Wiley 978-0-470-59212-0 Datasheet

592120c01.indd 20 6/17/10 9:49:23 AM

9 BASIC DIGITAL CAPTURE WORKFLOWorganization I have on my hard drives. To accomplish this, you need to begin with some organizational structure. Th

10c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Figure 1.6 The Lightroom Library module shows the hard drive folder structu

11 BASIC DIGITAL CAPTURE WORKFLOWTo calibrate your camera, you must shoot a test. The test shot will need to include some kind of standard target (

12c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION The testing procedure involves a series of steps, which are summarized here:1

13 BASIC DIGITAL CAPTURE WORKFLOWFluorescent Lighting Shooting a test under fluorescent lighting is almost not worth the effort, because each

14c h a p t e r 1: DI GI TA L I M AG I NG B ASIC S , WOR K FLOW, A N D C A L I BR AT I ON Figure 1.9 Spot meter readings are taken from the came

15 BASIC DIGITAL CAPTURE WORKFLOWA spot meter can read directly from the mid-gray patch (third from the right on the bottom of the ColorChecker); o

16c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION are not accurate except as a rough approximation of the camera JPEG. We are l

17 BASIC DIGITAL CAPTURE WORKFLOWImporting Shots and Evaluating ExposureNow, you have to evaluate the shots to determine the best exposure. I will

18c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Figure 1.15 Evaluate the exposures for the best overall exposure and zoom i

1 DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION1Digital Imaging Basics, Workflow, and CalibrationEvery journey begins with the first step. Unfort

19 BASIC DIGITAL CAPTURE WORKFLOWFigure 1.16 This exposure has a good mid-gray patch reading, but the white patch is clipped.Figure 1.17 The mi

20c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Figure 1.18 The mid-gray patch is somewhat low, but the white patch is now

21 BASIC DIGITAL CAPTURE WORKFLOWThe shooting procedure for ACR is the same. Once you have shot the exposure sequence, open the RAW captures in ACR

22c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Building a Camera CalibrationRAW processing software is designed to interpola

23 BASIC DIGITAL CAPTURE WORKFLOWFigure 1.22 The DNG Prole Editor opens with the Color Tables tab active.Figure 1.23 Open a test shot and clic

24c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Figure 1.24 You may need to zoom in to position the colored dots accurately

25 BASIC DIGITAL CAPTURE WORKFLOWNext, you will create the table for 2850º K. Open the tungsten test shot. This is more likely to be at 3000º K to

26c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION At this point, all you need to do is select: File > Export your camera nam

27 BASIC DIGITAL CAPTURE WORKFLOWcreation of DNG camera profiles within Lightroom. There are very good instructions with the software, but it almost

28c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Drag two different test shots (preferably under shade and tungsten light) int

2c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Chips and PixelsAll cameras function like human eyes (Figure 1.1). In both, a

29 BASIC DIGITAL CAPTURE WORKFLOWFigure 1.33 Select the X-Rite presets, and the dialog changes to accommodate the creation and saving of camera p

30c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION 3. After applying the camera profile, go to the Basic pane, set your white b

31 BASIC DIGITAL CAPTURE WORKFLOWIn Adobe Camera RawSimilarly in ACR, to apply the profile, follow these steps:1. Open the images in ACR.2. Select

32c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Editing Camera Profiles for Better Skin ColorOne common issue with digital cap

33 BASIC DIGITAL CAPTURE WORKFLOWFigure 1.39 Edit color using the Hue and Saturation sliders.When you calibrate this way, you maintain the best p

34c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION Working with Your CalibrationAlthough a full exploration of Adobe Camera Raw

35 BASIC DIGITAL CAPTURE WORKFLOWFigure 1.41 Sync the les in Lightroom.Similarly, in ACR click the Synchronize button (located in the upper-left

36c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION If you do not have the opportunity to shoot a gray card, you can select a def

37 PUTTING COLOR MANAGEMENT IN CONTEXTO• pen the ideal exposures from the shade and tungsten lighting shots in the color calibration software (X-R

38c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION numerical representation is currently CIE L*a*b* (CIELAB, essentially the sam

3 CHIPS AND PIXELSblue for each pixel. We, therefore, think of these pixels as being in three “channels” (Red, Green, and Blue) simultaneously so t

39 PUTTING COLOR MANAGEMENT IN CONTEXTFor our purposes, color management simply involves calibrating the monitor, choosing an appropriate workspace

4c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION The dynamic range of a captured scene is an important yardstick for quality (F

5 CHIPS AND PIXELSJPEG is a file format that was developed to reduce file size by using mathemati-cal algorithms that simplify the pixel structure in

6c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION If you are concerned with the best possible quality, then you probably will pr

7 BASIC DIGITAL CAPTURE WORKFLOWI highly recommend that you choose a simple, gray desktop color and select a gray interface option for the overall

8c h a p t e r 1: DIGITAL IMAGING BASICS, WORKFLOW, AND CALIBRATION 3. Verify the integrity of the backup. (This automatically verifies the first