
support
for,
467
of,
D50 specification. 539

specification, 539
unidirectional nature
vs.
465
device profiles, 464-465
Dalim. 455
data averaging, 178 data
loss,
devices
calibrating, 114, 115, 119, 121-122, 126-146. See also
conversions and, 97-98
calibration
daylight
evaluating, 120
measuring. 215
simulating.
1 1
monitoring, 122
optimizing, 121, 154
of,
wavelength composition
10-1
profiling. See profiling
DDC2-compliant monitors, 130

delta-E values. 43, 186, 267, 533
simulating, 122
sources of variability
diffusers, perfect,
in,
115-119
densitometers, 38-40, 540

densitometry, 38-40
density
39
diffusion dither,
digital
CMYK, 55
input profiles
camera
profiles. See also
of black, 65
defined, 38. 540 as logarithmic function, 39-40
building, 157-161
Camera Raw's built-in,
161,
376-377
244
difficulties associated with, 147-148,
measuring, 38, 39
of pixels, 56
of primaries, 64
destination profiles
defined, 108, 540
role of, in conversions, 85, 94-95, 96, 108
editing,
digital
digital
246-249
camera targets, 151-152, 158-159

cameras
capturing color vth, 54-55, 157
and color filters, 152
564
Real World Color

dot gain
and color gamut, 73 and color mixing, 73

controlling responses
of,
compensating for, 205, 467

157-158
157
curves, 66
and dynamic range,

gray-balancing
in,
73, 74,
defined, 541
157
8,
dots per inch, 56, 541

dpi, 56, 541
and light sources,
152, 157
and metamerism, 157

profiling. See digital camera profiles
driver-level color
management, 327-338
drivers
variables affecting performance
of, 63,
152
CUPS, 325
PostScript,
white-balancing
Digital ICE, 153
digital presses, 194 digital
in,
157-158
313,334-337
329-337 329-333
printer, 320,
raster, 313, 327,
proofers, 202
scanner, 337-338
Digital Digital
ROC, 153
Swatchbook, 169
DTP-41
strip reader, 171
Durst Lambda, 191

dye, 541
directional
metamerism, 193
display calibration, 126-128, 144. See also calibration display conversions, 274
display engines, 317
dye-sub printers, 192-193
dye sublimation, 57
dynamic range
display profiles
defined, 540
evaluating, 222-224
and black point, 65

defined, 541
and densitometers, 40
device limitations on, 72-73, 74
and ICC
specification, 518
of,
importance
matrixvs.
125-126, 146
and device
profiles,
100
table-based, 103, 125-146
measuring, 40
purpose
of,
100
and monitor calibration, 138

vs. bit
role of calibration in, 126-128, 144
depth, 63
saving, 144-146
tools for creating, 128-132
two-way nature
vs.
of,
101-102
early- binding
workflows
vs.
other types, 126
and CMYK
RGB workflows,
277
displays. See monitors

Distiller, 424,
defined, 541
427, 430-437, 441-443
and output conversions, 501

pros and cons
vs. vs.
of,
dither,
CMYK diffusion, 55
275-276
dithering, 56, 57, 540
intermediate-space workflows, 280

late-binding workflows, 275
target, 175, 176,
documents
assigning profiles
color
in,
285-286, 289
ECI 2002
203
management between, 287-288
editing profiles
alternatives to, 210, 266-268
for input devices, for
moving objects between, 287

opening tagged, 286-287 opening untagged, 285-286
tagging, 282, 552
242-249
output devices, 182, 264-266
editing space, 541
Index
EFIColor profiles, 406
Einstein. Albert, 6
electric discharge lamps,
1 1
565
Export
PDF dialog box,
InDesign, 451
Export settings, CorelDRAW, 397-398

exporting
electromagnetic sf)ectrum, 8
Electron/ BlueEye, 130, 138
electron guns, 127
Electronics for Imaging, 171
from CorelDRAW, 401-402
from FreeHand, 388-390, 392

from InDesign, 448-453
PDFs, 448-453
eye
color sensors
in,
electrophotostatic devices, 194, 541
Embedded
Profile
Mismatch warnings, 350-352
16
by. 16
embedded-profile workflows, 280-283, 284
how light
is
focused
embedding profiles
in color- management targets. 155
illustrated, 17
non-linearity of responses
in,
31-32, 41
and
color- management workflows,
93-94
part of spectrum visible
to,
7-8
and conveying color meaning, 280-285

defined. 541
EyeOne
Display, 131
139. 141, 143
EyeOne Match,
device considerations, 491

fear of, 301
EyeOne
Pro. 169
EyeOne targets, 191-192
file-format considerations, 491
and workflow between programs, 295

emissive, 541
fabrics, brightening, 15
encodable colors, 62, 63

encoding, 542
Fiery RIPs, Electronics for Imaging, 171

filters
encoding colors, 59-62

Enfocus PitStop Pro, 453-454
engine
color, 152
digital
camera, 152
infrared, 8
CMM as, 83, 86

color, 310, 325. See also ACE
polarizing, 168
Quartz, 320-322
display/ print, 317
spectrophotometer, 167
ultraviolet, 16, 167
flags, profile,
EPS Export dialog box, CorelDRAW, 401 EPS files. 389-390. 453
Epson
printers. 188,
514
329-333
fluorescence, 8-9, 15, 50, 542
error diffusion, 55, 57, 542
fluorescent brighteners, 15, 167
European Color
Initiative, 175, 176,
203
fluorescent inks, 15 fluorescent lamps, 11, 12
evaluating profiles
checking monitor/ display, 217-224
FM screening, 57, 542

Focoltone, 419, 460, 469, 486, 498-499
footcandles, 213
fovea, 17, 542
importance of monitor/ display, 216-217

for input devices,
225-241
for output devices,
255-264
purpose
of,
209-210
foveal vision, 542

foveola, 17
viewing environment for, 210-216

events, color. See color events
FreeHand, 381-392
assigning profiles to imported images
in,
Excel spreadsheets, 173-174, 178, 225
387-388
566
Color
Management Setup
dialog box, 385
glossy
media
settings, 118
color preferences, 382-387
Granger, Dr. Ed, 238
and ColorSync,
exporting
files
382, 384, 388
Granger Rainbow, 238-239, 241, 256

graphic arts applications, 306
graphics, color- managing, 360-364
in Illustrator,
from, 388-390, 392
manual controls, 387-388

Missing Image Sources warning, 387
Object palette,
362-364
387-388
in InDesign, 360-362 in Photoshop, 360
Preferences dialog box, 382, 383

printing from, 390-392
Graphics Device Interface, 543

gray-balanced color space, 543
gray-balancing, 157, 543
quirkiness of color
management in, 381

384-385, 389, 390-391
Separations printer settings,

Fuji
Gray Component Replacement. SeeGCR
color-negative scanning targets, 147

Pictrography, 191
Velvia, 150
GretagMacbeth
ColorChecker, 151-152, 223-224
EyeOne
Display, 138
139, 141, 143
EyeOne Match,
EyeOne
gain controls, CRT, 142-143
Pro, 169
targets,
EyeOne
ICColor
191-192
gamma
curves, 66, 542
strip reader, 171
iQueue, 461-463
defined, 542
MeasureTool, 169, 178, 186, 189, 261
monitor
rays, 7
settings, 133, 135,
220-222
ProfileMaker, 167
ProfileMaker Pro, 156, 159-160, 169, 175

settings, 154
scanner
Spectrolino, 169
gamut, 72-78
clipping, 89
Spectroscan, 170
target reference
files,
174
and colorants/primaries, 64
compression, 88, 543
defined, 88, 542
H
halftones, 55, 56-57, 543
and device limitations, 72-3 and device

profiles, 100
handheld spectrophotometers, 168-169, 171

hard-copy references, 300
hard proofing
mapping, 74-78, 543

plots,
75-77
88, 91
and color-management workflows, 489, 500-501
and rendering intents,

gamutTag, 519
and prepress solutions, 469

in QuarkXPress, 409, 418, 419
GATF/RHEM Ught Checker, 215

OCR,
197, 204,
HCTtarget, 106, 150

headers, ICC profile, 512-515
heat, 13
543
GDI, 317, 543
GEM technology,
153
Heidelberg PrintOpen, 179-181

Helios ImageServer, 470-471
geometry, measurement, 165-166, 546
geometry settings, monitor, 137

glossary,
Hering, Ewald, 23
533-554
Hering theory, 23
Index
hieroglyphics, 79
high-bit devices, 63. 154-155, 543
567
technical information about, 51 1-521

verifying integrity of, 318
HLS color model. 543

hockey pucks. 132
viewing currently installed. 318
ICC
specification, 51 1-521
profiles,
HSB color model, 543
and Abstract
520
profiles,
HSV color model. 543

hubris, 544
and ColorSpace Conversion and DeviceLink

profiles,
520
520
hue
as chromatic
and display profiles, 518
component of color vision. 34
and input
profiles,
517
and color names. 48-49. 50

defined. 34-35. 544
ISO version, 511
and Named Color

36-37
profiles,
521
representations
hueshifts. 49, 50. 71
of,
and output
profiles,
518-519
profile structure,
512-515
human eye.
See eye
purpose
of,
511
Hunt effect, 212

Hutcheson, Don. 106. 150, 154, 238
required tags, 516
ICColor strip reader, 171
Huygens, Christian, 6
hybrid profiles,
ICM. 306, 307-308, 322-324, 544

illuminance, 213
517
hybrid scripting, 480 hybrid workflows, 284-285
illuminants
and CIE colorimetric system, 41

CIE standards
defined,
1 1
,
for,
11-12
544
ICC
discounting. 46
86, 88
and CMMs,
most important,
for graphic arts, 41
and CMSs, 83
defined. 544
Illumination, International
Commission
on, 11, 69. See also
CIE
Illustrator
goals
of,
85
meaning of acronym, 85
profiles. See ICC profiles
Assign Profiles
command, 357-358
Policies settings,
Color
Management
344-346 362-364
Web site. 511

ICCAutoflow,461.462
ICC-based color management systems. 83
color-managing imported graphics

Color Settings dialog box, 342-356
in,
Conversion Options
settings,
354-356
363
ICC ICC
Profile
Format Specification, 85
See also profiles
converting placed graphics

cross-rendering
in,
in,
profiles.
293
and black point compensation, 355 and color-managed applications. 324 and CorelDRAW. 401
headers
for,
Document Info Palette bug, 358

integration with other Adobe applications, 341
Missing Profile warning, 346, 349
512-515
performing color-mode conversions

placed graphics
in,
in,
359
illustrated,
512
362-364
and PDFs, 426 and QuarkXPress, 407

structure
of.
printing controls, 370-373

Profile
Mismatch warnings, 352-354
512-515
Proof Setup feature, 365-366
568

290, 365-366
simulations
in,
curing time required
for,
188-190
Image Color Management. See ICM

images. See also graphics
assigning profiles to imported, 387-388
media settings
profiling
for,
185-187
CMYK inkjets,
RGB inkjets,
resolution settings
196-198
demosaicing, 376
saving, in
184-191
for,
LAB model, 70
188
unprofiled legacy, 485

imagesetters, 58, 205
input devices. See also digital cameras; scanners
and color gamut, 73

dynamic range
of, 73,
Import dialog box,

Import
settings,
CorelDRAW, 399
74
CorelDRAW, 397-398
profiling. See input profiles
in-RIP color management, 473-474
sources of variability in, 63

of,
InDesign
Assign Profile
152
command, 357-358
settings,
input profiles, 147-161
Color
Management Policies
344-346
360-362
building
for digital cameras, 157-161 for scanners,
color-managing imported graphics

in,
153-156
Conversion Options
settings,
354-356
defined, 544
Convert to Profile command, 358, 359

cross-rendering
in,
and device variables, 152

difficulties
293-294
451
encountered with, 147-148
Export
PDF dialog box,
editing.
242-249
exporting
PDFs from, 448-453
evaluating, 225-241
command,
362
hybrid, 517
Image Import Options dialog box, 361

integration vdth other Adobe applications, 341
and ICC
matrix-
specification, 517
vs.
table-based, 103, 517
Missing
Profile warning, 346,
348-349
naming, 156
PDF Export Presets dialog box, 450

placing graphics
in,
one-way nature
purpose
of, 100,
of,
100-101
360-362
161
printing controls, 370-375

Profile
and RGB
values, 148, 155
Mismatch warnings, 350-351, 352-354
saving, 156
targets for, 148-152
vs.
Proof Setup feature, 366-367

simulations
in,
290, 366-367
source profiles, 100
soft-proofing
infrared
filters,
in,
369-370
input-to-output conversions, 81-82

Integrated Color Solutions, 130, 174. 190. 191
infrared light,
ink,
7, 8,
544
intensity,
31,544
metameric, 26, 546

International Color Consortium. See ICC
International
ink limits
defined, 552
for printers, 195-196. 198, 199. for printing presses,
Inkjet printers
Commission on
Illumination, 11, 69. See also
200
CIE
International Standards Organization, 212. SeealsolSO
Internet
204-205
color settings
controlling
for,
188
1
color workflow, 303
variability in, 1
managing color on, 302-303
Index
and monitor calibration, 303
Internet Explorer, 302
interpolation. 87, 107. 376. 379. 544
569
saving images
in.
70
as universal translation language, 70, 79
LaCie Electron /BlueEye, 130. 138
iQueue, 461-463
IR
filters,
laminated proofs, 216

laser printers, 56, 119, 194-196
8
7.
IR wavelengths.
iris.
late-binding workflows
17
and CMYK/ RGB workflows, 276

defined, 545
ISO. 212. 427. 51 1.544
rre standard, 149-150. 175-176.544
and output conversions, 501 and prepress

solutions, 469
of,
pros and cons

JavaScript, 475. 476. 477-478. 481
vs. vs.
276
early-binding workflows, 275
IPEG and embedded

exporting, 326
profiles. 282.
491
LCD
monitors. See also monitors

light,
and ambient
158,
212
and gray- /white-balancing,
244
and black
level settings, 140
and non-color- managed

previewing. 323
applications. 326
calibrating, 132, 133, 136. See a/50 calibration
cleaning, 137
and color temperature settings, 142
K
K
as abbreviation for kelvin, 13. 544
in
controls
for,
128
default brightness of, 138
defined, 545
CMYK model. 53
1
warm-up period
and white point
Left Dakota, 466,
for,
136
Kelly-Moore Paint Co., 21

kelvins. 13,
and white luminance settings, 138

settings, 133
544
KnoU, Thomas. 249, 377
467
Kodak
legacy images, unprofiled, 485

lens, in
DCS Acquire plug-in, 502-503

film.
human eye,
17
150
targets,
libraries,
named-color, 498-499
sccmner
149-150
in profiles, 88
light
and "secret sauce"

Kodak Digital Science,
Korzybski, Alfred. 113
absorption
vs.
reflection of, 13-14
382, 384, 388
characteristics of, 6-9
color as property
of,
5
6,
how objects interact with,

intensity of,
12-15
31
LAB-based workflows. 497
measuring, 37-38, 213
LAB model. See also CIE LAB

importance
limitations
of.
monochromatic,
9,
32
70
and physics of color, 5

sources
of,
of,
71
10-11. See also light sources
and opponency/trichromacy, 25
purpose
of,
ways of modeling, 6
light boxes,
42
214
as replacement for LUV, 42
light checkers,
215
570
light

sources
vs.
raster drivers,
329-330
achromatic
chromatic attributes
of,
32-37
source profile assumptions, 328
and color temperature, 13

defined, 10
Mac OS X,
3 11-322
AppleScript Studio, 478
cmd input devices, 152

tailoring profiles to,
and ColorSync,
306, 31 1-322
214
display/print engine, 317
types
of,
10-11
Displays panel, 314
lightbulbs, 13
and FreeHand, 381,392

generic profiles provided with, 315, 328-329
of,
lighting
importance
50
as multiuser operating system, 315
ISO standards
Lightjet,
for,
212
PostScript driver, 335-337

Print dialogs, 330-331
profile locations,
Cymbolics, 191
lightness, 34,
545
315-316
linear relationships, 545

linearization, 121, 178-179, 193, 205,
Scripts folder,
476
545
source profile assumptions, 328-329
Lines Per Inch, 545

Link-o-lator, 466
Macbeth ColorChecker,
Macintosh. See also Mac
151,
223-224
OS
logarithmic, 545
color-managed browsers, 302
logarithms, 33, 39
color-management
scripts,
476
Logo ColorUb, 225, 228-232, 261

longwave-radio wraves, 7
gamma settings, 302-303

monitor
settings,
310-311
on, 306, 308-322, 312
lookup tables, 66, 103, 127, 545

Ipi,
OS-level color
management
1
,
545
profile locations on, 3 1
3 1 5-3 1 6
lumens, 213
luminance, 138-139, 168, 213, 545
saving profiles on, 145-146
magenta, 53. See also CMYK model
luminous luminous
flux,
213
mapping, gamut, 74-78, 543

546
Margulis, Dan, 49
intensity, 213,
luminous power, 213

LUTs, 66, 103, 545, 546
mathematical color models,

matrix, 546
52, 69
LUV color space, 42
matrix-based
profiles, 102, 103,
517
MatrixColumnTag, 517
M
Mac OS 9, 308-3 11
AppleScripts folder, 476
matte media
settings,
18
measurement,
in calibration /profiling, 119-122, 165-171

178, 186,
measurement files, managing, 173-174,

measurement geometry, 165-166, 546
MeasureTool, 169, 178, 186, 189, 261
225
CMM location, 311

ColorSync control panel, 308-310
display/ print engine, 317
measuring
color, 37-45, 51
generic profiles provided with, 315
Monitors control panel, 310-311

PostScript driver, 334-335
printer drivers, 329-330
profile locations, 311
color constancy, 47
colorimetric values, 38
density,
light,
38
37-38, 213
Index
spectral properties, 38
571
monitor calibrators,
104, 130, 132. See a/fo calibration
spectral reflectance, 44
monitor compensation, 274

monitor hoods. 132,214 monitor phosphors, 54 monitor
profiles, 546.
tone reproduction. 66-67
measuring instruments. 165-171

mediaWhitePointTag. 516
See also display profiles
memory
colors. 49. colors.
546
monitor RGB,
54,
546
metameric
26
monitor simulation, 290

Monitor Spyder. 131
monitor-to-print comparisons, 215-216
metameric
inks. 26.
546
metamerism. 25-30
benefits
of.
28-29
monitors
camera. 29-30. 157. 161.244.535
ambient
light levels for.
212-215
140-141
and color management. 50

and colorimeters. 43
defined. 21. 25-26. 546
directional. 193
and black
level settings,
calibrating, 48, 65, 126-146, 217-222, 303. See also
calibration
cleaning, 137
examples of. 28
illustrated. 27,
and color gamut,
72, 74, 76.
88
30

settings,
142-143
observer. 547
printer. 193
in,
119
DDC2-compliant, 130
displaying color on, 54
scanner, 73, 550

testing. 262
dynamic range
extending
of,
72-73
why it occurs, 26-27

metamers, 25. 546
Microsoft
Excel. 173-174. 178.225
life of,
137
factors affecting color on, 64
and
gamma settings,
1 1
133, 135,
220-222
as light sources,
Internet Explorer. 302
measuring behavior of, 63

profiling.
Windows. See Windows systems

microwaves. 7
See display profiles

settings,
and white luminance and white point
138-139
Mismatch warnings. See Profile Mismatch warnings mismatched

color.
settings,
133-135
72-78
Monitors control panel,
Mac OS 9, 310-311
547
Missing Image Sources warning. FreeHand, 387

Missing
Profile
monochromatic light,
9, 32,
warnings
349
multichannel printers, 207
Illustrator, 346.
mystery meat, 297-300
InDesign, 346, 348-349
Photoshop, 286, 346-347

Mitsubishi SpectraVue, 130
Named Color profiles, 521

named-color systems, 498-499. See also Focoltone;
Pantone
mnemonics
for
for
bands in spectrum, 8
complementary
Systems, 131
colors, 21
names,
color,
48-49
7,
Monaco
nanometers,
547
MonacoOPTIX,
131, 139, 141, 143
NCPs,521
neutrals, 48
MonacoPROFILER, 179-181, 503
572
Newton,
nit,

Sir Isaac, 6, 8,
51
on Windows systems,
306, 322-324
213
7
OS X.
See
Mac OS X
74, 83,
nm,
out-of-gamut colors,
88-92
non-color-managed applications, 306-307, 326 non-color-managed environments, 300-303

non-linear relationships, 547
output devices. See also specific devices
and color gamut,

converting colors
72, 74,
for,
88
81-82,
488^89
normalizing color, 484, 486-488, 504-505

null transform, 547
dynamic range
limitations
of,
of,
72-73, 74
72-73, 88
of,
number systems
ambiguities
(for
representing color), 51-78
measuring behavior
63
in,
52
profiling. See output profiles
analog origins
of,
53-56
sources of variability
in, 1
16
device-independent models, 69-72

device limitations affecting, 72-78
device-specific models, 67-69
output profiles
building
for
for
composite
CMYK printers,
200-207
193-200
57-59
multichannel printers, 207
how they work,
59-62
vs.
for printing presses,

for
number of colors
color definitions, 63
RGB
Inkjet printers, 184-191
why numbers vary, 63-67
for three-color
dye-sub printers, 192-193

191-192
for true
RGB printers,
o
objects
and CMSs, 163-164

collecting data
of,
for,
165-171, 182
color as property
reflective, 14
cost considerations, 171-172
and data averaging, 178

defined, 547
role of, in color events, 12-15
transmissive, 14
dovwiloading targets
editing, 182,
for,
173
observer, in color events, 5, 16-37
264-266
observer metamerism, 547

O.D. values, 40
evaluating, 255-264
and ICC
specification,
518-519
in, 164,
OmniWeb, 302
one-input-one-output workflows, 81
importance of accuracy
182
and
linearization, 178-179
172, 182
one-way profiles, 100-101

OneVision, 455
and measuring instruments, 165-171,

opening/ printing targets
for,
182-184
opponency 22-25,
46, 50,
547
packages for creating, 171-182
opponent-color theory, 23-24

optic nerve, 17
and parameter controls, 179-182

purpose
of, 100,
163
of, 103,
OptiCAL, 131, 138, 141

optical density, 40
table-based nature
targets used
for,
173
175-177
of,
optimization, device, 121, 154
two-way nature
vs.
102
ordered dither, 57, 547

OS-level color
destination profiles, 100
management, 305-324 on Macintosh, 306, 307-322

pros and cons
of,
Outputlntent, PDF/X, 428
305
index
meaning of acronym, 423-424
page-layout applications, 290, 421
573
PDF/X as standard
and
for,
427
PageMaker. 290
paint recommendations, 211
print workflows, 423-424. 427. 455
third-party tools for working with. 428, 453-455
Panther, 306, 31 1-322. 336-337, J6l. See also
Mac OS X
perceivable colors. 62, 84
Pantone, 419. 460. 469. 486. 498-499
perceptual intent, 547 perceptual rendering. 47-48. 50, 88-89, 90. 92

perceptually uniform, 547
perfect diffusers, 39
parameter controls, profiling

particle,
tool.
179-182
modeling
light as.
Paste Profile
Mismatch warnings. Adobe. 352-354
PCS
andCIEL\B,84,513
andClEXYZ.84.513
as
phosphors, 54, 64, 127, 548
PhotoCAL,
131, 138
photometry, 213
component
hub
of color- management systems, 83
photons
absorption
of,
defined. 547
15
as
for device-to-device transformations, 82,
84
blending
of.
signature, 513
counting. 213
defined.
6.
548
6
PCS-to-destination conversions, 519
energy
level of.
PCS-to-device transforms. 102
and fluorescence, 8-9

high-energy, 8-9
PDF Export
Presets dialog box. InDesign, 450
PDF Handshake, 470-471 PDF Inspektor, 455 PDF workfiows, 423-424, 427, 455
PDF/X
and Acrobat
Prefiight tool,
and
light sources, 10
18. 21,
photoreceptors, 16-17,
548
Photoshop
Actions, 476, 477
445-447
assigning profiles
in,
357
375. See a/50
in,
creating, with Distiller.
441-443
Camera Raw plug-in,
Camera Raw
exporting, from InDesign. 448-452
choosing rendering intents

Color
293
and
ISO. 427
Management
Policies settings,
344-346
360
as standard for
verification of.
PDF-based
441-443
print workflows. 427
color- managing
imported graphics
in,
versions, 427-430
Conversion Options
Convert to
Profile
settings,
354-356
PDF/X Checkup. 455 PDF/X hispektor. 455

PDFs. 423-437
command, 358-359
293-294
cross-rendering
in,
and embedded-profile workflows, 284-285

integration with other Adobe applications, 341
JavaScript support, 475
and color management, 423-424, 430

considerations for making. 434-437
converting PostScript
files to,
430
Missing Profile warning, 286, 346-347
and embedded profiles,
425, 491
opening target scans
in,
155
exporting, from InDesign, 448-453

flavors of,
printing controls, 370-373 printing profiling targets from, 183

Profile
424-430
and FreeHand, 389-390
Mismatch warnings,
287, 288, 350, 352-354
and ICC profiles, 426
Proof Setup feature, 217, 367-369, 505
574

290, 367-369
simulations
in,
when to
use.
468-469
soft-proofing
in,
369-370
5,
presses. See printing presses
physics, color events and,
6-7
PressReady. 473
Preview. Apple, 323
Pictrography, Fuji, 191
pigment, 548
PitStop Pro, 453-454
primaries, 548. See also primary colors
primary colors
additive, 19-20, 52, 533
Pittsburgh Paint, 211

pixels
density
of,
64
capturing, 502-503
subtractive, 20, 52, 64, 552
defining color
for,
503-504
and trichromacy. 19
primary platform signature. 514
density
of,
56
for,
normalizing color
504
Prinergy, 468, 471-472
pixels per inch, 56, 548
Print dialog
box
placed graphics
in Illustrator, 362-364
in InDesign,
Acrobat, 449
CorelDRAW, 402-403
FreeHand, 391
Illustrator,
360-362
in Photoshop,
360
372
Planck, Max, 6
platesetters,
plots,
InDesign, 373-375
205
Photoshop. 372
print engines, 317
gamut, 75-77
plotters, XY, 170-171
polarization, 548
printer
CMYK, 55-56
polarizing
filters,
168
printer drivers, 320, 327-337 printer targets. 224
Polaroid Sprintscan, 153 Portable
Document Format, 423-424.

PDFs
See also PDF/X;
printers. See also specific types
black-generation settings
calibrating,
for.
197
posterization, 60. 217, 221, 256, 548
194-195
72,
PostScript
and color gamut,
88
in,
color-management philosophy, 425-427

converting to PDF, 430
drivers.
119
dynamic range
of,
72-73, 74
193,313,334-337
improving color/black point on, 65

profiling, 105, 184-200. See a/so
and in-RIP color management, 473-474

printers, 199, 327
output profiles
recommended
printing
in Acrobat,
ink limits
for,
195-196, 198, 199, 200
ppi, 56,
548
Praxisoft,419,461,462
439-440
PreCAL, 138, 139, 143
in
CorelDRAW, 402-404
premature binding, 281

prepress solutions, 468-473
disabling color
in
management prior to, 292
FreeHand, 390-392 370-373
common characteristics of. 468

dovmsides
of.
in Illustrator, in InDesign,
470
370-375 370-373
examples of. 470-472

questions to ask about, 472-473
in Photoshop,
in QuarkXPress, 416-418
Index
targets, 183, 184
575
converting colors with, 85, 94-97

defined, 82, 549
editing, 210, 242-249.
printing presses
approaches to running, 201
264-268
and black-generation
strategies,
for,
205-207
embedding. See embedding profiles

evaluating. See evaluating profiles
generic, 108-109,328-329
choosing profiling targets
202-204
and contract
controlling
ink limits
proofers, 202
variability in,
119
importance
of,
113
of, 85,
for,
204-205
incompatibility
88
in,
optimizing. 200, 202, 204

profiling.
information contained
limitations of, 107
100
201-207
PrintOpen, Heidelberg, 17-181

process color.
matrix-
us.
table-based, 102, 103
548
1
naming, 156
14
process control, 38,
one-way
520-521
vs.
two-way, 100-101
84-85, 100
in,
profile classes, 100-102, 513, 515,

Profile
purpose
role of
of. 82, 83,
Connection Space. See PCS

514
measurement
119-120, 165-171
Profile Creator signature,
saving, 144-146, 156,311
Profile First
Aid
utility,
316. 318
source
vs.
destination, 85, 108

for,
profile flags. profile
514
storage locations
311, 324
headers, 512-515
testing. See evaluating profiles
profile ID,
profile
Profile
514
types
of.
100-102
mismatch, 549
visualizing process of making, 104-106
Mismatch warnings
352-354
ProfileSequenceDescTag, 520
profiling. See also profiles
Illustrator,
InDesign, 350-351, 352-354
cost considerations, 171-172

defined, 114,549
iterative
Photoshop. 287, 288, 350, 352-354

profile versions, 513
nature
of,
268
profiled captures, 485
packages/tools, 128-132, 156, 159-161, 171-182,
profileDescriptionTag, 516
ProfileMaker. 167
190-191
role of
measurement
in,
119-122, 165-171
ProfileMaker Pro. 156, 159-160, 169. 175

profiles,
vs. calibration, 84, 115,
125-126, 129
99-109. See also ICC profiles
Proof Setup feature

Acrobat, 445
Illustrator,
accessing remotely, 480-481
accuracy
of,
110, 113,227
365-366
assigning. See assigning profiles
InDesign, 366-367
assuming, 282, 285, 295

building specific types
display profiles, 125-146
Photoshop, 217, 367-369, 505

proofers, digital, 202
proofing
in
input profiles, 147-161
color-management workflows, 484, 489, 500-501
output
profiles,
163-208
defined, 484
in InDesign,
classes of, 100-102, 513, 515, 520-521
369-370 369-370
and CMSs,
82, 99
in Photoshop,
converting, 288
576
in

QuarkXPress, 409, 418, 419
reflective objects, 14,
549
remote, 471
proofing systems, 419, 492
refresh rate, monitor, 137

relative colorimetric rendering, 89, 91, 92, 291
ProPhoto
RGB
Color Checker, 250-251
remote
profile access,
480-481
psychological color attributes, 48-49
rendering
colorimetric. See colorimetric rendering
cross-, 293,
294
quantum
physics, 6
dictionaries. See
CRDs
built-in color
perceptual, 47-48, 50, 88-89, 90, 92

saturation, 88, 89, 90, 92
management, 407-410
Color
Management preferences, 411-414

XT,
rendering intents, 88-92
and Compass Pro
419^21
and color-space conversions,

defined, 549
96,
519
EFIColor profiles, 406
Get Picture dialog box, 415

hard proofing
in,
descriptions
of,
88-89
409, 418, 419
and ICC
specification, 514, 515
and ICC
profiles,
407
illustrated,
90-92
colors, 88
limitations of color
management in,
405, 421
and out-of-gamut
purpose
of,
manual
printing
Profile
controls,
in,
415-416
83
416-418
reproducible colors, 62
required tags, in ICC profiles, 516
resolution
Information palette, 416
simulation controls, 290

soft-proofing
in,
409
monitor, 137
in,
turning off color
management
406-407
printer, 188
versions, 405, 407-410
scanner, 154-155
retina, 16-18, 23-24,
Quartz, 317, 329, 549
549
Quartz
filters,
320-322
RGB
devices, 52, 184-192
QuickDraw, 317, 328-329, 549
RGB Explorer, 238-239, 256

RGB Inkjet printers,
184-191
R
R ratio, 39
radar, 7
RGB model
analog origins
of, 52,
53
of,
device-specific nature
67
radiation, 13
radiators, blackbody, 10, 13
57-59
RGB numbers
attaching color
radio waves, 7
meaning to,
80, 84,
93-94
Rampage Systems, 468

raster drivers, 313, 327,
changing, for specific devices, 80
329-333
converting, with profiles, 94-97
Raster Image Processor. See RIP
RGB printers,
184-192
Real World Camera Raw with Adobe Photoshop CS, 379

receptors, 16-17,21
RGB-to-CMYK conversions
automatic, 472-473
reference light source, 213

reflectance, 14, 39, 44, 549
reflection,
and embedded
profiles,
302
in PitStop Pro, 454
13-14
and press
profiles,
203
Index
in
577
152
QuarkXPress. 409, 410. 413. 421
of, 63, 116. 117,
RGBEXPL0RER8. 238-239. 256

RIR 171. 185.473-474.549
rods, in
"Scanning Guide," Don
Hutcheson's, 154
scans, color- negative, 147, 153
human eye.
17
screen, cleaning monitor. 137
Rosetta stone. 79
screen angle, 550
rounding errors, conversion. 97-98
screening
algorithms, 57
Rumney, Ralph,
13
AM,
56, 57,
533
defined, 550
samples per inch. 56, 551

saturation
as chromatic
FM,
57,
542
stochastic, 55, 57, 551
component of color vision, 34
screensavers, 136, 144

scripting.
defined. 35. 550
474-481
rendering. 88. 89. 90. 92
defined. 475
representations
of.
36-37
examples. 476-481
hybrid. 480
learning. 476
saturation intent. 550
scanner autoexposure feature. 116. 117. 153

scanner drivers. 337-338
scanner metamerism. 29-30. 73. 550
pros and cons
of,
475-476
purpose
of,
457, 474
scanner
profiles.
See also input profiles
separation parameters, 179-182

separations
adjusting press for questionable, 201
building. 153-156
editing.
244-245
evaluating. 225. 235
and black generation,

106,
197, 199
stimulus/ response
vs. digital
for.
153-154
CMYK, 53,
179. 199
for dot gain in,
camera
profiles. 148,
244
compensating
205
scanner RGB. 54-55 scanner

targets, 149-150.
and contract
224
creating, 204
proofers, 202
scanners
as artificial trichromats. 21
OCR, 197
in-RIP, 275, 276,
474
automatic features
for. 1 16,
117, 153
multichannel, 207
simulating, 386
capturing color with. 54-55
changing density of white/black points on. 66
UCR, 197
Separations printer
and color encoding. 63
and color gamut, 73
CorelDRAW settings
FreeHand
settings
for,
393, 396-397, 398-399, 402
and color mixing. 73

default tone curves on, 154
for,
384-385. 389, 390-391
server-based automation products, 458-464
dynamic range
of, 63,
73
Shervdn- Williams paint, 211

signatures color space, 513
factors affecting color on, 64
gamma settings for,

optimizing, 154
154
"high-bit," 63, 154-155
device manufacturer/ model, 514

platform, 514
profiling. See scanner profiles
preferred
CMM, 513
578

connection space, 513
514
Spectrofiler, 170
profile
profile creator,
Spectrolino, 167, 169
simulations
spectrophotometers
aperture size
for,
CMYK, 500
device, 122
in Illustrator, 290, 365-366
in InDesign, 290,
166-167
automated, 170-171
comparing colors vdth, 186

defined, 551
366-367
monitor, 290
in PageMaker, 290 in Photoshop, 290, 367-369
in QuarkXPress,
and delta-e values, 186

handheld, 168-169, 171
measurement geometry for, 165-166

UVfiltersfor, 167
290
and
soft proofs, 290,
499-500
vs.
colorimeters, 131
simultaneous contrast, 22, 46, 550

skin tones, 49
and white point adaptation, 167

spectrophotometry, 44-45
Spectroscan, 170
soft-proofing
in color- management workflows, 288-295, in InDesign,
489
Spectrostar, 169
369-370
spectrum
in Photoshop,
369-370
and additive
defined,
7,
vs.
sub tractive primaries, 21
in QuarkXPress, 409
solid ink printers, 198-199
551
21 8
how colors are listed in,
Solux lamps, 215
mnemonic for labeling bands in,

130, 138
spi, 56,
Sony Artisan Color Reference System,

source profiles
551
spot color, 486, 551

spreadsheets,
assuming, 328-329
managing measurement files with, 173-174,

225
and CMSs,
85, 94-95,
96
178, 186,
and color-managed
deducing, 296
applications, 326
Sprintscan, 153
sRGB, 551
Standard lUuminants, CIE, 11-12, 41, 551
Standard Observer tristimulus response, 41, 551
steradian, 213
role of, in color conversions, 85, 96, 108
from unknowoi sources, 297

vs.
input profiles, 100
source-to-PCS conversions, 519

space, 551. See a/50 color space
Specifications for Web Offset Publications, 109. See also
Stevens
effect,
212
stochastic screening, 55, 57, 551

strip readers, 171,
551
SWOP
spectral curves, 9, 10, 13
spectral data, 551 spectral energy, 9, 11
subtractive primaries, 20, 21, 52, 64, 552
successive contrast, 23, 46, 552

sunlight, 13. See also daylight surfaces, paint
recommendations
for,
211
spectral
power distribution, 551
SWING, 455
spectral properties, 38
SWOP
converting objects in
spectral reflectance, 14, 44. See also reflectance
PDF to,
321
SpectraVue, Mitsubishi, 130
and Creo and
Prinergy, 471
Spectrocam, 169
Distiller,
442
Index
and generic
profiles, 109, 315,
579
486
Young- Helmoltz, 18
zone, 24

presses. 84, 202. 204
thermal energy, 13
three-color dye-sub printers, 192-193
simulations, 410
and
soft-proofing, 486
three-component theory of color vision, 18

TIFF
files,
and unknown outputs, 493

synthetic targets, 238-241
154-155, 225, 389, 491
tonal compression. 74, 552
tone curves, scanner, 154
T
T ratio, 39
table-based profiles, 102, 103, 517
tag table,
tone
levels,
59
tone reproduction, 63, 66-67, 100 tone reproduction curves. 66-67, 517, 552
total ink limit, 552.
512.515
See also ink limits
tagged documents, 282, 286-287 tagged element data, 512, 515

tagging documents, 282, 552
tags, ICC-required,
transmissive objects, 14, 552

transmittance, 39, 552
TRCs,66,517.552
TRCTag, 517
516
148. 552
target description
target reference
files,
trichromacy, 16-21
files,
174
and additive
artificial,
vs.
subtractive primaries, 19-20
targets
21
custom, 175
digital
in
CIE models, 25
camera, 151-152, 158-159
and color space, 20-21

defined, 16, 553
effects
downloading. 173
editing. 243
unexplained
16-18
by,
22-23
formatting, 173-174
how it works,
importance
HCT.
106, 150
of, 16,
19
input profile, 148-152
and metamerism, 25
reconciling
opening, 183-184
opponency and, 24
output
printer.
profile,
175-177
training yourself to recognize, 50

vs. tristimulus,
224
18-19
21
printing, 183, 184
trichromats,
artificial,
RGB process control,

synthetic, 238-241
187
tristimulus, 18-19, 41, 553
scanner. 149-150, 154-155.224
tristimulus response, Standard Observer, 41, 551
tungsten lamps,
11, 13
TDFs,
148.
552
TWiST, 455
temperature, color. See color temperature

terminology. 282. 533-554
testing profiles. See evaluating profiles
two-way profiles, 100-101
theories
UCR,
197, 204,
553
color vision, 18.23-24
UltraLinks, 467
ultraviolet filters, 16. 167 ultraviolet light, 7, 8-9, 15,
Hering. 23
opponent-color. 23-24
553
three-component, 18
Under Color Removal. See UCR
580
unprofiled captures, 485 unprofiled legacy images, 485
and additive primaries, 19-20

blending
of,
untagged documents, 285-286, 312

Upton, Steve, 78
UVbrighteners, 8-9, 553
UVfilters, 16, 167
defined, 553
for different light sources, 10
low-
vs.
high-energy, 7
of photons, 6
short
vs.
UViight,
7,
8-9, 15,553
long, 7
UV wavelengths, 7, 8-9
and subtractive primaries, 20

waves, modeling light
as,
V
variables
in
Web browsers,
color-management workflows, 273-274
302, 306
Web Offset Publications,
Specifications
for,
109. See also
SWOP
white, color
of,
controlling, 115-119
13
in digital cameras, 63, 152 in Inkjet printers,

in monitors, 63,
1 1
White Balance controls. Camera Raw, 377

white-balance settings, digital camera, 157-158, 244
19
19
white
light,
13
in printers, 63, 116, 119

in printing presses, 119
white luminance, 138-139, 553

white point, 63, 65-66, 133-135, 554 white point adaptation, 65, 87, 167, 554
in scanners, 63, 116, 117, 152
vector
art,
485-486
Windows systems
display/ print engine, 317
Vector Pro, 419

Velvia, Fuji,
150
gamma settings for, 302-303

OS-level color
videoLUT, 127, 553

violet wavelengths, 15. See also ultraviolet light
visible
management on,
324
306, 322-324
printer drivers, 331-333

profile locations,
spectrum,
7,
553. See fl/50
spectrum
vision. See also eye

color. See color vision
saving profiles on, 146

setting active display profile for,
322-324

foveal,
source profile assumptions, 328
542
of,
workflows
31-32, 41
non-linearity
^^lsual Basic, 475,
assumed-profile, 283-284, 295

color- management. See color- management workflows
480
visual calibrators, 129, 145, 553
Computer-To-Plate (CTP), 205

defined, 272
M
Wade, Nathan, 477, 480
warnings
color not normalized, 497
early-binding, 275-276, 277, 280, 501
embedded-profile, 280-283, 284, 295

hybrid, 284-285
intermediate-space, 280
missing image sources, 387 missing

profile
profile, 286,
LAB-based, 279, 497

late-binding, 275, 276-277, 280, 469, 501
346-349
mismatch, 287, 288, 350-354
non-color-managed, 300
one-input-one-output, 81
wavelengths
absorption
vs.
reflection of, 13-14
PDF, 423^24, 427, 455
Index
between programs, 272. 295
within programs. 272. 285-295
581
working space, 554
WYSIWYG myth, 83
X
x-rays. 7
X-Rite
Autoscan Spectrophotometer, 171

Digital
Swatchbook. 169
DTP-41. 167
DTP 94.
131
Spectrofiler, 170
XPress. See QuarkXPress
xy chromaticity chart, 42, 554
XY plotters, 170-171.554
XYZ-SeeCIEXYZ
Y
yellow
light, 22.
See also CMYK model
Young, Thomas, 22
Young- Helmoltz theory of color vision, 18
z
zone theory of color, 24
582
GATF RHEM
Light Indicator
of the most frequent sources of color-management problems
is
One
an
incorrect viewing condition.
The GATF
RHEM
Light Indicator, attached
to the inside back cover of this book, provides a quick, easy way to check
your viewing
light. It's
printed with two inks that produce a metameric
match under D50

stripes
under non-D50
it
lighting,
and a mismatch
where you can see obvious

your lighting
is
lighting.
If
Place
on the print that you're evaluating and check its appearance.

stripes rather than a solid color,
critical color
you can see obvious

suitable for
to
un-
making
judgements such as the ones you need
make for profile

This target
validate
is
editing or proofing.
Two
caveats:
designed to invalidate bad lighting conditions, not to
good ones.
Different D50-simulators have different spectra,

s//g/if
striping this
and some may cause

if
isn't
normally a cause for concern. But
you see
obvious stripes, as in the illustration below, your lighting isn't suitable

for critical color work.
JF RHEM LIGHT INDICATOR
STRIPES ARE SEEN, LIGHT
IS
NOT 5000K,
GATF RHEM LIGHT INDICATOR
L JF,S,TfilPES ARE
SEEN, LIGHT
IS
NOT 50001
GATF RHEM LIGHT INDICATOR
,015000
REALVWORLD
INDUSTPIAL-
Color
Graphics professionals
Management SECOND
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STRENGTH PRODUCTION
TECHNIQUES
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What is the book about?

What topics are covered in the book?

What topics are covered in the book?

BESTSELLING REFERENCE NEWLY REVISED

DUSTRIAL-STRENGTH PRODUCTION TECHNIOUES

popular graphics apps

editing ICC profiles

BRUCE FRASER, CHRIS MURPHY, and FRED BUNTING

my angel, for every reason

Mom and Dad.

Real World Color Management, Second Edition

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Computers and Color

Measurement, Calibration, and Process Control

PART III Applications and Workflow 269

the Operating System 305

Color Architecture 341

MacTomedla ReeHand 10 and

Management and PDF 423

Bulldlng Color-Managed Workflows 483

PART IV Appendices 509

Workflow Templates 523

Overview: The Big Picture

The Coior management Conundrum Why Did We Do This?

Why Did We Think We Could Do This?

Light Sources Illuminants

Real World Color Management, Second Edition

The Object and the Color Event

The Color of White

The Observer and the Color Event

Opponency: Red-Green, Blue-Yellow

Achromatic Component: Brightness What's a Logarithm, and Why Should I Care?

Chromatic Components: Hue and Saturation Measuring Color

We Cannot Truly Measure Color, Only Light

Where the Models Fail

Names and Memory Colors

Lessons for Color Management

Computers and Color: Color by the Numbers

How the Numbers Work Why 256 Levels?

Color Definitions and Colors

Why the Numbers Vary

White Point and Black Point

Tone Reproduction Characteristics Device- Specific Color Models

Tone and Gamut Mapping

Why Do We Need CMMs At All?

How Conversions Work

The High-Bit Advantage

Profiles: Describing Devices What Are Device Profiles?

Matrix- Based vs. Table-Based ICC Profiles

Stimulus and Response Profile Limitations