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| Acknowledgments | |
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| About the Author | |
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| Foreword | |
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| Introduction | |
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| The Challenges of Digital Photography | |
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| Building a Digital Photography Workflow | |
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| Why Color Management? | |
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| The Color Problem | |
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| The Extended Photography Workflow: Working with Clients and Service Providers | |
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| Relying on Service Providers | |
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| Working with Clients Who Don't Understand Color Management | |
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| The Benefits of Color Management | |
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| Predictable Color | |
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| Reduced Waste of Media and Time | |
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| Improved Communication with Members of the Extended Workflow | |
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| Real World Expectations: The Colors Will Not Always Match! | |
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| Certain Devices Cannot Perceive, Display, or Render All the Colors in Your Image | |
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| Aspects of the Workspace Can Negatively Impact Color Perception | |
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| Outside Services Cannot Always "Get It Right" | |
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| The Objective of This Book | |
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| Preview: A Color-Managed Workflow | |
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| A Typical Workflow: No Color Management | |
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| A Typical Color-Managed Workflow | |
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| Color-Management Concepts | |
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| RGB and CMYK Color Models | |
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| RGB | |
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| CMYK | |
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| The Color Space and Color Gamut | |
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| Device-Dependent Color Space | |
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| Different Devices Define the Same Color Differently | |
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| Device-Independent Color Space | |
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| The Importance of Device-Independent Color | |
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| Lab Color | |
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| Profile Connection Spaces | |
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| ICC Color Profiles | |
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| Working Spaces | |
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| Color-Management Methods | |
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| Application-Level Color Management | |
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| System-Level Color Management | |
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| Assigning Color Meaning vs. Converting Color Data | |
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| Assigning a Profile | |
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| Converting to a Color Space | |
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| Rendering Intents | |
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| Relative Colorimetric | |
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| Absolute Colorimetric | |
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| Perceptual | |
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| Saturation | |
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| Embedding Profiles | |
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| Software Setup | |
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| Define a Standard Working Space and Source-to-Destination Conversions | |
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| Where Do ICC Profiles Come From? | |
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| Device Manufacturers, Application Developers, Paper Manufacturers | |
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| Profile Services | |
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| Build Your Own | |
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| Where Do ICC Profiles Live? | |
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| Macintosh | |
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| Windows | |
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| System-Level Color Management: Setting Up | |
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| Macintosh | |
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| Windows | |
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| Shortcomings of System-Level Color Management | |
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| Application-Level Color Management: Setting Up | |
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| Color Settings in Photoshop CS2 | |
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| Setting Up Phase One Capture One Pro | |
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| Building a Color-Managed Workflow | |
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| What Is Needed? | |
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| Hardware for Setting Up Color Management | |
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| Software for Setting Up Color Management | |
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| Device Calibration vs. Profiling | |
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| Calibration | |
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| Display Calibration and Profiling | |
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| Types of Displays | |
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| Display Calibration | |
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| White Point | |
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| Gamma | |
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| Luminance | |
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| Display Profiling | |
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| Testing Your Calibration and Profile | |
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| Creating Input Profiles | |
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| Digital Cameras | |
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| Raw Files | |
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| Jpeg and Tiff Files | |
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| Scanners | |
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| Creating Output Profiles | |
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| Inkjet Printer | |
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| Building RGB and CMYK Output Profiles | |
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| Media Type | |
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| Walking Through the Color-Management Workflow | |
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| Inputting Images | |
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| The Digital Camera Workflow | |
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| Raw Files | |
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| Jpeg/Tiff Files | |
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| The Scanning Workflow | |
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| Outputting Images | |
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| Graphic Design/Prepress | |
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| Worldwide Web | |
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| Inkjet Printer | |
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| Outputting to a Rip | |
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| Raw Converters that Print | |
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| Common Pitfalls | |
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| Redundant Conversion | |
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| Printer Presets | |
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| Assigning the Monitor's Profile | |
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| Proofing | |
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| Final Output Device (FOD) Profile | |
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| Soft-Proofing | |
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| Gamut Warning | |
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| Hard-Proofing | |
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| Rips that Proof | |
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| The Work Environment | |
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| ISO 3664 | |
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| Room Lighting | |
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| Evaluating Prints | |
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| Practical Appraisal | |
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| Critical Color Matching | |
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| The Color-Critical Workstation | |
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| The Extended Workflow | |
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| Working with Photo Labs | |
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| Preparing Images for Clients | |
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| Clarify the RGB Color Space | |
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| Get an ICC Profile | |
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| Web Images | |
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| File Format | |
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| Converting and Embedding | |
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| Web References | |
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| Index | |