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TAble oF ConTenTs


The color management problem


Color management setup


Conguring Camera Raw


Previewing prints

15 The workow in a nutshell

Technical paper

A Color Managed Raw Workflow from Camera to Final Print

  • e power and control that digital technology brings to photography is drawing more

and more photographers to adopt it. e immediacy and spontaneity of digital format are addictive. But digital format is not perfect. Getting accurate and predictable color is still a challenge to many users, and color management is oen a source of confusion and frustration. It doesn’t have to be that way.

A digital image in a camera (le) and the printed digital image (righ )

  • e goal is to process a digital image from a camera to a nal print as eciently and

accurately as possible. is process can be nonintuitive, and the steps are complex, which makes them prone to error. However, that’s a far cry from where we were a few short years ago. At least today, the process actually works.

  • e time has passed when you had to adjust your monitors’ controls to have the screen

image bear some resemblance to the nal output. If you’re still doing that, you may need to revisit your workow because it’s like trying to li yourself o the ground by pulling your shoelaces. Make color management work for you rather than against you. Color management is at the core of Adobe® Photoshop® CS2, Camera Raw, Adobe Bridge, and printed output—you can’t avoid it, despite the presence of the Color Management O setting in Photoshop. ere’s no way to turn color management o in Photoshop; it always displays images through your monitor prole, and it always makes some assumptions when you request a color conversion. e answer is to be aware of and in control of those assumptions.

  • e good news is that color management really works. e bad news is that color

management isn’t as easy as we all wish it were. However, there are steps you can take to make your own workow less confusing and more ecient. is document is intended to help photographers make accurate prints from their raw captures. For more information about color management theory and practices, see Real World Color Management by Bruce Fraser, Chris Murphy, and Fred Bunting.

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