Part of a series – Color Managed Workflow
Today – Intro to seeing and describing color
When it is said that something is red
Exactly what does that mean (to you?)?
To a Physicist? To a piece of hardware?
When we want a monitor to display red
How do we “tell it” what we mean by red?
When a monitor displays “your vision of red“
How do we get a printer to match it?
How do we get everything to
Speak a common language? RED
Short answer – It’s all magic 😉
Or – There’s Maxwell’s Equations (seriously, they explain light)
Long answer (for masochists), read my posts in this series
All of the above questions basically assume that
What our camera captures for red (or any other color)
Agrees with what our eyes see
We’ll revisit the camera’s role in a later post
A bit of trivia before moving on:
There is NO color, as we perceive it, until
A portion of the electromagnetic spectrum
The portion with wavelengths of 620 – 750 nm for red
(Note the relatively broad spectrum range)
Enters our eyes
Even then everyone’s eyes don’t “see” the same color
and dogs see only gray tones
In the end, it’s our vision system that creates the color we see
Not all vision systems are the same
Did you take the color test?
Device Working Spaces
Software Editing Spaces
1. A digital dark room deals with three categories of devices –
Input – the camera & scanner mainly
Display – the monitor and projector
Output – printers
plus editing tools (Photoshop for example)
2. Device color spaces describe the range of colors (the gamut)
That a device can see, display or print
That space is specific to each particular device
All cameras don’t see the same colors
All monitors can’t display the same colors, etc.
Device color spaces are device-dependent
3. Editing color spaces such as Adobe RGB or sRGB (& others)
Specify a color range you can work in
While editing your image colors in a consistent manner
Largely independent of the edit program used
Guaranteed are the following –
1. Spaces are gray balanced
Colors where R=G=B will appear neutral
2. Spaces are perceptually uniform
Changes to lightness, hue, or saturation
Are applied equally to all the colors in the image
AND – Editing spaces are device-independent
In tomorrow’s post, I’ll get more specific
In the meantime, here’s a preview
This illustration shows the gamut of
Two devices (monitor & printer),and
Two editing spaces (Adobe RGB & sRGB)
Note – monitors don’t all have the same working spaces
Further, sRGB is also a space for some monitors
In addition to being an editing space
Wide gamut monitors are common although new
sRGB covers roughly 1/3 & Adobe RGB 1/2 of all visible colors
sRGB is green & cyan “starved”
Printer color spaces depend on paper|ink combinations
You use a different space for every combination
Note that some spaces may overlap others
In this example, notably the printer space
Further, imagine that you have a wide gamut monitor, and
Are using Photoshop with a sRGB editing space, and
Want to print to the example inkjet
Say red specifically
Since each space shown has a different coverage of red, how is this done?
The answer is suggested in this workflow from yesterday’s post
For the next “thrilling episode”, tune in tomorrow
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