Spyder 5

Color Management Can Be Easy | Soft Proofing & Media
6 Soft Proofing & Media
How to set up your monitor for accurate image proofing
How to proof your images on your monitor
Printing your photos yourself
What you need to know about soft proofing when

getting prints from a service provider
What you should consider when printing on paper,

canvas, and film
6/1
Contents
Soft Proofing 6/3
• Color Settings in Photoshop 6/4
• Data Transfer Settings 6/8
• Using the Soft Proof Function 6/14
• Post-Processing in Soft Proof View 6/16
• Gamut Warning 6/17
• Web Proofing 6/19
• Soft Proofing in Adobe Lightroom 6/20
The Quality of User-Printing 6/23
• The Art of Printing Images Yourself 6/25
• RGB Print Output 6/25
Prints From a Service Provider 6/27
Paper, Canvas and Film 6/29
• High-Gloss 6/31
• Matte 6/32
• Handmade Paper 6/33
• Fine Art Paper 6/34
• Canvas 6/35
• Film 6/37
Glossary 6/39
6/2
Soft Proofing
Pitfalls in the assessment of images on the screen
Assessing images on the monitor appears easy

at first glance, but this is not necessarily the case,
especially for users with limited experience in
image processing, as they’re apt to make incorrect
assumptions about photos on screen. After all,
what appears to be excellent, even on on a
calibrated monitor, may prove to be disappointing
when printed. This happens because:
• Colors may change, to fit the printer’s

gamut
• Images print darker than they display on
screen
• Details that show in shadow areas on the
monitor disappear in print
• Odd dither patterns sometimes occur in
flat areas
• Image contrast may dissolve into an
indeterminate gray
• Colors may lose their luminance and
saturation
The tool that can help
Technology comes to your aid: with advanced imaging apps, you can not only
display the original RGB version of your images, but also simulate a printer, ink,
and paper version. In contrast to paper or film press proofs, types of hard proofs,
the version on screen is called a soft proof.
6/3
Color Settings in Photoshop

Using color spaces
In Photoshop under the “Edit” menu there are color setting options.
Once you have generated a monitor profile, the display is managed through the
system’s internal color management, under both Windows and Mac. Select a working
color space when converting your RAW files. It is also recommended to select the
same color space in the Photoshop color settings to avoid unnecessary warnings.
6/4
...
TIP
It is important that you do not randomly convert back and forth between different color spaces,
because color data is lost during each conversion, especially when different gammas are involved.
i
Photoshop’s Color Settings menu
Here we go into more detail on the color settings menu. We do not describe all menu
items in the user interface, however, there is a brief description at the bottom of the menu
window for each item.
The Color Settings options in Photoshop’s Edit menu.
6/5
Working Space
RGB: Here you set your preferred working space. This should be at least large enough for
the type of output you create. Web-only users may select sRGB, but AdobeRGB is more
flexible for multiple uses. For high-quality camera models, set AdobeRGB in-camera for
JPGs; RAW images will be converted to your working space on import.
CMYK: Here you set the standard color space for a CMYK workflow, if you use one. Ask
your print service provider which standard they use. Gray choices can be made for your
own grayscale work, or for service provider needs. You can also activate softproof
functions for these spaces in the menu bar under “View / Check Color”.
Color Management Policies:
At this point we have defined the color spaces for RGB, CMYK and Gray, and how
to handle the color space of an image file when we load it in Photoshop. From
here, you have a few further choices.
• Turn off color management: In this case, the image is simply displayed in the
color space of the monitor. Be careful, as any attached color profile is removed.
• Preserve embedded profile: You should use this setting to retain full control.
• Convert to RGB working space: Choose this option if you want to include and
process image files from sources with a different color space in your workflow.
For example, you may want to paste an object from a picture you made with
your phone into one of your pictures. In this case, this setting ensures correct
color conversion.
• Profile Mismatches & Missing Profiles: definitely check this box, so you will be
asked when opening an image file which of the first three options you prefer.
6/6
Conversion Options:
• Engine: Here you can choose between Adobe Color Engine(ACE) Adobe CMM,
or a few other choices. ACE is preferred, as this engine is used in all Adobe
programs.
• Intent: Please see Chapter 5 for more information on different rendering

intents.
INTERESTING ONLINE FINDS

Read this article from Adobe to learn more about color settings.
Read Article
6/7
Conversion Settings
What’s best in this case
f you have defined your working space, you may open image files that were created in
another RGB color space. In these cases, a warning message appears asking you to
select a color space. Typically, maintain the embedded color space of the file. If
necessary, convert to another working space using Photoshop’s Convert to Profile
function in the Edit menu.
This warning message appears each time you open an image in Photoshop,
provided that you have activated this feature in the color settings, and the
image has a different color space than the working space.
Typically, keep the embedded color space of the file. If you load an image that does not
have a profile, open it without using color management. In this case, Photoshop displays
the image in the device color space (meaning the space of your monitor). If necessary,
tag a working space using Photoshop’s Assign Profile feature. This option can be found
in the “Edit” menu.
6/8
In this graphic, we contrasted the standard color spaces sRGB and AdobeRGB with a device color
...
space. The latter is different from device to device and thus arbitrary. Preparing images for printing
in device color is always risky.
TIP
You may have wondered why Photoshop displays a diamond or asterisk in the file name of the
open image. For example, “Filename.jpg @ 16.7% (RGB / 8 #).” % Indicates the magnification
state, RGB the color model, 8 represents the bit depth, in this case 8 bit/channel and the #
i
indicates that your image does not contain a profile. If an * is displayed, it means that a profile
has been assigned.
6/9
Additional information that Photoshop displays with an open image. At the

bottom left of Photoshop’s workspace, more detailed information about the
file can be found.
The difference between Convert to Profile and Assign Profile
The difference between the two is best explained as follows:
Convert to Profile: 16 km > 10 miles (the numeric value is converted according to

the unit). Applied to color, this means that the visual color is maintained as much
as possible, by converting the RGB values. Used for color accurate conversions.
Assign profile: 16 km > 16 miles (the assigned unit is changed but the numeric
value is not adjusted). Applied to color, this means that the RGB values are
maintained, but the visual color changes. Used when the existing color profile tag
is incorrect, or to maintain smooth graphic gradients, at the cost of exact color.
6/10
INFO
i
For the colors, visually, to remain the same, use the Convert to Profile option.
CIE-Lab color model and the positioning of the sRGB and AdobeRGB color space.
Admittedly, it is difficult to understand Convert to Profile and Assign Profile at first

glance. At this point, a graphic that shows the color space sRGB and AdobeRGB in
the CIE-Lab horseshoe and whose primary colors are assigned the device RGB
values should help. Both color spaces can be selected in Photoshop and if you have
a Wide Gamut monitor, the latter can also be displayed.
6/11
Take for example, the primary color green with the RGB values (0/255/0). It is
obvious that the green in the AdobeRGB color space is a different green than in the
sRGB color space, even though in both cases the RGB values are the same. For the
“transform profiles” and “assign profiles” options there are two scenarios. Either the
color remains visually the same, but then the RGB value adapts to the color space,
or the RGB value remains the same, but then the color changes visually due to the
changed color locations in the CIE-Lab color model.
The original image was shot in AdobeRGB. The color values refer to the color field F4 of the SpyderCHECKR.
6/12
After the image was transferred to the sRGB color space using Assign Profile, the Lab values changed
and the RGB values remained the same: same numbers, different colors.
Here the command Convert to Profile was used, to change the AdobeRGB image to sRGB and the colors
was retained; the CIE-Lab values remained the same while the RGB values changed.
6/13
Using the Soft Proofing Function

The soft proof feature simulates your print taking into account the unique characteristics
of the printer, inks, and the paper used.
You can access the Proof Colors function via the View menu. There you can select the output profile for
your soft proof.
Making soft proofing simple
Use the Custom command under Proof Setup in the View menu, to define the printer
profile for your print output.
Make sure that the Color Range Warning is enabled, so you can see which colors
will change most. This function is particularly helpful for editors with less experience.
6/14
Finally, you must develop a feeling for which colors can be printed without losses. If
you want the soft proof on screen and the final print to be as closely matched as
possible, select Simulate Paper Color and get an Absolute Colorimetric print preview.
Not only is the paper color simulated here, but also the contrast range is reduced to
such an extent that it looks very close to the color contrast on a paper; which can be
discouraging, but also useful.
Include service providers’ profiles
We recommend Spyder5ELITE+, which offers a very easy-to-printer soft proofing

simulation. If you would like to assess the printing colors of a service provider before
sending out for prints, download the corresponding profiles from their website.
There should be profiles available for each paper type offered. With a size of
approximately 1 MB, the ICC / ICM files can be quickly downloaded. For them to be
used for printer color simulation, they must be installed in the correct system folder.
The Spyder5ELITE+ software makes this process particularly easy.
Just click on Install Profiles and select the downloaded profile files in the opened file
browser. After clicking on Next, the external printer profile is already integrated and
can now be used in the Soft Proofing function. To view your own images via the
print preview, simply drag and drop the image file into the left-hand image list. Here
the Color Range warning is selectable and a subfolder can also be selected in
Advanced Settings.
6/15
...
Soft Proofing with the Datacolor Spyder5ELITE + software
Postprocessing in profiled view

The options you have
Since you can also edit images in this print preview, the effects of color or filter corrections
can be assessed in a final way. This allows you to:
•
•
i
Fine-tune an image copy (never the original) specifically for a specific print media
Saturate or desaturate critical colors before printing
• Intervene in the event of unexpected color or contrast shifts
EXPERT KNOWLEDGE
In contrast to editing after a CMYK conversion, all filters and dialogues that only work in
RGB, such as Same Color, are available here.
6/16
Gamut Warning
What this notice means
In the case of minor changes, the Gamut Warning function from the View menu shows
the problem areas that arise when converting to the printer color space. In this case, an
indicator color overlays all areas of the file that cannot be printed as intended. You can
define this indicator color in Photoshop’s settings under Transparency and Gamut
Warning. In the Spyder5ELITE+ software, this is done under Advanced Settings.
We compared the original image with two soft proof images and their gamut warnings. FOGRA39
(ISO 126476-2: 2004), a widely used standard in offset printing is used. The second profile belongs
to the Canon Pixma Pro1 on Pro Platinum paper. It is a 12-color photo printer. Clearly, the Canon
printer can display more of the original colors from the AdobeRGB color space.
6/17
How to transfer unprintable colors into the output color

space
The moment you activate the gamut alert and see some areas that cannot be printed,
you immediately ask yourself what to do with the unprintable colors? In principle, it is
quite simple, but it certainly requires some practice and experience. If you use the tools
for image optimization such as saturation, exposure, hue, etc, you can immediately
see how the areas highlighted in color by the Gamut Alert change. It is not necessary
to banish the targeted colors completely from your picture; they should no longer be
totally flat, even if some small details still exceed the printer gamut.
After eliminating the tar-

get areas as much as
possible through the
image enhancement tools
(here: Hue, Saturation,
Brightness), it is best to
save the image under a
unique name; perhaps
indicating the printer and
paper it is adjusted for.
...
TIP
For image enhancement in Adobe Photoshop, use smart objects. These can be found in an array of
small icons in the lower right area of the desktop. The benefit is that you can make changes to the
i
image without changing the source file data. On the other hand, if you edit your image using the tools
that you access via the “Image / Adjustments” menu bar, this is destructive and irreversible; so a new
copy must be saved.
6/18
Web-Proofing
What you should observe
The colors of your images can look very different online. This depends on the operating
system and monitor you are using. The three preview variants are shown in “View>
Proof Setup> Macintosh RGB, Windows RGB, Monitor RGB.” For use on the Internet,
you should always work in the sRGB color space and, if necessary, convert the images
from the original color space to sRGB. In the Save for Web dialogue of the Photoshop
Export options, you will find a Convert to sRGB option which you can use. In the same
window, please also enable the option Embed Color Profile, such that the JPG file saved
contains the information that the color values are in sRGB. For correct color prediction,
you must switch to Internet Standard RGB in the preview. Because only then do you
get a realistic impression of how others view the images.
You can clearly see the different pink tones in the original and in the image converted to the
sRGB color space.
6/19
Soft Proofing in Lightroom

Setting up soft proofing
Starting from Version 4, Lightroom has a very good soft proofing function. You activate
this by clicking the Softproofing checkbox in the Develop Module at the bottom of the
work window. You can now display the preview based on profiles and choose between
two rendering intents. This is how you enable the monitor proofing view:
The checkbox of the softproof function is outlined in red in the picture.
6/20
• Select the Develop module. Click on the checkbox which is located at the bottom of
the Develop screen
• Then, the Histogram section is changed to Soft Proof
• Now, you can assign a profile, select the rendering intent, and enable the simulation of
paper and ink
The changes have a direct effect on the display of the image in the preview window,
which is now marked “Proof Preview.”
...
After activating the checkbox “Softproofing” the histogram of the output format will be displayed. In
this setting, you can select the desired output settings.
TIP
If you make changes to the image in the proof preview, you can save this image variation as a
virtual copy.
6/21
Gamut warning options
To check whether the colors in the image are changed during screen or print preview,
activate the two warnings for the target color range and monitor color range by clicking
on the icons in the histogram, or from the View menu under Soft Proofing.
The buttons to activate the gamut warnings are very inconspicuous, but important.

Check out this tutorial on soft proofing with Lightroom Softproofing.
Read Article
6/22
The Art of User-Printing

What you should know
For a long time, inkjet printers were barely able to print photos of the same quality as
those from a photo lab. The quality of user-printed photos became acceptable only
with the advent of six to twelve color printers. Now there are an increasing number of
papers that can absorb all that ink with baryta prints, the benchmark used in the analog
lab.
6/23
The Canon Pixma-Pro-1 is a 12-color fine art inkjet printer. It is representative of this
device class. Inkjet printers with 12 inks can print colors far beyond the traditional
CMYK offset printing gamut, so are excellent for fine art printing.
This output technology is equally interesting for both advanced amateurs and
...
professionals. Hobby photographers spare themselves hours in the darkroom,
and achieve their goal faster and more reproducibly, due to digital image
processing. Professional photographers need less space because the darkroom is
replaced by a desk. Here, they can implement corrections or editing requests from
customers – even in front of them. Digital saves a lot of time, as well, thanks to
the direct processes, which do not require any development or drying.
INFO
i
Unfortunately, what can be captured by the camera and displayed on the monitor cannot
be physically transferred to the print. Such restrictions are not new to photographers;
even with negatives, only half the captured image information ended up on the paper
In contrast to the digital process, it was much more difficult, even for experienced
photographers, to predict accurately which colors and which details would make it to
paper and which would not.
6/24
The Technique of Printing Your Own

How to get high quality images
If you follow the steps below while working on a computer, you will be able to achieve
results with inexpensive photo printers, which would previously have only been possible
for an expert photo specialist:
• Create your profile carefully

• Do not scrimp on paper quality
• Correct images in soft proof mode
• Compensate for sharpness losses when printing, using your experience or a
specialty tool
However, for the perfect print, some settings details explained on the following
pages must also be considered.
RGB Print Output

What to look out for
If you are printing your images on a photo printer, the photos must be sent to the printer
in RGB. This is not a printing space, but a color mode, that meets the needs of RGB
printers to correctly process to the ink colors. The final ink channels separation is carried
out by the printer driver. All you have to do is specify the settings in the Photoshop Print
dialogue, and make sure that the following is set in the options:
• Color handling – colors managed by Photoshop

• Printer profile – the generic profile for your paper, or, better, your user-created
profile
• The same for rendering intent that you selected under Soft Proofing
6/25
...
TIP
Note that the printer driver default setting is used to disable its own color adjustments.
This image shows Print

Preview in the printer
driver, as well as the
disabled color adjustment
in the advanced setting of
the printer driver.
6/26
Service Provider Prints

Save money and avoid disappointment
Nowadays, print service providers offer a variety of products that one could not
have imagined 10 years ago, and were formerly reserved for professionals. They
were known, if at all, only from galleries. The range includes high-quality photo
books, photo prints on clear acrylic, aluminum dibond or canvas, and other
options. The number of formats has also become confusing and even includes
large panorama formats. This wide range photographic products also show
photography’s popularity, that it is no longer just a means of capturing memories.
Many people now use photography as an expression of their individuality, and they
hang up personal, detailed, elaborate images of gallery quality on their own walls.
As beautiful as these products are, there is a high risk that the colors and details
that have been developed though painstaking work will not be reflected in the final
images as desired. Not to mention the money invested, which can quickly run into
hundreds of dollars.

This guide from Breathing Color lays out how to choose the right paper for printing – what
papers work best for certain images, what papers are top quality, and more.
Read Article
6/27
Color management and print service providers
Premium print service providers understand that there is no way for them to be
competitive without color management. Complaints arise when an expensive image
does not live up to expectations. Quality service providers now offer ICC profiles to
download for your use, so you can soft proof on your own screen. This is a step in the
right direction.
Three issues can still lead to dissatisfaction:
• The higher the quality of the ordered image, the greater the likelihood that the image
has been digitally reworked. If this happens on an uncalibrated monitor, the colors
are assessed and processed blindly. It is not clear which colors resulted. It is like
wearing tinted sunglasses to assess your images. Soft proofing on the unmanged
monitor, using the ICC printer profiles of the service provider, offers only half the
solution .
• The customer may not bother to softproof with the ICC profiles of the service
provider, despite having calibrated monitor; perhaps assuming that calibrating the
monitor is all that’s needed.
• The printed image is too dark and the shadows are clogged. Most users are unaware
that a monitor has a contrast range as much at ten times are large as a print.
Because of this, if the brightness of the monitor has not been reduced to a level
relative to the printer, screen details which cannot be reproduced in print will be lost.
Monitor calibration with ambient light analysis by tools like Spyder5PRO or
Spyder5ELITE is needed.

A survey conducted together with the Systemkamera-Forum, the Leica Forum and the Fujifilm
Forum revealed the following:
61% of the 750 participants had already used a print service. Of these, 57% had already ordered a
photo book and 41% ordered larger formats on aluminum dibond or similar material.
However, it was interesting to note that 23% had problems with color and 17% complained about
clogged shadows.
The complete report can be viewed here: Read Article
6/28
Paper, Canvas and Film
© Fujifilm
How different print media affect photo printing
At one time, photo orders were like take-out food orders: “Please print 18 copies of
number 13.” The only query was: “Glossy or matte?” Even today, most photographers
opt for glossy. Why? Because they have little or no experience at all with matte media.
Their reasoning is that the colors should be as brilliant as possible in the image; that
the additional brilliance of gloss can‘t hurt. If you follow this logic, you will get good, but
not always optimal, prints. What is often overlooked is that sunny images must shine,
but the surface gloss does not always emphasize the intent of the image content.
Prints of a rough landscape look more impressive when presented on textured
materials, such as canvas or watercolor paper. The choice of the print media is about
print size and image content – at least for those who understand the nuances and use
them to create more powerful prints.
6/29
EXAMPLE
Fine art prints seldom involve glossy paper surfaces. The artist wants to produce as much
detail as possible. The shiny surface is not optimal for this, since it acts as a subtle contrast
enhancement. Fine art printing is based on matte media, but there are many different products
with subtle variations that are hard to distinguish at first glance.
What papers should you use for photo printing?
In the past, the home printer in their darkroom would have to choose between only
glossy, satin,or matte, when creating chemical photo prints. One additional option
was baryta paper, which is complicated to process and has to be heated in a dry
press in order to produce its surface. All other materials, such as canvas, rice
paper or watercolor paper were only available to insiders and specialized
laboratories because of the high costs.
Today, owners of inkjet printers can print photos on any flat surface. Dedicated
inkjet papers are recommended for most uses. But even here, the selection is
larger than ever before. Apart from the classic glossy and matte style papers, ...
there are also other choices, including canvas, felted and film. These are available
in several different options, and weights.
Materials your own printer can use depend on:
• Whether the inks are compatible with the coating

• Whether the printer can handle very heavy or very light papers
INFO
i
Which papers you choose depends on image content and are a matter of experience. The more
exposure you have, the more confident you will be in your choice of materials.
6/30
High-Gloss
What you should
consider with glossy
inkjet papers
Glossy papers are

available in several
gradations between
high-gloss and silky. The
high-gloss type is the
most common for photo
printing. The prints are
very close to the
appearance and texture
of conventional photo
prints.
Glossy papers allow the deepest blacks, highly saturated colors, maximum ink
coverage, and a high maximum density. This produces crisp contrast. Unfortunately,
these papers are very sensitive to fingerprints with their lacquer-like surface. For
this reason, you should only touch them with gloves or have a non-printed border
on the paper during photo printing. A glossy surface hinders the applied ink from
entering the paper quickly. This means high-quality glossies can take longer to
print (as the printer builds in drying time) and to cure after printing before stacking.
While some papers are less problematic, others still require the slower unidirectional
printing mode, in which printing is carried out only in one direction of the print
head. This function must be selected in the driver interface, and profiles should be
built specifically for this mode. ...
TIP
Glossy papers usually involve a coated polyester carrier layer. When hanging gloss images consider
how their reflections of lights and windows in the shiny surface may impact viewability.
i
6/31
Matte
Matte photo paper offers
you a range of
possibilities
Matte papers appear

much more reserved than
high-gloss and thus give
a more elegant
impression. These
surfaces can depict very
delicate details. Because
of their large printable
color space and the
excellent light and detail
characteristics, matte
media count among the
favorite papers of many top photographers. They allow images shot at high ISO
settings, to display sensor noise much like analog film grain, which can be very
satisfying.
However, surfaces tend to be sensitive to moisture, which limits their durability.

You should fix the prints manually with spray, if the printer does not do this
automatically. Matte papers are available in matte, semi-matte, satin and pearl...
designs. The last three categories are moving toward glossy, though pearl extends
the dull surface effect with a haptic structure.
Due to their ink absorption potential, matte papers allow ink to dry faster. If such
prints are hung up to the wall, light reflections are not an issue, since the dull
surface has a reflection-reducing effect. Fingerprints are not problematic with
matte papers, which unlike their glossy counterparts, do not have a coated
polyester carrier.
INFO
i
Matte papers require a special black for high-quality prints. Some printers require
switching the matte and gloss black inks, others keep both inks ready at the same time.
6/32
Handmade Paper
What you should
consider when working
with handmade paper
Most people do not know

that handmade paper
can be used as photo
paper. It is matte and
often has a slightly
structured surface.
Originally, the term
“handmade paper” was
understood as consisting
exclusively of paper that
was made by a manual
pulp process. Now, it can
be produced using machines, which has made it more affordable. Due to the
structure of the handmade paper, photo prints are given a particular feel and color
aesthetic. Handmade paper is usually made from wood pulp, and is acid-balanced
through buffering. It’s ideal for artistic work. Rag paper consists of 100% of cotton,
usually recycled, and requires no buffering. While rag paper is the finest and most
expensive paper type, its share of total paper production is only about 2%.
Since handmade paper is available with various surface textures, this leads to
uncertainty among some photographers: It is not easy to find out which surface
works best for each print. If you are uncertain here, you should concentrate less
on the textures of the varieties. Only a few photo styles benefit from a heavy paper
texture. The interplay of colors usually determines the image impression and the
subtleties brought to paper.
6/33
Fine Art Paper
What this type of paper is suited for
If you do not like typical glossy prints and prefer matte paper qualities, the world of fine
art papers might be of interest. These are often heavy papers, the surface of which
may have a more natural tone without artificial brighteners. Often very expensive, such
papers usually have a fine, soft texture as well as a special touch. They can depict the
finest details and are ideal for printing black-and-white as well as color photographs,
and are used for art reproductions with high image depth.
For art photographers, it is an absolute must to print their work on materials that meet
the highest standards. In recent years, there has been an almost unmanageable variety
of papers in the high-profile segment that are presented as fine art papers. The best of
them make a print from an original, that you would not only like to view behind glass,
but also one that has tactile qualities. However, central to a fine art paper is print-life.
Many years of color stability should be possible. Current inks do not all manage this,
even if they promise a durability of at least several years.
6/34
Canvas
What you should know about canvas during photo printing
In the history of photography, there have been many attempts to establish textiles as
photo media. But these fabrics only reached a significant market with the development
of inkjet technology.
...
Genuine canvas is made of cotton without polyester content. There are two weave
types:
• The typical Linen weave uses warp threads and weft threads interwoven with each
other.
• Twill weave uses weft threads alternating over two or more warp threads, creating
a herringbone pattern.
MORE INFO
i
Polyester-blend canvas is more affordable and available that cotton canvas. It has varying
cotton/poly blends in typical weights of 10 to 12 ounces.
6/35
...
Canvas is usually matte, but glossy fabric coatings are also produced. However:
inkjet printed canvas must not be heavily stretched, as it is when creating painting
canvasses, or the inkjet coating will crack. Photo canvasses are very lightly
stretched onto their backing. Canvasses are not protected by glass, so an
additional protective spray or brush-on coating is important for protecting the ink.
i
EXPERT INSIGHT
Inkjet canvas is often used for oil or acrylic painting reproductions. There are processes in
which special scanners with a custom artwork lighting unit produce digital scans of artwork.
The results are then output on canvas and produce a very good imitation of the original work.
Inkjet-coated watercolor paper is similarly used in reproduction of paper paintings.
6/36
Films
Film options for inkjet
Backlit films are a very common type. These polyester films can also be printed
with inkjets. They receive their color saturation only through their translucency.
Without a backlight, their look dull and unsaturated. Films can compete with
paper for detail and dynamic range. Color saturation of films often exceeds that
of paper. Consequently, backlit films are finding more and more followers in
commercial POS, but also private, uses. Color accuracy in backlit films is
problematic. A color shift occurs in the magenta and black layers due to the
different thickness of the inks. You should therefore work with the special ICC
profiles, which are designed for the material. Backlit film is usually printed on
the back surface. This allows scratch-resistant fronts suitable for outdoor as
well as indoor use. Indoor versions last about a year before excessive fading.
Outdoor films utilize different solvents and curing systems for up to three years
of life, but tend to have a lower scratch resistance.
6/37
There are also interesting special forms of backlit film:
• The first special form refers to self-adhesive, clear films that look brilliant on
their own when they are adhered to white acrylic. Backlighting intensifies the
effect but is not absolutely necessary. Such films are used mainly in bright
interior spaces which are also utilized at night.
• Self-adhesive window films constitute another special form, and are best
known from Christmas decorations. They can be used to dress up unattractive
spaces by partially or completely covering the windows to resemble stained
glass. The films can be used several times, so that decorations can be changed
with the seasons.
There are also metal films, typically in copper or aluminum, that produce the effect
of old or very high-quality photographic processes.
6/38
Glossary
AdobeRGB (1998): Color homogeneity:
The AdobeRGB color space was specified by Adobe in 1998. The The color homogeneity describes the color consistency or the col-
objective was to create a color space from which the CMYK color or deviations from a set point over an area, e.g. the surface of a
space of a color printer could be adapted to the RGB color space of display. In the case of poor color homogeneity, the same color val-
a monitor. It is larger than the sRGB color space. ue is reproduced differently on the surface of the display. For exam-
ple, this could cause a green tint on the upper right and a red tint on
Bayer filter: the bottom left corner.
Photo sensor named after its inventor Bryce E. Bayer. The sensor is
overlaid with green, blue and red filters, which are in a ratio of 50 % Color noise:
green, 25 % blue and 25 % red. In this way, it approximates the sen- Color noise, or image noise, describes the deterioration of image
sitivity of the human eye, in which green accounts for the greatest quality due to structures, which themselves do not carry any image
share of the perception of brightness. information. The impacted image sections deviate from the actual
image information in terms of color and brightness, and are espe-
Border shadowing: cially visible in dark areas of the image in which the signal-to-noise
See objective vignetting. ratio is very low.
CCFL display: Color separation:

This is a first generation flat screen. CCFL stands for Cold Cathode In the prepress stage, this means the conversion of the colors of a
Fluorescent Lamp. In contrast to today‘s monitors, which are illumi- wide variety of image datasets, mostly to the CMYK color model.
nated with LEDs, the CCFL displays produce light using neon tubes. The colors are separated into the print colors cyan, magenta, yel-
low and black.
Cd/Candela:
Candela is the SI unit of the SI basic variable of luminosity. Color space:
A color space is a defined range of colors. The best-known color
CEPS tools: spaces from the RGB color model are sRGB and AdobeRGB (1998),
CEPS stands for Color Electronic Page Setting. In photography, this as well as the CMYK color model, Euroscale Coated v2, Fogra39
involves photo retouching or photo editing with the aid of image and ISO Coated v2.
editing programs such as Adobe Photoshop or Adobe Lightroom.
Color temperature:
CIE-xy color space: The color temperature describes the light mood and is specified in
The CIE standard valence system has been defined by the Interna- Kelvin. A cooler light mood (bluish) prevails, for example, in a cloudy
tional Commission on Illumination (Commission internationale de sky, than in sunshine (yellowish).
léclairage). It is the link between human perception and physical
causes. Contrast:
Contrast is the ratio of the brightest to the darkest area of an
CMOS technology: image.
CMOS stands for Complementary Metal Oxide Semiconductor.
This involves semi-conductor technology, which has become wide- Contrast balance:
spread in photo sensors, etc. CMOS sensors are primarily charac- Is the ratio of the brightest and darkest areas and defines from
terized by low power consumption and short switching times. where the light is being drawn.
Color balance: Cross-effect:

The color balance determines the ratio of the colors to each other. The cross-effect originally came from analogue photography, in
For example, if the colors in a recorded image are not reproduced which a slide film was combined with a negative development pro-
as they are in the original, the colors are not in balance. cess or a negative film with a reverse development. The colors are
artificial and the contrasts are higher. This effect is often used for
Color fidelity: artistic styling and is imitated today by digital techniques.
Color fidelity is the measure of the deviation or the similarity of col-
ors during recording and output. Color management systems are Contrast ratio:
normally used to achieve maximum color fidelity. See contrast.
Color fringes: DLP projector:

Color fringes, also called chromatic aberrations, occur in images DLP stands for Digital Light Processing and it is a technology
because of deviations of optical lenses. Because the individual developed by Texas Instruments where the image is created by an
wavelengths of the visible spectrum in a lens are refracted differ- array of micro mirrors within the optical path. A special feature is
ently, each wavelength range has its own focal point. In practice, that the red, green and blue pixels are not generated simultane-
this leads to color fringes, which are particularly visible on the con- ously (as in LCD projectors), but quick alternate flashing through a
tours and edges of an image. This error can be corrected using rotating color filter wheel.
additional lenses, which are attuned to the respective
wavelengths.
6/39
Glossary
ECI RGB: IPTC conventions:

The ECI (European Color Initiative) RGB is a standardized RGB col- IPTC is the acronym for International Press Telecommunications
or space, which covers a large part of the printing processes, as Council. As per the IPTC convention, metadata is saved to the
well as all currently known display technologies. Thus, it is a color header of an image file for improved classification. The metadata
space that is designed especially for the needs of the graphic arts contains such things as parameters such as file format, file size,
and prepress. filename, height and width in pixels of a file, date recorded and the
description of the contents.
eciRGBv2:
Further development of ECI RGB. It has been optimized in terms of Kelvin:
the visual equidistance, as is known from the CIE-L a*b* color Kelvin is an SI unit of temperature measurement. It is also used for
space. This results in a minimization of banding and clipping errors, measuring the color temperature.
as with the L-Star color space. The ECI recommends using the col-
or space as early as data creation, for example when converting L*a*b* color space:
RAW data or 16-bit material to 8-bit color depth. Is a device-independent color space and describes all perceivable
colors equally, so that color deviations can be described by a Delta E.
EXIF information:
The Exchangeable Image File Format (EXIF) is a standard format LCD:
for saving metadata in digital images. EXIF information can be, This refers to Liquid Crystal Display. The liquid crystals regulate the
among other things, a camera model, shutter speed, ISO value, light impermeability per color channel. LED monitors are also LC
aperture or date and is written to the header of the image file. displays, but irradiate the color filters from the rear with LEDs
instead of fluorescent tubes.
Fine Art Printer:
There is no uniform definition for the term Fine Art Printing. All Fine LCD projectors:
Art printers attempt to create an image which most closely resem- The white light of the projector lamp is split into 3 basic colors by a
bles a one-of-a-kind or work of art, in terms of its properties, select- prism and then sent through 3 LC displays, which control the image
ed motif, and post-editing, and in the use of the best photographic information per color channel. Subsequently, the image is put
materials. together by another prism. LCD projectors are characterized by a
smaller contrast range, but can reproduce the colors very
Gamma: differently.
In relation to a monitor, gamma refers to the modulation of an input
signal to a desired output signal. In practice, this means that a low- Low-pass filter:
contrast image is obtained by correction of the output signal to With image files, so-called Moiré effects may occur instead of very
contrast. fine recurring structures, which are at the limit of the sensor‘s reso-
lution. These small, colored structures have a specific pattern, but
Gamut: are not part of the image information. Low-pass filters are used to
Is the description of the color range which can be reproduced by a prevent these phenomena.
technology or a technical device.
L-Star RGB:
Gray balance: A modern color space, which combines the advantages of a higher
“Achromatic“ colors are the gray shades that lie between white and color resolving power of the human visual sense of the CIE-LAB
black. These are produced by equal proportions of the respective color space with the usual RGB color spaces like AdobeRGB and
primary colors such as cyan, magenta and yellow (CMY) in the ECI-RGB. Banding and color tipper errors are reduced to a mini-
print or red, green, blue (RGB) in self-luminaires. If the primary mum when viewed on a display and in printing.
colors change to equal proportions, a gray may become brighter or
darker, but remains neutral gray. If the color components are no Luminance:
longer in the same proportion, one can immediately perceive a gray The luminance describes the brightness of image points
tint and gray balance is no longer maintained. Luminance homogeneity:
Describes uniformity of brightness for a defined area. A poor lumi-
High-Key Image: nance homogeneity of a monitor can be seen as vignetting,
In high-key photography bright tones, few contrasts and soft light although all image areas must be equally bright.
lend style to an image.
LookUp table:
ICC profile: IT term. LookUp table (also called LUT) are tables in which applica-
An ICC profile describes the color space of input and output devic- tion-specific values are stored which are used in a program
es such as printers, scanners, digital cameras or monitors and routine.
refers to the reference values.
6/40
Glossary
LUT: Rendering Intent:

See LookUp table. The way in which the colors must be converted from one color
model into another.
Luv color space:
A color space that is calculated from the CIE-XY system, similar to Softproof:
the L*a*b* color space. This system is mainly used for the evalua- In a softproof, the colors on a monitor are simulated as they will
tion of light sources or monitors. appear on the selected output material. Also know as ink color
simulation.
LED backlight:
This refers to a flat radiator that consists of many light emitting sRGB:
diodes and is used for the background lighting of an LED display. Standard RGB is also a color space developed by Hewlett-Packard
and Microsoft. It is widespread, but smaller than the AdobeRGB
Low-Key image: (1998) color space.
In contrast to high-key photography, low-key photography uses
little light as a stylistic device. Light is used consciously to THM file:
accentuate highlight contours and the few details that are THM files are miniature view video files, which are used to create a
important for the image. Many sections of the image often remain thumbnail image (miniature image) of the video file for improved
in the dark. This lends a certain amount of drama to this type of orientation.
image, a familiar sight in theatrical or stage photography.
Tonal value:
Objective vignetting: The tonal value describes the measure of tone scales. For example,
Vignetting refers to the shadowing of the image to its borders, a digital camera with 8 bits per color channel has a tonal value
which can be highlighted by components of the objective, such as reduction of 28 = 256 steps per color channel.
lens mounts, and by filters or lens hoods. The effect itself is origi-
nally unwanted, but it is also used as a stylistic device. White balance:
In the case of a white balance, a camera should be set to the color
Offset printing: temperature of the recorded scene to keep the color balance neu-
A printing method, in which the pressure roller does not directly tral. This is also done by the human eye, which evaluates colors in
contact the printed product, but the printing is transferred indirectly a largely neutral manner.
by a rubber roll. This is the most common method for printing
books, newspapers, and packaging. White luminance:
White luminance is the maximum brightness of a white point that
OSD: can be displayed by a monitor.
Stands for On Screen Display and describes an input menu window
of a monitor, which is shown on the display. White point:
The white point defines the white of a monitor with full control.
Primary colors:
Primary colors are the basic colors that compose secondary col- Wide gamut:
ors. Thus, the colors that a monitor can display are composed of Gamut is the displayable color space of a monitor. Wide gamut fea-
the colors red, green and blue. The same applies to cyan/magenta/ tures a device class that is characterized by a very large color
yellow, by means of which all colors which can be displayed by the space that is close to AdobeRGB (1998) or even slightly more.
process are mixed in printing. Monitors with wide gamut are typically used in image editing.
Polarization layer: Workflow:

A polarization layer, as used in LE and LC displays, ensures that A workflow in photography includes all devices and technologies,
light is polarized, which means only the fractions that oscillate in a which are used in the processing of the final image. A typical
plane are transmitted. This is the prerequisite for the option of reg- workflow includes a digital camera, image editing software, display
ulating the light quantity per pixel with LCs. units/monitors, and printers.
Reflection idiosyncrasies:
Printing paper and photo paper have a large number of surface
properties. The bandwidth ranges from matte and glossy to a wide
variety of textures and materials. Every surface and material has
very specific characteristics, with regard to how they absorb and
reflect light. These must be taken into consideration when setting
up a color workflow.
6/41
Spyder5 eBook
Color management can be easy
Datacolor, NSA
Lawrenceville, NJ 08648
+1.609.924.2189
marketing@datacolor.com
Datacolor AG Europe
8305 Dietlikon / Zurich
+41 44.835.3711
info@datacolor.eu
datacolor.com/photography-design
© Copyright 2018 Datacolor. All rights reserved.

Spyder 5

Uploaded by

Copyright:

Available Formats

Spyder 5

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Spyder 5

Uploaded by

Copyright:

Available Formats

Color Management Can Be Easy | Soft Proofing & Media

6 Soft Proofing & Media

How to set up your monitor for accurate image proofing

How to proof your images on your monitor

Printing your photos yourself

What you need to know about soft proofing when

What you should consider when printing on paper,

• Color Settings in Photoshop 6/4

• Data Transfer Settings 6/8

• Using the Soft Proof Function 6/14

• Post-Processing in Soft Proof View 6/16

• Gamut Warning 6/17

• Web Proofing 6/19

• Soft Proofing in Adobe Lightroom 6/20

The Quality of User-Printing 6/23

• The Art of Printing Images Yourself 6/25

• RGB Print Output 6/25

Prints From a Service Provider 6/27

Paper, Canvas and Film 6/29

• Handmade Paper 6/33

• Fine Art Paper 6/34

Assessing images on the monitor appears easy

• Colors may change, to fit the printer’s

The tool that can help

Color Settings in Photoshop

The Color Settings options in Photoshop’s Edit menu.

Color Management Policies:

• Intent: Please see Chapter 5 for more information on different rendering

INTERESTING ONLINE FINDS

Additional information that Photoshop displays with an open image. At the

The difference between Convert to Profile and Assign Profile

The difference between the two is best explained as follows:

Convert to Profile: 16 km > 10 miles (the numeric value is converted according to

Admittedly, it is difficult to understand Convert to Profile and Assign Profile at first

Using the Soft Proofing Function

Making soft proofing simple

Include service providers’ profiles

We recommend Spyder5ELITE+, which offers a very easy-to-printer soft proofing

Postprocessing in profiled view

How to transfer unprintable colors into the output color

After eliminating the tar-

Soft Proofing in Lightroom

The checkbox of the softproof function is outlined in red in the picture.

Gamut warning options

INTERESTING ONLINE FINDS

The Art of User-Printing

The Technique of Printing Your Own

• Create your profile carefully

RGB Print Output

• Color handling – colors managed by Photoshop

This image shows Print

Service Provider Prints

INTERESTING ONLINE FINDS

Color management and print service providers

Three issues can still lead to dissatisfaction:

INTERESTING ONLINE FINDS

The complete report can be viewed here: Read Article

Paper, Canvas and Film

How different print media affect photo printing