While judging a photo contest this past weekend and seeing a number of images that were over saturated and sometimes with a weird color shift, the judges (Pat Cory, Harold Stinnett and I) all mused as to the reason. At first we were thinking that some people might just like their images to look “different”. Then it dawned on me that it might not be their fault at all.. Well, not consciously. Color management, I think, was the problem. When I mention the colors and the thoughts on color management, the onlookers in the gallery gave up a collective sigh. Several responded out loud that they kinda remembered something about that, but didn’t have any consistent workflow. This blog is for all those who don’t have a consistent workflow.
Items to be addressed in a good color management workflow:
- Camera and color space
- Monitor and profiling
- Image Editing software
- Exporting for specific use
- Printer/ paper profiles
Because topic can be fairly extensive, I will cover the first 2 items here and then each of other items in separate blogs.
Camera and color space:
For quite a while now, we have been able to set a specific color space on our camera. When we first started out with digital cameras, they were all confined to the sRGB color space. Now you have a choice of sRGB or Adobe RGB color spaces.
This diagram represents the visible colors in the spectrum with an outline of the colors included in the sRGB and the Adobe 1998 RGB color spaces. Think of color spaces as a box of crayons. The sRGB is the 16-color set that we all had to have in kindergarten. The Adobe 1998 RGB is the 64-color set that one or two people in the class had and we all went to their box of crayons to find the specific color we wanted. Think of it this way, the 16 color set had one green; the 64 color set had 4 greens.. More choices.
Bottom line is that if you pick sRGB, you will be capturing fewer colors in your images. So, unless you like limiting your options at the beginning, choose Adobe RGB on your camera setup. We will discuss later when to use sRGB, but those are all output concerns, not capture concerns. There is occasionally a specific need to capture in sRGB, but the general rule is to capture in Adobe RGB. Now, go get your camera out, find where to set the color space, set it to Adobe RGB and forget about it.
You don’t need learn to do monitor calibration if you don’t care what your images look like when displayed or printed. BUT, if you do care, monitor calibration is very easy to do. Not all monitors are created equal and some of the very best have built in calibration. Some of the EIZO ColorEdge monitors (CG275W and CG245W) have built in calibration sensors and some of the best color rendition monitors you can buy. But they will set you back a pretty penny. If you don’t want to spend $2000-3000 on a single monitor, consider getting a display calibration system.
There are several on the market and all do a great job. Both the Datacolor Spyder and the X-Rite i1 Display Pro do a great job. I use The Datacolor Spyder and have just gotten the Spyder4 Elite. I will be posting a how to with screen captures and a video on Vimeo later this week on the new Datacolor Spyder4 Elite. Stay tuned.