Alani Pien
The (theoretically) White Paper
Table of Contents
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Color Space Basics
Page 4
Light and Color
Page 6
Image Input
Page 8
Software & Processing
Page 10
Image Output
Page 12
User Experience
Page 14
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Color Space Basics Color Management Objective: To assign a value to raw data and maintain the assigned numbers through out the entirety of an imaging system, from capture to final image output.
1931 Human Observer The 1931 Human Observer Studies set the “standard observer�, an average of 30 young men who mixed red, green and blue light to match the color they were given.
Device Independent Color Spaces: Device independent color spaces are systematic descriptive tools for addressing a particular color not limited to the gamut of a particular device. XYZ Color Space: The XYZ color space is mathematically linear and perceptually non-linear. Humans describe color perceptually, meaning that a linear color space is not an ideal space for describing or comparing specified colors. XYZ color space is ideal for comparing gamuts, the range of colors of an output (display) device. The Device independent color (XYZ) creates a standard color space by which to compare the gamuts of different output devices. If there is no standard any set of co-ordinates could be any color.
Image 2) A diagram of the XYZ color space with the colors and wavelengths labeled. It should be noted that the farther out the color goes from the white light center the darker the color becomes.
Image 1) A three dimensional drawing of the CIE Lab color space. Note that L* is only concerned with luminance and does not have Chroma or hue.
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CIE Lab: CIE Lab is not a device dependent color space. CIE Lab is a mathematically nonlinear and perceptually linear; the way humans like to think. The fact that this color space is perceptually linear makes it an ideal color space in which to compare colors. L* is lumens (a brightness scale), the vertical axis of the color space and does not affect the Chroma. a* has a negative/positive horizontal axis; +a* represents red and -a* represents green. A second horizontal axis b*, +b* is yellow and -b* is blue.
Color Theories
RGB & CMYK RGB color theory starts out as black and as colors are added, illuminance increases. RGB is an additive theory Red(R), green(G) and blue(B) make up all colors (Additive) where light is used to make RGB Theory an image, i.e. a monitor.
CMYK (subtractive) Theory
CMYK color theory starts with ‘white’ paper and add cyan(C), magenta(M), yellow(Y) and black(K). Black(k) ink is used because with impure inks CMYK do not make black. This theory is used in print
Device Dependent Color Spaces: Device dependent color spaces are limited by the number of colors that are producible by an output device capabilities or software limits. Device-dependent color spaces (Gamut): A gamut is a color range of an output device, a dependent color space limited by the number of colors that are producible by output device capabilities and/ or software settings that limit the color range. An output device is any device used to display an image, such as a monitor, projector or a variety of printers and paper among other things. There are gamuts that are defined by an output device, such as a printer’s CMYK gamuts, which vary by printers. Ink jet printers having larger gamuts then commercial printers. It should be noted that CMYK gamuts are noticeably smaller then RGB theory output devices. An example of a software limited gamut would be sRGB, a standard color space that limits the number of colors a RGB output device (a monitor) can display, ensuring standard gamut that all devices can produce, reducing the need for clipping or mapping gamuts. Image 3)The diagram below shows 4 device dependent color spaces and the visible light spectrum (rounded point triangle). ProPhoto RGB is the largest color space RGB color space. sRGB is the standardly used color space for commercial uses. CMYK is used in all print media
Image 4) The above diagram shows the gaumts of different mediums, note the size and medium of each gamut.
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Light and Color
Color Temperature Color temperature is a categorical system that references the color of a light source. The unit of measurement used is Kelvin. The ideal standard light source is D50 which stands for Daylight 5000 kelvin.
Neutral Point: The neutral (white) point is typically 18% Gray, and is the neutral reference point that is used by both computers and humans to compare the other colors in the color space.
Color Comparisons: Differences in color are measured using the Delta E measurements scale. The human eye can see a Delta E of 1, however higher Delta E values can be acceptable.
There are multiple ways to compare colors, often the most influential factor effecting color is light, or the visual color spectrum, which includes wavelengths from around 400 nanometers to seven hundred nanometers. Each nanometer is the measurement of a curve in the wave; this measurement is taken from the top or peaks of the wave. The measurement of a wavelength is very important and is key in identifying the type of wave in the electromagnetic spectrum, which includes ultraviolet, inferred, the visual spectrum and others.
Image 1) A wavelength is measured in the distance between one peak and the one next to it, the unit is Nanometers.
A neutral balance point helps to standardize color both in the human brain and on a computer, where you can use software to better control the look of an image. Neutral point adaption (white point) is done automatically in the human brain and eyes find the brightest thing in the environment and use that as a neutral, effectively color balancing your vision. The visual spectrum is between four hundred and seven hundred nanometers. This is the light that humans can see, starting from around 400 nanometers (a violet color) and continuing on with blue and green light, and ends with red light at 700 nanometers. Humans are most sensitive to green light, while film is inherently sensitive to blue light and camera chip sensors are very sensitive to red. Light is the key factor of an imaging system and because of that, the imaging system processes depends highly on the lighting of the environment during both capture and display. The color of the light is represented by a measurement system called Color Temperature that uses Kelvin degrees as a unit. Warmer colored lights are lower K while cooler, bluer colors are higher on the scale. & Standard temperature is D 50, Daylight 5000 Kelvin.
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Image 3) The above chart shows the color and its corresponding temperature. Notice that warmer colors are lower temperatures and the cooler the color the higher the color temperature.
Color Metering Devices A color meter measures the color of the light the visible spectrum of light. A basic color meter separates the light into three different wave length: red, green and blue, this is done using red, green and blue filters.
Image 1) Example of how a spectrophotometer works via filters to gather data on reflected light.
A spectrophotometer is a color meter, only it separates the light into smaller bands for measurement of the color of the light. Most spectrophotometers have 31 different filters, resulting in 10 nanometer bands of light.
Delta E: Delta E is a measurement scale that quantifies the difference in Delta E values. Delta E values are most commonly used to measure the color accuracy of images ageist sample images or data.
The ideal Color meters and spectrophotometers use reflected light assign to assign a value or measurement to a color sample and uses software to compare the measurements between the two. This value is important as it’s the initial data, meaning that the resulting values are the target values for reproducing the original image. The color samples can be collected from the color sample source or your choice, i.e. a Macbeth Color Checker, or direct samples from the original image or painting are taken if allowed. The quantifying unit of measurement for a spectrophotometer or color meter is Delta E. The Delta E measurement of reflectance differences between 2 color samples. Color meters and spectrophotometers are equipt with their own origin of illuminance, keeping the light source consistent. This eliminates light variance for each reading with the enforcement of a neutral balance reading. These features decrease the influencing factors of color temperature and neutral balance with equipment consistency. Spectrophotometers differ from color meters only in the number of filters the device possesses.
A color Checker is a card that references skin tones, hard to reproduce colors in film, a range of neutral tones and RGB and CMYK (K) patches.
The Eye One Pro is a spectrophotometer by The X-Rite Company.
A color meters only have three filter through which they divided and measure the reflectance of a sample of additive theory primary colors (red, green and blue). Spectrophotometer which can contain up to 31 different filters. 31 filters is the most accurate, as it selects one ten nanometer band of light waves at a time allowing for more accurate results. Spectrophotometer gather spectral data that is important to the results. Spectrophotometers are generally used to read fewer samples because it is a hand held device. Test charts often have large numbers of tiny sample colors, the CMYK test reference chart often has around 1000 samples partly because printers (consumer desktop printer) preform better when asked to Image 3) CMYK Printer profile test chart give a higher range of tones. To read these big test charts the X-Rite iOne Isis, which looks like a small desktop scanner is used, allowing it to read rows of samples without the possible human error. Some printers have a spectrometer built in to them for constant monitoring of the colors being produced.
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Image Input Gamma: Gamma affects the mid-tones of an image, the overall effect makes the image look underexposed. Typically a gamma correction in Photoshop is 2.2 and is for viewing in D50.
Color Sensitivity Different input devices have different sensitivities. Human eyes are very sensitive to the color green. Film is inherently sensitive to blue light and digital camera chips are very sensitive to red light.
Interpolation : The transferring of an image from one pixel gird to another (Pixel-by-Pixel) using an algorithm. The algorithm is a key factor in the resulting look of the image.
An imaging system starts with a subject, source and reflectance, whose values are converted from light into raw data that is later converted into an image. A very common input device is a camera. Cameras use chips that have 3 channels, red, green and blue produced by placing filters of the same colors (RGB) on the chip, gaining color by the sacrifice of spatial resolution.
Image 1) An example of the Bayer Filter Pattern on a camera chip. Notice that there are 50% green filter, compared to 25% of both red and blue filter that are covering the chip. The extra green filters were meant to help preserve spatial resolution due to human sensitive to green.
Manufactures decide the RGB filter pattern placed on the chip, with that being said there is no standard filter pattern and these patterns are often patented to a particular manufacturer. Both manufacturers and other software companies develop CFA interpolations to decode and interpolation the data and partly choosing the colors in your image based on software that is guessing on or knows the red, green and blue filter pattern of a particular chip. Some sensors have full sized filters layered over the photo-sensors similar to the Foveon X3 sensor or film. This is a more expensive method as it takes up more materials and the light has to travel a little farther. Different filter patterns may be important for art reproduction, but chip size may be something to seriously consider when art has no limit in size and paintings can Image 2) An unusual color filter array. The entire image is filtered through red, green and blue filters to get to the photosite, allowing for 3 separate exposures that will later be put together. grow beyond 50 feet. The Phase One camera has a medium sized chip allowing for a larger pixel or resolution in the image. A second input device that is well known in the art reproduction industry is a scan-back. These devices a process similar to cameras and scanners, measuring each pixel. Digital scan-backs can be very color accurate because they measure each pixel with red, green and blue. The Better Light Scan-back is a very color accurate tool because there is a setting called: non 14 bit. This means that there is no raw image data because the device files are in .TIFF format. A .TIFF file format can be viewed without the raw data being processed, allowing an image to be viewed without the influence of a particular software interpolation.
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File Formats TIFF. File Format The Tiff. file format standards for “Tagged Image File Format” and is used frequently in the printing and imaging industries. The image files are tagged with processing information.
File Formats File formats are containers, each container holding something with labels instructing on how the file is supposed to be processed and/or displayed. There are many different types of file formats and they are ideal
Jpeg File Format Jpeg stands for “Joint Photographic Expert Group” and is usually found frequently Online and in image storage applications. The file size is smaller, however lossy compression is possible.
Consistency: A key control in color management. Viewing images under the same light and on the same monitors or under the light and or monitors under a certain light.
Many cameras, mostly DLSR, have a chip that is too small to capture a large painting, meaning that multiple shots of different parts of the painting would have to be taken and then stitched together, a process that poses both time, focus and lighting challenges. A larger chip size is helpful with size issues but is not a cure-all. Image 3) The Phase One camera has a medium sized chip, which is bigger
then a DLSR, this means that you can capture more of the scene and get a DSLR cameras have shorter exposure times then scan-backs, however ‘better’ resolution depending on the situation (lighting, location, etc.). DSLR cameras sacrifice some spatial resolution for color (spectral) resolution because it the camera uses a particular CFA. Consistency in lighting, and display is important in color management, 50D often being a standard of display lighting that is short-hand for Day light. This is one of the simplest and most finicky parts of color management. Because we and cameras use a reflection to see, our eyes adjust to the white point, changing the color of everything if the light is not white.
Environmental input factors are important to note for color management because light is a huge factor in the resulting colors of your images. Setting a consistent white point for Image 4) A Better Light Scan-back being displayed your images is very important, so that all the images taken in that set all have consistent with a bellows camera body a small color checker. colors. In the image to the right, the green, yellow and red circles are placed on the color balance patches (white to 18% gray patches) on the color checker, saving all the images taken during that set with the same gray point balance. As you can see in the image to the right that the gray data on the pink graph represents the image data. You can see that the data is not clipped and that there is more room for data to move to the right, allowing for more data to be captured at a different exposure that can be made later on. There is a lot that can be controlled and more easily manipulatable around the time of capture, there are a lot of color management controls that happen after capture.
Image 5) A view of the Better Light scan-back interface. Notice the gray data on the pink graph representing the latitude available to the data and the stop-range of the data. Notice the reg, green and yellow circles, samples for white-balance at capture.
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Software & Processing ICC Profile: An ICC profile is a mathematical formula that converts uncorrected data to the corrected data . Both calibration and characterization are important factors in creating an ICC profile, as well as information on the environment and software settings.
RGB Color Space The RGB color space is used in digital image processing . This color space becomes dependent on the gamut of the displaying monitor. However CFA Interpolation is also a key factor in the resulting image.
CFA Interpolation : CFA (Color Filter Aray) interpolation is a the interpretation of a particular software. There is no “most accurate” CFA interpolation, as a result consistency in CFA interpolation software is an important key element in color management.
To view raw data, it needs to be processed. The processing of raw data includes CFA interpolation (demosaicking), gamma correction, gray balance and exposure adjustments. To do this a color engine or CMM (color management modual) is needed, a common example of a program with a CMM is PhotoShop. A color management modual maps one gamut to another. An example might be moving an image from one monitor to another. Not all monitors have the same gamut, however they can all display the same image. A CMM Image 1) The above image shows the magnified sampling of a Bayer Filter pattern and the way that software works with our eyes to create smooth color and edges on a monitor. maps the gamut to the new device’s gamut and optimizes the colors of the image to display on the new device. There are 4 render intent choices in Photoshop’s CMM, all of which produce different effects and map the image data gamut to the display gamut differently. Perceptual render intent compresses (if needed) the entire gamut of the one device onto the new device, shifting the color. Saturation is used in situations where colors need to be very bright and vivid. Relitve colorimetric maps the gamut of the old device to the new one by cliping all out of gamut colors to the Image 2) The above are labeled visual representations of several different rendering intents. gamut boundary. Only colors clipped to the boundry are effected by the change in color space co-ordinates. For example, if you coppied an article on news print the scanner/printer would print the color of the news print and not the white of the paper it’s being printed on. The last rendering intent is absolute colorimetric. It maps the gamuts the same, however the white point changes. For example, if you coppied an article originally printed on news and choose absolute colorimetric for rendering intend, then the news print would not have a color and the color would shift from the white point of the news print to the white the copy paper.
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Chromatic Aberrations Chromatic Aberrations : Chromatic aberrations can happen at capture if the lens bends the light off the preferred angle (as shown in the image to the right). The involvement of light means that the color theory used in this process is RGB. A second reason for chromatic aberrations is a mis-interpretation of the filter pattern on the chip by the CFA interpolation software being used.
Light Source
Image 3) Chromatic aberration can occur when the lens dose not uniformly bend the light at image capture. Notice the space between the red, green and blue after it passes through the lens - this is the physical cause of chromatic aberration.
CMM (Color Management Modual : The color management modual (CMM) is the program used to render and demosaicks (CFA interpolation) the information into an image. Chromatic Aberration can occur here as well due to programing mis-matches on the given data.
ICC stands for International Color Consortium. ICC profiles are not necessary for good color workflow, but they allow the user to be more accurate and consistent in their treatment of color. This is important as the subjectivity of the displays, the lights and our own eyes, accuracy and consistency in color management are key to success because the colors in our images is a huge part of the image. A profile making program called Color Pony makes custom profiles based on the lighting, input device and the painting. You Image 4) ColorPony, a profile making software for painting that takes a camera profile, lighting and the paint medium to create a personal profile for the images created by your camera, equipment and that painting. capture an image of the painting you’re trying to reproduce, and a white refferance card, both images must be taken at the same exposure times. Using a profile of the camera, equipment and the paints used in the artwork as well as the 2 images you captured. The white refferance points is important and many people use a clean stretched canvas or foam core that is big enough to cover the image. The end results are satisfactory and accurate, tailored to that equipment set up, light and painting. Profile Maker 5.0 is a program that profiles devices by measuring a color refferance chart and matching each value point to the one that the user captured. The program makes profiles for both input and output (display) devices that keep some color consistency in the work flow by knowing how a monitor or a camera’s data will be displayed at both final display and during editing. A profile can be applied to any image data that is from or going to your output device. The resulting color is somewhat accurate but was often a few delta E off from being satisfactory. Image 5) Profile maker 5.0’s camera targeting the color checker to measure and get a more color accurate outcome.
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Image Output
Gray Component Replacement Black and white photography is a classic look, however this is tricky when trying to print a black and white on a color printer. Gray component replacement replaces CMYK inks with gray tones, however these prints often have a color tinge.
Raster Image Processor (RIP): Raster image processor (RIP) converts files for printing to the printer. There are different types of RIPs that can be used with a given printer. Printers can have several RIPs.
Calibration : To calibrate a device is to bring it back to a known state. This is the first step to accurately profiling a device for displaying a color accurate image.
ICC Profiles are an important tool to the effort of color management, and is very helpful when working with more then one machine. There is more then one machine in an imaging system. Many parts of an imaging system are separate from one another and so have slightly different gamuts that must be accounted for, especially when color accuracy is important to the work. In these cases there are a few things that can be done to preserve the color integrity of the image while improving and optimizing the final display. Image 1) An Eye-One, X-rite monitor profiling software interface.
Due to specific of a particular monitor, a profile may not always display the correct or intended colors. In good color management workflow, the known state of all your devices is key and allows for adjustment within the system for future . Knowing the system is important every part of the imaging system is adjustable Knowing your devices and the intended display environment and medium is important as well. Despite having a profile for your image, you may still encounter color issues. One of the easiest solutions is to look at the monitor and set each adjustment by hand. With the settings, red, green, blue and brightness can be set as desired/needed. An important adjustment is Gamma Correction. The monitor Interoperate the data in a linear fashion and the human eye as you can see from curve in the above diagram. The problem caused by the linear interpretation of the data creates a dark image on the monitor that looks under-exposed. To combat this problem a curve is applied to the data, this brightens the image the correct amount for our eyes to preceptive the brightness as correct.
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Image 2) The above image shows gamma correction curve on a monitor. The monitor uses a linear equation to display images. The human eye sight is perceptually non-linear in its perception and so the image displayed on the monitor will look dark until gamma correction is applied.
Vector Graphics Vs. Raster Graphics Vector Vector imaging works by have vectors pass through control points. This creates a smooth stroke and allows the image size to be adjusted without artifacts. The image to the right shows how vector graphics works.
Raster A raster image is formed from pixels or dots and is on a dot matrix. Photos are raster images. Vector images must be rasterized (converted to a raster graphic)in order to be printed. The image to the left shows raster graphics.
Characterization: Characterization is when the device has been brought to a known state or profile. This happens after calibration of the device is more accurate.
Because of the shift in color space from RGB to CMYK (cyan, magenta, yellow and black) the color theory changes. RGB uses red, green and blue light to create colors and CMYK uses inks or dyes to subtract light and create the color, the white point being (in theory) the white paper. To control this better users can profile the printer, and have options on what printer language the file is translated into a raster graphic and then dots of ink on a page. There are two printer languages that were used in the course, Printer Computer Language (PCL), PostScript (PS)Printer Computer Language is a simple language installed by HP (both printers where HP brand), its also seconds slower then PS. PostScript is a language by Xerox, its more complex then PCL and a little fast too. Adobe’s PDF format is a vector format that is very close to PS, but not as complex. When you don’t want the color managed at all, there is the option of Image 1) Profile maker 5.0 interface. The refferance data are test charts and the measurement data was data measured by the user. This particular window is making a profile for a printer. ‘no color management’. In recent years this option has been removed from photoshop, however there is a program called :Adobe Printer Utility. When using a printer company where you don’t have any interaction with the actual printer then you need to talk to the printer technicians so that they can help to set the printer up to get the correct color. Gray component replacement (GCR) separates the colors in the program ProfileMaker called separation. The colors (RGB) are translated into gray tones and is an application common in black and white digital photography. Different separations and settings for ink levels result in different outcomes. To get results that are completely neutral is really hard to do because the printer is a color printer and its possible to get a color cast.
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The User Experience
As a student in the course we walked through an imaging system, focusing on the management of color. I really enjoy learning about light and color, being able to see is a huge part of my life, light makes that possible. I think that it’s really important to think about how important light is to our lives and the significance weight that color has on many different cultures and communities. Things that we see in the physical world have an impression on us and hold meaning, creating a code in a visual sense to cone in the physical world have an impression on us and hold meaning, creating a code in a visual sense to convey a thought or idea that we use in our image making through out history. We have given color a huge meaning in our cultures and societies, down to self-identifying factors. Color is too important to the thoughts and ideas of the time it was painted in. They deserve our respect for representing our cultural roots. Art is one of a kind, its all important and one piece is not worth more then another, its just what people will pay for it if it were for sale. All art should be respected and handled with care and that means keeping the color integrity of the painting. We started out with simple camera profiles and eventually moved on to printer and monitor displays. File formats and storage was something I kind of knew about, but not something I applied as I should. The file format of .TIFF being the file format of the better light really brought to my attention how subjective the extrapolation of color is in both digital and in print. Knowing more about file formats, I feel will be invaluable in both the workplace and for personal work. It’s a skill that shows how careful and precise you are with the work you do. Knowing what file format something should be saved in is really important because that determines what you see when you open the file. Making profiles is a very simple in concept, but there is a lot of variation in results depending on the samples used to make the profile and the specific environment the sample image is taken in. Color separations are often found on commercial analogue presses, each separation paints one of the 4 CMYK inks onto a sub straight on top of the last separation, creating an image with more then CMYK. Gray component replacement separation is something that I’ve never seen before, but is extremely relevant in the digital photo industry. CMYK inks are not pure, meaning that different amounts of different colors are needed to reflect the same amount of light. GCR gives a user a little more control over how those inks are used, and giving the user the ability to farther personalize the look of the image being produced. Because there are only 4 inks being used (CMYK), a color cast is almost inevitable and difficult to fix. While this seems limiting and like more work then it’s worth, but if you like the effect of a certain profile it can be applied to all you photos, helping to keep the image color consistent. Calibration is a important part of the color management workflow because a known state is important when dealing with an imaging system. This makes color management applicable without needing all the tools of the trade.
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We used all the tools in our workflow to process and produce reproductions of two painting and one black and white photograph. We were creative about our white cards because we had one painting that was bigger then the white cards we had so we used the projector screen as a white card. We also had a lighting issue, the HID light that we had brought wouldn’t fit in the space where the painting we were most restricted with hung; we wound up using the lighting in the space. All issues that we overcame. We weren’t able to smooth over all our workflow mistakes and some of our mistakes we only noticed later on in the workflow process. We also know how to correct the mistakes next time we need to apply the workflow. Our first mistake was to use the most complex and difficult camera (the Better Light scanback) first, we should have used the simplest camera first, giving us more successful shots in a more efficient way. Because of this we failed to get images from every camera, on top of this we had a lot of trouble with focus, especially with the painting. We were so busy looking at the focus on one small part o the image that we forgot to look at what we captured. All of the images had some flair, but were fixable. The painting that had the best pictures taken only need a little re-touching due to a small amount of flair near the top of the painting. This painting had the most consistent look between all three prints. The print options were, CMYK profiled, RGB profiled, and Adobe color managed. They were printed on canvas and were all somewhat dark and the green in the painting appeared to be very bright in every print. Due to a mix-up the printer did alter the image, because we untagged the files after we converted the printer read Unfortunately, I was unable to compare any of the prints to the original painting. The photograph had a large flair on the right side in the sky. It’s a black and white photograph with the sky being dark in the photo. We had to successful prints from the lambda printer. Both prints are beautiful, however they both have a slight color cast. One also had an off white border, the original matte that’s backing the photograph, making it harder to compare because the off-white matte is re-setting our eyes to think that’s white. The prints were re-touched by two separate people, one who put sharpening on the photo and had a more intense image, however the original photography is made of a sliver gelatin print and so is not as sharp an image as we’re used to seeing. The printer added sharpening to the image unfortunately so the person who applied sharpening beforehand had hallow artifacts around the clouds in the image. I did not get to compare these prints with the original photograph. Without comparing the print to the original artwork, I’m not sure if we were entirely successful, we do have the measurements of the photograph to measure the lambda prints. However we were not able to get measurements of the painting. Just because the delta reading is not less then 3 Delta E off doesn’t mean that the painting and the print are not visually matching. This is reasonable because the human eye is really accurate when comparing the colors of two things under the same light conditions.
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Alani Pien All Rights Reserved © Copywrite May 2016
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