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1. fession A guidebook for photographers who choose EOS digital cameras as the tools of their trade zi DIGITAL DIGITAL PHOTO e1 8 1p 5 fele 4 for Professionals Shooting Data Processing Contents The purpose of this guidebook llle Switch to Digital Photography Professional digital photography LL hitting its stride at last Equipment sanaa oone a lll RGG R RRRM IIR System requirements for digital photo creativity EM uU 5 M c c RR o 7 mese CEU es ERERERERERDTERREMMTE Software environment for shooting and data processing Shooting um CIsEIOisssiomal shooting eel iym Eu uUsUMISiOSams v c c ee RI EET lllleclcc cee EN T lc cc Ice EE oa Selecting the recording iOfMal 2 Image synthesis with image processing software l RB CSS See 5 OO RR RR RETREAT Averting common problems in digital photos Data Processing 1 Preparing your image data for commercial printing EE UM TlllllcBl cc c c RR RRRIeee EN NU aeeoea ll Rn RI IR IK IR BEEN I5On T lllllll I11 c HIR The color management system built into Adobe software Color settings in Adobe Photoshop Data Processing 2 Data processing check SMeCct 020005 o ea lllllll c cc c cce Viewing adjusting and developing images with Digital Photo Professional ver 2 0
2. Color management What are the photographer s responsibilities Open and develop data with Digital Photo Professional Printing simulation In what order should Image processing using adjustments Adobe Photoshop be made What adjustments can be handled by the photographer and prepress Retouch section Resolution and sharpness How should pass on image data P e Handing over data to prepress experts Prepress department company P 49 p 54 295 P 67 P 77 P 82 P 82 P 84 P 74 Monitor settings Establishing an environment for image editing Digital images are viewed on monitors which vary in the accuracy of their image reproduction It is important that you understand how to select a monitor and properly set it up for accurate image editing Types of monitors Monitors are available in cathode ray tube CRT and liquid crystal display LCD models Both types of monitors offer advantages and disadvantages CRT monitors have long been used for digital image processing but LCD monitors are gaining popularity as their performance improves What to look for when selecting a monitor Theoretically the camera comes before the monitor In practice however it is difficult to evaluate the color accuracy of the input camera or the output image without a color accurate monitor When editing digital photos your decisions will be based primarily on what you see on the m
3. Displays are essential for color Equipment 25 System requirements for digital photo creativity HDD External storage device and media Hard disk drive a MO disk Bus p DVD hard disk drive A large capacity storage device is necessary for storing photo data files When using EOS digital cameras you may produce over 10GB of photo data in a single day of shooting It is therefore essential to have data storage and backup systems ready to go before the volume of your image data snowballs out of control For optimum efficiency and secure data archiving we recommend using an external hard disk drive DVD RW drives which store data by the gigabyte are suitable as backup Other removable media such as CD R and MO disks are handy choices for delivery and exchange of photo data among designers and clients Portable hard disk drives HDD are suitable for temporary storage of large amounts of data Portable HDDs which are relatively small and lightweight are particularly handy when shooting in remote locations Bus powered HDDs can receive power from a connected computer through a single 26 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK lee Network Q USB or IEEE1394 cable No AC adapter is required However special care must be taken when multiple devices are connected to the same computer because an electric power shortage could result in data errors IEEE1394 and USB 2 0 offer high transfer
4. Other options include C1Pro Capture One Pro by Phase One and SilkyPix by Ichikawa Soft Laboratory Each offers unique adjustment functions and works at its own development speed Each of these applications uses its own unique RAW data conversion method and produces development results that are different from those obtained with Digital Photo Professional and the EOS Viewer Utility Each should be used only with an adequate understanding of its characteristics and development tendencies Adobe Photoshop CS RAW development window Printing software for PIXMA printers linkages with Easy PhotoPrint printing Easy PhotoPrint which comes with Canon s PIXMA inkjet printers is printing software designed to let anyone print photos easily but it is also highly compatible with EOS digital cameras To use Easy PhotoPrint with Digital Photo Professional select Print with Easy PhotoPrint from the Digital Photo Professional File menu Color spaces edited in Adobe RGB can be displayed as is in Easy PhotoPrint And since RAW data can be printed directly Easy PhotoPrint is handy when you want to automatically print multiple images Digital Photo Professional and Easy PhotoPrint settings When using Digital Photo Professional and Easy PhotoPrint together it is necessary to check the preference settings On the Digital Photo Professional side go to the Color Management window and set the Default settings of Wo
5. Eu EZ 4 a aeu of a m EL et adr ITE LEN 1 E mc P i E Aem ar ur ee m re d CH Hu _ pr Setting Standard Color tone adjustment 2 Color tone adjustment 2 with strong reddish reproduction with strong yellowish reproduction 62 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK With the Color Tone parameter in Picture Style you can adjust color tones over the red to yellow range This is particularly useful when you want to make fine adjustments in skin color Picture Style Landscape Reproducing blue skies and foliage with deep and vivid colors Photographic reproduction of deep blue skies and vibrant foliage requires bold and vibrant color The Landscape Picture Style renders color tones ranging from green to blue more vividly than the Standard Picture Style It also uses a higher sharpness setting to bring out fine detail in the photograph Shooting Notes e Camera EOS 5D e Lens EF 17 40mm f 4L USM e Shutter Speed 1 500 e Aperture Value f 8 e ISO Speed 100 e White Balance Auto e Picture Style Landscape Setting Standard Neutral Just the opposite of the Standard Picture Style Renders images with an emphasis on adjustability Image data is optimized for post processing Use the Neutral Picture Style when shooting with the intent to use Digital Photo Professional or other software to process the image As Neutral emphasizes correctability the
6. Internet Video The internet presents some significant challenges when it comes to color management as does digital video When you print a color document you know that each print is going to be consistent First you use color management to communicate the color intent to your prepress and print partners and then the press operator uses process controls to keep the color consistent throughout the press run With the internet and video you can still 38 EOS DIGITAL PHOTO GUIDEBOOK communicate your intent but there is less guarantee that the recipients those surfing the web and watching digital video will see the color you intended The challenge with preparing color for the internet and for digital video is that the quality of the medium the viewer s computer display or television set is unpredictable Outside of imaging and publishing professionals very few computer displays are calibrated and even fewer are configured for color management Televisions on which viewers may watch a digital video aren t calibrated at all This essentially means that each Web surfer and TV viewer may see different colors on the display or screen Color management for these output media will help to maximize predictability when publishing your color content to the Internet and digital video Understanding sRGB Until now we have avoided using the sRGB profile because it has a limited color gamut and is not suitable for a prin
7. Introduction 271 Switch to Digital Photography Digital camera workflow with plate making E L z pup e a u e m P AS F Digital camera workflows in the advertising and publishing fields In advertising and publishing digital cameras are still not used to the extent they are in the creative and printing fields Color management in particular is only now being adopted by plate makers and designers On the other hand there is growing demand for greater production efficiency and we are seeing as in the case of JMPA Color clients advertisers requesting the use of color management digital data workflow has been established duet evum m RR SS erm E the move to full digitalization is proceeding B Se ER M rapidly For professionals who have taken 4 the lead in other ways it is necessary to adopt EN f the new workflow with even more vigor ji 3 B Uf of RGB use software to perform simulations when necessary more consistent results can be achieved In the fields of advertising and publishing great faith is placed in film This will likely result in a longer transition to digital processes Nevertheless in fields where e Y e Workflow within the RGB realm Equipment T ha 5 1 n mi ott ie F L i i J E Es Td The photographer can control RGB based color management Digital Photo Professional 3 N III i A final print simulation is u
8. Lae zia drui inte rue Set recipe i Mia v B Les Wadi rig am ia r T oai r EE mias Paid tects REDE SELL racial Clnargrzpra Comparison view Adjusting and developing RAW data Quick Check tool This tool allows for marking images for sorting ranking checking focus and rotating One or multiple images can be viewed one at a time at 5096 or 10096 magnification Ranking can be done by clicking the 1 2 3 buttons to give one the ability to prioritize images for editing making final selections and storage Left or right rotating of the images is also available in 90 degree increments This is an easy way to organize and prioritize raw images prior to conversion allowing you to convert only your favorite images Trimming tool The Trimming tool allows you to crop your images at the time of conversion Simply select the Start Trimming tool from the tools menu and drag the cursor over the area you would like to crop You can select free or preset aspect ratios adjust the Opacity of the crop marks and crop multiple images Start DOS Capture Transfer to Photoshop Sar Trimming 1ocl fram Sram il Data Processing 71 Adjusting and developing RAW data Stamp tool The Stamp tool is used to make simple dust repairs on images It has the ability to correct simple blemishes and stray hairs as well The tool allows for the selection of large or small diameter s
9. Processor work noiselessly in the background correcting image data to a degree never before possible over a broad dynamic range 60 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Image Characteristics for Each Picture Style LIC MN NENNEN colors with no exaggeration Saturation Contrast Color Tone Saturation High Slightly high High green blue Low Low None monochrome M E Picture Style Standard The general purpose setting for sharp and vivid images The Standard Picture Style is set to offer vivid colors and contrast level that most people prefer with general subjects This Picture Style provides the optimal sharpness for printing directly without post processing and the ability to produce beautiful prints of a wide range of subjects with no retouching For everyone from beginners to professional users of present and future EOS digital cameras with Picture Style the Standard Picture Style is the basic setting that ensures uniformity of color across all EOS digital camera models with Picture Style Shooting Notes Q Shooting Notes Q Shooting Notes Shooting Notes Shooting Notes e Camera EOS 1D Mark lIn e Camera EOS 5D e Camera EOS 5D e Camera EOS 5D e Camera EOS 5D e Lens EF 17 40mm f AL e ens EF 17 40mm f AL e ens EF 24 105mm e ens EF 24 105mm f 4L e ens EF 17 40mm USM USM f AL IS USM IS USM f 4L USM e Shutter Speed 1 100 e Shutter Speed 1 160 e Shutter
10. They are a result of the research work done in 1931 by the Commission Internationale d Eclairage CIE and for that reason are more commonly known as CIE based color spaces CIE color spaces The CIE color spaces form the foundation of device independent color for color management There are two types of CIE spaces CIE Lab and CIE LCH CIE Lab Lab is the most commonly used color space It is based on human perception of color the three color receptors red green and blue in the eye This results in three sets of signals being sent to the brain light or dark red or green and yellow or blue They are opposing in that one receives a red signal or a green one but not both This opponent type color space is derived mathematically from the CIE values L is a measure of lightness of an object and ranges from 0 black to 100 white A is a measure of redness positive a or greenness negative a B is a measure of yellowness positive b or blueness negative b The coordinates a and b approach zero for neutral colors white grays and black The higher the values for a and b the more saturated the color is CIE LCH This color space is often referred to simply as LCH The system is the same as the CIE Lab color space except that it describes the location of a color in space by use of polar coordinates rather than rectangular coordinates L is a measure of lightness of an object ranging from O black to 100
11. all of the images can easily be processed using only the Main window To fine tune an image while viewing an enlarged preview double click a thumbnail image and use the image adjustment palettes to edit the image Data Processing 6 7 Settings and image selection Settings and image selection Settings and image selection Rough selection Let s look at the RAW development process using Digital Photo Professional ver 2 0 When using the EOS 1Ds Mark II or other If appropriate color management and other settings are used image selection and high resolution digital cameras minimizing adjustment can be performed easily and accurately the number of shots to be processed for development will make your work more efficient Regardless of the development software used it takes a long time to convert RAW data to JPEG or other formats Moreover since a large number of shots can be taken with the EOS 1D Mark II when shooting in continuous mode it is particularly important in this case to reduce the number of images to be processed There are numerous conditions for selecting desired photos from among the large number taken To start out it should be possible to make a rough selection from the thumbnails Using Digital Photo Professional s Main window thumbnails can be displayed in three sizes Choose the size you prefer and select the images you want by attaching a check mark General settings In ord
12. and prints can be created directly from image data Digital printing equipment in high precision professional labs surpass negative prints As digital cameras have come into wider use professional labs have upgraded their digital data handling capabilities The growing use of large format photo printers has been of particular value in providing a greater range of choice for printing digital photos The Lambda printer a commonly used large format printer exposes conventional photographic paper to RGB lasers and produces colors through a development process The result is prints of exactly the same quality and texture previously possible only by using photographic paper in the traditional printing process What s more with Adobe RGB serving as the color spectrum standard color expression more vibrant than that possible with traditional printing can be achieved There are also Lambda printers that use LED technology This technology permits enlargements to be sharper than those created using traditional optical methods Photo studios consider adopting digital technology for portraits The rapid transition to digital technology in professional photo labs has encouraged some photo studios which until now have used digital cameras only for ID photos to adopt digital large format prints Some of these studios have made a complete switch to digital technology and are now using digital cameras for portraits too Broadly speaking ther
13. d6 S 99 data RGB adjustment Final print simulation Pass on the printed Designer W sample for reference Layout Complete output Prepress department Adjusted data sent from shooting and production locations are printed with colors adjusted by a high precision DDCP Direct Digital Color Proofer and the prints are then immediately sent to the production location where color tone can be checked With this method image quality is checked before traditional color proofing and significant time is saved 2 Shortening the editing process and improving color reproducibility Case of Printing Company B For printed materials such as mail order catalogs the difference between printed colors and the actual colors of the items pictured can cause problems Printing Company B therefore implemented the RGB adjustment amp DDCP or Print lab CMYK conversion color proof The commercial printing prepress company controls CMYK based color management use of a proofer at shoot locations Armed with the profiles of the printing company and the plate making company the proofer together with a color managed display made it possible to check colors immediately after photos were taken Color checks performed with the buyer and designer at shooting locations minimized problems during and after the design process 3 RGB files converted to CMYK can produce dramatically different results depending upon the profile a
14. reduces the aperture to the designated setting when the shutter button is pressed and the mirror is raised Once the film is exposed the aperture is returned to its open position Auto White Balance AWB P 36 See AWB Blocked shadows P34 This is the portion of a picture where lower brightness values obscure all details and make it appear entirely black Adjusting the brightness can sometimes bring out the details Block noise Refers to block shaped compression noise typically found in JPEG data Blowout P34 Brightness beyond the dynamic range of a picture Appears white in the image Because this highlight is out of range and therefore contains no data adjusting brightness will not restore details Bracketing P36 A picture taking function that changes the exposure or white balance in preset increments Bus powered hard disk drive P 26 Running a device connected to a computer with either USB or IEEE1394 while power for the device is supplied via connection cables CCD sensor Charged Coupled Device Originally referred only to the charge coupled device but has come to mean the entire light detecting component that captures images in some digital cameras CD R P26 Compact Disc Recordable One of many writable storage media this CD can be written once but cannot be erased or rewritten With a maximum capacity of 7OOMB it is an inexpensive and widely used data transfer and storage media There
15. white C is a measure of chroma saturation and represents the distance from the neutral axis H is a measure of hue and is represented as an angle ranging from O to 360 Angles that range from 0 to 90 are reds oranges and yellows 90 to 180 are yellows yellow greens and greens 180 to 270 are greens cyans blue greens and blues From 270 to 360 are blues purples magentas and return again to reds Profiles contain all the unique color characteristics of a device The color management module CMM is the engine that performs the transforma tion of color data between device specific color spaces Rendering intents The ICC profile specification supports four rendering intents used to map out of gamut colors Perceptual rendering works to preserve the visual relationship between colors so that they are perceived as natural to the human eye even if the colors themselves actually change This rendering intent is suitable for photographic images Saturation rendering tries to produce vivid colors and sometimes sacrifices color accuracy to do so As a result this rendering intent is suitable for business graphs or charts in which bright saturated colors are more important than the exact relationship between colors but it is not suitable for photographs Relative colorimetric compares the white point of the source color space to that of the destination color space and shifts out of gamut colors to th
16. Anticipate results when shooting Image synthesis with image processing software T Use exposure stability remove reflected objects and shoot without moving the frame When shooting metal or clear subjects as still objects or products unwanted reflections are removed with synthesis and erasing performed meticulously by hand at the retouch stage When shooting with a digital camera the position of the camera is fixed and multiple shots are taken while gradually removing reflected elements The desired image is then created simply using image processing software to layer shots with no unwanted reflections Lens used for these shots TS E 90mm f 2 8 The world s first telephoto tilt shift lens the TS E 90mm f 2 8 employs a natural perspective and can be used for a variety of purposes including product photography food photography and portraits This lens has no faults excellent delineation and true background blur e Focal length and aperture 90mm 1 2 8 e Lens construction 5 elements 6 groups Diagonal angle of view 27 Image circle diameter 58 6mm e Tilt shift 8 11mm e Revolving angle 0 90 e Focal adjustment Manual focus overall linear extension system e Closest focusing distance maximum magnification 0 5m 0 29x e Filter size 58mm e Max diameter x length weight 973 6 x 88mm 565g 902 9 x 3 5in 1 21b P I a Fs FER a Using image processing software retouched photos are l
17. Management settings however are particularly important so it is a good idea to check them It is impossible to ignore Default settings of working color space and Color matching settings Under Default settings of working color space go to the Color Settings and select the appropriate working space Under Color matching settings go to the For Display section and select Monitor profile Next click on Browse and select the appropriate monitor profile Windows ttm users and others who have not specified a T J a L las em za L E m Ma LS jim ET nEn qa M M P monitor profile should select sRGB rather Another way to quickly check the focus than Monitor profile In either case check and detail of an image is to choose Quick that the image displayed by Adobe Check tool from the Tools pull down Photoshop looks the same as the image menu The Quick Check tool allows you to displayed by Digital Photo Professional view images either full screen or at 50 Under Printing profile select the profile of with no time required to render the image the printer to be used when printing an on screen image by using the Print function under the File menu For information on CMYK simulation profile refer to P 78 Refer to P 73 for more information on Rendering intents when using Easy PhotoPrint 68 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Data Proc
18. Seul erdiiciinage SClIECLION 0006 Adjusting and developing RAW data SESON SOWA 0c ntm y Saving image data and accurate communication o c DUO UE DTP RR ERE REPRE The problem of memorized colors Important points concerning image adjustment Appendix Image processing with Adobe Photoshop Clo arcan tbs de ee doe eee ee oh ne areas N Shooting notes 0 cc eee ees 48 49 50 54 pals of 58 59 67 68 70 13 74 11 19 80 a 1 Enhancing your understanding of For all professional photographers gt Soap eres a the digital workflow is guidek sd ed t his guidebook separates the workflow of fessional pho e digital photog aphy into two sections The Jital p rticular the first section covers shooting related topics oook h plain many of the F uch as lighting techniques studio ive options available when using digital photography and potential outdoor uses ras to produce photos for commercial for digital cameras It also describes actual inting We believe photographers in all shooting situations to clearly illustrate fields from advertising to publishing to functional differences between film and photojournalism whether shooting in the digital cameras field or in a studio will find this guidebook The second section deals with data a source of useful information processing
19. Shutter Speed 1 100 e Aperture Value f 5 e ISO Speed 100 e White Balance Auto Data Processing 65 Picture Style Free customization through User Defined Picture Style settings In addition to the six preset settings the EOS 1D Mark Iln and EOS 5D allow you to register up to three of your own Picture Style settings as User Defined settings This function lets you fine tune the presets to suit your own tastes or as an example enter settings customized for a particular subject to easily match your own unique vision User Defined menu and Detail settings menu The User Defined options let you select preset Picture Style settings and adjust parameters such as sharpness Picture Style files photographic expression reaches a higher level The EOS 1D Mark IIn and EOS 5D offer not only presets but also the ability to add new Picture Style settings which will allow you to enjoy a wider range of photographic expression Soon you ll be able to download new Picture Style settings from Canon s website Canon will continue to offer new Picture Style settings to enrich photographic expression just as new types of film have changed photographic expression in the past 66 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK User Defined Picture Style settings e Different color tones possible through Picture Style adjustments gim gt E Saturation strongest adjustment 4 Saturation weakest adjustm
20. Speed 1 4 e Shutter Speed 1 100 e Shutter Speed 1 60 e Aperture Value f 4 e Aperture Value f 11 e Aperture Value f 8 e Aperture Value f 10 e Aperture Value f 4 e ISO Speed 100 e ISO Speed 100 e ISO Speed 100 e ISO Speed 100 e ISO Speed 100 e White Balance Auto e White Balance Auto e White Balance Auto e White Balance Auto e White Balance Auto e Picture Style Standard e Picture Style Standard e Picture Style Standard Picture Style Standard e Picture Style Standard Shot with the assistance of the Hotel Negresco Data Processing 61 Picture Style Portrait In pursuit of healthy beautiful skin and a fine soft texture When photographing people lighting conditions and exposure balance will greatly affect skin color This makes a person one of the most difficult subjects to faithfully reproduce Compared to the Standard Picture Style the Portrait Picture Style has been fine tuned to reproduce pleasing skin color It adjusts magenta red and yellow color tones to produce healthy looking skin This Picture Style also has reduced sharpness to avoid the appearance of skin roughness a particular concern when shooting portraits Reduced sharpness also serves to maintain softness in the rendering of hair Shooting Notes e Camera EOS 5D e Lens EF 24 105mm f 4L IS USM e Shutter Speed 1 400 e Aperture Value f 4 e ISO Speed 100 e White Balance Auto e Picture Style Portrait Pr E x
21. a value larger than the upper limit of this range is used it is neces sary to look for possible image deterioration due to enlargement Adjust prepress data with unsharp mask Images that appear clear on monitors and inkjet prints can appear blurred when commercially printed giving the impression of insufficient data For this reason images are almost always adjusted with an unsharp mask filter before commercial printing This filter sharpens edges and allows precise control over the strength and range of sharpness When optimally sharpened for commercial printing images tend to appear overly sharp on monitors and inkjet prints Therefore it is important that you conduct sharpness tests and develop an understanding of how best to use this filter for commercial prints Only use unsharp mask after all other adjustments Because unsharp mask affects the outlines of objects appearing in your photos other color adjustments following its usage can result in extreme deterioration of image quality Therefore please be advised that unsharp mask should only be applied after all other image adjustments have been made and the resolution of the image has been finalized and in some cases after the color mode has been switched to CMYK This printed image was not adjusted with unsharp mask The image appears clear and natural when displayed on a computer monitor at 10096 magnification but appears blurred in print The level
22. area This allows you for instance to use the color of skin to cover over hair follicles or in the case of men evidence of shaving s Healing Brush tool The Healing Brush tool is used much like the Clone Stamp tool and hides traces of retouch work even more naturally This tool lets you efficiently remove blemishes due to dust etc on the image sensor E DLI Burn tool Dodge tool These tools let you achieve results exactly like those you could obtain in a darkroom By changing the ranges for highlights midtones and shadows you can control colors on naturally lit images Control brightness and contrast with Levels and Curves The first function that a photographer should master is Levels As with EOS digital cameras and Digital Photo Professional Levels allows you to change the brightness using a histogram while observing the image As opposed to digital exposure compensation Levels lets you control white black and midtone areas independently so it is possible to boost contrast and make other adjustments You can also click on any area and change the white gray and black balance so the fine control of white balance is also possible Tone Curve makes the fine control of brightness possible in more places than does Levels It is therefore well suited for slightly emphasizing shading for specific tones without affecting other colors Hue Saturation for controlling color and brightness Even if c
23. because it measures discrete wavelengths of transmitted light measured in nanometers 1 billionth of a meter Calibration vs characterization When implementing color management you often encounter the terms calibration and characterization which can be confusing but the difference is really quite simple calibration changes a device to a standard or known state while characterization is the process of measuring the characteristics of the device using one of the above listed tools and creating a profile Calibration changing a device to a referenced state Characterization measuring the state of a device and creating a profile Profile description of a referenced state Color calibration with a calibrator A calibrator can be used to achieve more precise monitor calibration than is possible when relying on your eyes Various reasonably priced hardware calibrators such as the Gretag Macbeth i1 Display 2 are available The affordable i1 Photo includes a precision spectrophotometer and allow calibration of both your monitor and printer Calibration steps for Mac OS X If you have a CRI type monitor wait for the colors to stabilize This takes Bp about 30 minutes from the time the monitor is turned on Once the colors E have stabilized select System Preferences and click Displays Color and s rum Calibrate This will start the Display Calibrator Assistant which will then neue interactively guide yo
24. bring about unexpected results To prevent problems you must clearly communicate with your associates and follow their instructions accurately on profile and file type Use the same working color profile from start to finish The working color profile you use to check your digital photos should always be saved with the photos themselves Moreover you should ask others involved in the production process to employ that profile when making image adjustments If your plate makers have a policy of ignoring profile data and working only in the sRGB color space because images are received from multiple sources etc you need to prepare an adjusted sRGB version of the image data for their use Simply discarding profile data from Adobe RGB images will result in murky images with low saturation gE jJ Image in which the Adobe RGB profile was reflected all the way through post processing and properly converted Image formats and characteristics Select the best image file format for the job Various file formats are acceptable in a production environment However professionals tend to use the JPEG Photoshop and TIFF file formats The Photoshop psd format contains complete information on all layers and is ideal when you expect the plate maker to handle color conversion and other adjustments 16 bit images offer richer gradations than 8 bit images but result in larger files and take more time to process You should therefore
25. illuminate a photo conductor to produce and print an image on paper with toner External data storage device P 24 Generic term used for data storage devices outside a computer It refers to disk media such as external hard disks and CD Rs as well as photographic media Firmware Software that is built into digital cameras and other electronic devices and allows them to function File sharing P 26 Environment or process in which the same data can be handled between different computers via a network like a LAN or the internet Floating effects P42 Aberration fluctuates depending on focusing distance With floating effects this is corrected by changing the distance between certain parts of the lens depending on the degree to which the lens is extended GB Gigabyte P26 A unit of data equaling 1 024MB In precise terms 1GB equals 1 024MB but it is calculat ed as 1 000MB for convenience Precisely calculated 1MB 1 024KB 1KB 1 024B and 1B 8 bits Gamma P55 Gradient of a straight portion of a curve when showing the logarithmic relationship of input output signals Reference values for a gradient curve showing image data ona display are 1 8 on Mac and 2 2 on Windows Gradation P 19 Change in photographic density and contrast levels Hardware calibration P54 Calibration by adjusting an imaging device utilizing specialized hardware Histogram P33 A graph used to confirm exposure and id
26. in place of Polaroids Printing directly from the camera with a portable low cost compact photo printer is an effective alternative to using Polaroids 204 T ot Compact photo printer Laser printers deliver high printing speed Laser printers are ideal for producing photo albums in small volume lists of photos for use as contact prints and text documents in large volume Compared to inkjet printers laser printers offer lower running costs and faster printing Their output quality is high even on normal printing paper and during two sided printing In addition to conventional laser printers there are multifunctional products that combine color printer copier and fax functions in one compact body If your office space is limited these space saving products are an attractive alternative Color laser printer Multifunction color printer Printer selection Large format printers give photos maximum impact Large format printers are recommended for those who often print photos at large size Even poster sized printouts of high resolution images taken with the EOS 1Ds Mark II will offer fine detail when viewed from a normal distance Large format printer Color proofing printers enhance the commercial printing workflow Color proofing printers let you make adjustments to match the color tone ink and paper of the final commercial print They are ideal for checking colors before commercial prin
27. it covers everything from color management and file handling to image analysis and printing preparations Clarifying the responsibilities of photographers P 00 Page guide icon Workflow is a linear description of the path that your digital assets follow e Pages where additional information Can be found are indicated using the icon shown above We recommend that you refer to these pages for a more Complete understanding of the The responsibilities of photographers in the digital workflow vary widely with the specific requirements of each job processes or techniques discussed By taking you through the entire process e Nearly every photo in this guidebook of digital photography from shooting and 2T was taken with the EOS 1Ds Mark II image compensation to editing and printing See P 90 91 for details of the photos preparation we will help you to define and and their printing preparation streamline the varying workflow e This guidebook was produced mainly responsibilities and draw the line between with the EOS 1Ds Mark Il in mind your own responsibilities and those of others involved Mi ANTIN ey dal i 7 dines E Ata ete a T E Ju bi i 2 D i u s 1 1 E a Lm La e s dar gap a en af E Digital definition for crystal clear i images 1 Eos digital Tamoras have changed the world of photography P Be se L E 1 5 r This page intentionally left blank a a
28. media P 26 A recording media the same physical size as a CD but of higher data capacity up to 4 7GB per side Data can be rewritten and erased on a DVD RW but not on a DVD R Other writable DVD media include DVD R RW and DVD RAM Dual Layer DVD can hold over 8GB Data processing P2 The process of adjusting and correcting recorded picture data and producing it as prepress data Development P 30 Originally referred to the chemical process of developing images from a conventional film camera For digital cameras dedicated development software converts RAW data to JPEG or TIFF data Device P 24 Generic term for computer peripherals display printer imaging device etc with occasional reference to the computer itself Digital delivery Delivering the picture draft picture data to production or prepress processing Digital proof P 22 System for directly proofing the colors obtained from prepress data without making prepress film Dynamic range P 37 The range of brightness reproduced EXIF Exchangeable Image File format Records shot information like date time hour of shot and data settings of the digital camera in the JPEG or TIFF file Electronic still video camera P 18 This camera recorded analog image data generated by an image sensor on a still video floppy disk and was the precursor of digital cameras Electrophotographic color printer P 50 Color printer that uses a beam of light to
29. of sharpness Larger percentages increase the contrast between pixels The number of pixels surrounding each edge pixel to which sharpness is applied The amount of contrast between adjacent pixels required for pixels to qualify as edge pixels for sharpness adjustment For example at a value of 0 all pixels in the image are sharpened At a value of 7 only pixels adjacent to pixels differing by at least 7 steps in contrast qualify as edge pixels Large numbers are recommended when sharpening photos containing a relatively large amount of noise This printed image was optimally adjusted with unsharp mask It appears perfectly clear in print but over sharpened on a computer monitor This difference should be considered when using unsharp mask before printing Unsharp Mask Amount 160 E e Radius 1 4 pixels omy Threshold levels Xp This printed image was overly sharpened with unsharp mask Such results tend to occur when unsharp mask is applied to photos in which sharpness was added by the camera Noise is evident and edges are overly emphasized resulting in an unnatural painting like image Appendix 85 Glossary 16 bit P 74 An image with a 16 bit gradation per RGB channel 216 or 65 536 colors It has not only twice the data capacity of an 8 bit image but also superior color gradation characteristics that allow for finer adjustme
30. responsibilities to others may end up with low quality results To prevent such problems and realize the full potential of digital photography photographers must understand the entire process so they can recognize the factors that affect image quality Then they should take an active part in defining and delegating the responsibilities for color management Digital photo processing requires strict color management since there is no central standard for color evaluation print lab Switch to Digital Photography Photo printing environments rapidly adopting digital technology Photo printing environments where digitalization is already forging ahead Even if issues of resolution dynamic range and color management are successfully addressed prints are still ultimately necessary We turn to prints not displays or offset printing when we want to preserve an image Prints of course can be kept for a long time This quality as well as the strong demand for depth and density of color and light that only photographic paper can provide have been traditional reasons for the hesitation to switch to digital photography In the past creating prints from digital data was cumbersome and time consuming First digital data were burned onto color reversal film using a film recorder and then a print was created with the color reversal film Now however photo printing equipment has itself been upgraded to digital technology
31. style emphasizes color accuracy for individual subjects This makes it appropriate for shooting reproductions and still life Monochrome Sepia tone and filter work with mono chrome in an age of digital freedom Monochrome is a mode of expression that creates bold impressions of form light and shadow The Monochrome Picture Style is not just image processing with zero saturation it s a faithful successor to silver halide film The Monochrome style features a relatively strong sharpness setting as well as color control in sepia tone It also allows red green and other types of filter work The Monochrome style allows you to achieve the feel of monochrome photography using a digital camera without having to compromise 64 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Shooting Notes e Camera EOS 5D e Lens EF 24 105mm f 4L IS USM e Shutter Speed 1 500 e Aperture Value f 4 5 e ISO Speed 1250 e White Balance Auto e Picture Style Faithful Setting Standard Shooting Notes e Camera EOS 5D e Lens EF 24 105mm f 4L IS USM e Shutter Speed 1 250 e Aperture Value f 7 1 e ISO Speed 100 e White Balance Auto e Picture Style Monochrome Lu Setting Standard Picture Style Preset Style Comparison Li Setting Standard Setting Portrait Setting Faithful Setting Neutral Setting Monochrome Shooting Notes e Camera EOS 5D e Lens EF 24 105mm f 4L IS USM e
32. the studio monitor and color printer provide the only reference Color management provides guidelines for consistent assessment of colors throughout the work process enabling consistency similar to that achieved in conventional photography 50 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Digital camera my Scanner E euge PR Pde das Fee M o Tabs hem ilies Hi a Me iat Bal 5 BD ira erry 4 ra rim E gjys E ud Dj 1 LI E rm J ae m NEM ZI ee ee CURRUS USCIRE REC S Display Electronic photographic color printer Commercial printing equipment a Tas Pa In this example Mac OS X and multiple software applications were used to display the same image data If the same color management settings are not used different software applications will reproduce the same image data with different color tones For example with Adobe InDesign CS color management is turned off in the initial settings so if it is not turned on by the user the profile established in Adobe Photoshop will not be applied Color reproduction To learn about the process of color reproduction it is necessary to understand basic color theory and concepts of light Without light there is no color Color is a visual sensation involving light the eye and the brain as well as the object being viewed a light source an object and an observer Understanding the physics of color is more than we will cover in this guide What we n
33. when developing RAW data RAW or JPEG Images can be recorded in either the JPEG or RAW formats The JPEG format reflects various parameters set within the camera while the RAW format is unprocessed data that serves in fact as the base of the JPEG format With the JPEG format processing is completed within the camera so productivity is high The RAW format on the other hand allows parameters to be changed with a computer so it is possible to use this format to create images with extremely high precision EOS digital cameras allow you to simultaneously record data in both the RAW and JPEG formats This may result in the storage of high volumes of data but for more accurate shots it is recommended that data be stored in both the RAW and JPEG formats Set the sharpness to suit your purpose When shooting photos for prints that you will make by yourself boosting sharpness when photos are shot will allow you to obtain better results Setting the sharpness on the camera will produce different results from those achieved using Adobe Photoshop or other image processing software where the sharpness is adjusted afterwards In contrast when shooting photos for commercial printing or plate making it is better not to boost sharpness on the camera The optimum degree of sharpness depends on the final print size and this may change before the production process is complete Therefore rather than using settings for op
34. who understand the intricacies of color photographs So photographers can select the right film Tor their pRotpgraphic theme n ti hy a EU k So professional labs can draw out colors that captivate So designers in search of the hest results can use image processing software So prepress professionals A can pertorm the optimal calar carrection tor the print The color quality you ve been seeking is now possible with EOS digital cameras Creative color control has undergone enormous development and progress since the advent of EOS digital cameras The culmination of this progress has been incorporated into Picture Style Previously in order to control color you had to adjust the Color Matrix and Parameters Picture Style integrates these into a display that is intuitive for professionals working with digital photographs Selecting the optimal Picture Style is similar to selecting the best film or desired photographic expression for the subject By making this selection you can create digital images with fine tuned color and other characteristics at the moment of exposure Picture Style is incorporated into the EOS 1D Mark IIn EOS 5D and later EOS Digital models Picture Style makes it possible to produce images with the same characteristics regardless of the EOS digital camera used Create a wide repertoire of color effects simply by selecting settings Picture Style c
35. with the EOS 1Ds Mark II can be 50 to 100MB in size Once this data file is opened in graphics software and processed in layers the file can easily grow to become several hundred megabytes Moreover users sometimes work on several large files at the same time Since the handling of RAW data places a heavy load on the CPU the processing speed of your computer naturally affects work efficiency To adequately handle photo data created by EOS digital cameras we strongly recommend using a high spec model in terms of CPU speed memory RAM hard disk size etc Transfer image data with the method that best fits the situation When EOS digital data are processed with a computer they are usually transferred to the computer using the camera s memory card When working in a studio or other locations where it is possible to perform correction work on a computer or when you would like to reduce the time necessary to transfer data to a computer EOS digital cameras can be connected directly to a computer using an IEEE1394 cable Data can also be transferred over a wireless LAN connection The EOS 1Ds Mark II is compatible with WFT E1A an accessory that permits high speed image transfer over wired wireless LANs thus avoiding the hassle of multiple cable connections Macintosh for unified color control Windows for cost efficiency When purchasing a computer you will most likely choose a Macintosh or Windows compatible computer Man
36. world s first electronic stil video camera the RC 701 in 1986 and digital cameras have been evolving rapidly ever since Low running costs i e through the elimination of film expenses and the immediate ability to produce and review images made digital cameras the choice of photojournalists from the introduction of the very first professional grade digital cameras Even so however digital camera image quality did not compare to that of film so those fields in which image quality is a critical business selling point e g advertising publishing and photo portraiture maintained a steadfast dedication to film photography The arrival of the 11 megapixel EOS 1Ds in 2002 however significantly changed the performance and perception of digital cameras The EOS 1Ds accelerated the transition from film to digital with its outstanding resolution full size 35mm CMOS sensor high image quality and large files These outstanding performance characteristics coupled with Canon s superior ergonomic design triggered an explosion in commercial applications of digital photography The next generation of EOS the 16 7 megapixel EOS 1Ds Mark II arrived in 2004 With resolution at this level Canon e New digital camera workflow is now able to address the needs of photographic studios for whom image quality of high resolution files is paramount The switch to digital technology is expanding the world of photography Desktop
37. E m p n E Lm c Meeting the demands of studio and location portraiture natural gradation and color reproduction capture the texture of skin fabric and other materials as well as detailed facial expressions Outstanding gradation accurately reproduces colors and textures 10 Shot with the EOS 1Ds Mark II Shot with the EOS 1D Mark Il k Shot with the EOS 20D Canon s unrivaled combination of CMOS sensor and DIGIC Image Processor achieves sharp dynamic images A symphony of light capturing the full range of visual information from highlights to shadows 11 Shot with the EOS 1Ds Mark II Photographic film can produce reciprocity failure resulting in negatives with dark areas that are under exposed relative to light areas In long night exposures the details of shadows are lost and colors are inaccurately reproduced In contrast EOS digital cameras provide proper exposure levels even in minimal light conditions and correctly capture details of the subject With mixed light sources using film cameras color balance often gives rise to color seepage EOS digital cameras address this with white balance settings that result in true color reproduction 12 100 crops from digital left and film above True reproduction even with minimal light Reproduction quality possible only with this visually faithful digital technology Same scene under the same conditions sho
38. Format A general use image recording format of larger data size than a compressed JPEG file Thumbnails P 67 Reduced images used on digital cameras and personal computers to show what images have been taken Tilt P 42 A photographic method in which a lens with its axis perpendicular to the image plane is intentionally tilted Tone curve P 30 Displays picture gradations on input output graphs Brightness and contrast can be adjusted by manipulating the curve within a graph Tone jump A condition when gradation lacks smoothness and has gaps Trimming P 71 Removing portions of an image USB 2 0 P 26 A new Universal Serial Bus standard for connecting peripherals to a computer Has a transfer rate up to 480Mbps which is faster than previous standards Unsharp mask P85 An image processing function in Photoshop Blurring of the original picture causes an unsharp reverse image Alignment masks the original image onto the reverse image to increase edge contrast and sharpness Visible spectrum P38 The range of colors that the human eye can recognize White balance P12 A function for correcting RGB values regardless of light source so that white objects in view faithfully appear white See AWB Wide gamut 38 Color profile newly established by Digital Photo Professional Covers a wider range than sRGB and AdobeRGB Wireless LAN P 26 A LAN connected by using radio waves of a certa
39. ICC profiles imbedded in their software which can be accessed by an ICC compliant OS or software application Such as Photoshop to ensure complete system wide communication of the ICC standards The ICC profile tells the OS what kind of color the device is capable of its gamut Gamut is the range of colors available for a particular color space e CIELAB Color Space Saturation C Lightness L b Yellow Data Processing 51 Color management Color spaces are three dimensional models that show you what colors are possible to use in your work The concept of colorimetrically defined spaces has been around since the development of color television Since there are a number of different color spaces it s important to distinguish between those color spaces that are based on color reproduction methods such as device dependent spaces gray spaces RGB based color spaces and CMY based color spaces and those that represent all the colors that we can see device independent color spaces and CIE color spaces Gray spaces Gray spaces have a single component black Gray spaces are used for black and white grayscale display and printing RGB based color spaces Any color expressed in RGB space is some mixture of the primary colors red green and blue Most color displays use RGB based color spaces Color spaces within the RGB spectrum include HSV hue saturation and value and HLS hue l
40. Manual e Shutter Speed 1 250 Aperture Value f 11 with flash e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Color Temperature 6 100 K e Color Matrix 4 e Camera EOS 1Ds Mark II e Lens EF 135mm f 2 0 L e Shutter Speed 1 125 e Aperture Value f 10 e ISO Speed 100 e White Balance Custom Copyright David Sparer Canon U S A Inc e Camera EOS 1Ds Mark II e Lens TS E 45mm f 2 8 e Shooting Mode Manual e Shutter Speed 1 60 e Aperture Value f 16 e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Auto e Color Matrix 4 e Film 645 e Lens FUJINON HC 50 110mm e Shooting Mode Manual e Shutter Speed 1 60 e Aperture Value f 16 e ISO Speed 100 FUJI RDP Ill e Camera EOS 1Ds Mark II e Lens TS E 90mm f 2 8 e Shooting Mode Manual e Shutter Speed 8 e Aperture Value f 8 e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Auto e Color Matrix 4 e Camera EOS 1Ds Mark II e Lens TS E 90mm f 2 8 Aperture Value f 2 8 Copyright Vered Koshlano e Camera EOS 1Ds Mark II e Lens TS E90mm f 2 8 e Shooting Mode Manual e Shutter Speed 1 60 e Aperture Value f 3 2 e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Auto e Color Matrix 4 e C
41. S Digital Solution Disk contains software applications that can be used with every EOS digital camera This disk comes with EOS digital cameras and for the professional offers everything from the remote control of EOS digital cameras when working in the studio or at other locations to the organization of image files and simple image correction EOS DIGITAL Solution Disk Install The easy to use EOS Viewer Utility lets you develop RAW data The EOS Viewer Utility is image browsing adjustment and development software that can be used with every EOS digital camera This software allows you to conveniently check photographic conditions by viewing information such as aperture setting and shutter speed ISO setting lens focal length and focal area In addition by connecting an EOS digital camera to a computer you can fix camera settings such as development parameters tone curve white balance and color matrix to suit your particular purpose Use EOS Capture to remotely control an DOO BOS 1D Mark B 1 EOS digital camera from a computer EOS Capture is remote control software that can be used through either Digital Photo Professional or the EOS Viewer Utility Using this software you can adjust camera settings and shoot pictures with an EOS 1Ds Mark II E E ECC connected to a computer through an IEEE1394 port DOGC When you use EOS Capture to shoot photos the images you shoot appear on the computer dis
42. Ss are the settings uniform L1 Is the correct profile being used to open files L Are the conditions as the photographer intended L1 Is the gray balance correct Are the colors properly balanced L1 Is this adjustment item the responsibility of the photographer or the plate maker 2 Will memorized color elements be added 2 Has color tone adjustment produced natural looking results 2 Is this adjustment item the responsibility of the photographer or the plate maker L Have blemishes and unnecessary elements been removed from the image data 2 Is this adjustment item the responsibility of the photographer or the plate maker LI Has the resolution been changed to the number of pixels to be used for the final product 2 Has an unsharp mask been used for the final resolution 2 Does the sharpness consider the printed finish L1 Have profiles been included in the stored data L1 Is the file format appropriate for the work to be performed 2 If JPEG compressed files are being used has quality been maintained 2 Have processed data and original data been organized in sets 2 Have data and prints been organized in sets 2 Have files been saved using names that will not cause problems if a different OS is used 2 Have files been saved on media that others can easily use 2 Have the original data files been backed up Picture Style Creative Color Solution Incorporating the know how of experts
43. TAL DIGITAL PHOTO GUIDEBOOK Original image Original image Oversaturation can cause adverse effects including the loss of a sense of reality or a waxy plastic look On already highly saturated images further increases in saturation can flatten the image creating a fully saturated coloring book appearance Image brightened by exposure compensation Noise appears in shadow areas Image with optimally raised saturation Oversaturated image Natural quality of photograph is lost EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Appendix Image processing with Adobe Photoshop We recommend that you use Adobe Photoshop for the detailed processing of images Here we give a simple introduction to some of its basic correction functions Remove blemishes on subjects and image sensors Retouching or the correction of blemishes is performed with Adobe Photoshop Blemishes caused by dust on the image sensors of digital cameras are not a problem plate makers typically anticipate so if the photographer doesn t perform retouch work S228 n BE greater attention is required in post ale processing ERE Among Photoshop s retouch tools are T Brush Blur and Smudge but the one used 2 most is the Stamp tool This tool lets you E F i copy one part of an image to another part of gt s the image and is like a tool to eliminate power lines from images This tool is effective when using a fine tex
44. ability and the ability to process multiple images simultaneously It can also use multiple color spaces and ICC profiles for color management Digital Photo Professional organizes work into four image editing windows the Main window for checking images with thumbnails the Quick Check tool for a fast look at the details of images the Edit Image window for the fine adjustment of single or multiple images and the Edit window for adjustment of a single image In addition Digital Photo Professional can be used to print photos either by using any ordinary print driver or together with Canon s Easy PhotoPrint software Main window i Main window Images can be viewed as small middle and large thumbnails or as thumbnails with information They can be tagged with checkmarks 1 2 or 3 for easy grouping and can be sorted by checkmark file name RAW priority or shooting date and time Reorganizing images into various folders is simple by using a drag and drop cut and paste or copy and paste method Single or multiple images can be adjusted in the Main window by using the Brightness or White Balance buttons along the tool bar After selecting the image or images that you want to correct click on White Balance or Brightness and an adjustment window will appear When light sources and other conditions are controlled for example when shooting a model in a studio
45. acement Monitor settings Pros and cons of CRT monitors Pros Wider control range for brightness and contrast Cons Time is required for colors to stabilize after power is turned on e Brightness varies from center to edges e Color performance deteriorates more rapidly over time Colors are easily affected by magnetic force e Place monitor away from sunlight as time of day and weather can affect the lighting and how images appear e Place monitor where lights do not reflect off screen e Use fluorescent lights designed for color evaluation if possible e Use daylight white type three wavelength fluorescent lights e Use lighting that is not too bright or dark for accurate color evaluation e Use a light shielding hood to prevent lights from reflecting off screen Use gray or other achromatic wall colors if possible ts FARA Data Processing Color management Color management Color management Establishing an environment for image editing Color management is the key to the system s success Consistency is the key to successful color management This section is designed as an introduction to color management and not as a guide for color management professionals The goal of color management is to build an affordable imaging system that can be used to ensure accurate and consistent color as the digital data is repurposed for a variety of different media including print www CD DVD authoring across
46. adation curves used to represent the mid tone brightness of the display Gamma selection determines the relationship between light and dark values similar to contrast The higher the gamma number the darker the mid tones appear on screen and the more contrast you will see White point is the color temperature of the display measured in Kelvin temperature The challenge is that printed materials and photographs will be viewed under many light conditions Viewing conditions can be built into custom profiles for Gallery lighting store displays a color specialist should be consulted when this is a client requirement Understanding measurement devices Densitometer An instrument that measures the density of ink on paper the absorption of light not color values Colorimeter An instrument that measures the color value of a sample using color filters A colorimeter can determine if two colors are the same but it does not take into account the light under which a sample is measured For monitors a colorimeter is used to measure the brightness contrast and white point color temperature A colorimeter generally uses three internal filters to simulate human vision The measurements are calculated by the profiling software to create a new profile Spectrophotometer An instrument that measures the wavelength of color across an entire spectrum of colors measures spectral data It is similar to a colorimeter but more precise
47. ages in a uniform style Data Processing 59 Picture Style Shooting with Picture Style The general purpose Standard Picture Style is the default setting for uniform image characteristics from EOS digital camera models On all EOS digital cameras with Picture Style the default setting is the Standard Picture Style which delivers high saturation and sharpness This setting will produce excellent color for nearly all subjects and themes It also unifies image characteristics and parameters This eliminates color differences when multiple cameras are used Preset styles render images with the desired effect Whether you want to capture the deep blue sky of a landscape or the healthy appearance of a subject s skin when shooting a portrait Picture Style responds to your demands with color to suit your individual style Six intuitively named style presets allow you the photographer to instinctively select a Picture Style to match the scene just as you would select different film emulsions Enjoy creative freedom by fine tuning sharpness contrast saturation and color tone The beauty of an image depends on the interaction of various factors such as high resolution low noise and rich coloration Picture Style controls sharpness clarity contrast the smoothness of gradations and differences between light and dark areas saturation and color tone vividness and hue The CMOS sensor and DIGIC Il Image
48. alse colors When capturing subjects with detailed high contrast geometric patterns imaging engines sometimes misinterpret the signals from imaging sensors and add colors to the image called false colors that were not actually there False colors can be avoided by using a low pass filter on the imaging sensor or processing the data before conversion to an image file EOS digital cameras reduce false colors to negligible levels in most cases Flares and ghosts Imaging sensors are smoother and more reflective than film When strong light enters the camera reflections on the imaging sensor can reflect off the lens and appear as flares or ghosts in your image This is especially true when using an ultra telephoto lens with flat surface protection glass or any lens with a filter Canon s large diameter IS ultra telephoto lenses employ a meniscus lens that minimizes the effects of reflections on the imaging sensor AM i A Hs ig False colors tend to appear in areas of high contrast False colors are easier to identify when the image An example of a photo with a ghosted reflection especially in low resolution images is enlarged 44 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Shooting 45 Averting common problems in digital photos Degradation of delineation by diffraction Normally the higher the aperture setting the greater the depth of field However beyond a certain aperture value the aperture becomes t
49. amera EOS 1v e Film 35mm e Lens TS E 90mm f 2 8 e Shooting Mode Manual e Shutter Speed 10 e Aperture Value f 8 Appendix 91 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK for Professionals e Apple the Apple logo ColorSync Macintosh Mac and Mac OS are registered trademarks of Apple Computer Inc in the United States e Windows is a registered trademark of the Microsoft Corporation in the United States and other countries e Adobe Adobe Acrobat Adobe Photoshop Adobe Illustrator and Adobe InDesign are trademarks of Adobe Systems Incorporated e i1 is a trademark of Gretag Macbeth Holding AG e WAM NET is a registered trademark of SAVVIS Communications Corp in the United States and other countries e Canon the Canon logo and EOS DIGITAL are registered trademarks of Canon Inc e Other company and product names found in the text are the registered trademarks or trademarks of their respective owners Published by Canon Inc 30 2 Shimomaruko 3 chome Ohta ku Tokyo 146 8501 Japan Canon U S A Inc One Canon Plaza Lake Success NY 11042 U S A Copyright 2006 Canon Inc and Canon U S A Inc Except as permitted by law this guidebook may not be reproduced copied either in whole or in part without the express written consent of Canon Inc and Canon U S A Inc
50. ayered over the base image 40 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Synthesis Image after synthesis cut 3 The overall scene is photographed but the reflection of the metal ball on the glass is undesirable Image after synthesis The flower stem visible through the glass and the blue glass reflected on the glass on its side are removed and the scene is again photographed to create an image to be used in layering Synthesis The metal ball is removed and the scene is again photographed without the reflection on the glass This photo will be used as the base image Image after synthesis x RES M IN uh A Si i n TAL ANN WAAAY I1 M LELLI Ini ef TR is AN UV 1 n i Li TS E lens series TS E lenses are excellent for obtaining the effect of large format camera movements which are a must for photographing products and architecture They can be accurately focused even on surfaces faced at an angle and are used for tilt photography which allows control of depth of field and shift photography to correct distortion that can arise depending on perspective Furthermore the high performance of these lenses makes it possible to obtain extremely high image quality when paired with an EOS digital camera ILU MP TRMEM LLARIETIPTEITIES d arp ccm c me oj a Jat due 5 The standard TS E 45mm lens is optimal for shooting architecture and on other occasio
51. ce will no longer be necessary Color management has now come of age With proper understanding and practice the photographer can exercise complete control over viewing editing and proofing as well as final print quality To do this you must utilize the proofing and color gamut functions of commercially available image editing software such as Adobe Photoshop Inkjet printers can reproduce a wider range of colors than commercial printing equipment so the key to image quality is how the plate maker adjusts for areas that cannot be adequately expressed by commercial printing equipment When you want to see how colors will differ in commercially printed images you can use Adobe Photoshop or Canon Digital Photo Professional to simulate the conversion Strict color management is a must P 50 Evaluation Conversion E LA X ad Adjustment Compensation from RGB red green blue color spectrum to CMYK cyan magenta yellow and black color spectrum P77 Photographers who understand the process can improve efficiency and final image quality Color management is necessary at every step of the process that leads to commercially printed digital photos However the color management responsibilities of each person in the process is rarely defined This lack of clarity can burden photographers who take full control in their efforts to ensure quality and efficiency Conversely photographers who leave too many
52. cess image data efficiently Digital Photo Professional unlocks the full capacity of RAW image data EOS digital data include both JPEG data which can be manipulated using various image software applications and RAW data which allows the adjustment of various parameters set when photos are shot Canon s Digital Photo Professional software lets you make fine adjustments to RAW data and convert them to a format that can be used with image processing and graphics software Digital Photo Professional includes a number of functions for professionals Digital Photo Professional features power functions to edit RAW data and the ability to comprehensively process images captured with the CMOS sensors inside EOS digital cameras With its exposure compensation function it even allows you to recover shadow detail that would be lost in JPEG files To help professionals boost their productivity Digital Photo Professional offers tools such as a batch processing function for performing the same adjustments to multiple images and a color simulation function for checking images on a display before printing them P67 T a E Digital Photo Professional Equipment 29 Software environment for shooting and data processing Basic software applications for everything from shooting to organizing and processing image data are all included in the 8 EOS Digital Solution Disk The EO
53. cial film and filters Special film and filters Shoot the subject one stop over for reflected reading 0 stops for incident Note If the image is overexposed when shooting the white card accurate white balance may not be obtained Shooting 35 White balance Freely change color characteristics with white balance In addition to using white balance for accurate color reproduction it can be used to achieve various creative results Exaggerated settings can produce strong color tones for example EOS digital cameras let you adjust color temperature between around 2 000 K and 10 000 K which is much wider than film cameras will allow Optimizing flash for digital camera imaging sensors Some flash units are optimized for use with light sensitive film and result in unbalanced color when used with digital cameras The color characteristics of these flash units can be easily determined by taking several shots of a color chart with different light sources and white balance settings Truly automatic white balance and flexible compensation While studios offer nearly perfect lighting ordinary indoor shooting environments offer a mixture of natural tungsten and fluorescent light sources that make it difficult for film cameras to obtain accurate white balance even when various filters are used The Auto White Balance AWB function on EOS digital cameras can automatically determine the correct white balance
54. colors of images without post processing colors will appear subdued and dull When shooting bright red flowers or cars with the Standard style excessive color intensity sometimes results in a flat appearance Neutral however employs lower saturation and contrast settings resulting in more detail for effective post processing Shooting Notes e Camera EOS 5D e Lens EF 28 135mm f 3 5 5 6 IS USM e Shutter Speed 1 100 e Aperture Value f 11 e ISO Speed 100 e White Balance Custom e Picture Style Neutral When shot with the Standard Picture Style the intense saturated colors in the fabric eliminate texture and detail With the Neutral Picture Style the details remain clearly visible Copyright Vered Koshlano Data Processing 63 Picture Style Faithful Another image style designed for correctability but through a unique colorimetric approach Faithful is another Picture Style for reproducing the colors of the subject exactly as they are The Faithful Picture Style is set to record colors that are colorimetrically the same as the actual colors of the subject under 5200K lighting conditions Like the Neutral Picture Style it emphasizes correctability It therefore employs relatively low saturation and contrast settings and the colors that result are close to those obtained with the Neutral style Rather than emphasizing the appearance of the entire image however the Faithful
55. consult with others in the project before using 16 bit data files JPEG compression lowers image quality at high compression ratios but offers Image in which the profile was corrupted and colors were not properly reproduced Format File extension 16 bit support Benefits Photoshop psd Suitable JPEG jpg jpeg formats TIFF tif tiff Photoshop EPS eps Unsuitable formats PICT Macintosh pct BMP Windows bmp 74 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK All adjustments are kept separately in the Yes file Compact when saved during process No Small file sizes are possible Y File size can be reduced without quality es rA deterioration No No No excellent results at High to Best quality settings which reduce Photoshop files to about 1 10 to 1 6 their file size Les A3 O EE 5 5 5 5 53 Wear Biop Jj Pel ivi LA n Leur hs Coton ki n AUT FE DA tr uie tana tmr Eie A ER dl 1a ies B SON HI mi T MA FE lagim iiei Ti dia eet di LJ ited a1 Remarks Use only during adjustment since not supported by certain layout software When data is compressed image quality deteriorates Not suitable for adjustment Can include layer information but not suitable for adjustment since specs are different from Photoshop format Cannot include layer information File size is large May cause confusion since commonly used for p
56. d more and more for portraits as well as other types of photographic projects Impact of inkjet printer performance improvements Previously inkjet printers produced images markedly different from those printed on photographic paper Performance improvements in recent years however have produced marvelous granularity that exceeds that of traditional photo printing and have given us spectrums that have been expanded with 8 ink systems and other technologies This has resulted in color reproduction that surpasses that of positive film Additionally improvements in water resistance weather resistance and light stability as well as improvements in inks and printing paper have made it possible to obtain extremely stable print results ww 98 m M a photographer Shooting Image data e Finished print z Print Final print Test print Professional lab operator Calibration and other routine maintenance Tasks performed by photo studio gt Tasks performed by professional lab Conventional prints by digital printer RAW data development etc RGB Juste data adjustment eE mail attachment eCD R or eFTP eHTTP other media Instructions for additional adjustments Internet I Q and reprinting server Data optimized dA by professional lab L Operator uses the professional lab s workstation to optimize data for printing e Color management
57. d not rely too heavily on image adjustment Rather you should develop the skills to attain desired results in the fewest possible steps Never forget that expert shooting is required to obtain excellent images Don t rely too heavily on exposure compensation Even with exposure compensation equivalent to an increase from 2EV to 3EV or higher digital cameras retain a significant level of detail in shadows Such adjustments may bring out details in the shadows but they will also raise noise levels and lower color accuracy Always remember that rich gradations can only be ensured by correct exposure P83 Resist raising saturation too high Since photos often look best when highly saturated at first glance there is a tendency to keep raising the saturation during editing This tendency is increased by familiarization with the image after long hours of viewing the monitor step by step you lose sight of the natural quality of your photo and raise saturation to unnatural levels As a preventive measure you should frequently compare your adjusted image with the original image during editing to see if your efforts have heightened the natural allure of your image or simply made the colors look artificial Use 16 bit images for processing When you process 16 bit images in image editing software such as Adobe Photoshop image degradation is minimized Images should be converted to 8 bit for delivery to your client 80 EOS DIGI
58. ddition Canon image processing technology reduces visual noise when converting CMOS signals to image data With Canon digital cameras you can achieve high quality images even at highly sensitive settings or slow shutter speeds Wide ranging ISO settings and Auto Exposure Bracketing Digital cameras let you change the ISO setting for each shot a major advantage over film cameras The EOS 1Ds Mark II offers settings ranging from 100 to 1600 50 to 3200 via menu selection and lets you take extremely low noise shots even at high sensitivity This is a tremendous advantage for example when taking hand held shots where steadiness of the camera is a concern and you want to change the shutter speed without changing the aperture Auto Exposure Bracketing AEB which automatically takes several shots in sequence with different ISO settings but no change in aperture or shutter speed is a unique shooting mode made possible by the EOS 1Ds Mark Il s ISO functions 8 Noise that easily develops with extreme exposure compensation after shooting Images shot with EOS digital cameras have less visual noise than those shot with film cameras However when post processing RAW images extreme exposure compensation can result in visual noise bibe Moe pr ISO 400 ek ii rm RAW images shot at ISO 1600 and deve loped at 2EV expo sure compensation Shooting 37 Color matrix Choose color characteristics ba
59. de or Not OK Date7 5 Restricted by Windows OS Tree structure of in file or folder name Not OK Compensation7 12 file or folder location can disappear Image Chien a Brint Qualty Medium HM BE Preview Include correct file OK 2500 psd Depending on destination disk certain types r mathe extension Not OK 2500 psd s copy of character strings can be automatically replaced by other strings Since Windows Format Cpisans OS uses a file extension to associate the file b taseting itandand and supporting application a missed file iiini Opomized d hacia extension may cause confusion _ Limit file name to Not OK Since longer names are not supported by Sim 31 characters 20030705studio_model_ Mac OS the end of the character string may marita diae AB Mi adjusted final be replaced Keep the light source in mind when evaluating prints When evaluating prints the light source will influence the judgment of photographers and those in the proofing division This is especially true when printing from inkjet printers which use paper with a fluorescent component that affects printed colors depending on the light The relationship between prints and light is the same as the traditional relationship between positive film and light boxes Standardization beforehand is vital to ensuring accurate evaluation 6 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK i Compression rati
60. ded to the file name shooting date and time where you can select the format You can choose to overwrite original files or copy and save the renamed files elsewhere on your computer This tool allows you to sort and rename raw files before you convert them maintaining the naming convention for all your files and archives 72 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Batch processing and exporting Once you have finished adjusting all of your images in the Edit Image window You can either export a single image to Adobe Photoshop by selecting the Transfer to Photoshop function in the tools menu or click on the Batch process button to develop your images converting them into either JPEG or TIFF files If the images are to be finished using software like Adobe Photoshop it is a good idea to select Embed ICC profile Development or batch processing will start a separate software application called Digital Photo Professional Batch and processing will take place in the background While development is being performed you can return to the Digital Photo Professional screen and continue your work pae lab redis ume oes Ded Lok ieee CET k uec Uo mee DIL ERR Toma di m dH ll aa Bo m r ae D hirta EU I TLS LL wl Wages bum eh u m ka Conclusion We have given you a rough explanation of the RAW development flow The greater your familiarity with this software the more efficient your RAW dev
61. e are presently two separate workflows in digital photography In one image data are given to a professional lab which then handles everything from correction to printing Advances in broadband technology have encouraged an increasing number of labs to upgrade their computing environments so they can be sent image data over the internet The ability to easily transfer large volumes of high quality image data makes the simplicity of sending and receiving orders an advantage for this workflow In the other workflow the photographer personally corrects the image data and has a professional lab use these data to create prints The lab and the photographer examine test prints beforehand and working together in the color management process create prints that satisfy the photographer In either case if care is taken to use the same settings on tools used by both the photographer and the lab from the beginning prints even Photo studio professional lab workflow more stable than those possible with film can be obtained Active communication with the lab therefore is the key to efficiency and high quality With advances in printing technology we are seeing the emergence of a creative environment in which the capability of the operator and the senses of the photographer are indispensable It appears that once there is solid order sending and receiving know how among photographers and professional labs we will see digital cameras use
62. e closest reproducible color in the destination color space Relative colorimetric rendering maps whites to the target output space and preserves more of the original colors in an image than the Perceptual rendering intent Absolute colorimetric leaves colors that fall inside the destination gamut unchanged and it effectively clips colors that fall out of that gamut This rendering is based on the source s white point and is suitable for proofing to simulate the output of a particular device Configuring advanced color controls Adobe Photoshop lets you choose from at least three CMMs which Adobe calls conversion engines to convert colors between different profiles They are as follows e Adobe ACE which stands for Adobe Color Engine is Adobe s own CMM It is built into all Adobe professional design applications but is unavailable to non Adobe applications e Apple ColorSync tells Adobe Photoshop to use the CMM specified by the ColorSync Preferences If Automatic is selected as the Preferred CMM in the ColorSync Preferences ColorSync will use the Apple CMM unless a profile contains a specific instruction to use a different CMM e Apple CMM tells Adobe Photoshop to use Apple s own CMM disregarding any specific instructions that may be contained in a profile Note You will often find additional CMMs installed most get installed as part of a scanner installation or profiling software suite Agfa Heidelberg Col
63. e order of the steps to be performed and divide responsibilities Between the beginning of image processing and the time at which a CMYK print is created there are several steps that the plate maker should perform and that the photographer should not Nevertheless the photographer knows better than anyone else what colors have been photographed and how they should be reproduced The photographer s role therefore is very important and it is essential that he or she use color management to view images The photographer should also understand how each step of the process is performed Furthermore the photographer should be cognizant of the critical difference between RGB and CMYK and work with the plate maker and designer to produce the most effective results 58 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Monitor and lighting conditions Color management Fine adjustments when shooting Color tone adjustment Resolution Sharpness Data storage Handing data over L1 Does the monitor have a function for confirming colors 2 Does the monitor retain all of the capabilities it had when it was new 2 Are the lighting conditions preventing colors from being correctly viewed on the monitor L1 Are the lighting conditions appropriate for checking printed matter and photo prints 2 Has the monitor been calibrated 2 Are the software color settings correct L1 If work is being performed on multiple machines and O
64. ea prenie space connerie be marie Prj anu dco are mar borers acd a encor the dif coke eee for marry camera feed pare ed jafi eee kee space foe Vip acr Int mots ncommaenmded 2r pepe mrk Zbrcaun ic itn um ead poker gari Color settings in Adobe Photoshop Open Adobe Photoshop and select Color Settings from the Edit Mac OS 9 and Windows or Adobe Photoshop OS X pull down menu In the Working Spaces section select the RGB color space used by your digital camera we recommended Adobe RGB 1998 but if your camera For the CMYK color space select SWOP CMYK Ignore the settings for Gray and Spot which concern conversions for monochrome and special color printing In the Color Management Policies section select Preserve Embedded Profiles for RGB CMYK and Grayscale This section defines how to handle the ICC profile embedded in your image and what to do if no profile is embedded Next to Profile Mismatches select Ask When Opening Set Conversion Options as discussed on page 53 Do not change any other settings in Advanced Options which only appear if you select the Advanced Mode Changing the default settings may drastically change the colors in RGB image data Data Processing 5 Data processing check sheet Data processing check sheet For all photos taken with a digital camera the steps shown below must be performed The entire process should be reviewed to ensure that nothing has been left out Confirm th
65. eed to grasp to get started is that everything affects the way we see color The International Commission on Illumination CIE established standards of color based on how the human eye sees colors The CIE developed the familiar upside e Color space comparison 01 02 03 04 05 096 down but slightly curved horseshoe shaped color space CIEXYZ that is often used in articles discussing color management This color space is based on what the human eye can see and was first published in 1931 In the 1970s a new mathematical model of color space was developed called Lab Lab or CIELAB Lab is a more three dimensional space than the CIEXYZ color space The horseshoe shape is still useful for providing a relative comparison between different color spaces For example it is still commonly used to reveal what kind of gamut is available from say Adobe 1998 RGB versus sRGB or CMYK In 1993 a new organization called the International Color Consortium ICC was created to establish standards for vendors Visible spectrum Wide Gamut RGB Adobe RGB 1998 sRGB CMYK Japan Standard v2 and users of color devices such as scanners monitors and printers and their respective calibration devices The ICC standards were based on the original CIE standards This provides a point of reference so that one device can communicate with another to ensure consistency in color throughout a managed system The devices communicate with
66. elopment work will be Taking advantage of this software will also allow you to realize the full performance potential of EOS digital cameras and easily produce the photos you imagine Although not addressed here Digital Photo Professional also plays an important role when EOS Capture is used to connect your camera to a com puter With EOS Capture images can be displayed on a computer monitor for easier viewing immediately after they are shot To do this go to Preferences and set the At EOS Capture startup setting to Edit Image window enabled at EOS Capture startup This capability makes it easy to check images immediately after they are shot Note For additional information about the latest version of Canon software please visit www photoworkshop com canon Linkages with other software In addition to Digital Photo Professional image data captured with EOS digital cameras Linkages with other software can be browsed and organized with various other software applications Using the optimal software for the task at hand will boost work efficiency Browsing development software Software created by companies other than Canon can also be used to display and develop EOS digital thumbnails Adobe Photoshop CS and Adobe Photoshop Elements 3 0 support the development of various types of RAW data and offer the advantage of handling everything from browsing to development and retouch work with a single software application
67. ent 4 Picture Style settings are adjustable over a broader range than is possible for traditional Developing Parameters As a result extreme settings can result in major changes in tone When adjusting settings therefore it is suggested that you shoot a subject with many colors or light and dark areas or shoot a color chart to check color changes Download Picture Style files from Canon s website Using the Camera Window transfer downloaded Picture Style files to This display shows that a Picture Style file transferred to your your camera camera has been successfully saved and is ready to use Viewing adjusting and developing images with Digital Photo Professional ver 2 0 Viewing adjusting and developing images with Digital Photo Professional ver 2 0 With the RAW image format as opposed to JPEG photographers can obtain extreme precision and freedom in adjusting white balance contrast exposure and many other image parameters Canon s Digital Photo Professional makes it easy to obtain the desired results Digital Photo Professional ver 2 0 for Mac OS X is used for the explanation below Overview Digital Photo Professional was created with the rapid development of RAW data from Canon EOS Digital SLRs from the D30 on and the photographer s workflow in mind With its new dedicated development engine Digital Photo Professional offers rapid development of RAW data excellent oper
68. entify the gradation range in highlights and shadows of an image Gradation levels appear on the horizontal axis with the number of pixels per gradation on the vertical typically generating peaks rather than bars ICC profile P53 Color profile created in accordance with the format established by the International Color Consortium http www color org The ICC Profile was established to standardize the device profile formats of different image devices within a specific color management architecture See Color Profile IEEE1394 P 26 A high speed serial bus input output standard There are two types of terminal configurations 6 pin which supplies power and transfers data and 4 pin which only transfers data Appendix 87 Glossary Higher standards have been recently developed at transfer rates of 800Mbps as well as 400Mbps The proprietary versions of these standards are also called FireWire and LINK IEEE802 11g P 26 Wireless standard specified by the Institute of Electrical and Electronics Engineers in the United States Uses the 2 4GHz band and with a maximum transmission speed of 54Mbps is one of the most popular high speed wireless transmission standards Imaging sensors P 44 In digital cameras these are equivalent to film Area sensors are composed of multiple lightsensitive elements that are laid out horizontally and convert received light into electrical signals that vary depending on the stre
69. er to maintain control and high image quality color management and other settings must be correct To begin select Preferences from the Tools pull down menu Preferences consist of the General Settings View Settings Tool Palette and Color Management options You can select any one of these by clicking on the tab at the top of the Preferences window Each is very important and how they are set will greatly affect work efficiency Therefore if something is unclear refer to the application s user manual Detailed check of selected images Once you have selected the images you want from among the thumbnails on the Main window click on the Edit Image window button to switch to that window Here only the images you have selected will be displayed and clicking on any one of them will display a larger view in the middle of the screen The higher the resolution of the image the longer the time necessary to render a full resolution image on the monitor When you want to check the focus and other details of a particular area double clicking on the area you want to see will instantly enlarge it to the 10096 view Double clicking again will return the image to its original size Buttons at the top of the window give you three choices for enlargement size l Color management settings Most settings should provide good results at their default values the values at the time the software was installed Color
70. era s LCD screen when reviewing with the info option on represents 256 shades of gray or 8 bit color depth while the camera is capable in RAW mode of capturing in 12 bit color depth A unique characteristic of Digital Photo Professional is its Linear color adjustment mode seen in this area of the palette In general digital cameras express colors in the way that most human eyes see them Linear color adjustment renders the image without application of a tone curve The Linear mode is appropriate for color scientists creating custom profiles but not generally used by photographers Just above this histogram you have the option of choosing different Picture Style settings from a pull down menu You can make adjustments within these settings by moving the Hue and Saturation sliders The Sharpness slider in this window will allow you to choose an appropriate level of sharpening for each image Please refer to P 59 for more information on the Picture Style function Below the histogram you will find sliders to adjust hue saturation and sharpness These correspond directly to the adjustments available in cameras that have Picture Style The result of these adjustments can be viewed in real time Farhi Bhan me O am m a Ca RGB Image Adjustment RGB Image Adjustment allows you to correct images in much the same way you would using Adobe Photoshop With this feature you can perfor
71. essing 69 Adjusting and developing RAW data Adjusting and developing RAW data For JPEG images it is essential to use the appropriate white balance color contrast and sharpness settings when shooting With RAW images however these settings do not have to be made when the images are shot they can be set when the images are being adjusted in Digital Photo Professional prior to processing Of course focus and good exposure are still essential when shooting RAW images RAW image adjustment Digital Photo Professional can be used to correct JPEG images but with RAW images more image adjustments are possible and this flexibility can lead to higher quality images In the case of JPEG images for example it is impossible to set white balance after the shot is taken When processing a RAW image however it is possible to choose any of the white balance settings available in the camera including the choice of setting white balance in degrees Kelvin This process is performed using the RAW Image Adjustment tool palette Using this palette you can change brightness and white balance and make a broad range of adjustments using the Picture Style function In this example let s begin by correcting brightness and white balance While it is ideal to carefully set exposure when an image is shot RAW images similar to those on positive film can be made to appear as if they have been shot with slightly more or less exposure Adjustme
72. g so your images include rich gradations The darkest values are cut off in this histogram blocked shadows Details are missing in darker areas of the subject s hair and cannot be recovered through software adjustments 34 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK This high contrast image is attractive as a final photo But any attempts to soften the look will fail because details in the highlights and shadows are missing EM Dynamic range of photo range of brightness Values fit within the available range of the histogram While lacking in character such a photo may be the best material for prepress processing The lightest values are cut off in this histogram blowout Details are missing in highlighted areas of the skin and clothes and cannot be recovered through software adjustments Photo on this page Copyright 2005 Vered Koshlano Manipulate color temperature and express true colors or colors you create in your imagination White balance When shooting with film color temperature is corrected with the selection of film which relies on the action of delicate color sensitive chemicals to reproduce colors and the photographers use of filters The white balance function makes all that a thing of the past Mastery of the white balance function gives you precise color reproduction and greater possibilities for image expression EOS digital cameras can deliver more accurate color
73. here are numerous products available to ensure proper custom white balance Whichever product you choose the most important attribute it must have is truly neutral tone Popular devices currently include the Gretag Macbeth White Card the ExpoDisc Classic Digital White Balance Filter by ExpoDisc Inc and WhiBal from RawWorkflow com e White balance settings 6 preset settings are selectable Daylight Shade Overcast Tungsten Presets Fluorescent light and Flash Users can select modes in the same way they would choose film depending on the light source Users can manually input the color temperature measured by a color meter to Color temperature achieve high precision The white balance setting is acquired by shooting a white or gray object in Custom the scene This method ensures appropriate white balance with various combinations of objects and light sources e Supported white balance range Light source EOS 1Ds Mark Il Daylight 5 200 K Shade 7 000 K Overcast 6 000 K Tungsten 3 200 K Fluorescent 4 000 K Flash 6 000 K Custom 2 000 10 000 K Color temperature Fill the entire center spot metering area with a white card Note To ensure accuracy the white card must be in the same lighting conditions as your final shot and must not be reflecting other objects 2 800 10 000 K in 100 K steps Film Daylight film Daylight film Daylight film Tungsten film Film and filters Daylight film Spe
74. iciently produce digital photos of the highest quality we recommend that you learn about the prepress process to determine the best solution for your clients and their output requirements There is no single generic workflow that fits every situation Customer demands and client considerations determine the path that assets follow in the digital workflow Work backward and plan ahead Digital images are evaluated on a monitor In conventional plate making positive film and prints serve as clear guidelines for color reproduction Even when color tones need adjustment everyone involved can share a common understanding by referring to instructions made on the positive film or prints This clarity of communication minimizes gaps between intended colors and actual results Colors and gradations in digital image data on the other hand exist as numbers that are difficult to refer to This lack of clear guidelines creates various uncertainties and makes it difficult to check if colors and gradations are correct Images displayed on monitors which serve the same purpose as positive film and prints in conventional Switch to Digital Photography photography are the common point of reference for digital image evaluation Color management helps simplify color evaluation When evaluating digital image data colors can appear different on different monitors To make matters worse even when the same image is displayed on the same m
75. ightness and saturation These are transformations of the same space that allow colors to be described in terms more natural to an artist CMY based color spaces Most desktop color printers and the printing industry use cyan magenta and yellow CMY based color spaces There are two groups CMY and CMYK CMY is not very common and is used by low end desktop color printers CMYK adds black to compensate for the fact that cyan magenta and yellow cannot produce a true black when mixed together black is added to overprint these areas and give the image better contrast Device dependent color spaces Different devices have different color gamuts or ranges of colors that they can 52 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK produce This means that RGB and CMY color spaces vary from monitor to monitor and from printer to printer Thus they are called device dependent color spaces Device dependent color spaces are described with Lab Device Independent color spaces Converting from RGB on one device to CMYK on another can be challenging This is where device independent color spaces such as SRGB and Adobe RGB make the task easier Device independent color spaces are used for the interchange of color data from the color space of one device to the color space of another They provide a device independent CIE reference color space Destination Color Space also referred to as Profile Connection Space PCS in ICC terminology
76. in mixed lighting environments and provide neutral coloring even when light sources are changed A white balance compensation function can also be used to shift white balance toward a blue or amber color temperature in much the same manner as a light balancing filter Furthermore with the white balance bracketing function which produces results similar to those obtained with a color temperature conversion filter three images one with the standard value one witha negative correction and one with a positive correction can be shot at the motor drive speed setting Results of different settings 3 000 K 4 500 K 6 000 K 10 000 K 8 000 K Auto White Balance AWB Preset daylight e WB bracketing Heightened Kelvin plus adjustment Standard Shot by film based camera under same conditions Lowered Kelvin minus adjustment 36 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK ISO settings Canon s proprietary technology reduces the visual noise associated I with high ISO settings When high ISO settings are selected in a digital camera the camera boosts signals from the image sensor This tends to generate visual noise as a side effect that is especially apparent in darker areas of the image Fortunately the wide dynamic range of Canon s CMOS sensors limits visual noise to levels that are nearly indiscernible In a
77. in Hertz Hz The higher the number is the faster the processing speed will be Proofer P22 A color proof output device RAID P 26 Redundant Arrays of Inexpensive Disks Technology for managing multiple hard disks as a single hard disk Improves safety and speed through distributed data storage RAM P24 Random Access Memory It is the primary yet volatile memory of a computer that temporarily stores data from software and the file being used Generally the larger the RAM is the faster will be the processing of simultaneous tasks RAW data P 18 39 Output data from an imaging device that has not been processed in a digital camera To use RAW images the data must be processed after capture with dedicated software so that it can be adjusted without corrupting an image RGB data P 22 Acronym for color image data consisting of the colors red green and blue generated by emitted light monitors or LCDs rather than absorbed light as with printed ink in CMYK The image data of digital cameras and computers is usually RGB Reciprocity failure P12 Even at different combinations of shutter speed and aperture setting properly exposed images can be obtained with a certain level of exposure Reciprocity failure is a phenomenon in which film is under exposed because shutter speed or aperture size exceed certain limits and their reciprocal relationship is lost Revolving mechanism P 40 Allows changing fro
78. in frequency See IEEE802 1 19 Work space Originally referred to the actual workplace of a photographer but here refers to the working environment including the computer s installation environment and color management settings Appendix 89 90 e Camera EOS 1Ds Mark II e Lens EF 100 400mm f 4 5 5 6 L IS 135mm e Shutter Speed 1 500 e Aperture Value f 10 e ISO Speed 100 e White Balance Auto Copyright David Sparer Canon U S A Inc e Camera EOS 1Ds Mark II e Lens EF 24 70mm f 2 8L USM e Shutter Speed 1 60 e Aperture Value f 6 3 with flash e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Sunlight e Color Matrix 1 e Camera EOS 1Ds Mark II e Lens EF 50mm f 2 5 Compact Macro e Shooting Mode Manual e Shutter Speed 1 60 Aperture Value f 11 e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Color Temperature 4 000 K e Color Matrix 1 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK e Camera EOS 1Ds e Lens TS E 90mm f 2 8 e Shooting Mode Manual e Shutter Speed 1 250 e Aperture Value f 25 with flash e ISO Speed 100 Digital Photo Professional Adobe RGB 16 bit TIFF conversion from RAW e White Balance Color Temperature 6 100 K e Color Matrix 4 e Camera EOS 1Ds e Lens TS E 90mm f 2 8 e Shooting Mode
79. in your photograph are highly saturated Such colors are often printed with lower saturation and altered hues resulting in printed images quite different from those viewed on your monitor When using positive film and a prepress scanner in a traditional commercial printing workflow natural results are achieved through a combination of accumulated know how and expert development of optimized positive film Much of this know how can also be applied in digital photography P 77 e Subjects vulnerable to the effect of memorized colors Spectrums expressed on monitors differ from those that can be printed When you select a color from the highlights of your image and open the color picker in Adobe Photoshop it displays the full range of the color in terms of value and saturation You can then pick any color within that range and the color picker will indicate whether or not it can be reproduced through commercial printing Most extremely bright highly saturated colors colors of high purity cannot be adequately reproduced through commercial printing It is also difficult to reproduce the areas where magenta becomes dark blue and dark green colors tend to become cloudy and the hue tends to drift The problem of memorized colors Data Processing Important points concerning image adjustment Important points concerning image adjustment Data loss is often a by product of image adjustment so you shoul
80. inted introduces several steps each of which has its own variables that can affect the final color The printer will likely insist that a proof be made often called a contract proof The press plate will be made from the same color data as the proof Improper CMYK separations Photos shot in Adobe RGB and improperly converted first to SWOP then edited and reconverted to the SWOP CMYK color space Notice the degradation in image quality This color space is proper for this publication and may not be appropriate for your job The proper profile must be supplied by the client Data Processing 75 Saving image data and accurate communication JPEG compression and quality e Example of JPEG compression deterioration detailed pattern in primary colors Saving photos in the JPEG format can reduce them to 1 5 or even 1 100 their original file size This is especially convenient when files are numerous or you plan to send them as e mail attachments However higher compression ratios result in lower image quality Typical image deterioration caused by high image compression includes severe aliasing in gradations smudging at the borders where bright highly saturated colors meet and false colors in highlights Since the finest details cannot be reproduced in print image compression of up to 1 10 is normally acceptable for photos destined for print Rule Example Heasons C IFEG Optiom pecu a Do not inclu
81. ion Adjustment Prepress and commercial printing companies 18 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Introduction 19 could result in flawed image evaluations and unintended print results The simplest method of color management is to use the same image processing software such as Adobe Photoshop and apply the same color management settings throughout all processes within the workflow However this rudimentary method is not sufficient for realizing the full potential of digital camera data Too often photographers are drawn to digital cameras for the ease with which data can be transferred to designers clients and plate makers and a workflow is established without taking proper color management into account We highly recommend that you avoid this pitfall through appropriate color management protocols P50 The importance of color management Photographers must adhere to strict color management principles in order to ensure that accurate consistent color quality is maintained throughout the entire workflow process for a variety of image endpoints Image Shooting data 20 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK including print world wide web CD DVD authoring across networks storage media and multiple monitors A common practice today is to supply a print along with the image data for the plate maker to use as a guide With the introduction of virtual proofing and modern color managed workflow this practi
82. ions offer Adobe s own color management system Adobe Color Engine ACE which lets users work with digital images under consistent color tones regardless of whether they use the Mac OS or Windows Since settings for ACE are the same on both platforms color spaces can be shared between Mac OS X and Windows E Adobe Photoshop m Adobe InDesign Sharing Adobe color settings One of the benefits of the Adobe Common Color Architecture is the shared Color e Settings file This enables you to set the preferences once and use them throughout the entire Adobe Creative Suite Adobe Acrobat Adobe Illustrator ACE is common to both Macintosh and Windows versions Color calibrate Windows systems with det iara Wire d Adobe Gamma omae sace nena mme MEDI peus weve nei s The Adobe Gamma control panel is installed ee ra when Adobe Photoshop is installed in a H rg a p Ra erisentetenmibhe ient Windows environment Similar to the Display mme imum Calibrator Assistant in Mac OS X the Adobe Gamma control panel interactively guides you through the calibration process and creates an ICC profile This process is subjective In order to attain the best color accuracy a hardware profile such as that made with the GretaglMacbeth i1 Display EIS u Inga yn et es m 2 is recommended ae Pee siue q Bo mle eR na ctn oe ee os S D 56 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Color settings in Adobe Photoshop A
83. is also a CD RW rewritable CD upon which data can be erased and rewritten CF card P 28 Also called CompactFlash Card Recording media using a flash memory device CF cards are often used as digital single lens reflex Camera media because they support fast data transfer and can record large volumes of data Two kinds of card type and type II See Microdrive can be identified by their thickness CMOS sensor P 18 Complementary Metal Oxide Semiconductor The image sensor used with photodiodes CMOS consumes less power and processes faster than a CCD which is an analog sensor CMS P 56 See Color Management System CMYK P 22 Acronym for cyan magenta yellow and black inks used in commercial color printers CMYK data is picture data converted for print use in a prepress department for example These colors result from absorbing light rather than emitting it as happens in RGB data CPU P25 Central Processing Unit Performs basic mathematical functions and controls the central functions of a computer Also referred to as a processor The CPU is a major determinant of processing speed CRT P 25 49 Cathode Ray Tube Also called Braun tube CRT often refers to a CRT monitor Calibration P 54 Adjusting the color reproduction capability of an image device or between devices for the purpose of color management Color measurement devices and systems are known as calibrat
84. ll steps are performed in a continuous workflow When the photographer adjusts an image in Adobe Photoshop it is essential that the color settings be correct Standard settings for a workflow excluding plate making The basic settings described here are for cases in which the photographer has shot Do not change color settings midway The optimum color settings will differ depending on the job your responsibilities photos for commercial printing and will have and how well the plate makers and printers a plate maker deal with the plate making respond to image data with embedded data color management profiles This discussion also applies to workflows Once your digital photo data has entered in which data are not handed over to others the workflow been edited or passed on to handling the printing process others you should not alter the color settings P22 again during the job This is a basic rule that helps prevent various problems Color Settings uses an sRGB setting choose it here Color Settings Settings Custom B aeanoea uode WGE AGA ECCE TS EOF Coated CUM GOA Madum Gr Poems beibedded Proti e Profe Maumabtha i Auk Wher peng fi Ask When Pantry B cna faci Pore Companion BR Line Othar B btictannei imagen Abe aru eed Carminis Deaarurata anta Colors My J9 e ee Bhehd RGB Coles re Gema L5 c Depi ADE ELKI Sheed Rete That cee eee ol De eee PC monqor Th
85. lose up Please avoid exposing the camera to dust when changing lenses If dust enters carefully remove it with a blower as described in the user manual Imaging sensors are extremely sensitive devices so never touch them If your imaging sensor becomes too dirty to clean by yourself please take the camera to your nearest service center Moir Imaging sensors on digital cameras usually employ evenly arranged rows of red green and blue light receptors for capturing images This symmetrical placement of receptors can sometimes cause a striped pattern of interference called moir to appear if the scene contains rows of narrow stripes When encountered moir can sometimes be eliminated by simply adjusting your perspective or distance when re taking the shot Since moir cannot be seen in the viewfinder you must check for it by viewing the image on a monitor at 100 Moir can also appear in prints as a result of completely different factors LI EIN LIMLIEILI DIBI ESEI FINLTIEISELILT TNI An imaging sensor and conceptual rendering of light detecting elements Shoot the same subject at an angle to prevent moir Then rotate the image with graphics software Photo with moir caused by shadow mask interference when shooting striped CRT screen with checkerboard light detecting elements f 8 f 32 Dust on the imaging sensor is hard to detect at an aperture setting of f 8 but is clearly apparent at f 32 F
86. ls CN Print Sipe JEatrad Hii berm i A Rura T Choose Proof Setup to phe an select the profile you Sean Ta p want to simulate then ros ja Proof Colors to view the uPAR simulated appearance of New Cone the print Log tiw EIE ee o om r Hyp Fipol taiug LI x Prol Caan Ey ippa m Hi Zoom Out H Fit pn Siner nO inna Pisali xd Print Tire v Eatrad Hbri porem Choose Gamut Warning to CPET iss highlight the colors that an ex may be altered when Soap To z converting RGB to CMYK tenth Gumi TE F e Com Lect Shapes Correcting your images for commercial reproduction The problem of memorized colors Color reproduction for commercially printed materials emphasizes natural color perception over accuracy When you shoot and correct images you must keep in mind how colors will be reproduced in printed materials Impressions are as important as accuracy Faithful reproduction is an important consideration Yet mere color accuracy in print is not enough to satisfy and move people Regardless of how colors appear in real life people have certain expectations about what colors should be used to represent the world around us Professional photographers to a certain extent need to consider these memorized colors to create images that satisfy people s expectations Optimize the colors for commercial printing Faithful color reproduction using ink on paper is more difficult to achieve when the colors
87. m a Tone curve adjustment to adjust brightness contrast and color Color adjustment to adjust hue and saturation and you can also adjust Sharpness These adjustments different from changes made in the RAW image adjustment palette could result in significant image degradation if used extensively Users are cautioned against making major corrections to images with this tool palette Comparison view This feature lets you see both the pre and post correction images on the same screen To do this go to the View menu and choose Before after comparison If the images are vertically oriented you can use Change up down left right to place them side by side Both images can also be enlarged Recipes Once you have finished adjusting the shot with a chart in it you can apply the same Recipe to the other images shot under the same conditions A Recipe is a record of all the image adjustment settings you made in Digital Photo Professional By selecting Copy recipe to clipboard and then Paste recipe to all photos you will not have to adjust each image individually Recipes can also be saved for future use by choosing Save recipe in file and accessed later by choosing Read recipe from file D griad Pera Froana Tia to Ensems Ahani me SS Ton at AU Ci Ad brien BA par png E Bhi HD brinii check uk chou only GE ces Set hack remit shots gu Comoe Urat check marl sherni Say res Migi
88. m horizontal to vertical format by turning a lens about its axis without changing the axis Release time lag The amount of time that has elapsed from the moment the shutter button is pressed to the moment actual exposure begins Resolution P 24 Image density when printing and displaying image data in dpi dots per inch or ppi pixels per inch Saturation P 38 One of three color attributes The amount of color SD memory card P 28 One type of storage medium using flash memory Smaller than the CF card the SD card is also made to the miniSD and other standards MultimediaCards MMCs have the same height and width but have a different thickness Shadow P33 An area of extremely low brightness in a photo contrasting with highlight Shift P 42 Method for correcting image distortion by moving the axis of the lens horizontally without changing its perpendicular relationship to the image plane Effective for correcting the distortion that arises with wide angle lenses Software calibration The act of calibrating devices with a computer s calibration software Color calibration of a monitor adjusts the video card settings in the computer sRGB P38 A color space that can be reproduced on a computer and is the standard gamut for Windows The standard color profile is SRGB IEC61966 2 1 Standard exposure Exposure value calculated by a built in exposure meter TIFF P 74 Tagged Image File
89. nch LCD monitor 1 280 x 1 024 SXGA 1 3 megapixels 338mm 925mm 1 318mm Preparing your image data for commercial printing Preparing your image data for commercial printing If your digital photos will be used for commercial printing they may require some editing first As a professional photographer you should understand how digital image data is prepared for commercial printing and establish an environment for carrying out the process on your own Establish an environment and workflow for image editing To prepare your digital photos for commercial printing you must first establish an environment for accurate viewing examination and adjustment of your images Such an environment includes a suitable monitor optimized environmental lighting and image editing software such as Adobe Photoshop Once a proper environment has been established you must clarify your needs and responsibilities Depending on the job you may find it best to check and edit the images yourself or leave the work to plate makers who have a wealth of printing knowledge and experience In the following section we briefly introduce some of the leading issues relating to the environment and workflow of professional image editing 48 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK How should set up my work environment to check color Computer monitor and lighting Calibration What should do before adjusting the photograph
90. nd conversion method used A wonderful RGB image can easily be destroyed by the employment of improper conversion techniques P75 System requirements for Essential Equipment digital photo creativity System requirements for digital photo creativity If you use a digital camera your workflow is likely to encompass more than just shooting photos Other components in typical systems used by creative digital professionals include a desktop computer for analyzing and processing photo data peripheral equipment such as communication devices and printers and perhaps even a laptop for use in a studio Essential equipment Handling the exceptionally high resolution EOS 1Ds Mark Il data requires proper equipment and forethought to achieve an efficient work environment Handling 16 7 megapixel images requires high spec hardware Comfortably handling high resolution L1 Is the processor fast Memory cards EOS 1Ds Mark II data requires not only fast hardware but also a large amount of memory and high capacity storage media The fastest computers currently available are ideal for handling these data files and you should seriously consider using Display high capacity storage media and a dedicated server particularly if you are interested in processing and archiving a large volume of images External memory device Printer and display color setting will media determine print quality The most important device for e
91. networks storage and multiple monitors Color reproduction will vary depending on the media or display device To enable professional editing of your digital images a color management system must be used to minimize these differences and ensure consistent color reproduction regardless of the device or media Imaging systems built around color management ensure accurate and consistent color as the digital data is transferred How does it all work Communicating in color is a bit like communicating in multiple languages Color Management Systems CMS act as interpreters The color profile is like the dictionary for a device s language Profiles are used by the Color Management Module CMM which simply translates data from one device s colors to another via a device independent color space The CMM receives the necessary information about a device from the profiles and then uses rendering intents to perform gamut mapping to produce color that is predictable from device to device The Application Program Interface API provides applications with access to all of these functions The necessity of color management Your digital images will be handled by various devices such as monitors and printers that process your image data in different ways and reproduce the colors quite differently Film is a tangible and viewable graphic that allows you to see the image in a referenced media neutral state With a digital image however
92. ngth of the light See CCD sensor CMOS sensor Install P 56 The act of installing software on a computer to prepare for various operations JPEG data P 18 39 Compressed image data using the method created by the Joint Photographic Experts Group established by the ISO International Organization for Standardization and CCITT Comite Consultatif International Telegraphique et Telephonique which reviews how to compress static images An image can be compressed to decrease the data amount But once the image is compressed the quality before compression cannot be restored compression loss The compression ratio can be adjusted depending on the objective A lower compression ratio can compress image data while maintaining higher image quality LAN p 25 Local Area Network A network connecting computers and servers with cables and wires within a limited area a building office room etc See Wireless LAN LCD p 25 Liquid Crystal Display A display often used for notebooks because it is thin and consumes much less power than a CRT 88 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Layer p 25 Hefers to the act of stacking a photo with many image layers or to the photo layers themselves Low pass filter P 44 Filters located on the front of an image processor that filter out high frequency signals from a CCD to reduce false colors and color moir Mac OS X P 26 The operating system f
93. ns when a natural perspective one in which buildings for example do not appear to taper inward is required Equipped with a rear focus mechanism with floating effects sharp stable delineation can be maintained at all E Vom distances from 0 4m upwards and e Max diameter x length weight 981 0 x 90 1mm 645g because the front end of the lens does 03 2 x 3 6in 1 4lb not turn when focusing operability is excellent when a circular polarized filter i l is being used Lens impression TS E 45mm f 2 8 Focal length and aperture 45mm 1 2 8 e Lens construction 9 elements 10 groups e Diagonal angle of view 51 e Image circle diameter 58 6mm e Tilt shift 8 411mm e Revolving angle 0x90 e Focal adjustment Manual focus rear focus system e Closest focusing distance maximum magnification 0 4m 0 16x A natural angle of view and perspective and that the human eye naturally corrects perspective delineation that reproduces the texture of the bricks The high delineation of this lens reproduces bricks was needed for this photo The lens that met these and individual flagstones and captures the lighted conditions was the TS E 45mm f 2 8 The focal buildings and their aura floating in the mist length of 45mm which approximates the natural viewing angle of human beings is the best choice when you want to express exactly what you see The TS E 45mm f 2 8 can also correct images so that they look natural much in the
94. nt 645 Film P 15 One type of medium format film Image size is 6 x 4 5cm ACE P56 Adobe Color Engine A core program in color management systems that doesn t rely on an OS and enables compatible color reproduction between different Adobe Systems software AWB Auto White Balance 236 Auto White Balance A function that automatically adjusts camera color temperature AWB uses the white value in the picture as the criterion for adjusting the color See White balance Aberration P 43 Caused by various types of lens error factors The difference between the image captured and the ideal image Achromatic color The non color shades of white gray and black Adobe Gamma P 56 The display calibration utility bundled with Adobe Systems software Adobe RGB P 38 Refers to the Adobe RGB 1998 color space Adobe RGB generates a much wider range of colors than the general purpose SRGB and therefore is better suited for prepress processing Angle of view P 42 The angle at which images can pass through the lens without losing sharpness Aspherical lens element P 43 Suppresses color bleeding due to spherical aberration Highly advanced polishing technology places Canon s aspherical lens elements at the top of their class 86 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Automatic Aperture Setting P43 Method for changing the aperture on lenses for single lens reflex cameras Automatically
95. nts to six ranges from red to magenta Change the purity of the colors The further to the right you move the slider the more vivid the colors become The further to the left you move the slider the more monotone the image will appear Colors themselves are changed based on the red yellow green cyan blue and magenta hue circles For example by inputting 180 or 180 you can move the hue circle 180 degrees and change the Change the brightness of the colors The further to the right selected color to its com you move the slider the brighter the colors will become the results will differ from those attained with Levels plementary color Appendix 83 Achieve a more natural perspective with correction through TS E lenses and Adobe Photoshop On par with high resolution as an advantage of large format camera systems is the ability to shoot shift adjusted images For images shot with a camera not equipped with a shift mechanism Adobe Photoshop s Transform function can be used to achieve a similar effect By using this function together with the functions of TS E lenses which have tilt and shift adjustments you can get more natural looking results than those obtained with only an optical correction Using Adobe Photoshop s Transform function has the disadvantage of reducing resolution below that of the original image but if you shoot 16 7 megapixel images with the EOS 1Ds Mark II you will have eno
96. nts of up to 2EV are possible Minimal adjustments are preferred because excessive adjustment can degrade the image For adjusting white balance it is efficient to include a chart Macbeth chart etc with a gray area in your first shot When several shots have been taken under the same conditions use the Edit Image window to select and enlarge the shot with the chart Then click on the White Balance button and use the curser which now appears as a dropper to click on the gray section b of ens 8 8 7 0 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK the chart If you would like to further adjust the image you can do so using the Tune button If there are no images in which a chart was photographed the preset white balance options and Color temp can be selected from the pull down menus When you adjust RAW images you change only the development conditions the original RAW data remain unchanged and you can always revert to your shot settings Color adjustment Picture Style Under the Picture Style section of the RAW image adjustment palette you will find a histogram that is unlike the histogram displayed on the camera s LCD screen or in the RGB image adjustment tool palette This is a logarithmic histogram and represents 4 096 shades from black to white captured by the camera when shooting in the RAW mode The most familiar type of histogram like the one seen on the cam
97. o low Image quality high Compression ratio high Image quality low e File name rules What is the viewing standard Viewing conditions for graphic technology and photography The standard is a technical document that is written with engineers and lighting design companies in mind it is not a road map for users who wish to build or set up their own viewing area rather it is a highly technical set of specifications that enables lighting manufacturers to design test and certify color viewing Spectral Power Distribution Approximate CIE D50 systems The standard specifies a 5 set of five conditions which ALL E must be present in order to assure 8 2 D the benefits of the standard Wavelength The true fingerprint of a light source The spectral power distribution is the key factor in how a light source renders colors The closer a light source s spectral power distribution is to D50 the more consistent and accurate it is Metamerism Have you ever noticed that two different prints or a print and an original sometimes match but in different lighting conditions may not This phenomenon is called metamerism A metameric pair is two colors that look the same under one lighting condition but different under other lighting conditions To minimize the effect of metamerism color should be viewed and judged under an industry standard viewing condition Final print simulation Final print simulation CMYK conve
98. of the entire creative process thus ensuring that the final images faithfully reflect their original intentions Optical l printing Final photo lI NI Prepress Scanning Commercial Printed matter prepress and print lab commercial printing companies Shifting to the new digital workflow When shooting processing and printing come together the results can be breathtaking Digital cameras provide photographers with greater flexibility and control over image production than ever before However specialized knowledge of image processing is required to make the most of this advantage Even photos taken in the best of conditions can easily lose their quality through incorrect image processing For best results photographers should learn how to handle image processing and output proficiently Where do photographer responsibilities end in the new digital workflow Defining deliverables requires communication and proofing Understanding the final output requirements while building your workflow demands an initial investment of time and effort But that investment will reward you with accurate predictable color and quality for every image You can now control the entire creative process from shooting to image data preparation for final output Digital data transfer has created new rules for the media markets unfortunately these rules keep changing Few photographers are familiar with the prepress process To eff
99. oft edge brushes for broad areas and large and small pencil brushes for more precise repairs Having unlimited undos and redos gives the ability to the user to have total control over editing and can also revert to the original image if need be In order to repair a light area double click the Repair Light button which activates the Select Copy Source button Clicking first on the Select Copy Source button and then on image select the area you want to use to repair from in the photo Once you select the area the tool turns from a sign to a circle and you may proceed to correct the image You can use either a soft edged brush or a hard edged brush to make the repair by clicking the brush or pencil option The diameter of the brush is controlled by the radius slider directly below the Brush amp Pencil buttons Double clicking the Full Screen button makes the menus and the image visible The escape button returns to the default screen mode The procedure to repair a dark area is the same once one has selected the Repair Dark button Rename tool The Rename tool is used to sort copy and rename raw files You can sort by file name or shooting date and time prior to renaming This is most useful for those who shoot with multiple cameras You can choose three sets of naming criteria user selected string where you input the text of your choice sequence number where you select a starting number and sequential numbers are ad
100. oid an unnatural appearance If Resample Image is checked maye Sins you can change the resolution Foel D naminns TAM by entering values directly Pak Wah ag porurti Entries are made in terms of fue i J pixels and percents Haghe aza p T You can make changes by Q Docuir Site entering the dimensions and resolution that will be used in the end If Resample Image is Wihh 422 66 mem ll i Height 281 73 mm ad Maximum shift adjustment Here you specify the method for raising or lowering the file size To increase file size use Bicubic not checked the resolution will Rehman 300 peeisimch Hil smoother to reduce file automatically change when the i size use Bicubic sharper dimensions are changed io imn For the best results perform M Constremn Frapariiomi adjustments in 1096 Marumpemuge mebc 9 T8 increments Calculating the optimal dimensions for large format no trimming images shot with an EOS 1Ds Mark II for 175 line screen printing 4992 12 16 416 312mm The value for the resolution required per millimeter Converting from 350 pixels inch gives a figure The number of pixels recorded on the longest side of an EOS 1Ds Mark II image The value for the resolution required of 14 pixels mm so values right around that figure will provide proper resolution per millimeter Proper dimensions when proper resolution has been used If
101. olor reproduction is true to the subject it can sometimes appear inadequate in printed matter and commercial photo prints Adjustments to Saturation can improve the appearance of these images Hue Saturation is one of the most frequently used controls and can produce color emphasis stronger than that possible with the color matrix used with EOS digital cameras You can also control specific hues so it is possible for instance to increase the brightness of red only e Levels wan Channel is corrected with RGB when the brightness for an entire image is adjusted Levels On the histogram itis possible to judge exposure with this peak laputLevel 8 Loo less Click the area of the e image you want to z brighten highlight the most The brightness is controlled by moving the three sliders at the bottom Output Levels lo 255 Click the area of the image you want to darken shadow the most Click the area of the image want to make neutral gray e Tone Curve manipulation Adjust to a higher key without losing the details of highlights Improve areas where highlights are weak Change the tone of the areas you click similar to the adjustment of white gray and black areas in Levels Specify the target for 0 Mueitaturatin 1 hue saturation adjustment Master allows you to i adjust all colors You can also make fine adjustme
102. onitor Ideally you should choose a high end monitor that you can calibrate to meet the conditions of your final output Ordinary monitors can display colors in the sRGB color spectrum but with improvements in monitor technology there are some monitors that can reproduce colors with larger gamuts A larger color gamut will help with soft proofing and virtual proofing Modern LCDs and CRT monitors from many manufacturers have met prepress SWOP certification for virtual proofing j Warnings about CRT monitors The performance of CRT monitors deteriorates with time and usage especially in terms of image quality We recommend therefore that monitors be replaced on a regular upgrade schedule Proper environmental lighting Lighting is crucial to the accuracy of image assessment Even if your monitor offers superb color reproduction improper lighting will make it difficult to accurately assess the colors in your images Ideally environmental lighting should be as similar as possible to the lighting used by the printers proofing your images P76 Pros and cons of LCD monitors Pros e Space saving energy saving design e Colors stabilize quickly after power is turned on e Less prone to deteriorate over time long term stability e Clear sharp image when connected digitally Cons e Colors can change considerably depending on viewing angle e Models with excellent color reproduction tend to be expensive Monitor pl
103. onitor using the same operating system and application software the colors can still differ if the settings of the operating system and software are different The concept of color management was born of the need to minimize differences in color reproduction on different devices and in different environments and ensure the image always appears like the original In the past color management was mainly concerned with coordinating color reproduction between the monitor and the printer However these days it has become an essential element throughout the digital photographers workflow Since photographers plate makers and printers each check the colors of digital photos on their respective monitors they may end up examining the image data in different color tones unless their color environments are coordinated using strict color management Without color management the gaps in color reproduction e Image evaluation standards in workflow for commercial printing of film photos 144 i Commercial print lab Color positive film Scanning Production flow intentions in the final print Photographer oriented photo creativity becomes a reality Image data JPEG data one 4 gt gt B Printing RAW data Image processing Image data after parameter changes oO Shooting Printing Shooting Data conversion Printed matter gt Quality evaluat
104. ontains a much broader preset setting range than what was previously available In addition to the ability to use these presets to meet the demands of countless forms of photographic expression Picture Style also allows you to register your own settings With an expanded range of settings you can set the camera to produce images with color characteristics that match your original vision Furthermore you can expand your palette by downloading additional Picture Style files via Canon s website and registering them to your camera The CMOS sensor DIGIC Il and Picture Style work together in a highly integrated system Canon s proprietary high resolution low noise CMOS sensor and DIGIC Il Image Processor deliver high speed and high quality image processing The stage is now set so Picture Style can be adjusted to Picture Style cae yle reflect the intent of the photographer Advanced image control possible only with EOS digital cameras will continue to evolve with further advances in these technologies RAW images shot with earlier generation cameras can be developed using the preferred Picture Style The updated RAW image editing software Digital Photo Professional ver 2 0 DPP2 0 lets you use Picture Style with RAW images shot with EOS D30 or later EOS digital camera models By using your preferred Picture Style to develop RAW images shot with earlier generation EOS digital cameras you can build a library of im
105. oo small and the diffraction degrades delineation When shooting with a large format camera apertures of f 32 and higher are normally used but with a 35mm camera the same depth of field can be obtained with smaller aperture settings so you should use an aperture setting no greater than necessary and take maximum advantage of the lens capabilities Clearer differences and details When using a digital camera the differences between lenses become more apparent than on film cameras Part of the reason is that imaging sensors record light more directly than film which has an emulsion layer Another reason is that images magnified and viewed on a computer monitor undergo far more scrutiny than 35mm positive film viewed with a high magnification loupe This increased scrutiny does not apply to printed output which lacks high enough resolution to reproduce every single pixel in the image Digital cameras also tend to be sensitive to hand movement A movement that would cause little blur with a 35mm camera might cause major blur with the EOS 1Ds Mark Il which has an image resolution equivalent to medium format film cameras You must pay more attention to vibration whether shooting with the camera in your hands or on a tripod 46 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK 878mm Pixel scale equivalency EOS 1Ds Mark II 4 992 x 3 328 16 7 megapixels EOS 1D Mark II EOS 20D 3 504 x 2 336 8 2 megapixels 17 i
106. or Macintosh computers which is designed based on UNIX This OS is significantly different from Mac OS 9 and earlier systems Memory P 24 Main memory of a computer Same as RAM Microdrive P 28 Super compact hard disk the same size as a CF card Type Il As of 2006 the current version has a maximum capacity of 8GB Mount P 28 To make an external data storage device accessible to the OS of a computer Network P 26 A structure like a LAN or the internet through which multiple computers communicate send and receive data Perspective P 42 Spatial relationship between foreground objects and background objects Pixel P 46 The smallest picture element in a printed or displayed digital image Image size is usually referred to in terms of number of pixels Pixel scale equivalency P 46 When an image is displayed on a screen at 10096 magnification Plate making data Data converted by the plate making unit of a printing company to CMYK for printing purposes Platform P52 The environment consisting of a combination of the OS and hardware needed to run software Prepress P 74 Generic term for DTP and prepress printing processes Preview P 59 Displays photos to confirm their content Processing speed P25 The data processing speed of a computer is determined by a combination of several components such as the CPU and RAM Processing speed is often measured as clock speed expressed
107. orGear etc but remember that consistency is the key If you work in an environment that uses a mix of Adobe and non Adobe applications choose the Apple CMM conversion option to ensure consistent results across applications This option is better than the Apple ColorSync option which can be overridden by specific instructions contained in a profile If you work in an all Adobe but cross platform environment choose Adobe ACE to ensure consistency across platforms If you work in an all Adobe all Mac environment you can choose either Adobe ACE or Apple CMM as you will have access to both conversion options in all of the professional Adobe products you may use If you work with applications that include their own CMMs and profiles select Apple ColorSync The ICC color space profile The ICC profile is a standardized method of describing color space and is used by both Mac OS and Windows to communicate color space information between devices For example your digital camera embeds an ICC profile in each photo to describe the color space used for the shot When your digital photo is displayed on a monitor the computer compares the ICC profiles of the photo and monitor and uses the monitor color space that most closely matches the color space of the photo to accurately display it on the screen If you have not properly set up the color profile settings in your computer your photos will be displayed inaccurately and you
108. ors Color Management System P19 50 A system that integrates color reproduction between several imaging devices such as cameras monitors scanners and printers Color matrix P 38 Color reproduction settings used when generating images The EOS 1Ds Mark II offers Adobe RGB and four SRGB color space settings Color profile P50 Data showing the color reproduction settings of an imaging device This enables the color management system to function See ICC Profile ColorSync P53 A color management system that uses a color profile to make color reproduction processes of different devices work compatibly Developed for the Mac OS by Apple Computer Color temperature P35 Light color specified on a linear Kelvin scale Blue is the higher color temperature and red the lower as based on sunlight 5 200 k Contrast P 33 One factor affecting photo clarity it is the perceptible difference between bright and dark portions of a photo When the distinction between black and white is clear contrast is high when unclear the contrast is considered low DDCP P22 Direct Digital Color Proof This system enables proofing of colors without making a prepress film This may also refer to the proofer system used in Bubble Jet printers DTP P18 Desktop Publishing Publication method using a computer for design and prepress processing in contrast to offset or hot lead publishing DVD recording
109. ors are desired e Color Matrix 4 Adobe RGB 1998 compatible A broad color spec trum with low saturation Ideal when later fine satura tion adjustment or profile conversion is planned e Color Matrix 5 sRGB compatible Moderate hues and saturation Ideal when moderate colors are desired e Color space comparison ln Visible spectrum 0 9 Wide Gamut RGB o8 Adobe RGB 1998 0 7 sRGB 0 6 0 5 CMYK 0 4 Japan Standard v2 0 3 0 2 0 1 LX 0 01 02 03 04 05 06 07 08 09 color space and profile a safe convention to follow is to deliver RGB files in the sRGB color space This color space is the closest RGB color space to a generic CMYK color space and will generally result in acceptable output quality Four sRGB color matrix settings enhance productivity The EOS 1Ds Mark II offers four modes in the sRGB color space that each produce slightly different color reproduction characteristics Selecting one of these modes is similar to selecting a different positive film in film based photography Wide Gamut RGB for advanced plate making and archiving The color space of Adobe RGB is wider than that of sRGB the color space for conventional monitors but there are still places where the color space of printed matter is slightly wider and Adobe RGB cannot express 10096 of the image data With Digital Photo Professional Wide Gamut RGB which has a color space even wider than that of Adobe RGB can also be used
110. p in mind however that not all a histogram function for analyzing the parameters can be changed after shooting exposure immediately after shooting A histogram is a chart that shows the gradations of an image from shadows to Tobi SIS EOM Setting can be Related highlights on the horizontal axis and the nee arisen lief vob MM page number of pixels belonging to each gradation level on the vertical axis The resulting shape File format and image quality gt JPEG RAW or RAW JPEG format gt RAW is best for images you plan to adjust P39 typically has various peaks and valleys While images can be assessed by directly Adobe RGB or sRGB viewing them on the camera s LCD screen Ole matrix If SRGB which one gt Select according to purpose Ls iss histograms provide an easier way to check for correct exposure and ensure ample Sharpness gt How much should you apply D Avoid using it for prints Yes P 39 gradations have been captured in the highlights and shadows ISO p Choose low sensitivity if you prioritize No P37 image quality White balance D Set up with care Use AWB in difficult Vas P 35 36 outdoor lighting Exposure compensation Yes P 33 34 Histogram gt Check digital exposure with a histogram 293534 32 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK A photo mainly comprised of a white background This histogram sharply peaks in the bright range Checking with histograms Check digital exposure by looking a
111. play where they can be checked What s more image data can be stored in both the camera and the computer so with a high speed high capacity hard disk you can enjoy greater E E r ea efficiency when shooting lots of photos in the studio O wes A 30 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Hints for professional shooting Hints for professional shooting Digital cameras offer greater flexibility than film cameras for meeting photographic needs in various shooting conditions They also feature more customizable settings than conventional film cameras When shooting with a digital camera you must determine which settings are best for your subject your shooting conditions and other particulars of your assignment You should consider the entire process from setting up the camera to post processing your images Expertise will come with experience Meanwhile we recommend reading the brief explanations that follow to deepen your understanding of digital cameras and the effects of different settings Only digital cameras provide the We also recommend saving your original advantages of a histogram RAW format data files because some of With film cameras decisions on lighting and the parameters you set before shooting can exposure depend largely on experience and be changed in these files to adjust the images guesswork But EOS digital cameras provide Please kee
112. publishing DTP is now a fixture in the fields of advertising and publishing creativity and efficiency have improved dramatically as a result of their influence on the workflow The switch to digital photo technology in the field of professional photography is creating similar improvements in digital workflow processes Since advances in digital camera technology have eliminated concerns about the quality of digital images the domain of the photographer which film restricts to the act of shooting pictures has been expanded by the digital e Conventional film camera workflow Exposed film Shooting Since the printing process is divided into various steps and different areas of expertise the photographer s intentions may not be reflected in the final print Processing Processed film A consistent workflow from shooting to printing reflects the photographer s camera for even greater control over images Now is the time to take advantage of the power and flexibility of digital photography Make the switch today Digital cameras provide greater control over image creation In the age of black and white photography film development and printing were critical aspects of the photographer s domain With the advent of automated color film processing much of the control over the final image was given up by the photographer In this new film free era photographers can once again take full command
113. repress layout purposes Not suitable for DTP use because it is OS specific Not suitable for DTP use because it is OS specific Saving image data and accurate communication Proper CMYK separations CMYK conversion from RGB files When a client asks the photographer for CMYK files there are certain questions he she needs to ask and information that needs to be ascertained Conversion to Generic CMYK profiles is not recommended but conversion to a printer specific or industry standard reference profile should be part of defining the deliverable CMYK file If this information is not available the photographer should deliver a final retouched RGB file Building the workflow demands a significant initial investment of time and effort but that investment will reward you with accurate predictable color for every image you print RGB files converted to CMYK will produce different results depending upon the profile and technique used Photos shot in Adobe RGB and properly converted to the SWOP CMYK color space i Ensuring consistency across displays Yellow Black The ideal situation is to find a printer that understands color management and has custom ICC profiles to which they keep their presses calibrated It is important to keep in mind that with traditional offset printing from the moment you hand your color data to the printer to the time the job comes off the press getting your document pr
114. reproduction than film cameras To achieve faithful color reproduction with film cameras photographers must select tungsten or daylight film depending on the type of lighting and use a filter if the lighting is mixed Since even the same type of film may reproduce images differently depending on its age and how it was stored and processed photographers must manage their film inventory carefully and take test shots to ensure consistent results Digital cameras on the other hand do not suffer from such instability Once you ve mastered the white balance settings you can quickly and easily use them to fine tune color temperature and achieve faithful color reproduction or imaginative visual expressions Accurate color reproduction requires proper white balance White balance can be set in various ways You can use the Auto White Balance function described later in this guidebook or any of the following three methods 1 Choose a preset white balance setting optimized for certain lighting conditions such as daylight or tungsten lamps 2 Manually input the Kelvin value to an EOS digital camera after measuring the color temperature of the scene with a color meter 3 Shoot a white card in your scene and have the camera correct white balance automatically This method often referred to as custom white balance is effective at keeping white balance stable over multiple shots in outdoor and other changing lighting conditions T
115. ression and CMYK conversion you can deliver finished CMYK files and maintain total control over offset reproduction M Magenta Additive mixing of light s three primary colors Subtractive mixing of three primary colors 0 7 0 6 0 5 0 4 0 3 0 2 0 1 0 0 1 02 03 04 05 e RGB monitor vs CMYK printing color reproduction The color reproduction ranges of computer monitors and CMYK printers are different Generally the CMYK range is narrower and provides poorer reproduction When a color viewable on the monitor cannot be reproduced in print it must be changed in saturation and or hue This color conversion process is best handled by prepress experts using a color profile yx 0 6 GT Urs T09 Visible spectrum Wide Gamut RGB Adobe RGB 1998 sRGB CMYK Japan Standard v2 Data Processing 77 Final print simulation Check print limitations beforehand on the screen By using Proof Colors and Gamut Warning displays in Adobe Photoshop you can check how the colors will change once the photo has been converted from RGB to CMYK This feature is especially useful when handling high chroma images that are hard to reproduce in print Pre printing simulates final printing results The most common way to simulate final prints is by printing adjusted RGB images on an inkjet printer While this method is convenient it may provide misleading results since the reproduction range of offse
116. rk color space to Adobe RGB and the Rendering intents when using Easy PhotoPrint to the default setting Colorimetric On the Easy PhotoPrint side go to the Preferences window and uncheck Optimize images automatically Under the default settings image processing will be handled on the Easy PhotoPrint side so the colors of printed images will be different from those checked using Digital Photo Professional When using the Print with Easy PhotoPrint function CMYK simulation settings are not reflected When you want to print with CMYK simulation colors go to the Digital Photo Professional File menu and use the Print function So erm eris rrr e Ram S Wi ra numus ee ee E HER dS Rome GUN Mid Gzcgems LLL i eet es eT p p TI E Be oe eo oe l i ZEE brr am 1 d Dd HL CURE n Lj sie adj T Easy PhotoPrint preference settings meee p g gt m I eer eey ee cnr NNNM isad asja of Bk i amm n m _ rre C n Dum CN Far iiam LE Deme prm LIE M tuu LE NIIS d mem Pep deeds Fi al ier CERE ee anm 3 Matan ig ey ee quam Le S EEUU Co Digital Photo Professional preference settings Data Processing 73 Saving image data and accurate communication Handing over data for post processing Saving image data and accurate communication When handing over data to the next person in the production process even small misunderstandings can
117. rsion and simulation CMYK conversion is the most difficult step in the preparation of printing data Although part of the proofing process it can be simulated to a certain extent by photographers working in the RGB environment who want to preview the appearance of the final print by simply selecting CMYK simulation in the preferences panel The color reproduction method greatly affects the colors Whereas images displayed on a monitor are composed of the three primary colors red green and blue RGB printed images are composed of a combination of cyan magenta yellow and black CMYK This use of fundamentally different reproduction methods makes it impossible for both media to produce exactly the same colors Moreover many colors viewable on an RGB display are beyond the range of CMYK and must be reproduced in print with substitute colors When converting RGB images to CMYK images for printing purposes genuine proofing expertise is necessary to minimize the differences in colors Choosing the right settings requires expertise It is possible to convert RGB to CMYK by simply using the color settings option in Adobe Photoshop However changing even one item in the menu can significantly alter the color If you do not have a high level of expertise in color management and gamut compression you should leave CMYK conversion to experts However if you do have the expertise necessary to perform selective gamut comp
118. same way 42 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK 4 ce EE i d ITF 4 T t i m F Lia N m a mi MAE tod i ere i LM Ut The TS E 24mm f 3 5L features both tilt and shift capability vastly expanding the scope of expression possible with EOS digital cameras This lens has the ability to correct distortion resulting from perspective something that in the past only medium and large format cameras could do and permits free control of the focusing zone SE Se It offers the ability to shoot with automatic e Max diameter x length weight 978 0 x 86 7mm 570g exposure using both the Automatic Aperture 03 1 x 3 4in 1 3lb Setting and Auto Exposure Bracketing And with its floating element optical system and i i aspherical lens element it is excellent for Lens impression correcting distortion and other types of TS E 24mm f 3 5L e Focal length and aperture 24mm 1 3 5 e Lens construction 9 elements 11 groups e Diagonal angle of view 84 e Image circle diameter 58 6mm e Tilt shift 8 11mm e Revolving angle 0 90 e Focal adjustment Manual focus overall linear extension system e Closest focusing distance maximum magnification 0 3m 0 14x With a wide angle shot the conventional wisdom is can detract from the beauty of the building s aberration The TS E 24mm f 3 5L offers that you should be close to your subject This is straight lines and even make the building lose cer
119. sed Ail mm d t mna ii to check how the commercial t The key determinant for the future adoption of color management is improvement in the efficiency and precision of color checking made possible by digital transmission of image data and digital proofing We also anticipate that issues in color reproduction based on digital camera image data will become increasingly important These critical color management issues are all tied together by the problem of who will convert the RGB data created when a photo is shot to the CMYK data used for printing This conversion has traditionally been performed by printers not photographers However as mentioned earlier if photographers within the realm Topics for the advertising and publishing industries Digital camera workflow will improve the efficiency and consistency of image quality by unifying plate making systems and photography Closed conditions will be necessary and under the present circumstances there are areas in which open development will be difficult 1 Achieving both speed and stable quality for photojournalism Case of Newspaper Company A In pursuit of both speed and stability of image quality offered by digital cameras Newspaper Company A adopted a network based printing system Data 22 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK p m e Adjusted data print will appear Photographer E ZTA rm Shooting Original Inkjet printer
120. sed on usage and preference Quality of recorded images When photos are shot with an EOS 1Ds Mark Il and stored in the JPEG format it is possible to adjust the pixel count and image compression percentage In the highest quality large fine mode you can record image quality equal to the needs of large format prints and plate making Selecting a format that requires less data is effective when it is necessary to boost the efficiency of post processing when for example a large number of shots have been taken in a studio However it is generally better to maintain the original image data at the highest possible quality and adjust the pixel count and image compression percentage using image processing software sRGB for versatility or Adobe RGB for advanced editing The colors in digital photos are confined to a color range or color space that can be handled by monitors and printers and is narrower than the range of colors humans can see Different monitors and printers have different color spaces When shooting with a digital camera you must first decide whether to record your shots in the sRGB color space which can be displayed by a standard monitor or the Adobe RGB color space which is wider and includes colors that cannot be displayed on a standard monitor The wider color range of Adobe RGB is preferable for images you plan to edit later and is one of five color matrix settings available on the EOS 1Ds Mark Il
121. speeds and are recommended when transferring large amounts of photo data Choose a high spec computer and high capacity data storage EOS 1Ds Mark II images are best stored on high speed high capacity hard disks To transfer data to a computer it is worth noting that the latest PowerMacs come standard with high speed FireWire 800 ports which are faster than IEEE1394 FireWire 400 ports and reduce the time needed to transfer large files You should also consider using RAID storage which manages multiple hard disks as if they were one Mac OS X makes using RAID storage simple and therefore allows you to build a computing environment with even greater speed and reliability III e uo me LS 5 yyy m Printer Share data with multiple machines by utilizing LAN File sharing over a network is almost a requisite for efficient data management Fortunately network communications have recently accelerated due to infrastructural improvements and always on connections have become common with the introduction of ADSL and optical services Moreover Mac OS X and Windows XP offer significantly improved file sharing capabilities These numerous advances now enable file sharing to be handled over the internet with ease However the growing demand of digital photo professionals for higher transfer speeds and larger capacity file sharing often leads to the use of special server OS software within company intranets In
122. studios or other such locations a wireless LAN is an effective tool The IEEE802 11g telecommunications standard currently preferred by professional photographers is relatively fast at 54Mbps and removes the nuisance of cables for those who move around a lot in the studio Printer selection Select the printer most suitable for your needs Printers can be divided into several categories based on printing method usage and paper size handling capabilities When selecting a printer you should consider price running costs print quality and capabilities that are necessary to meet your particular needs Inkjet printers are affordable and offer high image quality Ease of maintenance and affordable prices are not the only benefits of inkjet printers Due to dramatic improvements in their print quality they are now powerful tools for printing digital photos Since the color space of inkjet printers exceeds that of offset printing unless specific procedures are followed MAP 20 their prints are of limited use for evaluating the colors of images before commercial printing unless specific soft proofing procedures are followed However inkjet printers can create finished prints that bring out the full quality of photos taken with digital cameras Larger models with A3 sized full bleed capabilities can even produce 13 x 19 prints that are appropriate for framing on a wall Inkjet printer Compact photo printers can be used
123. t a histogram With film cameras lighting and exposure are set relying on exposure and feel Digital cameras let you check lighting and exposure immediately with a histogram and create optimal conditions based on precise assessments a E m This histogram has a gently sloping peak in the halftones There are no extreme gaps between highlights and shadows n A landscape with little variation in lighting s E a This histogram peaks in the dark range A small peak in the bright range indicates strong highlights j Tw mmi A night view largely comprised of shadows ENT Pr A ai A typical studio shot A strongly backlit scene with extreme shadows and highlights Blocked up shadows and blown highlights were This histogram indicates strong contrast with highlights prevented by appropriate lighting All elements are and shadows that went beyond the available range finely balanced within the optimal range of brightness Shooting 33 Checking with histograms Ensure rich gradations by using a histogram The wide dynamic range of high end digital cameras is fast approaching the levels of color positive film Yet users must still avoid blocked shadows and blowout loss of gradations in the shadows and highlights that image editing cannot compensate for If you plan on editing your images later be sure to check the histogram and adjust lightin
124. t based workflow SRGB is however appropriate for display based media as it is fairly representative of the average computer display in use When you realize that most people s displays are not calibrated or even set to a white print other than the manufacturer s default it s easy to understand why sRGB is a smaller color space than those used in creative applications When you want to see how images will look when they re on a webpage you can use the sRGB profile to soft proof your color content in Adobe Photoshop Note If you are creating color exclusively for the internet you should consider using SRGB as your working space profile within applications such as Adobe Photoshop If the destination for the image is digital video say you re going to build a composite into a Final Cut Pro scene you will want to choose the NTCS 1953 industry standard destination profile suitable for video output in the United States Another valuable use for the sRGB color space is in CMYK printing If the situation arises where your client cannot supply you with any information regarding final output EOS 1Ds Mark II Color Matrix characteristics e Color Matrix 1 sRGB compatible Overall natural hues and saturation Color Matrix 2 sRGB compatible Hues and saturation ideal for portraits with natural skin color e Color Matrix 3 sRGB compatible Hues and saturation similar to high saturation slide film Ideal when vivid col
125. t printers and inkjet printers differs and inkjet prints may include colors that offset printing can t reproduce This issue can be resolved by obtaining the printer s output profile and utilizing this profile for a custom proof in Adobe Photoshop s View gt Proof gt Setup gt Custom setting Then the saturation levels of individual colors can be adjusted to bring them within the printer s gamut This is a complex procedure that requires skill and experience However the use of different paper and ink by the two types of printers makes it impossible to produce the exact same results Accuracy can be further increased by installing a DDCP Direct Digital Color Proof compatible with CMYK data Selecting Print with Preview from the file menu of Adobe Photoshop opens a window with a preview of the image and various printing output and color management options The Color management options let users customize the color space for their specific purpose by selecting the Source Space color space of final print and Print Space profile of printer The image can then be printed with the colors of the image adjusted according to the selected settings 78 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK When checking simulated print color reproduction it is helpful to open another window to compare before and after images Pron riug E i LN Ciril Warne RT inpom i W i igam Ct E Fi sn Sore RE Mainai Pixe
126. t with film Aem T r F TR RU LEE E En l LP ke ZdeEDNUMSBES i at Lr 645 film HERRE fae d H The ability to capture details beyond the reach of film produces true to life images Actual film size 14 EOS 1Ds Mark Il TS E 90mm f 2 8 Rendered in Digital Photo Professional ver 1 6 Up resed in Photoshop CS2 in 1096 increments to 220MB 10096 crop Details of the action and the atmosphere show outstanding clarity in full size digital images 22 Megapixel Digital Back 6x7 camera w 140mm f 4 5 macro lens Up resed in Photoshop CS2 in 1096 increments to 220MB 10096 crop T Es d t d UPC Le TL jo te wa jas e A 7 E MP Digital Back isl 6x7 roll film camera w 140mm f 4 5 macro lens ISO 100 120 film processed normally r Ma u Tn Scanned to 220MB on a drum scanner Vaal Y m ENS 10096 crop 16 17 Professional digital photography hitting its stride at last The speed and efficiency of digital photography are self evident and widely acknowledged In the field of photojournalism where speed and efficiency are all important the switch from film to digital photography has already been made Now with dramatic improvements in the performance of digital cameras the wave of change is sweeping into advertising and other fields as well Digital cameras are evolving and the emphasis is shifting from efficiency to quality Canon introduced the
127. tainly a good way to exaggerate perspective and character as a structure The TS E 24mm f 3 5L is compaci size and high e quality at all highlight the subject In this photo expressing the the only lens that allows a subject to be shot like distances from 0 3m to infinity Its strengths presence of the people in the caf and the beauty this without these problems Simply find the best are particularly evident when photographing of the rays of light required the distance between distance from the subject determine the shift and the camera and the subject to be shortened you will see in the finder a world only accessible However when shooting buildings walkways that through this lens seem to bend or bulge and other types of distortion building interiors and exteriors landscapes and other subjects for which wide angle shots are appropriate Shooting 43 Averting common problems Averting common problems in digital photos in digital photos Averting common problems in digital photos Dust on the imaging sensor Advanced sensor technology offers impressive capture capabilities However problems still arise at If dust enters a digital camera while the lens times to affect the quality of your images To avoid these imperfections which are unique to digital is being changed it may become lodged on cameras you must first understand what they are the imaging sensor and show up in your images especially when shooting subjects c
128. timal results for a given print size it is better to concentrate on producing image data that are the easiest to handle in post processing Images that have been sharpened only slightly or not at all are the simplest to adjust in post processing If the images are significantly sharpened when shot unnaturally highlighted outlines and noise may appear in post processing Selecting the recording format Selecting the recording format Image that has not been sharpened and is easy to handle in post processing Hipi pe ETEF d ie I 4 Friis MM a Image that lacks sharpness and looks out of focus Image with excessive sharpness and unnatural outlines High capacity storage media capable of handling rising image data volumes The 16 7 megapixel high resolution data files that can be created by the EOS 1Ds Mark ll are relatively large and require high capacity storage media Even a 1GB 1 gigabyte 1 000 megabytes storage medium can hold only slightly less than 50 photos taken with an EOS 1Ds Mark II and recorded in both the RAW and JPEG formats P28 74 Image size estimates i Number of images Camera Data format Eei e that can be stored on g a 1GB storage medium JPEG Large fine Approx 5 5MB Approx 180 images EOS 1Ds Mark I RAW Approx 14 6MB RAW JPEG Large fine Approx 21 0MB Approx 67 images Approx 46 images Sizes will differ depending on shooting conditions and ISO settings Shooting 39
129. ting but not the best choice for outputting images as finished work P77 Color proofing printer Photographic printers use photo paper and film The photographic printers employed at photo labs and image output centers use RGB lasers to print the images on photographic paper and film ET em P21 Equipment 27 Storing image data Storing image data The higher the resolution or the greater the detail of the shot the greater the volume of data created Storing a large number of images without sacrificing quality requires the use of high capacity storage media High durability or large capacity Choose the right media for your needs EOS digital cameras are compatible with CompactFlash CF Type and II cards and the EOS 1Ds Mark II supports SD memory cards as well All of these cards store data in a semiconductor device called flash memory Microdrives are another type of media that contain a super small hard disk drive They are the same size as CF Type ll cards and can be used in much the same way Since CF cards and SD memory cards contain no moving mechanisms they are extremely reliable On the other hand Microdrives are an excellent choice for large capacity data storage CF card Microdrive SD memory card Storage media are precision devices Please handle them with care Since CF cards SD memory cards and Microdrives are small and lightweight some users tend to handle them roughly Howe
130. tured pattern or when you want to express a color transition in a sky or to achieve other natural looking results L E Other retouch tools Reproducing darkroom creativity It is often necessary as when shooting portraits to correct the image With Adobe Photoshop you can efficiently produce natural results by using a combination of tools When you want to smooth over details you can use the Blur tool but when you want to eliminate for example a hair that appears over an area in great detail you can do so effectively with the Healing Brush Moreover you can simultaneously control color and brightness to achieve more natural looking color results like those previously obtained through the edge burning and burning in techniques used in the darkroom 82 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Clone Stamp tool The Clone Stamp tool is the most basic tool for eliminating blemishes or patterns To use this tool hold down the Option key For Macintosh For Windows use the Alt key and click the part of the image you want to clone Then drag it to the place you want to eliminate This will cover the undesirable part of the image with the part you cloned To achieve natural looking results with no evidence of retouching blur the edge of the brush and stamp several locations Blur tool Using the Blur tool you can use a function called Lighten to blur an area using the brighter color of an adjacent
131. u should re profile the display Set the Desktop to a medium neutral gray L50 0 0 or Apple s Medium Gray which has a RGB value of 128 128 128 would be ideal Set the white point to 5000k D50 or 6500k D65 if supported by your display The overall goal is to match the tonal reproduction characteristics of your display to the intended viewing conditions and output Most professional proofing systems and color correct viewing booths used by printers and photographers use D50 lights to simulate daylight D50 was established as the prepress industry standard although new standards are emerging based on D65 e Avoid bright light directed at the display Use a display hood if available Much like the target gamma setting the white point differs between Macintosh and Windows systems Macintosh users will see the best results by setting their displays to a D50 white point and a gamma of 1 8 Windows users will see the best results by setting their displays to D65 and a gamma of 2 2 The exception to this rule is when both Macintosh and Windows compatible 54 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK computers are used in the same color managed workflow In this scenario the best results will be achieved by using a device calibrator set to the same white point and gamma on both systems Gamma does not affect the size or shape of the gamut It does affect the distribution of RGB points within the gamut Gamma values refer to the gr
132. u through the following steps Tange hein Pre Step 1 Adjust the brightness and contrast controls on your monitor as described Contrast may be labeled Gamma on some monitors Some LCD monitors have no controls for brightness and contrast Step 2 Adjust color temperature and other software settings as instructed eo p bed E Once calibration is complete the color space information i whee Ln is saved as a selectable ICC display profile pies Vitti au m LIT IUE eo eds w her ie b hana Limma E ip Ges CEIC er Set ee Fm LET E Jp es Pe Monitor calibration Dri ay acris anus d L Displey adjustment a Cadres auus Selpct a target Gamma Ee eee z 2E ma WE E Lud Fu Te pe and Mi pidi Dniadi ey a aeu a L helert a rie whee peril BLA Ue es qeumex Rf ue eep epe bye gem Jo Data Processing 55 The color management system built into Adobe software The color management system built into Adobe software The Adobe Creative Suite applications including Photoshop Illustrator Acrobat InDesign and GoLive all share a color management implementation known as the Adobe Common Color Architecture This ensures that all of the Creative Suite applications support color management in the same way Adobe CMS Color Management System Adobe software products like Photoshop Illustrator and InDesign are essential tools in the desktop publishing DTP industry These applicat
133. ugh resolution even when you make allowances for trimming and generous framing This gives you a lot of freedom to use Adobe Photoshop s Transform function P42 Shoot at the right resolution for your needs It is best to plan ahead and shoot images at the resolution that best suits your needs If the resolution of your photo is too low for its intended purpose you will have to enlarge the photo via software resulting in reduced image quality Fortunately EOS digital cameras are capable of shooting photos at extremely high resolutions that are resistant to quality degradation during enlargement On the other hand using a photo with a higher resolution than necessary requires a reduction in size that will limit the effectiveness of later sharpness adjustments which may even lower the quality of your printing results 84 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK m E E m ui m k Moderate shift adjustment No shift adjustment LE c EU 50 re ee TEM a i GE When correcting distortion it is best to use the Distort function This function will give you eight points that you can freely move to adjust the image making it easy to match fine vertical and horizontal adjustments Use the window ruler to display vertical and horizontal lines to use as guides Making only vertical adjustments will result in a disproportional relationship between vertical and horizontal dimensions so both types of adjustment are necessary to av
134. valuating digital camera data is the display monitor Therefore it is important to select one that will allow you to perform color management Network and that can express images with minimal difference from other devices You should select a high definition monitor with a large screen Printers are used for everything from Printer simple checking to the production of finished works as well as the production of color samples for post processing Printers differ in terms of size printing method running costs etc so you can choose one that best suits your needs 24 EOS DIGITAL DIGITAL PHOTO GUIDEBOOK Computer L1 Is the OS suitable for your work and operating environment L1 Is there adequate memory RAM U Is the image quality good enough to evaluate colors Is the external data storage device media capable of storing large files L1 Does the device use media suitable for exchanging data with third parties U Is the load being shared across multiple machines Q Will the printer be used primarily for printing finished works or for checking images for printing Is it necessary for the printer to perform large format printing amp a L Shooting a n Wireless LAN connection Ye yw EOS 1Ds Mark II Direct cable connection gt gt Mac OS Access point equipped with a WFT E1A accessory Photo data handling requires a high performance computer A single photo taken
135. ver all are precision electronic devices and should be handled with care while being inserted and removed from cameras Be sure to avoid static electricity moisture and the application of heavy pressure In particular dropping a Microdrive could cause irreparable damage The use of protective cases is advised when delivering your precious photo data 28 EOS DIGITAL e DIGITAL PHOTO GUIDEBOOK Protective CF card case Photo data should be transferred to a hard drive To browse or process photos recorded on CF cards SD memory cards or Microdrives you will need to transfer your photo data to the hard drive of a computer There are two ways to transfer the data One is by way of a card reader or PC card adapter installed in or connected to the computer The other is by connecting a camera containing the media to your computer via cable and transferring the data using special application software The EOS 1Ds Mark II supports IEEE1394 FireWire connection for especially high speed transfer Some cameras only support USB connection PC card adapter Card reader Cards will mount like hard drives via a card reader Software environment for shooting and data processing Software environment for shooting and data processing The software at the core of the EOS digital workflow consists of Digital Photo Professional and the EOS Viewer Utility Use these tools to shoot and pro
136. will not be able to achieve the results you desire when editing your images Mac OS X and ColorSync Both Macintosh and Windows computers offer solutions for color management but Mac OS X currently offers the simplest most integrated system level environment via ColorSync Color management Data Processing 53 Monitor calibration Monitor calibration The display monitor is where color professionals spend most of their time viewing color information and where they evaluate and adjust color data Attempting to adjust color on an uncalibrated monitor will generally do more damage than good to the data It is crucial therefore that your monitor be calibrated for accurate color editing and reproduction Modern monitors are manufactured to meet the needs of every standard It is important to define and calibrate to your industry standard Monitor calibration Your monitor should be calibrated on a regular basis to compensate for its placement and age as well as for the lighting in your work environment In the case of Mac OS X if you select System Preferences and click Displays you can make visual adjustments without special devices Preparing to profile your display e Determine your monitor and computer settings resolution refresh rate geometry and bit depth and don t change the settings either through the display s front panel controls or through the operating system If you change the settings yo
137. y professionals who handle photo retouching on a computer choose Macintosh which is particularly well suited for graphics and desktop publishing Since one company produces both the computer and OS the color control foundation of Macintosh computers is unified at the basic level which offers a significant advantage On the other hand Windows compatible computers are typically less expensive T SN gt gt gt Computer gt K ae Display LCD CRT excellent option in many shooting situations Laptops are a convenient choice for outdoor shooting sessions where mobility is important In some cases when no AC outlet is available they may even become a necessity New high end laptop models offer performance equivalent to desktop computers and can function as primary computers for photo processing when desired Laptop displays were previously too small to support digital photo operations but newer high spec laptops with large LCD screens are capable of doing the job High performance laptops are an checking and should be selected with care Since digital cameras don t produce positive film you must evaluate the colors of your digital photos on a computer monitor This means the performance of your display may affect the quality of your final output To select the right display for digital photo operations we recommend you gain an understanding of displays and select a large high quality model P 49 54

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