e-book: eos digital photo guide book for professional

0055W589 01/06 ©2006 CANON U.S.A., INC. PRINTED IN U.S.A.

$19.95

The purpose of this guidebook . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Switch to Digital PhotographyProfessional digital photography— . . . . . . . . . . . . . . . . . . . . . . 18hitting its stride at last

EquipmentEssential equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 System requirements for digital photo creativity . . . . . . . . . . . 25 Printer selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Storing image data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Software environment for shooting and data processing . . . . . 29

Shooting Hints for professional shooting . . . . . . . . . . . . . . . . . . . . . . . . . 32 Checking with histograms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 White balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 ISO settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Color matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Selecting the recording format . . . . . . . . . . . . . . . . . . . . . . . . . 39 Image synthesis with image-processing software . . . . . . . . . . 40 TS-E lens series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Averting common problems in digital photos . . . . . . . . . . . . . . 44

Data Processing 1Preparing your image data for commercial printing . . . . . . . . . 48 Monitor settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Monitor calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 The color management system built into Adobe software . . . . 56 Color settings in Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . 57

Data Processing 2 Data processing check sheet . . . . . . . . . . . . . . . . . . . . . . . . . . 58Picture Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Viewing, adjusting, and developing images with . . . . . . . . . . . 67 Digital Photo Professional ver.2.0 Settings and image selection . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Adjusting and developing RAW data . . . . . . . . . . . . . . . . . . . . 70 Linkages with other software . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Saving image data and accurate communication . . . . . . . . . . 74 Final print simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 The problem of memorized colors . . . . . . . . . . . . . . . . . . . . . . 79 Important points concerning image adjustment . . . . . . . . . . . 80

AppendixImage processing with Adobe Photoshop . . . . . . . . . . . . . . . . 82 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Shooting notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

A guidebook for photographers who chooseEOS digital cameras as the tools of their trade.

Shooting

Data Processing

Contents

32

This guidebook is designed to assistprofessional photographers in their switchto digital photography. In particular, theguidebook helps explain many of thecreative options available when using digitalcameras to produce photos for commercialprinting. We believe photographers in allfields from advertising to publishing tophotojournalism, whether shooting in thefield or in a studio, will find this guidebooka source of useful information.

This guidebook separates the workflow ofdigital photography into two sections: Thefirst section covers shooting-related topics,such as lighting techniques, studiophotography, and potential outdoor usesfor digital cameras. It also describes actualshooting situations to clearly illustratefunctional differences between film anddigital cameras.

The second section deals with dataprocessing; it covers everything from colormanagement and file handling to imageanalysis and printing preparations.

The purpose of this guidebook

For all professional photographers

Clarifying the responsibilities ofphotographers

Workflow is a linear description of thepath that your digital assets follow

P.00Page guide icon

• Pages where additional informationcan be found are indicated using theicon shown above. We recommendthat you refer to these pages for amore complete understanding of theprocesses or techniques discussed.

• Nearly every photo in this guidebookwas taken with the EOS-1Ds Mark II.(See P.90-91 for details of the photosand their printing preparation.)

• This guidebook was produced mainlywith the EOS-1Ds Mark II in mind.

Enhancing your understanding ofthe digital workflow

The responsibilities of photographers inthe digital workflow vary widely with thespecific requirements of each job.

By taking you through the entire processof digital photography, from shooting andimage compensation to editing and printingpreparation, we will help you to define andstreamline the varying workflowresponsibilities and draw the line betweenyour own responsibilities and those ofothers involved.

54

Free your imagination!Capture the new day withEOS digital cameras.

Digital definition for crystal clear images.EOS digital cameras have changed the world of photography.

76

Meeting the demands of studnatural gradation and color rtexture of skin, fabric, and odetailed facial expressions.

Meeting the demands of studio and location portraiture —natural gradation and color reproduction capture thetexture of skin, fabric, and other materials, as well asdetailed facial expressions.

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io and location portraiture —eproduction capture the ther materials, as well as

98

Outstanding gradationaccurately reproducescolors and textures.

11

Canon’s unrivaled combination ofCMOS sensor and DIGIC ImageProcessor — achieves sharp,dynamic images. A symphony of light capturing thefull range of visual informationfrom highlights to shadows.

Shot with the EOS-1Ds Mark II Shot with the EOS-1D Mark II

Shot with the EOS 20D

1110

12

True reproduction evenwith minimal light.Reproduction qualitypossible only with thisvisually faithful digitaltechnology.

Same scene under the same conditions shot with film.

Shot with the EOS-1Ds Mark II

100% crops from digital (left) and film (above).

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.

13

1514

The ability to capture details beyond thereach of film produces true-to-life images.

Actual film size

645 filmEOS-1Ds Mark II

1716

EOS-1Ds Mark II, TS-E 90mm f/2.8 Rendered in Digital Photo Professional ver.1.6Up-resed in Photoshop CS2® in 10% increments to 220MB100% crop

22 Megapixel Digital Back6x7 camera w/140mm f/4.5 macro lens

Up-resed in Photoshop CS2® in10% increments to 220MB

100% crop

6x7 roll film camera w/140mm f/4.5 macro lens ISO 100 120 film processed normallyScanned to 220MB on a drum scanner100% crop

22 MP Digital Back

EOS-1Ds Mark II

100 ISO 120 roll film

Details of the action and theatmosphere show outstandingclarity in full-size digital images.

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

When shooting, processing andprinting come together, the resultscan be breathtaking

Digital cameras provide photographers withgreater flexibility and control over imageproduction than ever before. However,specialized knowledge of image processingis required to make the most of thisadvantage. Even photos taken in the bestof conditions can easily lose their qualitythrough incorrect image processing. Forbest results, photographers should learnhow to handle image processing andoutput proficiently.

Where do photographerresponsibilities end in thenew digital workflow?

Defining deliverables requires communicationand proofing. Understanding the final outputrequirements while building your workflowdemands an initial investment of time andeffort. But that investment will reward youwith accurate, predictable color and qualityfor every image.

You can now control the entire creativeprocess from shooting to image datapreparation for final output. Digital datatransfer has created new rules for themedia markets; unfortunately these ruleskeep changing. Few photographers arefamiliar with the prepress process.

To efficiently produce digital photos ofthe highest quality, we recommend thatyou learn about the prepress process todetermine the best solution for your clientsand their output requirements.

There is no single generic workflow thatfits every situation. Customer demandsand client considerations determine thepath that assets follow in the digitalworkflow. Work backward and planahead.

Digital images are evaluated ona monitor

In conventional plate making, positive filmand prints serve as clear guidelines forcolor reproduction. Even when color tonesneed adjustment, everyone involved canshare a common understanding by referringto instructions made on the positive filmor prints. This clarity of communicationminimizes gaps between intended colorsand actual results.

Colors and gradations in digital imagedata, on the other hand, exist as numbersthat are difficult to refer to. This lack of clearguidelines creates various uncertainties andmakes it difficult to check if colors andgradations are correct. Images displayedon monitors (which serve the same purposeas positive film and prints in conventional

photography) are the common point ofreference for digital image evaluation.

Color management helps simplifycolor evaluation

When evaluating digital image data, colorscan appear different on different monitors.To make matters worse, even when thesame image is displayed on the samemonitor using the same operating systemand application software, the colors canstill differ if the settings of the operatingsystem and software are different.

The concept of color management wasborn of the need to minimize differences incolor reproduction on different devices andin different environments and ensure theimage always appears like the original. Inthe past, color management was mainlyconcerned with coordinating colorreproduction between the monitor and theprinter. However, these days it has becomean essential element throughout the digitalphotographer’s workflow.

Since photographers, plate makers, andprinters each check the colors of digitalphotos on their respective monitors, theymay end up examining the image data indifferent color tones unless their colorenvironments are coordinated using strictcolor management. Without colormanagement, the gaps in color reproduction

19Introduction

Shifting to the new digital workflow

Digital cameras are evolving, and theemphasis is shifting from efficiencyto quality

Canon introduced the world’s first electronicstill/video camera (the RC-701) in 1986, anddigital cameras have been evolving rapidlyever since. Low running costs (i.e. throughthe elimination of film expenses) and theimmediate ability to produce and reviewimages made digital cameras the choice ofphotojournalists from the introduction of thevery first professional grade digital cameras.Even so, however, digital camera imagequality did not compare to that of film, sothose fields in which image quality is acritical business selling point (e.g. advertising,publishing, and photo portraiture) maintaineda steadfast dedication to film photography.

The arrival of the 11-megapixel EOS-1Dsin 2002, however, significantly changed theperformance and perception of digital cameras.The EOS-1Ds accelerated the transition fromfilm to digital with its outstanding resolution,full-size 35mm CMOS sensor, high imagequality, and large files. These outstandingperformance characteristics, coupled withCanon’s superior ergonomic design triggeredan explosion in commercial applications ofdigital photography.

The next generation of EOS –– the 16.7-megapixel EOS-1Ds Mark II –– arrived in2004. With resolution at this level, Canon

is now able to address the needs ofphotographic studios, for whom image qualityof high resolution files is paramount.

The switch to digital technology isexpanding the world of photography

Desktop publishing (DTP) is now a fixturein the fields of advertising and publishing;creativity and efficiency have improveddramatically as a result of their influenceon the workflow. The switch to digital phototechnology in the field of professionalphotography is creating similar improvementsin digital workflow processes. Since advancesin digital camera technology have eliminatedconcerns about the quality of digitalimages, the domain of the photographer(which film restricts to the act of shootingpictures) has been expanded by the digital

camera for even greater control over images.Now is the time to take advantage of thepower and flexibility of digital photography.Make the switch today!

Digital cameras provide greater controlover image creation

In the age of black-and-white photography,film development and printing were criticalaspects of the photographer’s domain.With the advent of automated color filmprocessing, much of the control over thefinal image was given up by thephotographer. In this new film-free era,photographers can once again take fullcommand of the entire creative process,thus ensuring that the final images faithfullyreflect their original intentions.

18

Professional digital photography — hitting its stride at lastThe speed and efficiency of digital photography are self-evident and widely acknowledged. In the field of photojournalism, wherespeed and efficiency are all-important, the switch from film to digital photography has already been made. Now, with dramaticimprovements in the performance of digital cameras, the wave of change is sweeping into advertising and other fields as well.

Since the printing process is divided intovarious steps and different areas ofexpertise, the photographer’s intentionsmay not be reflected in the final print.

• New digital camera workflow

• Conventional film camera workflow

A consistent workflow, from shooting toprinting, reflects the photographer’sintentions in the final print.Photographer-oriented photo creativitybecomes a reality.

• Image evaluation standards in workflow for commercial printing of film photos

Photo printing environments wheredigitalization is already forging ahead

Even if issues of resolution, dynamic range,and color management are successfullyaddressed, prints are still ultimately necessary.We turn to prints, not displays or offsetprinting, when we want to preserve animage. Prints, of course, can be kept for along time. This quality, as well as the strongdemand for depth and density of color andlight that only photographic paper canprovide, have been traditional reasons forthe hesitation to switch to digital photography.In the past, creating prints from digital datawas cumbersome and time consuming.First, digital data were burned onto colorreversal film using a film recorder, and thena print was created with the color reversalfilm. Now, however, photo-printing equipmenthas itself been upgraded to digital technology,and prints can be created directly fromimage data.

Digital printing equipment inhigh-precision professional labssurpass negative prints

As digital cameras have come into wideruse, professional labs have upgraded theirdigital data handling capabilities. The growinguse of large format photo printers has beenof particular value in providing a greaterrange of choice for printing digital photos.The Lambda printer, (a commonly usedlarge format printer) exposes conventionalphotographic paper to RGB lasers andproduces colors through a developmentprocess. The result is prints of exactly thesame quality and texture previously possibleonly by using photographic paper in thetraditional printing process. What’s more,with Adobe RGB serving as the colorspectrum standard, color expression morevibrant than that possible with traditionalprinting can be achieved. There are alsoLambda printers that use LED technology.

This technology permits enlargementsto be sharper than those created usingtraditional optical methods.

Photo studios consider adopting digital technology for portraits

The rapid transition to digital technology inprofessional photo labs has encouragedsome photo studios, which until now haveused digital cameras only for ID photos, toadopt digital large-format prints. Some ofthese studios have made a completeswitch to digital technology and are nowusing digital cameras for portraits too.

Broadly speaking, there are presently twoseparate workflows in digital photography.In one, image data are given to a professionallab, which then handles everything fromcorrection to printing. Advances inbroadband technology have encouraged anincreasing number of labs to upgrade theircomputing environments, so they can besent image data over the internet. The abilityto easily transfer large volumes of high-quality image data makes the simplicity ofsending and receiving orders an advantagefor this workflow. In the other workflow, thephotographer personally corrects the imagedata and has a professional lab use thesedata to create prints. The lab and thephotographer examine test prints beforehandand, working together in the colormanagement process, create prints thatsatisfy the photographer. In either case, ifcare is taken to use the same settings ontools used by both the photographer andthe lab from the beginning, prints even

more stable than those possible with filmcan be obtained. Active communicationwith the lab, therefore, is the key to efficiencyand high quality.

With advances in printing technology, weare seeing the emergence of a creative environment in which the capability of theoperator and the senses of the photographerare indispensable. It appears that oncethere is solid order-sending and receivingknow-how among photographers andprofessional labs, we will see digital camerasused more and more for portraits, as well asother types of photographic projects.

Impact of inkjet printer performanceimprovements

Previously, inkjet printers produced imagesmarkedly different from those printed onphotographic paper. Performanceimprovements in recent years, however,have produced marvelous granularity thatexceeds that of traditional photo printing,and have given us spectrums that havebeen expanded with 8-ink systems andother technologies. This has resulted incolor reproduction that surpasses that ofpositive film.

Additionally, improvements in water-resistance, weather-resistance, and lightstability, as well as improvements in inksand printing paper, have made it possibleto obtain extremely stable print results.

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 21Introduction20

Strict color management is a must! P.50

Digital photo processing requires strictcolor management since there is nocentral standard for color evaluation.

Photo printing environments rapidly adopting digital technology

• Photo studio/professional lab workflow

could result in flawed image evaluationsand unintended print results.

The simplest method of color managementis to use the same image processingsoftware, such as Adobe Photoshop, andapply the same color management settingsthroughout all processes within the workflow.However, this rudimentary method is notsufficient for realizing the full potential ofdigital camera data.

Too often, photographers are drawn todigital cameras for the ease with which datacan be transferred to designers, clients, andplate makers, and a workflow is establishedwithout taking proper color managementinto account. We highly recommend thatyou avoid this pitfall through appropriatecolor management protocols.

P.50

The importance of color management

Photographers must adhere to strict colormanagement principles in order to ensurethat accurate, consistent color quality ismaintained throughout the entire workflowprocess for a variety of image endpoints,

including: print, world wide web, CD/DVDauthoring, across networks, storage mediaand multiple monitors.

A common practice today is to supply aprint along with the image data for the platemaker to use as a guide. With the introductionof virtual proofing and modern color-managedworkflow, this practice will no longer benecessary. Color management has now comeof age! With proper understanding andpractice, the photographer can exercisecomplete control over viewing, editing, andproofing, as well as final print quality. To dothis, you must utilize the proofing and colorgamut functions of commercially availableimage editing software such as AdobePhotoshop.

Inkjet printers can reproduce a widerrange of colors than commercial printingequipment, so the key to image quality ishow the plate maker adjusts for areas thatcannot be adequately expressed bycommercial printing equipment.

When you want to see how colors willdiffer in commercially printed images, youcan use Adobe Photoshop or Canon DigitalPhoto Professional to simulate the conversion

from RGB (red, green, blue color spectrum)to CMYK (cyan, magenta, yellow, and blackcolor spectrum).

P.77

Photographers who understand theprocess can improve efficiency andfinal image quality

Color management is necessary at everystep of the process that leads to commerciallyprinted digital photos. However, the colormanagement responsibilities of each personin the process is rarely defined.

This lack of clarity can burden photographerswho take full control in their efforts toensure quality and efficiency. Conversely,photographers who leave too manyresponsibilities to others may end up withlow-quality results.

To prevent such problems and realizethe full potential of digital photography,photographers must understand the entireprocess so they can recognize the factorsthat affect image quality. Then they shouldtake an active part in defining and delegatingthe responsibilities for color management.


Digital camera workflows in theadvertising and publishing fields

In advertising and publishing, digital camerasare still not used to the extent they are in thecreative and printing fields.

Color management, in particular, is onlynow being adopted by plate makers anddesigners. On the other hand, there is growingdemand for greater production efficiency,and we are seeing, as in the case of JMPAColor, clients (advertisers) requesting theuse of color management.

The key determinant for the future adoptionof color management is improvement in theefficiency and precision of color checkingmade possible by digital transmission ofimage data and digital proofing. We alsoanticipate that issues in color reproductionbased on digital camera image data willbecome increasingly important.

These critical color management issuesare all tied together by the problem of whowill convert the RGB data created when aphoto is shot to the CMYK data used forprinting. This conversion has traditionallybeen performed by printers, notphotographers. However, as mentionedearlier, if photographers, within the realm

of RGB, use software to perform simulationswhen necessary, more consistent resultscan be achieved.

In the fields of advertising and publishing,great faith is placed in film. This will likelyresult in a longer transition to digital

processes. Nevertheless, in fields wheredigital data workflow has been established,the move to full digitalization is proceedingrapidly. For professionals, who have takenthe lead in other ways, it is necessary to adoptthe new workflow with even more vigor.

22

Digital camera workflow with plate making

Topics for the advertising andpublishing industries

Digital camera workflow will improve theefficiency and consistency of image qualityby unifying plate-making systems andphotography. Closed conditions will benecessary and, under the presentcircumstances, there are areas in whichopen development will be difficult.

[1] Achieving both speed and stablequality for photojournalism (Case of Newspaper Company A)

In pursuit of both speed and stability ofimage quality offered by digital cameras,Newspaper Company A adopted anetwork-based printing system. Data

sent from shooting and productionlocations are printed with colorsadjusted by a high-precision DDCP (DirectDigital Color Proofer), and the prints arethen immediately sent to the productionlocation where color tone can be checked.With this method, image quality is checkedbefore traditional color proofing, andsignificant time is saved.

[2] Shortening the editing process andimproving color reproducibility(Case of Printing Company B)

For printed materials, such as mail ordercatalogs, the difference between printedcolors and the actual colors of the itemspictured can cause problems. PrintingCompany B, therefore, implemented the

use of a proofer at shoot locations. Armedwith the profiles of the printing companyand the plate-making company, theproofer, together with a color manageddisplay, made it possible to check colorsimmediately after photos were taken. Colorchecks performed with the buyer anddesigner at shooting locations minimizedproblems during and after the designprocess.

[3] RGB files converted to CMYK canproduce dramatically different resultsdepending upon the profile and conversionmethod used. A wonderful RGB image caneasily be destroyed by the employment ofimproper conversion techniques.

P.75

• Workflow within the RGB realm

Photographer

Designer

Prepress department

Pass on the printedsample for reference

The commercial printing/prepress companycontrols CMYK-based color management

A final print simulation is usedto check how the commercialprint will appear

Digital Photo ProfessionalThe photographer can controlRGB-based color management

EOS DIGITALDIGITAL PHOTOGUIDEBOOK

Equipment


Photo data handling requires ahigh-performance computer

A single photo taken with the EOS-1Ds Mark IIcan be 50 to 100MB in size. Once this datafile is opened in graphics software andprocessed in layers, the file can easily growto become several hundred megabytes.Moreover, users sometimes work on severallarge files at the same time.

Since the handling of RAW data placesa heavy load on the CPU, the processingspeed of your computer naturally affectswork efficiency.

To adequately handle photo data createdby EOS digital cameras, we stronglyrecommend using a high-spec model interms of CPU speed, memory (RAM), harddisk size, etc.

Transfer image data with the methodthat best fits the situation

When EOS digital data are processed witha computer, they are usually transferred tothe computer using the camera’s memorycard. When working in a studio or otherlocations, where it is possible to performcorrection work on a computer, or whenyou would like to reduce the time necessary

to transfer data to a computer, EOS digitalcameras can be connected directly to acomputer using an IEEE1394 cable. Datacan also be transferred over a wireless LANconnection. The EOS-1Ds Mark II iscompatible with WFT-E1A, an accessorythat permits high-speed image transferover wired/wireless LANs, thus avoiding thehassle of multiple cable connections.

Macintosh for unified color control.Windows for cost efficiency

When purchasing a computer, you will mostlikely choose a Macintosh or Windows-compatible computer. Many professionalswho handle photo retouching on a computerchoose Macintosh, which is particularly wellsuited for graphics and desktop publishing.Since one company produces both the computerand OS, the color control foundation ofMacintosh computers is unified at the basiclevel, which offers a significant advantage.

On the other hand, Windows-compatiblecomputers are typically less expensive.

High-performance laptops are anexcellent option in many shootingsituations

Laptops are a convenient choice foroutdoor shooting sessions where mobilityis important. In some cases, when no ACoutlet is available, they may even becomea necessity. New high-end laptop modelsoffer performance equivalent to desktopcomputers and can function as primarycomputers for photo processing when desired.

Laptop displays were previously too smallto support digital photo operations, but newerhigh-spec laptops with large LCD screens arecapable of doing the job.

Displays are essential for colorchecking and should be selectedwith care

Since digital cameras don’t produce positivefilm, you must evaluate the colors of yourdigital photos on a computer monitor. Thismeans the performance of your displaymay affect the quality of your final output.To select the right display for digital photooperations, we recommend you gain anunderstanding of displays and selecta large, high-quality model. P.49, 54

25Equipment

System requirements for digital photo creativity

System requirements for digital photo creativity

Handling 16.7-megapixel imagesrequires high-spec hardware.

Comfortably handling high-resolutionEOS-1Ds Mark II data requires not onlyfast hardware but also a large amount ofmemory and high-capacity storage media.

The fastest computers currently availableare ideal for handling these data files,and you should seriously consider usinghigh-capacity storage media and adedicated server, particularly if you areinterested in processing and archivinga large volume of images.

Printer and display color setting willdetermine print quality.

The most important device for evaluatingdigital camera data is the display monitor.Therefore, it is important to select one thatwill allow you to perform color managementand that can express images with minimaldifference from other devices. You shouldselect a high-definition monitor with alarge screen.

Printers are used for everything fromsimple checking to the production offinished works, as well as the productionof color samples for post-processing.Printers differ in terms of size, printingmethod, running costs, etc., so you canchoose one that best suits your needs.

24

Essential Equipment

Essential equipment

Handling the exceptionally high-resolution EOS-1Ds Mark II data requires proper equipment and forethought to achieve an efficient work environment.

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 desktopcomputer for analyzing and processing photo data, peripheral equipment such as communicationdevices and printers, and perhaps even a laptop for use in a studio.

Computer

Display

Externalmemorydevice/media

Network

Printer

❑ Is the processor fast? ❑ Is the OS suitable for your work and operating environment? ❑ Is there adequate memory (RAM)?

❑ Is the image quality good enough to evaluate colors?

❑ Is the external data storage device/media capable of storinglarge files?

❑ Does the device use media suitable for exchanging data withthird parties?

❑ Is the load being shared across multiple machines?

❑ Will the printer be used primarily for printing finished works orfor checking images for printing?

❑ Is it necessary for the printer to perform large-format printing?


Select the printer most suitable foryour needs

Printers can be divided into severalcategories based on printing method,usage and paper size handling capabilities.When selecting a printer, you shouldconsider price, running costs, print qualityand capabilities that are necessary to meetyour particular needs.

Inkjet printers are affordable andoffer high image quality

Ease of maintenance and affordable pricesare not the only benefits of inkjet printers.Due to dramatic improvements in their printquality, they are now powerful tools forprinting digital photos.

Since the color space of inkjet printersexceeds that of offset printing unlessspecific procedures are followed ( P.20),their prints are of limited use for evaluatingthe colors of images before commercialprinting unless specific soft-proofingprocedures are followed. However, inkjetprinters can create finished prints thatbring out the full quality of photos takenwith digital cameras. Larger models withA3+ sized full-bleed capabilities can evenproduce 13˝ x 19˝ prints that areappropriate for framing on a wall.

Compact photo printers can be usedin place of Polaroids

Printing directly from the camera with aportable, low-cost compact photo printer isan effective alternative to using Polaroids.

Laser printers deliver highprinting speed

Laser printers are ideal for producing photoalbums in small volume, lists of photos foruse as contact prints, and text documentsin large volume. Compared to inkjet printers,laser printers offer lower running costs andfaster printing. Their output quality is higheven on normal printing paper and duringtwo-sided printing.

In addition to conventional laser printers,there are multifunctional products thatcombine color printer, copier and faxfunctions in one compact body. If youroffice space is limited, these space-savingproducts are an attractive alternative.

Large format printers give photosmaximum impact

Large format printers are recommended forthose who often print photos at large size.Even poster-sized printouts of high-resolutionimages taken with the EOS-1Ds Mark IIwill offer fine detail when viewed from anormal distance.

Color proofing printers enhancethe commercial printing workflow

Color proofing printers let you makeadjustments to match the color tone,ink, and paper of the final commercialprint. They are ideal for checking colorsbefore commercial printing but not thebest choice for outputting images asfinished work.

P.77

Photographic printers usephoto paper and film

The photographic printers employed atphoto labs and image output centers useRGB lasers to print the images onphotographic paper and film.

P.21

27Equipment

Printer selection

A large-capacity storage device isnecessary for storing photo data files

When using EOS digital cameras, you mayproduce over 10GB of photo data in a singleday of shooting. It is therefore essential tohave data storage and backup systemsready to go before the volume of your imagedata snowballs out of control.

For optimum efficiency and secure dataarchiving, we recommend using an externalhard disk drive. DVD±RW drives, which storedata by the gigabyte, are suitable as backup.Other removable media, such as CD-R andMO disks, are handy choices for deliveryand exchange of photo data amongdesigners and clients.

Portable hard disk drives (HDD) aresuitable for temporary storage of largeamounts of data

Portable HDDs, which are relatively smalland lightweight, are particularly handy whenshooting in remote locations.

Bus-powered HDDs can receive powerfrom a connected computer through a single

USB or IEEE1394 cable. No AC adapteris required. However, special care must betaken when multiple devices are connectedto the same computer, because an electricpower shortage could result in data errors.

IEEE1394 and USB 2.0 offer high transferspeeds and are recommended whentransferring large amounts of photo data.

Choose a high-spec computerand high-capacity data storage

EOS-1Ds Mark II images are best storedon high-speed, high-capacity hard disks.To transfer data to a computer, it is worthnoting that the latest PowerMacs comestandard with high-speed FireWire 800ports, which are faster than IEEE1394(FireWire 400) ports and reduce the timeneeded to transfer large files.

You should also consider using RAIDstorage, which manages multiple harddisks as if they were one. Mac OS X makesusing RAID storage simple and, therefore,allows you to build a computing environmentwith even greater speed and reliability.

Share data with multiple machines byutilizing LAN

File sharing over a network is almost arequisite for efficient data management.Fortunately, network communications haverecently accelerated due to infrastructuralimprovements and always-on connectionshave become common with the introductionof ADSL and optical services. Moreover,Mac OS X and Windows XP offer significantlyimproved file sharing capabilities. Thesenumerous advances now enable file sharingto be handled over the internet with ease.

However, the growing demand of digitalphoto professionals for higher transferspeeds and larger-capacity file sharing oftenleads to the use of special server OS softwarewithin company intranets.

In studios or other such locations, awireless LAN is an effective tool.

The IEEE802.11g telecommunicationsstandard currently preferred by professionalphotographers is relatively fast, at 54Mbps,and removes the nuisance of cables forthose who move around a lot in the studio.

26

System requirements fordigital photo creativity

Printer selection

Color laser printer

Large format printer

Color proofing printer

Compact photo printer

Inkjet printer

Multifunction color printer


Digital Photo Professional unlocks thefull capacity of RAW image data

EOS digital data include both JPEG data,which can be manipulated using variousimage software applications, and RAWdata, which allows the adjustment of variousparameters set when photos are shot.Canon's Digital Photo Professional softwarelets you make fine adjustments to RAWdata and convert them to a format that canbe used with image-processing andgraphics software.

Digital Photo Professional includes anumber of functions for professionals

Digital Photo Professional features powerfunctions to edit RAW data and the abilityto comprehensively process imagescaptured with the CMOS sensors insideEOS digital cameras. With its exposure-compensation function, it even allows youto recover shadow detail that would belost in JPEG files. To help professionalsboost their productivity, Digital PhotoProfessional offers tools such as a batch-processing function for performing the sameadjustments to multiple images and a colorsimulation function for checking images ona display before printing them.

P.67

29Equipment

Software environment for shooting and data processing


High durability or large capacity?Choose the right media for your needs

EOS digital cameras are compatible withCompactFlash (CF) Type I and II cards,and the EOS-1Ds Mark II supports SDmemory cards as well. All of these cardsstore data in a semiconductor devicecalled flash memory.

Microdrives are another type of mediathat contain a super-small hard disk drive.They are the same size as CF Type II cardsand can be used in much the same way.

Since CF cards and SD memory cardscontain no moving mechanisms, they areextremely reliable. On the other hand,Microdrives are an excellent choice forlarge-capacity data storage.

Storage media are precision devices.Please handle them with care

Since CF cards, SD memory cards andMicrodrives are small and lightweight,some users tend to handle them roughly.However, all are precision electronicdevices and should be handled with carewhile being inserted and removed fromcameras. Be sure to avoid static electricity,moisture, and the application of heavypressure. In particular, dropping aMicrodrive could cause irreparabledamage. The use of protective cases isadvised when delivering your preciousphoto data.

Photo data should be transferred toa hard drive

To browse or process photos recorded onCF cards, SD memory cards, or Microdrives,you will need to transfer your photo data tothe hard drive of a computer.

There are two ways to transfer the data.One is by way of a card reader or PC cardadapter installed in or connected to thecomputer. The other is by connecting acamera containing the media to yourcomputer via cable and transferring thedata using special application software.The EOS-1Ds Mark II supports IEEE1394(FireWire) connection* for especiallyhigh-speed transfer. *Some cameras only support USB connection.

28

Storing image data

Storing image data

The higher the resolution or the greater the detail of the shot, the greater the volumeof data created. Storing a large number of images without sacrificing qualityrequires the use of high capacity storage media.

The software at the core of the EOS digital workflow consists of Digital PhotoProfessional and the EOS Viewer Utility. Use these tools to shoot and processimage data efficiently.

Never press too hard on a Microdrive.

IEEE1394

PC card adapter

Protective CF card case

Card reader

USB

Cards will mount like hard drives via a card reader.

CF card

Microdrive

SD memory card


Basic software applications foreverything from shooting toorganizing and processing imagedata are all included in theEOS Digital Solution Disk

The EOS Digital Solution Disk containssoftware applications that can be usedwith every EOS digital camera. This diskcomes with EOS digital cameras and, forthe professional, offers everything fromthe remote control of EOS digital cameraswhen working in the studio or at otherlocations, to the organization of imagefiles and simple image correction.

30


The easy-to-use EOS Viewer Utilitylets you develop RAW data

The EOS Viewer Utility is image browsing,adjustment, and development software thatcan be used with every EOS digital camera.

This software allows you to convenientlycheck photographic conditions by viewinginformation such as aperture setting andshutter speed, ISO setting, lens focal length,and focal area.

In addition, by connecting an EOS digitalcamera to a computer, you can fix camerasettings such as development parameters,tone curve, white balance, and color matrixto suit your particular purpose.

Use EOS Capture to remotely control anEOS digital camera from a computer

EOS Capture is remote control software thatcan be used through either Digital PhotoProfessional or the EOS Viewer Utility. Usingthis software, you can adjust camera settingsand shoot pictures with an EOS-1Ds Mark IIconnected to a computer through anIEEE1394 port.

When you use EOS Capture to shootphotos, the images you shoot appear onthe computer display, where they can bechecked. What’s more, image data canbe stored in both the camera and thecomputer, so, with a high-speed, high-capacity hard disk, you can enjoy greaterefficiency when shooting lots of photosin the studio.


Shooting


Only digital cameras provide theadvantages of a histogram

With film cameras, decisions on lighting andexposure depend largely on experience andguesswork. But EOS digital cameras providea histogram function for analyzing theexposure immediately after shooting.A histogram is a chart that shows thegradations of an image from shadows tohighlights on the horizontal axis and thenumber of pixels belonging to each gradationlevel on the vertical axis. The resulting shapetypically has various peaks and valleys.

While images can be assessed by directlyviewing them on the camera’s LCD screen,histograms provide an easier way to checkfor correct exposure and ensure amplegradations have been captured in thehighlights and shadows.

33Shooting

Checking with histograms

Check digital exposure by looking at a histogram

You should consider the entire processfrom setting up the camera to post-processing your images

Expertise will come with experience.Meanwhile, we recommend reading thebrief explanations that follow to deepenyour understanding of digital cameras

and the effects of different settings.We also recommend saving your originalRAW format data files, because some ofthe parameters you set before shooting canbe changed in these files to adjust the images.Please keep in mind, however, that not allparameters can be changed after shooting.

32

Hints for professional shooting

Hints for professional shooting

Digital cameras offer greater flexibility than film cameras for meeting photographic needs in variousshooting 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.

With film cameras, lighting and exposure are set, relying on exposure and feel. Digital cameras let you check lighting and exposure immediately with a histogramand create optimal conditions based on precise assessments.

This histogram has a gently sloping peakin the halftones. There are no extreme gapsbetween highlights and shadows.

This histogram peaks in the dark range.A small peak in the bright range indicatesstrong highlights.

A landscape with little variation in lighting.

A night view largely comprised of shadows.

A photo mainly comprised of a white background.

This histogram sharply peaks in the bright range. Blocked-up shadows and blown highlights wereprevented by appropriate lighting. All elements arefinely balanced within the optimal range of brightness.

This histogram indicates strong contrast, with highlightsand shadows that went beyond the available range.

A typical studio shot. A strongly backlit scene with extreme shadows andhighlights.

• White balance settings

6 preset settings are selectable: Daylight, Shade, Overcast, Tungsten,Fluorescent light, and Flash. Users can select modes, in the same way theywould choose film, depending on the light source.

Users can manually input the color temperature measured by a color meter toachieve high precision.

The white balance setting is acquired by shooting a white or gray object inthe scene. This method ensures appropriate white balance with variouscombinations of objects and light sources.

• Supported white balance range

Light source EOS-1Ds Mark II Film

Daylight 5,200°K Daylight film

Shade 7,000°K Daylight film

Overcast 6,000°K Daylight film

Tungsten 3,200°K Tungsten film

Fluorescent 4,000°K Film and filters

Flash 6,000°K Daylight film

Custom 2,000–10,000°K Special film and filters

Color temperature 2,800–10,000°K (in 100°K steps) Special film and filters


EOS digital cameras can deliver moreaccurate color reproduction than filmcameras

To achieve faithful color reproduction withfilm cameras, photographers must selecttungsten or daylight film, depending on thetype of lighting, and use a filter if the lightingis mixed. Since even the same type of filmmay reproduce images differently dependingon its age and how it was stored andprocessed, photographers must managetheir film inventory carefully and take testshots to ensure consistent results.

Digital cameras, on the other hand, donot suffer from such instability. Onceyou’ve mastered the white balance settings,you can quickly and easily use them tofine-tune color temperature and achievefaithful color reproduction or imaginativevisual expressions.

Accurate color reproductionrequires proper white balance

White balance can be set in various ways.You can use the Auto White Balance functiondescribed later in this guidebook or any ofthe 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 EOSdigital camera after measuring the colortemperature of the scene with a color meter.

3. Shoot a white card in your scene andhave the camera correct white balanceautomatically. This method (often referredto as custom white balance) is effectiveat keeping white balance stable overmultiple shots in outdoor and otherchanging lighting conditions.

There are numerous products availableto ensure proper custom white balance.Whichever product you choose, the mostimportant attribute it must have is trulyneutral tone. Popular devices currentlyinclude the Gretag/Macbeth White Card,the ExpoDisc Classic Digital White BalanceFilter by ExpoDisc, Inc., and WhiBalTM fromRawWorkflow.com.

35Shooting

White balance

Manipulate color temperature and express truecolors, or colors you create in your imaginationEnsure rich gradations by using

a histogramThe wide dynamic range of high-end digitalcameras is fast approaching the levels ofcolor positive film. Yet, users must still avoidblocked shadows and blowout — loss ofgradations in the shadows and highlightsthat image editing cannot compensate for.If you plan on editing your images later, besure to check the histogram and adjustlighting so your images include richgradations.

34

Checking with histograms

When shooting with film, color temperature is corrected with the selection of film, which relies on theaction of delicate color-sensitive chemicals to reproduce colors, and the photographer’s use offilters. The white balance function makes all that a thing of the past. Mastery of the white balancefunction gives you precise color reproduction and greater possibilities for image expression.

Fill the entire center spot-metering area with a white card. Note: To ensure accuracy, the white card must be in thesame lighting conditions as your final shot and must notbe reflecting other objects.

Shoot the subject one stop over for reflectedreading ±0 stops for incident. Note: If the image is overexposed when shootingthe white card, accurate white balance may notbe obtained.

Values fit within the available range ofthe histogram. While lacking in character,such a photo may be the best materialfor prepress processing.

The darkest values are cut off in this histogram(blocked shadows). Details are missing in darkerareas of the subject’s hair and cannot be recoveredthrough software adjustments.

This high-contrast image is attractive as a final photo.But any attempts to soften the look will fail becausedetails in the highlights and shadows are missing.

The lightest values are cut off in this histogram(blowout). Details are missing in highlighted areasof the skin and clothes and cannot be recoveredthrough software adjustments.

Dynamic range of photo (range of brightness)

Presets

Color temperature

Custom

Photo on this page: ©Copyright 2005 Vered Koshlano.

Truly automatic white balance andflexible compensation

While studios offer nearly perfect lighting,ordinary indoor shooting environments offera mixture of natural, tungsten, and fluorescentlight sources that make it difficult for filmcameras to obtain accurate white balanceeven when various filters are used.

The Auto White Balance (AWB) functionon EOS digital cameras can automaticallydetermine the correct white balance inmixed lighting environments and provideneutral coloring even when light sourcesare changed. A white balance compensationfunction can also be used to shift whitebalance toward a blue or amber colortemperature in much the same manneras a light balancing filter.

Furthermore, with the white balancebracketing function, which producesresults similar to those obtained witha color temperature conversionfilter, three images — one withthe standard value, one with anegative correction, and onewith a positive correction —can be shot at the motor drivespeed setting.


Freely change color characteristicswith white balance

In addition to using white balance foraccurate color reproduction, it can beused to achieve various creative results.Exaggerated settings can producestrong color tones, for example.

EOS digital cameras let you adjust colortemperature between around 2,000˚K and10,000˚K, which is much wider than filmcameras will allow.

36

Optimizing flash for digital cameraimaging sensors.Some flash units are optimized for usewith light-sensitive film and result inunbalanced color when used with digitalcameras. The color characteristics ofthese flash units can be easily determinedby taking several shots of a color chartwith different light sources and whitebalance settings.

• Results of different settings

• WB bracketing

3,000˚K 4,500˚K

6,000˚K

10,000˚K

Auto White Balance (AWB) Preset — daylight

Heightened Kelvin(plus adjustment)

Standard

Shot by film-based camera under same conditions Lowered Kelvin (minus adjustment)

8,000˚K

White balance

Canon’s proprietary technologyreduces the visual noise associatedwith high ISO settings

When high ISO settings are selected in adigital camera, the camera boosts signalsfrom the image sensor. This tends togenerate visual noise as a side effect thatis especially apparent in darker areas of theimage. Fortunately, the wide dynamic rangeof Canon’s CMOS sensors limits visual noiseto levels that are nearly indiscernible.

In addition, Canon image processingtechnology reduces visual noise whenconverting CMOS signals to image data.With Canon digital cameras, you can achievehigh-quality images even at highly sensitivesettings or slow shutter speeds.

Wide-ranging ISO settings and AutoExposure Bracketing

Digital cameras let you change the ISOsetting for each shot, a major advantageover film cameras. The EOS-1Ds Mark IIoffers settings ranging from 100 to 1600(50 to 3200 via menu selection) and letsyou take extremely low-noise shots, evenat high sensitivity. This is a tremendousadvantage, for example, when takinghand-held shots, where steadiness of thecamera is a concern, and you want tochange the shutter speed without changingthe aperture. Auto Exposure Bracketing(AEB), which automatically takes severalshots in sequence with different ISOsettings but no change in aperture orshutter speed, is a unique shooting modemade possible by the EOS-1Ds Mark II’sISO functions.

Noise that easily develops with extremeexposure compensation after shooting

Images shot with EOS digital camerashave less visual noise than those shotwith film cameras. However, whenpost-processing RAW images, extremeexposure compensation can resultin visual noise.

37Shooting

ISO settings

ISO settings

ISO 100 ISO 400

ISO 1600

RAW images shot atISO 1600 and deve-loped at +2EV expo-sure compensation.

39Shooting

Selecting the recording format

RAW or JPEG?

Images can be recorded in either the JPEGor RAW formats. The JPEG format reflectsvarious parameters set within the camera,while the RAW format is unprocessed datathat serves, in fact, as the base of theJPEG format.

With the JPEG format, processing iscompleted within the camera, so productivityis high. The RAW format, on the other hand,allows parameters to be changed with acomputer, so it is possible to use thisformat to create images with extremelyhigh precision.

EOS digital cameras allow you tosimultaneously record data in both theRAW and JPEG formats. This may result inthe storage of high volumes of data, butfor more accurate shots, it is recommendedthat data be stored in both the RAW andJPEG formats.

Set the sharpness to suit your purpose

When shooting photos for prints that youwill make by yourself, boosting sharpnesswhen photos are shot will allow you toobtain better results. Setting the sharpnesson the camera will produce different resultsfrom those achieved using Adobe Photoshopor other image-processing software, wherethe sharpness is adjusted afterwards.

In contrast, when shooting photos forcommercial printing or plate making, it isbetter not to boost sharpness on thecamera. The optimum degree of sharpnessdepends on the final print size, and thismay change before the productionprocess is complete. Therefore, ratherthan using settings for optimal results fora given print size, it is better to concentrateon producing image data that are theeasiest to handle in post-processing.

Images that have been sharpened onlyslightly or not at all are the simplest toadjust in post-processing. If the imagesare significantly sharpened when shot,unnaturally highlighted outlines and noisemay appear in post-processing.

Selecting the recording format

*Sizes will differ depending on shooting conditions and ISO settings.

Image size estimates

High-capacity storage media capable of handling rising image data volumesThe 16.7-megapixel high-resolution data files that can be created by the EOS-1Ds MarkII 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 withan EOS-1Ds Mark II and recorded in both the RAW and JPEG formats.

P.28, 74

Image that has not been sharpened and is easyto handle in post-processing

Image with the proper degree of sharpness

Image that lacks sharpness and looks out of focus Image with excessive sharpness and unnatural outlines

Quality of recorded images

When photos are shot with an EOS-1DsMark II and stored in the JPEG format, itis possible to adjust the pixel count andimage compression percentage. In thehighest-quality large/fine mode, you canrecord image quality equal to the needsof large-format prints and plate making.

Selecting a format that requires less datais effective when it is necessary to boost theefficiency of post-processing, when, forexample, a large number of shots have beentaken in a studio. However, it is generally betterto maintain the original image data at thehighest possible quality and adjust the pixelcount and image compression percentageusing image-processing software.

sRGB for versatility or Adobe RGB foradvanced editing

The colors in digital photos are confined toa color range, or color space, that can behandled by monitors and printers and isnarrower than the range of colors humanscan see. Different monitors and printershave different color spaces.

When shooting with a digital camera, youmust first decide whether to record your shotsin the sRGB color space, which can bedisplayed by a standard monitor, or theAdobe RGB color space, which is wider andincludes colors that cannot be displayed ona standard monitor. The wider color range ofAdobe RGB is preferable for images you planto edit later, and is one of five color matrixsettings available on the EOS-1Ds Mark II.

Internet/Video

The internet presents some significantchallenges when it comes to colormanagement, as does digital video.

When you print a color document, youknow that each print is going to beconsistent. First, you use color managementto communicate the color intent to yourprepress and print partners, and then thepress operator uses process controls tokeep the color consistent throughout thepress run.

With the internet and video, you can still

communicate your intent, but there is lessguarantee that the recipients- those surfingthe web and watching digital video-will seethe color you intended.

The challenge with preparing color forthe internet and for digital video is that thequality of the medium — the viewer's computerdisplay or television set — is unpredictable.Outside of imaging and publishingprofessionals, very few computer displaysare calibrated, and even fewer are configuredfor color management. Televisions on whichviewers may watch a digital video aren'tcalibrated at all. This essentially means thateach Web surfer and TV viewer may seedifferent colors on the display or screen.

Color management for these outputmedia will help to maximize predictabilitywhen publishing your color content tothe Internet and digital video.

Understanding sRGB

Until now, we have avoided using the sRGBprofile because it has a limited color gamutand is not suitable for a print-based workflow.sRGB is, however, appropriate for display-based media, as it is fairly representative ofthe average computer display in use. Whenyou realize that most people's displays arenot calibrated, or even set to a white printother than the manufacturer’s default, it’seasy to understand why sRGB is a smallercolor space than those used in creativeapplications. When you want to see howimages will look when they're on a webpage,you can use the sRGB profile to soft-proofyour color content in Adobe Photoshop.

Note: If you are creating color exclusively for theinternet, you should consider using sRGB as yourworking-space profile within applications such asAdobe Photoshop.

If the destination for the image is digitalvideo –– say you’re going to build a compositeinto a Final Cut Pro scene — you will wantto choose the NTCS (1953) industry-standarddestination profile suitable for video outputin the United States.

Another valuable use for the sRGB colorspace is in CMYK printing. If the situationarises where your client cannot supply youwith any information regarding final output

color space and profile, a safe conventionto follow is to deliver RGB files in the sRGBcolor space. This color space is the closestRGB color space to a generic CMYK colorspace and will generally result in acceptableoutput quality.

Four sRGB color matrix settingsenhance productivity

The EOS-1Ds Mark II offers four modes inthe sRGB color space that each produceslightly different color reproductioncharacteristics. Selecting one of thesemodes is similar to selecting a differentpositive film in film-based photography.

Wide Gamut RGB for advanced platemaking and archiving

The color space of Adobe RGB is widerthan that of sRGB, the color space forconventional monitors, but there are stillplaces where the color space of printedmatter is slightly wider, and Adobe RGBcannot express 100% of the image data.With Digital Photo Professional, Wide GamutRGB, which has a color space even widerthan that of Adobe RGB, can also be usedwhen developing RAW data.

Choose color characteristics based on usageand preference

• Color space comparison

EOS-1Ds Mark II Color Matrixcharacteristics

• Color Matrix 1 sRGB compatible. Overall natural hues and saturation.

• Color Matrix 2 sRGB compatible. Hues and saturation ideal forportraits with natural skin color.

• Color Matrix 3 sRGB compatible. Hues and saturation similar tohigh-saturation slide film. Ideal when vivid colorsare desired.

• 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.

• Color Matrix 5 sRGB compatible. Moderate hues and saturation.Ideal when moderate colors are desired.

Color matrix

EOS • DIGITAL PHOTO GUIDEBOOK38


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 perspectiveand can be used for a variety ofpurposes, including productphotography, food photography,and portraits. This lens has nofaults, excellent delineation, andtrue background blur.

• Focal length and aperture: 90mm, 1:2.8 • Lens construction: 5 elements, 6 groups • Diagonal angle of view: 27° • Image circle diameter: 58.6mm • Tilt/shift: ±8°/±11mm • Revolving angle: 0±90° • Focal adjustment: Manual focus/overall

linear extension system • Closest focusing distance/maximum

magnification: 0.5m/0.29x • Filter size: 58mm • Max. diameter x length/weight: ø73.6 x

88mm/565g (ø2.9 x 3.5in./1.2lb.)

Use exposure stability, removereflected objects, and shoot withoutmoving the frame

When shooting metal or clear subjects asstill objects or products, unwanted reflectionsare removed with synthesis and erasing,performed meticulously by hand, at theretouch stage. When shooting with a digitalcamera, the position of the camera is fixedand multiple shots are taken, while graduallyremoving reflected elements. The desiredimage is then created simply using image-processing software to layer shots with nounwanted reflections.

40

Anticipate results when shootingImage synthesis with image-processing software

The metal ball is removed and the scene is againphotographed without the reflection on the glass.This photo will be used as the base image.

The overall scene is photographed, but the reflectionof the metal ball on the glass is undesirable. Imageafter synthesis.

Using image-processing software, retouchedphotos are layered over the base image.

The flower stem visible through the glassand the blue glass reflected on the glasson its side are removed, and the scene isagain photographed to create an imageto be used in layering.

Image after synthesis

Image after synthesis

cut 1

cut 3

cut 2

Synthesis

Synthesis

Synthesis

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 43Shooting

The standard TS-E 45mm lens is optimalfor shooting architecture and on otheroccasions when a natural perspective —one in which buildings, for example, donot appear to taper inward — is required.Equipped with a rear focus mechanismwith floating effects, sharp, stabledelineation can be maintained at alldistances from 0.4m upwards, andbecause the front end of the lens doesnot turn when focusing, operability isexcellent when a circular polarized filteris being used.

The TS-E 24mm f/3.5L features both tilt andshift capability, vastly expanding the scopeof expression possible with EOS digitalcameras. This lens has the ability to correctdistortion resulting from perspective,something that in the past only medium-and large-format cameras could do, andpermits free control of the focusing zone.It offers the ability to shoot with automaticexposure using both the Automatic ApertureSetting and Auto Exposure Bracketing. Andwith its floating element optical system andaspherical lens element, it is excellent forcorrecting distortion and other types ofaberration. The TS-E 24mm f/3.5L offerscompact size and high image quality at alldistances from 0.3m to infinity. Its strengthsare particularly evident when photographingbuilding interiors and exteriors, landscapes,and other subjects for which wide-angleshots are appropriate.

TS-E 45mm f/2.8

• Focal length and aperture: 45mm, 1:2.8 • Lens construction: 9 elements, 10 groups • Diagonal angle of view: 51° • Image circle diameter: 58.6mm • Tilt/shift: ±8°/±11mm • Revolving angle: 0±90° • Focal adjustment: Manual focus/rear focus system • Closest focusing distance/maximum magnification: 0.4m/0.16x• Filter size: 72mm • Max. diameter x length/weight: ø81.0 x 90.1mm/645g

(ø3.2 x 3.6in./1.4lb.)

TS-E 24mm f/3.5L

• Focal length and aperture: 24mm, 1:3.5 • Lens construction: 9 elements, 11 groups • Diagonal angle of view: 84° • Image circle diameter: 58.6mm • Tilt/shift: ±8°/±11mm • Revolving angle: 0±90° • Focal adjustment: Manual focus/overall linear extension system • Closest focusing distance/maximum magnification: 0.3m/0.14x• Filter size: 72mm • Max. diameter x length/weight: ø78.0 x 86.7mm/570g

(ø3.1 x 3.4in./1.3lb.)

A natural angle of view and perspective anddelineation that reproduces the texture of the brickswas needed for this photo. The lens that met theseconditions was the TS-E 45mm f/2.8. The focallength of 45mm, which approximates the naturalviewing angle of human beings, is the best choicewhen 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 same way

that the human eye naturally corrects perspective.The high delineation of this lens reproduces bricksand individual flagstones, and captures the lightedbuildings and their aura floating in the mist.

42

TS-E lens series

TS-E lenses are excellent for obtaining the effect of large-format camera movements, which are a must for photographing productsand architecture. They can be accurately focused even on surfaces faced at an angle, and are used for tilt photography, which allowscontrol of depth-of-field, and shift photography to correct distortion that can arise depending on perspective. Furthermore, the highperformance of these lenses makes it possible to obtain extremely high image quality when paired with an EOS digital camera.

Lens impression

With a wide-angle shot, the conventional wisdom isthat you should be close to your subject. This iscertainly a good way to exaggerate perspective andhighlight the subject. In this photo, expressing thepresence of the people in the café and the beautyof the rays of light, required the distance betweenthe camera and the subject to be shortened.However, when shooting buildings, walkways thatseem to bend or bulge, and other types of distortion,

can detract from the beauty of the building’sstraight lines and even make the building losecharacter as a structure. The TS-E 24mm f/3.5L isthe only lens that allows a subject to be shot likethis without these problems. Simply find the bestdistance from the subject, determine the shift, andyou will see in the finder a world only accessiblethrough this lens.

Lens impression

Flares and ghosts

Imaging sensors are smoother and morereflective than film. When strong lightenters the camera, reflections on theimaging sensor can reflect off the lens andappear as flares or ghosts in your image.

This is especially true when using anultra telephoto lens with flat-surfaceprotection glass or any lens with a filter.

Canon’s large-diameter IS ultra telephotolenses employ a meniscus lens thatminimizes the effects of reflections onthe imaging sensor.

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 45Shooting

Averting common problemsin digital photos

Moiré

Imaging sensors on digital cameras usuallyemploy evenly arranged rows of red, greenand blue light receptors for capturing images.This symmetrical placement of receptorscan sometimes cause a striped pattern ofinterference called moiré to appear if thescene contains rows of narrow stripes.

When encountered, moiré can sometimesbe eliminated by simply adjusting yourperspective or distance when re-taking theshot. Since moiré cannot be seen in theviewfinder, you must check for it by viewingthe image on a monitor at 100%. (Moirécan also appear in prints as a result ofcompletely different factors.)

False colors

When capturing subjects with detailedhigh-contrast geometric patterns, imagingengines sometimes misinterpret the signalsfrom imaging sensors and add colors tothe image, called false colors, that werenot actually there.

False colors can be avoided by usinga low-pass filter on the imaging sensor orprocessing the data before conversion toan image file. EOS digital cameras reducefalse colors to negligible levels in most cases.

Dust on the imaging sensor is hard to detect at an aperture setting of f/8,but is clearly apparent at f/32.

An example of a photo with a ghosted reflection.

Finished photo

Dust on the imaging sensor

If dust enters a digital camera while the lensis being changed, it may become lodged onthe imaging sensor and show up in yourimages, especially when shooting subjectsclose up.

Please avoid exposing the camera todust when changing lenses. If dust enters,carefully remove it with a blower asdescribed in the user manual. Imagingsensors are extremely sensitive devices,so never touch them. If your imagingsensor becomes too dirty to clean byyourself, please take the camera to yournearest service center.

44


Averting common problems in digital photos

Advanced sensor technology offers impressive capture capabilities. However, problems still arise attimes to affect the quality of your images. To avoid these imperfections, which are unique to digitalcameras, you must first understand what they are.

An imaging sensor and conceptual rendering of light-detecting elements

Photo with moiré caused by shadow mask interferencewhen shooting striped CRT screen with checkerboardlight-detecting elements

Shoot the same subjectat an angle to preventmoiré. Then rotate theimage with graphicssoftware.

False colors tend to appear in areas of high contrast,especially in low-resolution images.

False colors are easier to identify when the imageis enlarged.

f/8 f/32


Degradation of delineation bydiffraction

Normally, the higher the aperture setting,the greater the depth-of-field. However,beyond a certain aperture value, theaperture becomes too small, and thediffraction degrades delineation.

When shooting with a large-formatcamera, apertures of f/32 and higher arenormally used, but with a 35mm camera,the same depth of field can be obtainedwith smaller aperture settings, so youshould use an aperture setting no greaterthan necessary and take maximumadvantage of the lens’ capabilities.

Clearer differences and details

When using a digital camera, the differencesbetween lenses become more apparent thanon film cameras. Part of the reason is thatimaging sensors record light more directlythan film, which has an emulsion layer.

Another reason is that images magnifiedand viewed on a computer monitor undergofar more scrutiny than 35mm positive filmviewed with a high-magnification loupe.

This increased scrutiny does not applyto printed output, which lacks high enoughresolution to reproduce every single pixel inthe image.

Digital cameras also tend to be sensitiveto hand movement. A movement that wouldcause little blur with a 35mm camera mightcause major blur with the EOS-1Ds Mark II,which has an image resolution equivalent tomedium-format film cameras. You must paymore attention to vibration, whether shootingwith the camera in your hands or on a tripod.

46


f/22 f/32

• Pixel scale equivalency


Data Processing


Types of monitors

Monitors are available in cathode-ray-tube(CRT) and liquid crystal display (LCD) models.Both types of monitors offer advantages anddisadvantages. CRT monitors have long beenused for digital image processing, but LCDmonitors are gaining popularity as their performance improves.

What to look forwhen selecting a monitor

Theoretically, the camera comes before themonitor. In practice, however, it is difficultto evaluate the color accuracy of the inputcamera or the output image without acolor-accurate monitor. When editing digitalphotos, your decisions will be basedprimarily on what you see on the monitor.Ideally, you should choose a high-endmonitor that you can calibrate to meet theconditions of your final output.

Ordinary monitors can display colors inthe sRGB color spectrum, but withimprovements in monitor technology, thereare some monitors that can reproducecolors with larger gamuts.

A larger color gamut will help with soft-proofing and virtual proofing.

Modern LCDs and CRT monitors frommany manufacturers have met prepressSWOP certification for virtual proofing.

Warnings about CRT monitors

The performance of CRT monitorsdeteriorates with time and usage, especiallyin terms of image quality. We recommend,therefore, that monitors be replaced on aregular upgrade schedule.

Proper environmental lighting

Lighting is crucial to the accuracy of imageassessment. Even if your monitor offerssuperb color reproduction, improper lightingwill make it difficult to accurately assess thecolors in your images. Ideally, environmentallighting should be as similar as possible tothe lighting used by the printers proofingyour images.

P.76

Monitor placement • Place monitor away from sunlight, as time of day and weather can affect the lighting

and how images appear. • Place monitor where lights do not reflect off screen. • Use fluorescent lights designed for color evaluation if possible. • Use daylight white-type three-wavelength fluorescent lights. • Use lighting that is not too bright or dark for accurate color evaluation. • Use a light-shielding hood to prevent lights from reflecting off screen. • Use gray or other achromatic wall colors if possible.

Pros and cons of LCD monitors Pros • Space-saving, energy-saving design

• Colors stabilize quickly after power is turned on

• Less prone to deteriorate over time (long-termstability)

• Clear, sharp image when connected digitally

Cons• Colors can change considerably depending on

viewing angle

• Models with excellent color reproduction tendto be expensive

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

• Brightness varies from center to edges

• Color performance deteriorates more rapidlyover time

• Colors are easily affected by magnetic force

49Data Processing

Monitor settings

Establish an environment and workflow for image editing

To prepare your digital photos for commercialprinting, you must first establish an environment for accurate viewing, examination, and adjustment of yourimages. Such an environment includes asuitable monitor, optimized environmentallighting and image editing software such asAdobe Photoshop.

Once a proper environment has beenestablished, you must clarify your needsand responsibilities. Depending on the job,you may find it best to check and edit theimages yourself or leave the work to plate-makers who have a wealth of printingknowledge and experience. In the followingsection, we briefly introduce some of theleading issues relating to the environmentand workflow of professional image editing.

48

Preparing your image data for commercial printing

Digital images are viewed on monitors, which vary in the accuracy of their imagereproduction. It is important that you understand how to select a monitor and properly set it up for accurate image editing.

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.

LCD CRT

Preparing your image data for commercial printing Monitor settingsEstablishing an environment for image editing


How does it all work?

Communicating in color is a bit like communicating in multiple languages.Color Management Systems (CMS) act asinterpreters. The color profile is like thedictionary for a device's language.

Profiles are used by the Color ManagementModule (CMM), which simply translatesdata from one device's colors to anothervia a device-independent color space.The CMM receives the necessaryinformation about a device from the profiles and then uses rendering intents toperform gamut mapping to produce colorthat is predictable from device to device.The Application Program Interface (API)provides applications with access to all ofthese functions.

The necessity of color management

Your digital images will be handled by various devices such as monitors andprinters that process your image data indifferent ways and reproduce the colorsquite differently. Film is a tangible andviewable graphic that allows you to seethe image in a referenced, media-neutralstate. With a digital image, however, thestudio monitor and color printer providethe only reference. Color management provides guidelines for consistent assessmentof colors throughout the work process,enabling consistency similar to thatachieved in conventional photography.

Color reproduction

To learn about the process of color reproduction, it is necessary to understandbasic color theory and concepts of light.Without light there is no color. Color is avisual sensation involving light, the eye,and the brain, as well as the object beingviewed — a light source, an object, andan observer!

Understanding the physics of color ismore than we will cover in this guide. Whatwe need to grasp to get started is thateverything affects the way we see color.

The International Commission onIllumination (CIE) established standards ofcolor based on how the human eye seescolors.

The CIE developed the familiar upside

down but slightly curved, horseshoe shapedcolor space (CIEXYZ) that is often used inarticles discussing color management.This color space is based on what thehuman eye can see and was first published in 1931. In the 1970s a newmathematical model of color space wasdeveloped called Lab (Lab or CIELAB).Lab is a more three-dimensional spacethan the CIEXYZ color space.

The horseshoe shape is still useful forproviding a relative comparison betweendifferent color spaces. For example, it isstill commonly used to reveal what kind ofgamut is available from say Adobe 1998RGB versus sRGB, or CMYK.

In 1993, a new organization called theInternational Color Consortium (ICC) wascreated to establish standards for vendors

and users of color devices such as scanners, monitors and printers and theirrespective calibration devices. The ICCstandards were based on the original CIEstandards.

This provides a point of reference sothat one device can communicate withanother to ensure consistency in colorthroughout a managed system.

The devices communicate with ICC profiles imbedded in their software, whichcan be accessed by an ICC compliant OSor software application (such asPhotoshop) to ensure complete, system-wide communication of the ICC standards.

The ICC profile tells the OS what kind ofcolor the device is capable of––its gamut.Gamut is the range of colors available fora particular color space.

51Data Processing

Color management

50

Color management

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 coloras the digital data is repurposed for a variety of different media including print, www, CD/DVD authoring, across networks, storage,and multiple monitors. Color reproduction will vary depending on the media or display device. To enable professional editing ofyour 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 consistentcolor as the digital data is transferred.

• Color space comparison

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 sameimage data with different color tones. For example, with Adobe InDesign CS, color management is turned offin the initial settings, so if it is not turned on by the user, the profile established in Adobe Photoshop will notbe applied.

Color managementEstablishing an environment for image editing

• CIELAB Color Space

Relative colorimetric compares the whitepoint of the source color space to that ofthe destination color space and shifts out-of-gamut colors to the closest reproduciblecolor in the destination color space.Relative colorimetric rendering mapswhites to the target output space and preserves more of the original colors in animage than the Perceptual renderingintent.Absolute colorimetric leaves colors thatfall inside the destination gamutunchanged, and it effectively clips colorsthat fall out of that gamut. This renderingis based on the source's white point and issuitable for proofing to simulate the outputof a particular device.

Configuring advanced color controls

Adobe Photoshop lets you choose fromat least three CMMs, which Adobe callsconversion engines, to convert colorsbetween different profiles.

They are as follows:• Adobe (ACE), which stands for Adobe

Color Engine, is Adobe's own CMM. It isbuilt into all Adobe professional designapplications but is unavailable to non-Adobe applications.

• Apple ColorSync tells Adobe Photoshopto use the CMM specified by theColorSync Preferences. If Automatic isselected as the Preferred CMM in theColorSync Preferences, ColorSync willuse the Apple CMM unless a profilecontains a specific instruction to usea different CMM.

• Apple CMM tells Adobe Photoshop touse Apple’s own CMM, disregarding anyspecific 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 orprofiling software suite (Agfa, Heidelberg, ColorGear,etc.), but remember that consistency is the key.

If you work in an environment that usesa mix of Adobe and non-Adobe applications,choose the Apple CMM conversion optionto ensure consistent results across applications. This option is better thanthe Apple ColorSync option, which can be overridden by specific instructionscontained in a profile.

If you work in an all-Adobe but cross-platform environment, choose Adobe ACEto ensure consistency across platforms. If you work in an all-Adobe, all-Mac environment, you can choose either AdobeACE or Apple CMM, as you will haveaccess to both conversion options in all ofthe professional Adobe products you mayuse. If you work with applications thatinclude their own CMMs and profiles,select Apple ColorSync.

The ICC color space profile

The ICC profile is a standardized method ofdescribing color space, and is used byboth Mac OS and Windows to communicatecolor space information between devices.For example, your digital camera embedsan ICC profile in each photo to describethe color space used for the shot. Whenyour digital photo is displayed on a monitor,the computer compares the ICC profiles ofthe photo and monitor and uses the monitorcolor space that most closely matches thecolor space of the photo to accurately display it on the screen.

If you have not properly set up the colorprofile settings in your computer, your photoswill be displayed inaccurately and you willnot be able to achieve the results youdesire when editing your images.

Mac OS X and ColorSync

Both Macintosh and Windows computersoffer solutions for color management, butMac OS X currently offers the simplest,most integrated system level environmentvia ColorSync.

Color spaces are three-dimensionalmodels that show you what colors arepossible to use in your work.

The concept of colorimetrically definedspaces has been around since the development of color television.

Since there are a number of differentcolor spaces, it’s important to distinguishbetween those color spaces that arebased on color reproduction methods(such as device-dependent spaces, grayspaces, RGB-based color spaces, andCMY-based color spaces) and those thatrepresent all the colors that we can see(device-independent color spaces and CIEcolor spaces).

Gray spacesGray spaces have a single component:black. Gray spaces are used for black-and-white (grayscale) display and printing.

RGB-based color spacesAny color expressed in RGB space issome mixture of the primary colors red,green, and blue. Most color displays useRGB-based color spaces. Color spaceswithin the RGB spectrum include HSV(hue, saturation, and value) and HLS (hue,lightness, and saturation). These are transformations of the same space thatallow colors to be described in terms morenatural to an artist.

CMY-based color spacesMost desktop color printers and the printingindustry use cyan, magenta, and yellow-(CMY) based color spaces. There are twogroups: CMY and CMYK. CMY is not verycommon and is used by low-end desktopcolor printers. CMYK adds black to compensate for the fact that cyan, magenta,and yellow cannot produce a true blackwhen mixed together; black is added tooverprint these areas and give the imagebetter contrast.

Device-dependent color spacesDifferent devices have different colorgamuts, or ranges of colors, that they can

produce. This means that RGB and CMYcolor spaces vary from monitor to monitorand from printer to printer. Thus they arecalled device-dependent color spaces.Device-dependent color spaces aredescribed with Lab.

Device-Independent color spacesConverting from RGB on one device toCMYK on another can be challenging. Thisis where device-independent color spacessuch as sRGB and Adobe RGB make thetask easier.

Device-independent color spaces areused for the interchange of color data fromthe color space of one device to the colorspace of another. They provide a device-independent CIE reference color space(Destination Color Space), also referred toas Profile Connection Space (PCS) in ICCterminology.

They are a result of the research workdone in 1931 by the CommissionInternationale d'Eclairage (CIE) and for thatreason are more commonly known as CIE-based color spaces.

CIE color spaces The CIE color spaces form the foundationof device-independent color for color management. There are two types of CIEspaces: CIE Lab and CIE LCH.

CIE LabLab is the most commonly used colorspace. It is based on human perception ofcolor — the three color receptors (red,green, and blue) in the eye. This results inthree sets of signals being sent to the brain:light or dark, red or green, and yellow orblue. They are opposing in that one receivesa red signal or a green one, but not both.This opponent type color space is derivedmathematically 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) orgreenness (negative a).

B is a measure of yellowness (positiveb) or blueness (negative b).

The coordinates a and b approach zerofor neutral colors (white, grays, and black).The higher the values for a and b, themore saturated the color is.

CIE LCHThis color space is often referred to simplyas LCH. The system is the same as theCIE Lab color space, except that itdescribes the location of a color in spaceby use of polar coordinates, rather thanrectangular coordinates.

L is a measure of lightness of an object,ranging from 0 (black) to 100 (white)

C is a measure of chroma (saturation),and represents the distance from the neutral axis.

H is a measure of hue and is representedas an angle ranging from 0° to 360°.

Angles that range from 0° to 90° arereds, oranges, and yellows. 90° to 180° areyellows, yellow-greens and greens. 180° to270° are greens, cyans (blue-greens) andblues. 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-specificcolor spaces.

Rendering intentsThe ICC profile specification supports fourrendering intents used to map out-of-gamut colors: Perceptual rendering works to preservethe visual relationship between colors sothat they are perceived as natural to thehuman eye, even if the colors themselvesactually change. This rendering intent issuitable for photographic images.Saturation rendering tries to producevivid colors and sometimes sacrifices coloraccuracy to do so. As a result, this renderingintent is suitable for business graphs orcharts in which bright, saturated colors aremore important than the exact relationshipbetween colors, but it is not suitable forphotographs.

53Data Processing52 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

Color managementColor management

Monitor calibration Monitor calibration

55Data Processing54 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

Monitor calibration

Your monitor should be calibrated on aregular basis to compensate for its placement and age, as well as for thelighting in your work environment. In thecase of Mac OS X, if you select SystemPreferences and click Displays, you canmake visual adjustments without special devices.

Preparing to profile your display

• Determine your monitor and computersettings: resolution, refresh rate, geometry,and bit depth, and don’t change the settings (either through the display’sfront-panel controls or through theoperating system). If you change thesettings, you should re-profile the display.

• Set the Desktop to a medium neutralgray. (L50,0,0 or Apple's Medium Graywhich has a RGB value of 128,128,128would be ideal.)

• Set the white point to 5000k (D50) or6500k (D65), if supported by your display.The overall goal is to match the tonalreproduction characteristics of yourdisplay to the intended viewing conditionsand output. Most professional proofingsystems and color-correct viewing boothsused by printers and photographers useD50 lights to simulate daylight. D50 wasestablished as the prepress industrystandard, although new standards areemerging based on D65.

• Avoid bright light directed at the display.Use a display hood, if available.

Much like the target gamma setting, thewhite point differs between Macintosh andWindows systems.

Macintosh users will see the best resultsby setting their displays to a D50 whitepoint and a gamma of 1.8.

Windows users will see the best resultsby setting their displays to D65 and agamma of 2.2.

The exception to this rule is when bothMacintosh and Windows-compatible

computers are used in the same color-managed workflow. In this scenario, thebest results will be achieved by using adevice calibrator set to the same whitepoint and gamma on both systems.

Gamma does not affect the size orshape of the gamut. It does affect the distribution of RGB points within thegamut. Gamma values refer to the gradationcurves used to represent the mid-tonebrightness of the display. Gamma selectiondetermines the relationship between lightand dark values, similar to contrast. Thehigher the gamma number, the darker themid-tones appear on screen and the morecontrast you will see. White point is thecolor temperature of the display, measuredin Kelvin temperature.

The challenge is that printed materialsand photographs will be viewed undermany light conditions. Viewing conditionscan be built into custom profiles forGallery lighting, store displays... a colorspecialist should be consulted when thisis a client requirement.

Understanding measurement devices

Densitometer – An instrument thatmeasures 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 candetermine if two colors are the same,but it does not take into account thelight under which a sample is measured.

For monitors, a colorimeter is used tomeasure the brightness, contrast, andwhite point (color temperature). Acolorimeter generally uses three internalfilters to simulate human vision. Themeasurements are calculated by theprofiling software to create a new profile.Spectrophotometer – An instrument thatmeasures the wavelength of color acrossan entire spectrum of colors (measuresspectral data). It is similar to a colorimeterbut more precise because it measures discrete wavelengths of transmitted light

measured in nanometers (1 billionth of ameter).

Calibration vs. characterization

When implementing color management, youoften encounter the terms calibration andcharacterization, which can be confusing,but the difference is really quite simple: calibration changes a device to a standardor known state, while characterization isthe process of measuring the characteristicsof the device using one of the above listedtools and creating a profile.

Calibration = changing a device to a referenced state

Characterization = measuring thestate of a device and creating a profile

Profile = description of a referencedstate

The display monitor is where color professionals spend most of their time viewing color information, and where they evaluateand adjust color data. Attempting to adjust color on an uncalibrated monitor will generally do more damage than good tothe data. It is crucial, therefore, that your monitor be calibrated for accurate color editing and reproduction. Modern monitorsare manufactured to meet the needs of every standard. It is important to define and calibrate to your industry standard.

Calibration steps for Mac OS X

If you have a CRT-type monitor, wait for the colors to stabilize. This takesabout 30 minutes from the time the monitor is turned on. Once the colorshave stabilized, select System Preferences and click Displays, Color, andCalibrate. This will start the Display Calibrator Assistant, which will theninteractively guide you through the following steps.

Step 1 Adjust the brightness and contrast controls on your monitor as described.(Contrast may be labeled “Gamma” on some monitors. Some LCD monitorshave no controls for brightness and contrast.)

Step 2 Adjust color temperature and other software settings as instructed.

Once calibration is complete, the color space informationis saved as a selectable ICC display profile.

Monitor calibration

Color calibration with a calibrator

A calibrator can be used to achievemore precise monitor calibrationthan is possible when relying onyour eyes. Various reasonably pricedhardware calibrators, such as theGretag/Macbeth i1 Display 2 areavailable. The affordable i1 Photoincludes a precision spectrophotometerand allow calibration of both yourmonitor and printer.


Adobe CMS(Color Management System)

Adobe software products like Photoshop,Illustrator, and InDesign are essential toolsin the desktop publishing (DTP) industry.These applications offer Adobe’s own colormanagement system, Adobe Color Engine(ACE), which lets users work with digitalimages under consistent color tonesregardless of whether they use the Mac OSor Windows. Since settings for ACE are thesame on both platforms, color spaces canbe shared between Mac OS X andWindows.

Sharing Adobe color settings

One of the benefits of the Adobe CommonColor Architecture is the shared ColorSettings file. This enables you to set thepreferences once and use them throughoutthe entire Adobe Creative Suite.

Color calibrate Windows systems withAdobe Gamma

The Adobe Gamma control panel is installedwhen Adobe Photoshop is installed in aWindows environment. Similar to the DisplayCalibrator Assistant in Mac OS X, the AdobeGamma control panel interactively guidesyou through the calibration process andcreates an ICC profile. This process issubjective. In order to attain the best coloraccuracy, a hardware profile such as thatmade with the GretaglMacbeth i1 Display2 is recommended.

ACE is common to both Macintosh and Windows versions.

Open Adobe Photoshop and select Color Settings from the Edit (Mac OS 9and Windows) or Adobe Photoshop (OS X) pull-down menu. In the Working Spaces section, select the RGB color space used by yourdigital camera (we recommended Adobe RGB 1998, but if your camerauses an sRGB setting, choose it here).

Standard settings for a workflowexcluding plate making

The basic settings described here are forcases in which the photographer has shotphotos for commercial printing and will havea plate maker deal with the plate-makingdata.

This discussion also applies to workflowsin which data are not handed over to othershandling the printing process.

P.22

Do not change color settings midway

The optimum color settings will differdepending on the job, your responsibilities,and how well the plate makers and printersrespond to image data with embeddedcolor management profiles.

Once your digital photo data has enteredthe workflow (been edited or passed on toothers), you should not alter the color settingsagain during the job. This is a basic rulethat helps prevent various problems.

57Data Processing

Color settings in Adobe Photoshop

56

The color management systembuilt into Adobe software

The Adobe Creative Suite applications, including Photoshop, Illustrator, Acrobat, InDesign and GoLive, allshare a color management implementation known as the Adobe Common Color Architecture. This ensuresthat all of the Creative Suite applications support color management in the same way.

All 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.

Adobe Color Engine(ACE)

Adobe Acrobat Adobe Illustrator

• Color Settings

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, selectPreserve Embedded Profiles for RGB, CMYK andGrayscale. (This section defines how to handle theICC profile embedded in your image and what todo if no profile is embedded.) Next to ProfileMismatches, 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 drasticallychange the colors in RGB image data.)

Adobe Photoshop Adobe InDesign

The color management system built into Adobe software Color settings in Adobe Photoshop

The color quality you’ve been seekingis now possible with EOS digitalcameras

Creative color control has undergoneenormous development and progress sincethe advent of EOS digital cameras. Theculmination of this progress has beenincorporated into Picture Style.

Previously, in order to control color, youhad to adjust the Color Matrix andParameters. Picture Style integrates theseinto a display that is intuitive for professionalsworking with digital photographs. Selectingthe optimal Picture Style is similar toselecting the best film or desiredphotographic expression for the subject. Bymaking this selection you can create digitalimages with fine-tuned color and othercharacteristics at the moment of exposure.

Picture Style is incorporated into theEOS-1D Mark II N, EOS 5D, and laterEOS Digital models. Picture Style makes itpossible to produce images with thesame characteristics regardless of theEOS digital camera used.

Create a wide repertoire of color effectssimply by selecting settings

Picture Style contains a much broader preset setting range than what waspreviously available. In addition to theability to use these presets to meet thedemands of countless forms of photographicexpression, Picture Style also allows you toregister your own settings. With an expandedrange of settings, you can set the camera toproduce images with color characteristicsthat match your original vision.

Furthermore, you can expand your paletteby downloading additional Picture Stylefiles via Canon’s website and registeringthem to your camera.

The CMOS sensor, DIGIC II, and Picture Style work together in a highly integrated system

Canon’s proprietary high-resolution, low-noise CMOS sensor and DIGIC II ImageProcessor deliver high-speed and high-quality image processing. The stage is nowset so Picture Style can be adjusted to

reflect the intent of the photographer.Advanced image control possible only withEOS digital cameras will continue to evolvewith further advances in these technologies.

RAW images shot with earlier-generation cameras can be developedusing 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 imagesshot with EOS D30 or later EOS digitalcamera models. By using your preferredPicture Style to develop RAW imagesshot with earlier-generation EOS digitalcameras, you can build a library of imagesin a uniform style.

59Data Processing

Picture Style

Picture Style

Creative Color SolutionIncorporating the know-how of experts who understand the intricacies of colorphotographs.


Confirm the order of the steps to be performed and divide responsibilities

Between the beginning of image processingand the time at which a CMYK print is created, there are several steps that theplate maker should perform and that thephotographer should not. Nevertheless, thephotographer knows better than anyoneelse what colors have been photographedand how they should be reproduced. Thephotographer’s role, therefore, is veryimportant, and it is essential that he or sheuse color management to view images. Thephotographer should also understand howeach step of the process is performed.

Furthermore, the photographer should becognizant of the critical difference betweenRGB and CMYK and work with the platemaker and designer to produce the mosteffective results.

❑ Does the monitor have a function for confirming colors? ❑ Does the monitor retain all of the capabilities it had when it was new? ❑ Are the lighting conditions preventing colors from being correctly viewed on

the monitor? ❑ Are the lighting conditions appropriate for checking printed matter and photo

prints? ❑ Has the monitor been calibrated?

❑ Are the software color settings correct? ❑ If work is being performed on multiple machines and OSs, are the settings

uniform? ❑ Is the correct profile being used to open files?

❑ Are the conditions as the photographer intended? ❑ Is the gray balance correct? Are the colors properly balanced?

❑ Is this adjustment item the responsibility of the photographer or the platemaker?

❑ Will memorized color elements be added? ❑ Has color tone adjustment produced natural-looking results?


❑ Have blemishes and unnecessary elements been removed from the image data?


❑ Has the resolution been changed to the number of pixels to be used for thefinal product?

❑ Has an unsharp mask been used for the final resolution? ❑ Does the sharpness consider the printed finish?

❑ Have profiles been included in the stored data? ❑ Is the file format appropriate for the work to be performed? ❑ If JPEG compressed files are being used, has quality been maintained? ❑ Have processed data and original data been organized in sets? ❑ Have data and prints been organized in sets? ❑ Have files been saved using names that will not cause problems if a different

OS is used? ❑ Have files been saved on media that others can easily use? ❑ Have the original data files been backed up?

58

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.

Monitor andlighting conditions

Color management

Fine adjustmentswhen shooting

Color toneadjustment

Retouch

Resolution/Sharpness

Data storage/Handing dataover

Data processing check sheet

Standard

The general-purpose setting for sharpand vivid imagesThe “Standard” Picture Style is set to offervivid colors and contrast level that mostpeople prefer with general subjects. ThisPicture Style provides the optimal sharpnessfor printing directly without post-processingand the ability to produce beautiful prints ofa wide range of subjects with no retouching.For everyone from beginners to professionalusers of present and future EOS digitalcameras with Picture Style, the “Standard”Picture Style is the basic setting thatensures uniformity of color across all EOSdigital camera models with Picture Style.

61Data Processing

Picture Style

1

5

32

4

3 Shot with the assistance of the Hotel Negresco

3Shooting Notes• Camera: EOS 5D• Lens: EF 24-105mm

f/4L IS USM • Shutter Speed: 1/4• Aperture Value: f/8• ISO Speed: 100• White Balance: Auto• Picture Style: Standard

4Shooting Notes• Camera: EOS 5D• Lens: EF 24-105mm f/4L

IS USM • Shutter Speed: 1/100• Aperture Value: f/10• ISO Speed: 100• White Balance: Auto• Picture Style: Standard

2Shooting Notes• Camera: EOS 5D• Lens: EF 17-40mm f/4L

USM • Shutter Speed: 1/160• Aperture Value: f/11• ISO Speed: 100• White Balance: Auto• Picture Style: Standard

5Shooting Notes• Camera: EOS 5D• Lens: EF 17-40mm

f/4L USM• Shutter Speed: 1/60• Aperture Value: f/4• ISO Speed: 100• White Balance: Auto• Picture Style: Standard

1Shooting Notes• Camera: EOS-1D Mark II N

• Lens: EF 17-40mm f/4LUSM

• Shutter Speed: 1/100• Aperture Value: f/4• ISO Speed: 100• White Balance: Auto• Picture Style: Standard

60 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

Picture Style

The general-purpose “Standard”Picture Style is the default setting foruniform image characteristics fromEOS digital camera models

On all EOS digital cameras with PictureStyle, the default setting is the “Standard”Picture Style, which delivers high saturationand sharpness. This setting will produceexcellent color for nearly all subjects andthemes. It also unifies image characteristicsand parameters. This eliminates colordifferences when multiple cameras are used.

Preset styles render images with thedesired effect

Whether you want to capture the deep bluesky of a landscape or the healthy appearanceof a subject’s skin when shooting a portrait,Picture Style responds to your demandswith color to suit your individual style. Sixintuitively named style presets allow you,the photographer, to instinctively select aPicture Style to match the scene just asyou would select different film emulsions.

Enjoy creative freedom by fine-tuningsharpness, contrast, saturation, andcolor tone

The beauty of an image depends on theinteraction of various factors such as highresolution, low noise, and rich coloration.Picture Style controls sharpness (clarity),contrast (the smoothness of gradations anddifferences between light and dark areas),saturation, and color tone (vividness andhue). The CMOS sensor and DIGIC II ImageProcessor work noiselessly in thebackground, correcting image data to adegree never before possible over a broaddynamic range.

• Image Characteristics for Each Picture Style

Shooting with Picture Style

63Data Processing

Picture Style

Landscape

Reproducing blue skies and foliage withdeep and vivid colorsPhotographic reproduction of deep blueskies and vibrant foliage requires bold andvibrant color. The “Landscape” PictureStyle renders color tones ranging fromgreen to blue more vividly than the“Standard” Picture Style.

It also uses a higher sharpness settingto bring out fine detail in the photograph.

Neutral

Just the opposite of the “Standard”Picture Style; Renders images with anemphasis on ‘adjustability’; Image datais optimized for post-processingUse the “Neutral” Picture Style whenshooting with the intent to use Digital PhotoProfessional or other software to process theimage. As “Neutral” emphasizes correctability,the colors of images without post-processingcolors will appear subdued and dull. Whenshooting bright red flowers or cars with the“Standard” style, excessive color intensitysometimes results in a flat appearance.“Neutral,” however, employs lower saturationand contrast settings, resulting in more detailfor effective post-processing.

When shot with the “Standard” Picture Style, theintense saturated colors in the fabric eliminate textureand detail. With the “Neutral” Picture Style, the detailsremain clearly visible.

Shooting Notes• Camera: EOS 5D• Lens: EF 17-40mm f/4L USM• Shutter Speed: 1/500• Aperture Value: f/8• ISO Speed: 100• White Balance: Auto• Picture Style: Landscape

Setting: Standard

Shooting Notes• Camera: EOS 5D• Lens: EF 28-135mm f/3.5-5.6 IS USM• Shutter Speed: 1/100 • Aperture Value: f/11• ISO Speed: 100• White Balance: Custom• Picture Style: Neutral

©Copyright Vered Koshlano

Setting: Standard


Picture Style

Portrait

In pursuit of healthy, beautiful skin and afine, soft textureWhen photographing people, lightingconditions and exposure balance will greatlyaffect skin color. This makes a person oneof the most difficult subjects to faithfullyreproduce. Compared to the “Standard”Picture Style, the “Portrait” Picture Stylehas been fine-tuned to reproduce pleasingskin color. It adjusts magenta, red, andyellow color tones to produce healthylooking skin. This Picture Style also hasreduced sharpness to avoid the appearanceof skin roughness, a particular concern whenshooting portraits. Reduced sharpnessalso serves to maintain softness in therendering of hair.

Shooting Notes• Camera: EOS 5D• Lens: EF 24-105mm f/4L IS USM • Shutter Speed: 1/400• Aperture Value: f/4• ISO Speed: 100• White Balance: Auto• Picture Style: Portrait

With the Color Tone parameterin Picture Style, you can adjustcolor tones over the red-to-yellow range. This is particularlyuseful when you want to makefine adjustments in skin color.

Color tone adjustment: -2 with strong reddish reproduction

Color tone adjustment: +2 with strong yellowish reproduction

Setting: Standard

Setting: Standard Setting: Portrait Setting: Landscape

65Data Processing

Picture Style

Preset Style Comparison

Shooting Notes• Camera: EOS 5D• Lens: EF 24-105mm f/4L IS USM • Shutter Speed: 1/100• Aperture Value: f/5• ISO Speed: 100• White Balance: Auto

Setting: Neutral Setting: Faithful Setting: Monochrome

Faithful

Another image style designed forcorrectability, but through a uniquecolorimetric approach“Faithful” is another Picture Style forreproducing the colors of the subjectexactly as they are. The “Faithful” PictureStyle is set to record colors that arecolorimetrically the same as the actualcolors of the subject under 5200K lightingconditions. Like the “Neutral” Picture Style,it emphasizes correctability. It thereforeemploys relatively low saturation andcontrast settings, and the colors that resultare close to those obtained with the“Neutral” style. Rather than emphasizingthe appearance of the entire image,however, the “Faithful” style emphasizescolor accuracy for individual subjects.This makes it appropriate for shootingreproductions and still life.

Monochrome

Sepia tone and filter work with mono-chrome in an age of digital freedom“Monochrome” is a mode of expressionthat creates bold impressions of form, light,and shadow. The “Monochrome” PictureStyle is not just image processing with zerosaturation; it’s a faithful successor to silverhalide film. The “Monochrome” stylefeatures a relatively strong sharpnesssetting as well as color control in sepiatone. It also allows red, green, and othertypes of filter work. The “Monochrome”style allows you to achieve the feel ofmonochrome photography using a digitalcamera without having to compromise.


Picture Style

Shooting Notes• Camera: EOS 5D• Lens: EF 24-105mm f/4L IS USM • Shutter Speed: 1/500• Aperture Value: f/4.5• ISO Speed: 1250• White Balance: Auto• Picture Style: Faithful

Shooting Notes• Camera: EOS 5D• Lens: EF 24-105mm f/4L IS USM • Shutter Speed: 1/250• Aperture Value: f/7.1• ISO Speed: 100• White Balance: Auto• Picture Style: Monochrome

Setting: Standard

Setting: Standard

Free customization through “UserDefined” Picture Style settings

In addition to the six preset settings, theEOS-1D Mark IIN and EOS 5D allow youto register up to three of your own PictureStyle settings as “User Defined” settings.This function lets you fine-tune the presetsto suit your own tastes or, as an example,enter settings customized for a particularsubject to easily match your own uniquevision.

Picture Style files: photographicexpression reaches a higher level

The EOS-1D Mark IIN and EOS 5D offer notonly presets, but also the ability to add newPicture Style settings, which will allow youto enjoy a wider range of photographicexpression.

Soon you’ll be able to download newPicture Style settings from Canon’swebsite. Canon will continue to offer newPicture Style settings to enrich photographicexpression, just as new types of film havechanged photographic expression in thepast.


Picture Style

User Defined Picture Style settings

• Different color tones possible through Picture Style adjustments

Saturation: weakest adjustment, -4

Picture Style settings are adjustable over a broader range than is possible for traditionalDeveloping 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 colorsor light and dark areas, or shoot a color chart, to check color changes.

This display shows that a PictureStyle file transferred to yourcamera has been successfullysaved and is ready to use.

Using the Camera Window, transferdownloaded Picture Style files toyour camera.

“User Defined” menu and “Detailsettings” menu

The “User Defined” options let youselect preset Picture Style settingsand adjust parameters such as sharpness.

Saturation: strongest adjustment, +4

Download PictureStyle files fromCanon’s website.

Overview

Digital Photo Professional was created withthe rapid development of RAW data fromCanon EOS Digital SLRs from the D30 onand the photographer’s workflow in mind.With its new, dedicated developmentengine, Digital Photo Professional offersrapid development of RAW data, excellentoperability, and the ability to processmultiple images simultaneously. It can alsouse multiple color spaces and ICC profilesfor color management. Digital PhotoProfessional organizes work into fourimage-editing windows — the Main windowfor checking images with thumbnails, theQuick Check tool for a fast look at thedetails of images, the Edit Image windowfor the fine adjustment of single or multipleimages, and the Edit window for adjustmentof a single image. In addition, Digital PhotoProfessional can be used to print photoseither by using any ordinary print driver ortogether with Canon’s Easy-PhotoPrintsoftware.

Main window

Images can be viewed as small, middle,and large thumbnails or as thumbnailswith information. They can be tagged withcheckmarks 1, 2 or 3 for easy groupingand can be sorted by checkmark, filename, RAW priority, or shooting date andtime. Reorganizing images into variousfolders is simple by using a “drag anddrop,” “cut and paste,” or “copy andpaste” method. Single or multiple imagescan be adjusted in the Main window byusing the Brightness or White Balancebuttons along the tool bar. After selectingthe image or images that you want tocorrect, click on White Balance orBrightness and an adjustment windowwill appear.

When light sources and other conditionsare controlled (for example, whenshooting a model in a studio), all of theimages can easily be processed usingonly the Main window. To fine tune animage while viewing an enlarged preview,double click a thumbnail image and usethe image adjustment palettes to editthe image.

67Data Processing

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 andfreedom in adjusting white balance, contrast, exposure, and many other image parameters. Canon’sDigital 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.

Main window

Edit Image window

Viewing, adjusting, and developing images withDigital Photo Professional ver.2.0


Settings and image selection

68


Let’s look at the RAW development process using Digital Photo Professional ver.2.0.If appropriate color management and other settings are used, image selection and adjustment can be performed easily and accurately.

General settings

In order to maintain control and high imagequality, color management and other settingsmust be correct. To begin, select Preferencesfrom the Tools pull-down menu. Preferencesconsist of the General Settings, ViewSettings, Tool Palette, and Color Managementoptions. You can select any one of these byclicking on the tab at the top of thePreferences window. Each is very important,and how they are set will greatly affect workefficiency. Therefore, if something is unclear,refer to the application’s user manual.

Color management settings

Most settings should provide good results attheir default values (the values at the time thesoftware was installed). Color Managementsettings, however, are particularly important,so it is a good idea to check them. It isimpossible to ignore “Default settings ofworking color space” and “Color matchingsettings.” Under “Default settings of workingcolor space,” go to the Color Settings andselect the appropriate “working space.”Under “Color matching settings,” go to the“For Display” section and select “Monitorprofile.” Next, click on “Browse” and selectthe appropriate monitor profile. Windowsusers and others who have not specified amonitor profile should select sRGB, ratherthan “Monitor profile.” In either case, checkthat the image displayed by AdobePhotoshop looks the same as the imagedisplayed by Digital Photo Professional.Under “Printing profile,” select the profile ofthe printer to be used when printing animage by using the Print function under theFile menu. For information on “CMYKsimulation profile” refer to P.78. Refer to P.73 for more informationon “Rendering intents when using Easy-PhotoPrint.”

Rough selection

When using the EOS-1Ds Mark II or otherhigh-resolution digital cameras, minimizingthe number of shots to be processed fordevelopment will make your work moreefficient. Regardless of the developmentsoftware used, it takes a long time toconvert RAW data to JPEG or other formats.Moreover, since a large number of shotscan be taken with the EOS-1D Mark IIwhen shooting in continuous mode, it isparticularly important in this case to reducethe number of images to be processed.There are numerous conditions for selectingdesired photos from among the largenumber taken. To start out, it should bepossible to make a rough selection fromthe thumbnails. Using Digital PhotoProfessional’s Main window, thumbnailscan be displayed in three sizes. Choosethe size you prefer and select the imagesyou want by attaching a check mark.

Detailed check of selected images

Once you have selected the images youwant from among the thumbnails on theMain window, click on the Edit Imagewindow button to switch to that window.Here, only the images you have selectedwill be displayed, and clicking on any oneof them will display a larger view in themiddle of the screen. The higher theresolution of the image, the longer the timenecessary to render a full-resolution imageon the monitor. When you want to checkthe focus and other details of a particulararea, double clicking on the area you wantto see will instantly enlarge it to the 100%view. Double clicking again will return theimage to its original size. Buttons at thetop of the window give you three choicesfor enlargement size.

Another way to quickly check the focusand detail of an image is to choose “QuickCheck tool” from the Tools pull-downmenu. The Quick Check tool allows you toview images either full-screen or at 50%with no time required to render the imageon screen.

69Data Processing


50%

200%

100%

RGB Image Adjustment

RGB Image Adjustment allows you tocorrect images in much the same way youwould using Adobe Photoshop. With thisfeature, you can perform a “Tone curveadjustment” (to adjust brightness, contrast,and color), “Color adjustment” (to adjusthue and saturation) and you can alsoadjust “Sharpness.” These adjustments,different from changes made in the “RAWimage adjustment” palette, could result insignificant image degradation if usedextensively. Users are cautioned againstmaking major corrections to images withthis tool palette.

Comparison view

This feature lets you see both the pre- andpost-correction images on the same screen.To do this, go to the View menu and choose“Before/after comparison.” If the imagesare vertically oriented, you can use “Changeup/down/left/right” to place them side byside. Both images can also be enlarged.

Recipes

Once you have finished adjusting the shotwith a chart in it, you can apply the sameRecipe to the other images shot under thesame conditions. A Recipe is a record of allthe image adjustment settings you made inDigital Photo Professional. By selecting“Copy recipe to clipboard” and then “Pasterecipe to all photos” you will not have toadjust each image individually. Recipes canalso be saved for future use by choosing“Save recipe in file” and accessed later bychoosing “Read recipe from file.”

Quick Check tool

This tool allows for marking images forsorting, ranking, checking focus, androtating. One or multiple images can beviewed one at a time at 50% or 100%magnification. Ranking can be done byclicking the 1, 2, 3, buttons to give one theability to prioritize images for editing,making final selections and storage. Left orright rotating of the images is also availablein 90-degree increments. This is an easyway to organize and prioritize raw imagesprior to conversion, allowing you to convertonly your favorite images.

Trimming tool

The Trimming tool allows you to crop yourimages at the time of conversion. Simplyselect the “Start Trimming tool” from thetools menu and drag the cursor over thearea you would like to crop. You can selectfree or preset aspect ratios, adjust theopacity of the crop marks, and cropmultiple images.


RAW image adjustment

Digital Photo Professional can be used tocorrect JPEG images, but with RAW images,more image adjustments are possible andthis flexibility can lead to higher-qualityimages. In the case of JPEG images, forexample, it is impossible to set white balanceafter the shot is taken. When processing aRAW image, however, it is possible tochoose any of the white balance settingsavailable in the camera, including thechoice of setting white balance in degreesKelvin. This process is performed using theRAW Image Adjustment tool palette. Usingthis palette, you can change brightness andwhite balance and make a broad range ofadjustments using the Picture Style function.

In this example, let’s begin by correctingbrightness and white balance. While it isideal to carefully set exposure when an imageis shot, RAW images, similar to those onpositive film, can be made to appear as ifthey have been shot with slightly more orless exposure. Adjustments of up to ±2EVare possible. Minimal adjustments arepreferred because excessive adjustmentcan degrade the image.

For adjusting white balance, it is efficientto include a chart (Macbeth chart, etc.) witha gray area in your first shot. When severalshots have been taken under the sameconditions, use the Edit Image window toselect and enlarge the shot with the chart.Then click on the White Balance button anduse the curser, which now appears as adropper, to click on the gray section b of

71Data Processing

Adjusting and developing RAW data

70


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 imagesare being adjusted in Digital Photo Professional prior to processing. Of course, focus and good exposure are still essential whenshooting RAW images.

the chart. If you would like to further adjustthe image, you can do so using the Tunebutton. If there are no images in which achart was photographed, the preset whitebalance options and “Color temp.” can beselected from the pull-down menus. Whenyou adjust RAW images, you change onlythe development conditions; the originalRAW data remain unchanged, and you canalways revert to your “shot settings.”

Color adjustment — “Picture Style”

Under the “Picture Style” section of the“RAW image adjustment” palette, you willfind a histogram that is unlike the histogramdisplayed on the camera’s LCD screen orin the “RGB image adjustment” tool palette.This is a logarithmic histogram andrepresents 4,096 shades from black towhite captured by the camera when shootingin the RAW mode. The most familiar typeof histogram (like the one seen on thecamera’s LCD screen when reviewing withthe info option on) represents 256 shades ofgray, or 8-bit color depth, while the camerais capable, in RAW mode, of capturing in12-bit color depth.

A unique characteristic of Digital PhotoProfessional is its “Linear” color adjustmentmode seen in this area of the palette. Ingeneral, digital cameras express colors inthe way that most human eyes see them.“Linear” color adjustment renders the imagewithout application of a tone curve. The“Linear” mode is appropriate for colorscientists creating custom profiles but not

generally used by photographers.Just above this histogram, you have the

option of choosing different Picture Stylesettings from a pull-down menu. You canmake adjustments within these settings bymoving the Hue and Saturation sliders. TheSharpness slider in this window will allowyou to choose an appropriate level ofsharpening for each image. Please refer to

P.59 for more information on thePicture Style function.

Below the histogram you will find slidersto adjust hue, saturation and sharpness.These correspond directly to the adjustmentsavailable in cameras that have “PictureStyle.” The result of these adjustments canbe viewed in real time.


RGB Image Adjustment

Comparison view

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 73Data Processing

Linkages with other software

72


In addition to Digital Photo Professional, image data captured with EOS digital camerascan be browsed and organized with various other software applications. Using the optimalsoftware for the task at hand will boost work efficiency.

Adobe Photoshop CS file browser

Adobe Photoshop CS RAW development window

Browsing/development software

Software created by companies other thanCanon can also be used to display anddevelop EOS digital thumbnails. AdobePhotoshop CS and Adobe PhotoshopElements 3.0 support the development ofvarious types of RAW data and offer theadvantage of handling everything frombrowsing to development and retouchwork with a single software application.

Other options include C1Pro (CaptureOne Pro) by Phase One and SilkyPix byIchikawa Soft Laboratory. Each offersunique adjustment functions and works atits own development speed.

Each of these applications uses its ownunique RAW data conversion method andproduces development results that are different from those obtained with DigitalPhoto Professional and the EOS ViewerUtility. Each should be used only with anadequate understanding of its characteristicsand development tendencies.

Printing software for PIXMA printerslinkages with Easy-PhotoPrint printing

Easy-PhotoPrint, which comes withCanon’s PIXMA inkjet printers, is printingsoftware designed to let anyone print photoseasily, but it is also highly compatible withEOS digital cameras.

To use Easy-PhotoPrint with Digital PhotoProfessional, select “Print with Easy-PhotoPrint” from the Digital PhotoProfessional File menu. Color spaces edited in Adobe RGB can be displayed asis in Easy-PhotoPrint. And since RAW datacan be printed directly, Easy-PhotoPrint ishandy when you want to automatically print multiple images.

Easy-PhotoPrint preference settings

Digital Photo Professional preference settings

Conclusion We have given you a rough explanation ofthe RAW development flow. The greateryour familiarity with this software, themore efficient your RAW developmentwork will be. Taking advantage of thissoftware will also allow you to realize thefull performance potential of EOS digitalcameras and easily produce the photosyou imagine. Although not addressedhere, Digital Photo Professional also playsan important role when EOS Capture isused to connect your camera to a com-puter. With EOS Capture, images can bedisplayed on a computer monitor foreasier viewing immediately after they areshot. To do this, go to Preferences andset the “At EOS Capture startup” settingto “Edit Image window enabled at EOSCapture startup.” This capability makes iteasy to check images immediately afterthey are shot.

Linkages with other software

Digital Photo Professional and Easy-PhotoPrint settings

When using Digital Photo Professional andEasy-PhotoPrint together, it is necessary tocheck the preference settings. On theDigital Photo Professional side, go to theColor Management window and set the“Default settings of Work color space” to“Adobe RGB” and the “Rendering intentswhen using Easy-PhotoPrint” to the defaultsetting, “Colorimetric.”

On the Easy-PhotoPrint side, go to thePreferences window and uncheck “Optimizeimages automatically.” Under the defaultsettings, image processing will be handledon the Easy-PhotoPrint side, so the colorsof printed images will be different fromthose checked using Digital PhotoProfessional. When using the “Print withEasy-PhotoPrint” function, CMYK simulationsettings are not reflected. When you want toprint with CMYK simulation colors, go tothe Digital Photo Professional File menuand use the “Print” function.

Rename tool

The Rename tool is used to sort, copy andrename raw files. You can sort by file nameor shooting date and time prior to renaming.This is most useful for those who shoot withmultiple cameras. You can choose threesets of naming criteria: user selected string,where you input the text of your choice;sequence number, where you select astarting number and sequential numbers areadded to the file name; shooting date andtime, where you can select the format. Youcan choose to overwrite original files orcopy and save the renamed files elsewhereon your computer. This tool allows you tosort and rename raw files before you convertthem, maintaining the naming conventionfor all your files and archives.

Batch processing and exporting

Once you have finished adjusting all of yourimages in the Edit Image window, You caneither export a single image to AdobePhotoshop by selecting the Transfer toPhotoshop function in the tools menu orclick on the Batch process button to developyour images, converting them into eitherJPEG or TIFF files. If the images are to befinished using software like AdobePhotoshop, it is a good idea to select“Embed ICC profile.” Development, or batchprocessing, will start a separate softwareapplication, called Digital Photo ProfessionalBatch, and processing will take place in thebackground. While development is beingperformed, you can return to the DigitalPhoto Professional screen and continueyour work.

Stamp tool

The Stamp tool is used to make simple dustrepairs on images. It has the ability to correctsimple blemishes and stray hairs as well.The tool allows for the selection of large orsmall diameter soft edge brushes for broadareas and large and small pencil brushes formore precise repairs. Having unlimited undosand redos gives the ability to the user tohave total control over editing and can alsorevert to the original image if need be.

In order to repair a light area, double clickthe Repair Light button, which activates theSelect Copy Source button. Clicking first onthe Select Copy Source button and then onimage, select the area, you want to use torepair from in the photo. Once you selectthe area, the tool turns from a + sign to acircle and you may proceed to correct theimage. You can use either a soft edgedbrush or a hard-edged brush to make therepair by clicking the brush or pencil option.The diameter of the brush is controlled bythe radius slider, directly below the Brush &Pencil buttons. Double clicking the FullScreen button makes the menus and theimage visible. The escape button returns tothe default screen mode. The procedure torepair a dark area is the same once one hasselected the Repair Dark button.

Note: For additional information about the latestversion of Canon software, please visitwww.photoworkshop.com/canon.


Use the same working color profilefrom start to finish

The working color profile you use to checkyour digital photos should always be savedwith the photos themselves. Moreover, youshould ask others involved in the productionprocess to employ that profile when makingimage adjustments.

If your plate makers have a policy ofignoring profile data and working only in thesRGB color space (because images arereceived from multiple sources, etc.), youneed to prepare an adjusted sRGB versionof the image data for their use. Simply discarding profile data from Adobe RGBimages will result in murky images with lowsaturation.

Select the best image file format forthe job

Various file formats are acceptable in a production environment. However, professionals tend to use the JPEG,Photoshop, and TIFF file formats. ThePhotoshop (.psd) format contains completeinformation on all layers and is ideal whenyou expect the plate maker to handle colorconversion and other adjustments. 16-bit images offer richer gradations than8-bit images but result in larger files andtake more time to process. You shouldtherefore consult with others in the projectbefore using 16-bit data files.

JPEG compression lowers image qualityat high compression ratios, but offers

excellent results at High to Best qualitysettings, which reduce Photoshop files toabout 1/10 to 1/6 their file size.

75Data Processing

Saving image data and accurate communication

74


When handing over data to the next person in the production process, even small misunderstandingscan bring about unexpected results. To prevent problems, you must clearly communicate with yourassociates and follow their instructions accurately on profile and file type.

Image in which the profile was corrupted and colorswere not properly reproduced.

Image in which the Adobe RGB profile was reflectedall the way through post-processing and properlyconverted.

• Image formats and characteristics

CMYK conversion from RGB files

When a client asks the photographer forCMYK files, there are certain questionshe/she needs to ask and information thatneeds to be ascertained.

Conversion to “Generic” CMYK profilesis not recommended but conversion to aprinter-specific or industry-standard reference profile should be part of definingthe deliverable CMYK file. If this informationis not available, the photographer shoulddeliver a final retouched RGB file.

Building the workflow demands a significant initial investment of time andeffort, but that investment will reward youwith accurate, predictable color for everyimage you print.

RGB files converted to CMYK will producedifferent results depending upon the profileand technique used.

Ensuring consistency across displays

The ideal situation is to find a printer thatunderstands color management and hascustom ICC profiles to which they keeptheir presses calibrated.

It is important to keep in mind that withtraditional offset printing, from the momentyou hand your color data to the printer tothe time the job comes off the press, getting your document printed introducesseveral steps, each of which has its ownvariables that can affect the final color.

The printer will likely insist that a proofbe made (often called a contract proof).The press plate will be made from the samecolor data as the proof.

Proper CMYK separations

Improper CMYK separations

Photos shot in Adobe RGB and properly converted to theSWOP CMYK color space.

Photos shot in Adobe RGB andimproperly converted first toSWOP then edited andreconverted to the SWOPCMYK color space.* Notice thedegradation in image quality.

*This color space is proper forthis publication and may not beappropriate for your job. Theproper profile must be suppliedby the client.

Handing over data for post-processing Saving image data and accurate communication

Cyan Magenta

Yellow Black

Cyan Magenta

Yellow Black


The color reproduction method greatly affects the colors

Whereas images displayed on a monitor arecomposed of the three primary colors —red, green, and blue (RGB) — printedimages are composed of a combination ofcyan, magenta, yellow, and black (CMYK).

This use of fundamentally different reproduction methods makes it impossiblefor both media to produce exactly the samecolors. Moreover, many colors viewable onan RGB display are beyond the range ofCMYK and must be reproduced in print withsubstitute colors.

When converting RGB images to CMYKimages for printing purposes, genuineproofing expertise is necessary to minimizethe differences in colors.

Choosing the right settings requires expertise

It is possible to convert RGB to CMYK bysimply using the “color settings” option inAdobe Photoshop. However, changingeven one item in the menu can significantlyalter the color.

If you do not have a high level of expertise in color management and gamutcompression, you should leave CMYK conversion to experts. However, if you dohave the expertise necessary to performselective gamut compression and CMYKconversion, you can deliver finished CMYKfiles and maintain total control over offsetreproduction.

77Data Processing

Final print simulation

76


CMYK conversion is the most difficult step in the preparation of printing data. Althoughpart of the proofing process, it can be simulated to a certain extent by photographersworking in the RGB environment who want to preview the appearance of the final printby simply selecting CMYK simulation in the preferences panel.

Additive mixing of light’s three primary colors

RRed

GGreen

MMagenta

YYellow

CCyanB

Blue

Subtractive mixing of three primary colors

• RGB monitor vs. CMYK printing color reproduction The color reproduction ranges of computer monitors and CMYK printersare different. Generally, the CMYK range is narrower and provides poorerreproduction. When a color viewable on the monitor cannot be reproducedin print, it must be changed in saturation and/or hue. This color conversionprocess is best handled by prepress experts using a color profile.

• File name rules

Rule Example Reasons

Do not include “*” 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.

Include correct file [OK] 2500.psd Depending on destination disk, certain types extension [Not OK] 2500.psd’s copy of character strings can be automatically

replaced by other strings. Since WindowsOS uses a file extension to associate the fileand supporting application, a missed fileextension may cause confusion.

Limit file name to [Not OK] Since longer names are not supported by 31 characters 20030705studio_model_ Mac OS, the end of the character string may

adjusted_final be replaced.

JPEG compression and quality

Saving photos in the JPEG format canreduce them to 1/5 or even 1/100 theiroriginal file size. This is especially convenientwhen files are numerous or you plan tosend them as e-mail attachments. However,higher compression ratios result in lowerimage quality.

Typical image deterioration caused byhigh image compression includes severealiasing in gradations, smudging at the borders where bright, highly saturated colors meet, and false colors in highlights.Since the finest details cannot bereproduced in print, image compressionof up to 1/10 is normally acceptable for photos destined for print.

Keep the light source in mind when evaluating prints.When evaluating prints, the light source will influence the judgment of photographers andthose in the proofing division. This is especiallytrue when printing from inkjet printers, which usepaper with a fluorescent component that affectsprinted colors depending on the light.

The relationship between prints and light is thesame as the traditional relationship between positive film and light boxes. Standardizationbeforehand is vital to ensuring accurate evaluation.

What is the viewing standard?Viewing conditions – for graphic technology and photographyThe standard is a technical document that is written with engineers andlighting design companies in mind; it is not a road map for users who wishto build or set up their own viewing area; rather it is a highly technical set ofspecifications that enables lighting manufacturers to design,test, and certify color viewing systems. The standard specifies aset of five conditions which ALLmust be present in order to assurethe benefits of the standard.

The true “fingerprint” of a light source. The spectral power distribution isthe key factor in how a light source renders colors. The closer a light source’sspectral power distribution is to D50 the more consistent and accurate it is.

MetamerismHave you ever noticed that two different prints, or a print and an original,sometimes match but in different lighting conditions may not. This phenomenonis called metamerism.

A metameric pair is two colors that look the same under one lightingcondition but different under other lighting conditions. To minimize the effectof metamerism, color should be viewed and judged under an industrystandard viewing condition.

• Example of JPEG compression deterioration -detailed pattern in primary colors

Compression ratio: low, Image quality: high Compression ratio: high, Image quality: low

Wavelength

Approximate CIE D50

Sp

ectr

al Ir

rad

ianc

e

Spectral Power Distribution

Final print simulation CMYK conversion and simulation

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 79Data Processing

The problem of memorized colors

78

Final print simulation

Color reproduction for commercially printed materials emphasizes natural color perceptionover accuracy. When you shoot and correct images, you must keep in mind how colorswill be reproduced in printed materials

Impressions are as important as accuracy

Faithful reproduction is an important consideration. Yet mere color accuracy inprint is not enough to satisfy and movepeople. Regardless of how colors appear inreal life, people have certain expectationsabout what colors should be used to represent the world around us. Professionalphotographers, to a certain extent, need toconsider these “memorized colors” to createimages that satisfy people’s expectations.

Optimize the colors for commercialprinting

Faithful color reproduction using ink onpaper is more difficult to achieve when thecolors in your photograph are highly saturated. Such colors are often printedwith lower saturation and altered hues,resulting in printed images quite differentfrom those viewed on your monitor.

When using positive film and a prepressscanner in a traditional commercial printingworkflow, natural results are achievedthrough a combination of accumulatedknow-how and expert development of optimized positive film. Much of this know-how can also be applied in digitalphotography. P.77

When you select a color from the highlightsof your image and open the color picker inAdobe Photoshop, it displays the fullrange of the color in terms of value andsaturation. You can then pick any colorwithin that range and the color picker willindicate whether or not it can be reproduced through commercial printing.

Most extremely bright, highly saturatedcolors (colors of high purity) cannot beadequately reproduced through commercialprinting. It is also difficult to reproduce theareas where magenta becomes dark blueand dark green: colors tend to becomecloudy and the hue tends to drift.

Spectrums expressed on monitors differ from those that can be printed.

• Subjects vulnerable to the effect of“memorized colors”

Check print limitations beforehand onthe screen.

By using Proof Colors and Gamut Warningdisplays in Adobe Photoshop, you cancheck how the colors will change once thephoto has been converted from RGB toCMYK. This feature is especially usefulwhen handling high-chroma images thatare hard to reproduce in print.

Pre-printing simulates final printingresults

The most common way to simulate finalprints is by printing adjusted RGB imageson an inkjet printer. While this method isconvenient, it may provide misleadingresults since the reproduction range ofoffset printers and inkjet printers differs, andinkjet prints may include colors that offsetprinting can’t reproduce.

This issue can be resolved by obtainingthe printer's output profile and utilizing thisprofile for a custom proof (in AdobePhotoshop's View>Proof>Setup>Customsetting). Then the saturation levels of individual colors can be adjusted to bringthem within the printer's gamut. This is acomplex procedure that requires skill andexperience.

However, the use of different paper andink by the two types of printers makes itimpossible to produce the exact sameresults. Accuracy can be further increasedby installing a DDCP (Direct Digital ColorProof) compatible with CMYK data.

When checking simulated printcolor reproduction, it is helpful toopen another window to comparebefore and after images.

Choose Gamut Warning tohighlight the colors thatmay be altered when converting RGB to CMYK.

Choose Proof Setup toselect the profile youwant to simulate, thenProof Colors to view thesimulated appearance ofthe print.

Selecting “Print with Preview” from the file menu ofAdobe Photoshop opens a window with a preview of theimage and various printing, output and color managementoptions. The Color management options let users customize the color space for their specific purpose byselecting the “Source Space” (color space of final print)and “Print Space” (profile of printer). The image can thenbe printed, with the colors of the image adjusted according to the selected settings.

Correcting your images for commercial reproductionThe problem of memorized colors

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK80

Data loss is often a by-product of image adjustment, so you should not rely too heavily onimage adjustment. Rather, you should develop the skills to attain desired results in the fewestpossible steps. Never forget that expert shooting is required to obtain excellent images.

Don’t rely too heavily on exposurecompensation

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 detailsin the shadows, but they will also raisenoise levels and lower color accuracy.Always remember that rich gradationscan only be ensured by correct exposure.

P.83

Resist raising saturation too high

Since photos often look best when highlysaturated at first glance, there is a tendencyto keep raising the saturation during editing.This tendency is increased by familiarizationwith the image after long hours of viewingthe monitor: step by step you lose sight ofthe natural quality of your photo and raisesaturation to unnatural levels. As a preventivemeasure, you should frequently compareyour adjusted image with the original imageduring editing to see if your efforts haveheightened the natural allure of your imageor simply made the colors look artificial.

Use 16-bit images for processing

When you process 16-bit images in imageediting software (such as Adobe Photoshop)image degradation is minimized. Imagesshould be converted to 8-bit for deliveryto your client. Oversaturation can cause adverse effects, including

the loss of a sense of reality or a waxy, plastic look.On already highly saturated images, further increasesin saturation can flatten the image, creating a fullysaturated “coloring book” appearance.

Original image

Original image

Image brightened by exposure compensation. Noise appears in shadow areas.

Image with optimally raised saturation


Important points concerningimage adjustment

Important points concerning image adjustment

Oversaturated image.Natural quality of photograph is lost.


Appendix

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 83Appendix82

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.

Appendix

Remove blemishes on subjects andimage sensors

Retouching, or the correction of blemishes, isperformed with Adobe Photoshop. Blemishescaused by dust on the image sensors of digital cameras are not a problemplate makers typically anticipate, so if thephotographer doesn’t perform retouch work,greater attention is required in post-processing.

Among Photoshop’s retouch tools areBrush, Blur, and Smudge, but the one usedmost is the Stamp tool. This tool lets youcopy one part of an image to another part ofthe image, and is like a tool to eliminatepower lines from images. This tool is effectivewhen using a fine-textured pattern or whenyou want to express a color transition in a sky,or to achieve other natural-looking results.

Reproducing darkroom creativity

It is often necessary, as when shooting portraits, to correct the image. With AdobePhotoshop, you can efficiently produce natural results by using a combination oftools. When you want to smooth overdetails, you can use the Blur tool, but whenyou want to eliminate, for example, a hairthat appears over an area in great detail,you can do so effectively with the HealingBrush. Moreover, you can simultaneouslycontrol color and brightness to achievemore natural-looking color results like thosepreviously obtained through the edge-burning and burning-in techniques used inthe darkroom.

Control brightness and contrast withLevels and Curves

The first function that a photographershould master is Levels. As with EOS digitalcameras and Digital Photo Professional,Levels allows you to change the brightnessusing a histogram while observing theimage.

As opposed to digital exposure compensation, Levels lets you controlwhite, black, and midtone areas independently, so it is possible to boostcontrast and make other adjustments. Youcan also click on any area and change thewhite, gray, and black balance, so the finecontrol of white balance is also possible.

Tone Curve makes the fine control ofbrightness possible in more places thandoes Levels. It is, therefore, well suited forslightly emphasizing shading for specifictones, without affecting other colors.

Hue/Saturation for controlling colorand brightness

Even if color reproduction is true to thesubject, it can sometimes appear inadequatein printed matter and commercial photoprints. Adjustments to Saturation canimprove the appearance of these images.Hue/Saturation is one of the most frequentlyused controls and can produce coloremphasis stronger than that possible withthe color matrix used with EOS digital cameras. You can also control specifichues, so it is possible, for instance, toincrease the brightness of red only.

Clone Stamp tool The Clone Stamp tool is the most basic tool for eliminating blemishes or patterns. To use this tool, holddown the Option key (For Macintosh. For Windows usethe Alt key) and click the part of the image you want toclone. Then, drag it to the place you want to eliminate.This will cover the undesirable part of the image withthe part you cloned. To achieve natural-looking results,with no evidence of retouching, blur the edge of thebrush and stamp several locations.

• Other retouch tools

Blur tool Using the Blur tool, you can use afunction called “Lighten” to blur anarea using the brighter color of anadjacent area. This allows you, forinstance, to use the color of skin tocover over hair follicles (or, in thecase of men, evidence of shaving).

Healing Brush tool The Healing Brush tool is usedmuch like the Clone Stamp tool andhides traces of retouch work evenmore naturally. This tool lets youefficiently remove blemishes due todust, etc., on the image sensor.

Burn tool, Dodge tool These tools let you achieve resultsexactly like those you could obtainin a darkroom. By changing theranges for highlights, midtones, andshadows, you can control colors onnaturally lit images.

Channel is corrected with “RGB”when the brightness for an entireimage is adjusted.

• Levels

• Tone Curve manipulation

The brightness is controlledby moving the three sliders atthe bottom.

On the histogram,it is possible tojudge exposurewith this peak.

Click the area of theimage you want tobrighten (highlight)the most.

Click the area of the imagewant to make neutral gray.

Adjust to a higher key withoutlosing the details of highlights.

Improve areas wherehighlights are weak.

Change the tone of the areas youclick, similar to the adjustment ofwhite, gray, and black areas in Levels.

Raise areas obscured in shadow.

Change the brightness of thecolors. The further to the rightyou move the slider, the brighterthe colors will become; theresults will differ from thoseattained with Levels.

Colors, themselves, arechanged based on the red,yellow, green, cyan, blue,and magenta hue circles.For example, by inputting–180 or +180, you canmove the hue circle 180degrees and change theselected color to its com-plementary color.

Specify the target forhue/saturation adjustment.“Master” allows you toadjust all colors. You canalso make fine adjustmentsto six ranges from red tomagenta.

Change the purity of thecolors. The further to theright you move the slider,the more vivid the colorsbecome. The further to theleft you move the slider,the more monotone theimage will appear.

Click the area of the image youwant to darken (shadow) the most.

EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK 85Appendix84

Achieve a more natural perspectivewith correction through TS-E lensesand Adobe Photoshop

On par with high resolution as anadvantage of large-format camera systemsis the ability to shoot shift-adjusted images.For images shot with a camera not equippedwith a shift mechanism, Adobe Photoshop’sTransform function can be used to achievea similar effect.

By using this function together with thefunctions of TS-E lenses, which have tiltand shift adjustments, you can get morenatural looking results than those obtainedwith only an optical correction.

Using Adobe Photoshop’s Transformfunction has the disadvantage of reducingresolution below that of the original image,but if you shoot 16.7-megapixel imageswith the EOS-1Ds Mark II, you will haveenough resolution even when you makeallowances for trimming and generousframing. This gives you a lot of freedom touse Adobe Photoshop’s Transform function.

P.42

Shoot at the right resolution for yourneeds

It is best to plan ahead and shoot imagesat the resolution that best suits your needs. If the resolution of your photo is too low forits intended purpose, you will have toenlarge the photo via software, resulting inreduced image quality. Fortunately, EOSdigital cameras are capable of shootingphotos at extremely high resolutions thatare resistant to quality degradation duringenlargement.

On the other hand, using a photo with ahigher resolution than necessary requires areduction in size that will limit the effectiveness of later sharpness adjustments,which may even lower the quality of yourprinting results.

When correcting distortion, it is best to use the Distort function.This function will give you eight points that you can freely moveto adjust the image, making it easy to match fine vertical and horizontal adjustments. Use the window ruler to display verticaland horizontal lines to use as guides. Making only verticaladjustments will result in a disproportional relationship betweenvertical and horizontal dimensions, so both types of adjustmentare necessary to avoid an unnatural appearance.

Adjust prepress data with unsharp mask

Images that appear clear on monitors andinkjet prints can appear blurred when commercially printed, giving the impressionof insufficient data. For this reason, imagesare almost always adjusted with an unsharpmask filter before commercial printing.

This filter sharpens edges and allows precise control over the strength and rangeof sharpness.

When optimally sharpened for commercialprinting, images tend to appear overly sharpon monitors and inkjet prints. Therefore, it isimportant that you conduct sharpness testsand develop an understanding of how bestto use this filter for commercial prints.

Only use unsharp mask after all otheradjustments

Because unsharp mask affects the outlinesof objects appearing in your photos, othercolor adjustments following its usage canresult in extreme deterioration of imagequality.

Therefore, please be advised thatunsharp mask should only be applied afterall other image adjustments have beenmade and the resolution of the image hasbeen finalized (and in some cases, after thecolor mode has been switched to CMYK).

No shift adjustment

The number of pixels recordedon the longest side of an EOS-1Ds Mark II image. Thevalue for the resolution requiredper millimeter.

The value for the resolutionrequired per millimeter. Convertingfrom 350 pixels/inch gives a figureof 14 pixels/mm, so values rightaround that figure will provideproper resolution.

Proper dimensions when properresolution has been used. If avalue larger than the upper limitof this range is used, it is neces-sary to look for possible imagedeterioration due to enlargement.

Calculating the optimal dimensions for large-format, no-trimming images shot with an EOS-1Ds Mark II (for 175-line screen printing)

If Resample Image is checked,you can change the resolutionby entering values directly.Entries are made in terms ofpixels and percents.

Here you specify the method for raising or lowering the file size. Toincrease file size use Bicubicsmoother – to reduce file size use Bicubic sharper. For the best results performadjustments in 10% increments.

You can make changes byentering the dimensions andresolution that will be used inthe end. If Resample Image isnot checked, the resolution willautomatically change when thedimensions are changed.

This printed image was optimally adjusted withunsharp mask. It appears perfectly clear in print,but over-sharpened on a computer monitor. Thisdifference should be considered when usingunsharp mask before printing.

This printed image was not adjusted with unsharpmask. The image appears clear and natural whendisplayed on a computer monitor at 100% magnification, but appears blurred in print.

This printed image was overly sharpened withunsharp mask. Such results tend to occur whenunsharp 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.

Moderate shift adjustment Maximum shift adjustment

The level of sharpness. Larger percentages increase the contrastbetween pixels.

The number of pixels surroundingeach edge pixel to which sharpnessis applied.

The amount of contrast between adjacent pixels required for pixelsto qualify as edge pixels forsharpness adjustment.

For example, at a value of “0”, all pixels in the image are sharpened.At a value of “7”, only pixels adjacentto pixels differing by at least 7 stepsin contrast qualify as edge pixels.Large numbers are recommendedwhen sharpening photos containing a relatively large amount of noise.


Color profileP.50 Data showing the color reproduction settingsof an imaging device. This enables the colormanagement system to function. [See ICCProfile.]

ColorSync P.53 A color management system that uses a colorprofile to make color reproduction processesof different devices work compatibly.Developed for the Mac OS by Apple Computer.

Color temperatureP.35 Light color specified on a linear Kelvin scale.Blue is the higher color temperature and redthe lower, as based on sunlight (5,200˚K).

ContrastP.33 One factor affecting photo clarity, it is the perceptible difference between bright anddark portions of a photo. When the distinctionbetween black and white is clear, contrast is“high”; when unclear, the contrast is considered “low.”

DDCP P.22 Direct Digital Color Proof. This systemenables proofing of colors without making aprepress film. This may also refer to theproofer system used in Bubble Jet printers.

DTP P.18 Desktop Publishing. Publication method usinga computer for design and prepress processing,in contrast to offset or hot-lead publishing.

DVD (recording media) P.26 A recording media the same physical size as aCD but of higher data capacity (up to 4.7GBper side). Data can be rewritten and erased ona DVD-RW but not on a DVD-R. Other writableDVD media include DVD+R/RW and DVD-RAM.Dual Layer DVD can hold over 8GB.

Data processing P.2 The process of adjusting and correctingrecorded picture data and producing it asprepress data.

Development P.30 Originally referred to the chemical process ofdeveloping images from a conventional filmcamera. For digital cameras, dedicated development software converts RAW data toJPEG or TIFF data.

Device P.24 Generic term for computer peripherals (display, printer, imaging device, etc.) withoccasional reference to the computer itself.

Digital delivery

Delivering the picture draft (picture data) toproduction or prepress processing.

Digital proofP.22 System for directly proofing the colorsobtained from prepress data without makingprepress film.

Dynamic range P.37 The range of brightness reproduced.

EXIF

Exchangeable Image File format. Recordsshot information like date/time/hour of shotand data settings of the digital camera in theJPEG or TIFF file.

Electronic still/video camera P.18 This camera recorded analog image data generated by an image sensor on a still/videofloppy disk and was the precursor of digitalcameras.

Electrophotographic color printer P.50 Color printer that uses a beam of light to illuminate a photo conductor to produce andprint an image on paper with toner.

External data storage device P.24 Generic term used for data storage devicesoutside a computer. It refers to disk mediasuch as external hard disks and CD-Rs, aswell as photographic media.

Firmware

Software that is built into digital cameras andother electronic devices and allows them tofunction.

File sharing P.26 Environment or process in which the samedata can be handled between different computers via a network like a LAN or theinternet.

Floating effects P.42 Aberration fluctuates depending on focusingdistance. With floating effects, this is correctedby changing the distance between certainparts of the lens, depending on the degree towhich the lens is extended.

GB (Gigabyte) P.26 A unit of data equaling 1,024MB. In preciseterms, 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 P.55 Gradient of a straight portion of a curve whenshowing the logarithmic relationship ofinput/output signals. Reference values for agradient curve showing image data on a display are 1.8 on Mac and 2.2 on Windows.

Gradation P.19 Change in photographic density and contrastlevels.

Hardware calibrationP.54 Calibration by adjusting an imaging deviceutilizing specialized hardware.

Histogram P.33 A graph used to confirm exposure and identifythe gradation range in highlights and shadowsof an image. Gradation levels appear on thehorizontal axis with the number of pixels pergradation on the vertical, typically generatingpeaks rather than bars.

ICC profile P.53 Color profile created in accordance with theformat established by the International ColorConsortium (http://www.color.org). The ICCProfile was established to standardize thedevice profile formats of different imagedevices within a specific color managementarchitecture. [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 transfersdata; and 4-pin, which only transfers data.

I

H

G

F

E

D

87Appendix

16-bit P.74 An image with a 16-bit gradation per RGBchannel (216 or 65,536 colors). It has not onlytwice the data capacity of an 8-bit image, butalso superior color gradation characteristicsthat allow for finer adjustment.

645 Film P.15 One type of medium-format film. Image sizeis 6 x 4.5cm.

ACE P.56 Adobe Color Engine. A core program in colormanagement systems that doesn’t rely on anOS and enables compatible color reproductionbetween different Adobe Systems software.

AWB (Auto White Balance) P.36 Auto White Balance. A function that automatically adjusts camera colortemperature. AWB uses the white value inthe picture as the criterion for adjustingthe color. [See White balance.]

Aberration P.43 Caused by various types of lens error factors.The difference between the image capturedand the ideal image.

Achromatic color

The non-color shades of white, gray, andblack.

Adobe Gamma P.56 The display calibration utility bundled withAdobe Systems software.

Adobe RGB P.38 Refers to the “Adobe RGB (1998)” color space. Adobe RGB generates a much widerrange of colors than the general purposesRGB and therefore is better suited for prepress processing.

Angle of view P.42 The angle at which images can pass throughthe lens without losing sharpness.

Aspherical lens element P.43 Suppresses color bleeding due to sphericalaberration. Highly advanced polishing technology places Canon’s aspherical lenselements at the top of their class.

Automatic Aperture Setting P.43 Method for changing the aperture on lensesfor single-lens reflex cameras. Automaticallyreduces the aperture to the designated settingwhen the shutter button is pressed and themirror is raised. Once the film is exposed, theaperture is returned to its open position.

Auto White Balance (AWB) P.36 [See AWB.]

Blocked shadows P.34 This is the portion of a picture where lowerbrightness values obscure all details andmake it appear entirely black. Adjusting thebrightness can sometimes bring out thedetails.

Block noise

Refers to block-shaped compression noisetypically found in JPEG data.

Blowout P.34 Brightness beyond the dynamic range of apicture. Appears white in the image. Becausethis highlight is out of range and thereforecontains no data, adjusting brightness will notrestore details.

Bracketing P.36 A picture-taking function that changes theexposure or white balance in preset increments.

Bus-powered hard disk drive P.26 Running a device connected to a computerwith either USB or IEEE1394 while power forthe device is supplied via connection cables.

CCD (sensor)

Charged Coupled Device. Originally referredonly to the charge-coupled device but hascome to mean the entire light-detecting component that captures images in some digital cameras.

CD-R P.26 Compact Disc-Recordable. One of manywritable storage media, this CD can be written once but cannot be erased or rewritten. With a maximum capacity of700MB, it is an inexpensive and widely useddata transfer and storage media. There is also

a CD-RW (rewritable CD) upon which datacan be erased and rewritten.

CF card P.28 Also called “CompactFlash Card.” Recordingmedia using a flash memory device. CF cardsare often used as digital single-lens reflexcamera media because they support fast datatransfer and can record large volumes of data.Two kinds of card, type I and type II [SeeMicrodrive], 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 processesfaster than a CCD, which is an analog sensor.

CMS P.56 [See Color Management System.]

CMYK P.22 Acronym for cyan, magenta, yellow, and blackinks used in commercial color printers. CMYKdata is picture data converted for print use (ina prepress department, for example). Thesecolors result from absorbing light rather thanemitting it, as happens in RGB data.

CPU P.25 Central Processing Unit. Performs basicmathematical functions and controls the central functions of a computer. Also referredto as a “processor.” The CPU is a majordeterminant 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 ofan image device (or between devices) for thepurpose of color management. Color measurement devices and systems areknown as “calibrators.”

Color Management System P.19, 50 A system that integrates color reproductionbetween several imaging devices, such ascameras, monitors, scanners, and printers.

Color matrix P.38 Color reproduction settings used when generating images. The EOS-1Ds Mark IIoffers Adobe RGB and four sRGB color spacesettings.

C

BA

86

Glossary


Higher standards have been recently developed at transfer rates of 800Mbps as wellas 400Mbps. The proprietary versions of thesestandards are also called “FireWire” and“i.LINK.”

IEEE802.11g P.26 Wireless standard specified by the Institute ofElectrical and Electronics Engineers in theUnited States. Uses the 2.4GHz band and,with a maximum transmission speed of54Mbps, is one of the most popular high-speed wireless transmission standards.

Imaging sensors P.44 In digital cameras, these are equivalent tofilm. Area sensors are composed of multiplelightsensitive elements that are laid out horizontally and convert received light intoelectrical signals that vary depending on thestrength of the light.[See CCD (sensor), CMOS (sensor).]

InstallP.56 The act of installing software on a computerto prepare for various operations.

JPEG (data) P.18, 39 Compressed image data using the methodcreated by the Joint Photographic ExpertsGroup, established by the ISO (InternationalOrganization for Standardization) and CCITT(Comite Consultatif InternationalTelegraphique et Telephonique), whichreviews how to compress static images. Animage can be compressed to decrease thedata amount. But once the image is compressed, the quality before compressioncannot be restored (“compression loss”). Thecompression ratio can be adjusted dependingon the objective. A lower compression ratiocan compress image data while maintaininghigher image quality.

LAN P.25 Local Area Network. A network connectingcomputers and servers with cables and wireswithin a limited area — a building, office,room, etc. [See Wireless LAN.]

LCD P.25 Liquid Crystal Display. A display often usedfor notebooks because it is thin and consumes much less power than a CRT.

Layer P.25 Refers to the act of stacking a photo withmany image layers or to the photo layersthemselves.

Low-pass filter P.44 Filters located on the front of an imageprocessor that filter out high frequency signals from a CCD to reduce false colors andcolor moiré.

Mac OS X P.26 The operating system for Macintosh computers,which is designed based on UNIX. This OS issignificantly different from Mac OS 9 and earliersystems.

Memory P.24 Main memory of a computer. [Same as RAM.]

Microdrive P.28 Super-compact hard disk the same size as aCF card (Type II). As of 2006, the current version has a maximum capacity of 8GB.

Mount P.28 To make an external data storage deviceaccessible to the OS of a computer.

Network P.26 A structure like a LAN or the internet throughwhich multiple computers communicate, sendand receive data.

Perspective P.42 Spatial relationship between foregroundobjects and background objects.

Pixel P.46 The smallest picture element in a printed ordisplayed digital image. Image size is usuallyreferred to in terms of number of pixels.

Pixel scale equivalency P.46 When an image is displayed on a screen at100% magnification.

Plate-making data

Data converted by the plate-making unit of aprinting company to CMYK for printing purposes.

Platform P.52 The environment consisting of a combinationof the OS and hardware needed to run software.

Prepress P.74Generic term for DTP and prepress printingprocesses.

Preview P.59 Displays photos to confirm their content.

Processing speed P.25 The data processing speed of a computer isdetermined by a combination of several components such as the CPU and RAM.Processing speed is often measured as “clockspeed,” expressed in Hertz (Hz). The higher thenumber is, the faster the processing speed will be.

Proofer P.22 A color proof output device.

RAID P.26 Redundant Arrays of Inexpensive Disks.Technology for managing multiple hard disksas a single hard disk. Improves safety andspeed through distributed data storage.

RAM P.24 Random Access Memory. It is the primary yetvolatile memory of a computer that temporarilystores data from software and the file beingused. Generally, the larger the RAM is, thefaster will be the processing of simultaneoustasks.

RAW (data) P.18, 39 Output data from an imaging device that hasnot been processed in a digital camera. Touse RAW images, the data must beprocessed after capture with dedicated software so that it can be adjusted withoutcorrupting an image.

RGB (data) P.22 Acronym for color image data consisting ofthe colors red, green, and blue generated byemitted light (monitors or LCDs) rather thanabsorbed light, as with printed ink in CMYK.

R

P

N

M

L

J

The image data of digital cameras and computers is usually RGB.

Reciprocity failure P.12 Even at different combinations of shutterspeed and aperture setting, properly exposedimages can be obtained with a certain level ofexposure. Reciprocity failure is a phenomenonin which film is under exposed because shutterspeed or aperture size exceed certain limits,and their reciprocal relationship is lost.

Revolving mechanism P.40 Allows changing from horizontal to verticalformat by turning a lens about its axis, without changing the axis.

Release time lag

The amount of time that has elapsed from themoment the shutter button is pressed to themoment actual exposure begins.

Resolution P.24 Image density when printing and displayingimage data in dpi (dots per inch) or ppi (pixelsper inch).

SaturationP.38 One of three color attributes. The amount ofcolor.

SD memory card P.28 One type of storage medium using flashmemory. Smaller than the CF card, the SD cardis also made to the miniSD and other standards.MultimediaCards (MMCs) have the same heightand width, but have a different thickness.

Shadow P.33 An area of extremely low brightness in aphoto, contrasting with “highlight.”

Shift P.42 Method for correcting image distortion bymoving the axis of the lens horizontally without changing its perpendicular relationshipto the image plane. Effective for correcting thedistortion that arises with wide-angle lenses.

Software calibration

The act of calibrating devices with a computer’scalibration software. Color calibration of amonitor adjusts the video card settings in thecomputer.

sRGB P.38 A color space that can be reproduced on acomputer and is the standard gamut forWindows. The standard color profile is sRGBIEC61966-2.1.

Standard exposure

Exposure value calculated by a built-in exposure meter.

TIFF P.74 Tagged Image File Format. A general use,image recording format of larger data sizethan a compressed JPEG file.

Thumbnails P.67 Reduced images used on digital cameras andpersonal computers to show what imageshave been taken.

Tilt P.42 A photographic method in which a lens withits axis perpendicular to the image plane isintentionally tilted.

Tone curve P.30 Displays picture gradations on input/outputgraphs. Brightness and contrast can beadjusted by manipulating the curve within agraph.

Tone jump

A condition when gradation lacks smoothnessand 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 atransfer rate up to 480Mbps, which is fasterthan previous standards.

Unsharp mask P.85 An image processing function in Photoshop.Blurring of the original picture causes anunsharp reverse image. Alignment “masks”the original image onto the reverse image toincrease edge contrast and sharpness.

Visible spectrum P.38 The range of colors that the human eye canrecognize.

White balance P.12 A function for correcting RGB values regardless of light source so that whiteobjects in view faithfully appear white. [See AWB.]

Wide gamut P.38 Color profile newly established by DigitalPhoto Professional. Covers a wider rangethan sRGB and AdobeRGB.

Wireless LANP.26 A LAN connected by using radio waves of acertain frequency. [See IEEE802.11g.]

Work space

Originally referred to the actual workplace ofa photographer, but here refers to the workingenvironment — including the computer’sinstallation environment and color managementsettings.

W

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89Appendix88

Glossary


• Camera: EOS-1Ds Mark II• Lens: EF 100-400mm f/4.5-5.6 L IS @135mm • Shutter Speed: 1/500 • Aperture Value: f/10 • ISO Speed: 100 • White Balance: Auto

©Copyright David SparerCanon U.S.A., Inc.

• Camera: EOS-1Ds Mark II • Lens: EF 50mm f/2.5 Compact Macro • Shooting Mode: Manual • Shutter Speed: 1/60 • Aperture Value: f/11 • ISO Speed: 100 • Digital Photo Professional/Adobe

RGB/ 16-bit TIFF conversion fromRAW

• White Balance: Color Temperature(4,000˚K)

• Color Matrix 1

• Camera: EOS-1Ds Mark II • Lens: EF 24-70mm f/2.8L USM• Shutter Speed: 1/60• Aperture Value: f/6.3 with flash• ISO Speed: 100• Digital Photo Professional/ Adobe


• White Balance: Sunlight • Color Matrix 1

• Camera: EOS-1Ds• Lens: TS-E 90mm f/2.8 • Shooting Mode: Manual • Shutter Speed: 1/250 • Aperture Value: f/25 with flash • ISO Speed: 100 • Digital Photo Professional/Adobe

RGB/16-bit TIFF conversion fromRAW


• Color Matrix 4

P.4-5

P.6

P.8 P.9

Shooting notes

91Appendix

• Camera: EOS-1Ds • Lens: TS-E 90mm f/2.8 • Shooting Mode: Manual • Shutter Speed: 1/250 • Aperture Value: f/11 with flash • ISO Speed: 100 • Digital Photo Professional/ Adobe



• Color Matrix 4

• Camera: EOS-1Ds Mark II • Lens: EF 135mm f/2.0 L • Shutter Speed: 1/125 • Aperture Value: f/10 • ISO Speed: 100 • White Balance: Custom

©Copyright David SparerCanon U.S.A., Inc.

• Camera: EOS-1Ds Mark II • Lens: TS-E 90mm f/2.8 • Shooting Mode: Manual • Shutter Speed: 8• Aperture Value: f/8 • ISO Speed: 100 • Digital Photo Professional/Adobe

RGB/16-bit TIFF conversion from RAW• White Balance: Auto • Color Matrix 4

• Camera: EOS-1v • Film: 35mm • Lens: TS-E 90mm f/2.8 • Shooting Mode: Manual • Shutter Speed: 10 • Aperture Value: f/8

• Camera: EOS-1Ds Mark II • Lens: TS-E 45mm f/2.8 • Shooting Mode: Manual • Shutter Speed: 1/60 • Aperture Value: f/16 • ISO Speed: 100 • Digital Photo Professional/Adobe


• White Balance: Auto • Color Matrix 4

• Film: 645 • Lens: FUJINON HC 50–110mm • Shooting Mode: Manual • Shutter Speed: 1/60 • Aperture Value: f/16 • ISO Speed: 100

FUJI RDP III • Camera: EOS-1Ds Mark II • Lens: TS-E 90mm f/2.8 • Aperture Value: f/2.8

©Copyright Vered Koshlano

• Camera: EOS-1Ds Mark II • Lens: TS-E90mm f/2.8 • Shooting Mode: Manual • Shutter Speed: 1/60 • Aperture Value: f/3.2 • ISO Speed: 100 • Digital Photo Professional/Adobe


• White Balance: Auto • Color Matrix 4

P.9 P.9

P.10

P.12-13

P.14-15

P.16

• Apple, the Apple logo, ColorSync, Macintosh, Mac, and Mac OS are registered trademarks of AppleComputer, Inc. in the United States.

• Windows is a registered trademark of the Microsoft Corporation in the United States and other countries.

• Adobe, Adobe Acrobat, Adobe Photoshop, Adobe Illustrator, and Adobe InDesign are trademarks ofAdobe Systems Incorporated.

• i1 is a trademark of Gretag-Macbeth Holding AG. • WAM!NET is a registered trademark of SAVVIS Communications Corp. in the United States and other

countries. • Canon, the Canon logo, and EOS DIGITAL are registered trademarks of Canon Inc. • 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 expresswritten consent of Canon Inc. and Canon U.S.A., Inc.

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