The Psychology of Color Management and Calibration

The cliche experience that many have had is watching a family member trying to master the color on the family TV set. The people-centric medium of TV makes us to look at images where the color being off becomes unbearable and unnatural because skin tones just look wrong. We all know what skin tones should look like so we are compelled to change the screen to make the skin tones look as we expect. It's natural to trust that the color being broadcast to your TV is correct, only changing the settings on the TV can make it right. Hopeful TV color experts twiddle the controls trying to achieve a vague balance that only they can, while everyone else sits idly looking on hoping thing would be alright soon, impatient with the technology, wondering why it can't just be right in the first place -- or if adjusting it is the thing that is screwing it up.

People are more apt to assume that what they see on their computer monitor is accurate when they pull it out of the box. Monitors are not constantly replete with skin tones that remind us that something may be off, as you spend considerable time using it for other activities like checking email or word-processing, which has nothing to do with skin tones at all. When a digital photographer sees a face, it might more often be in Photoshop, where they just change the color with tools in the program offered for that type of control. Regretfully, changing the color and trusting what you see in Photoshop and on your monitor can lead to martian prints and web postings of people in your images, and a quandary: why should color that looks correct in one place be off or plain wrong in another.

The answer is Color Management.

As they say, a little knowledge can be dangerous. Knowing enough to adjust the color in Photoshop doesn't turn out to be enough to make the color right. While some will come to the conclusion that the poor results have something to do with color management, just what they need to do to work with color management is less clear. They may revert to familiar territory and seek out the computer's brightness, contrast and color controls figuring this is how they have to make adjustments fiddling like you might do with a TV. They might get close and even get lucky with this method, but generally nothing could be worse. Adjustments made with the monitor controls as a means of color management end up being a best guess at what everything should look like on screen, and a compromise much like the TV expert's attempts at balancing RGB with the primitive TV controls. Guessing is not a good approach to color.

Some may go a little further and read a few web postings that have to do with adjusting color on their monitor, and these will range from the incorrect to the absurdly simple to the horribly technical ones that you are not quite sure are written in English. Naturally, the TV-color-minded inclination that "it is just color, how complicated could it be..." pushes people more toward accepting the absurdly simple and incorrect approaches. Some may take it a step further to seek out help from an expert (who may be anyone from a well-respected authority in Photoshop or color management to a neighbor who knows "a bunch about computers"). Regretfully the better answers (like the book Real World Color Management by Fraser, Murphy and Bunting, a 500+ page book) may be long and involved and daunting from the outset. On the other hand, getting the color right doesn't require getting a college degree in the subject, and such extensive study may be unnecessary for common folk, who, after all, just want the right color.

Those who want the right color without the doctorate end up taking suggestions from friends or people on forums, or look for the 'right' way to set up their color management. Truth be told, there is not one right way: more than one method will work. In fact, any method of color management that makes sense will work...but the other side of the coin is: the same color management scheme just doesn't work for everyone, and some will work better than others. The best way to get the color right and pick an applicable color management scheme, is, in my opinion, understanding the shorthand version of what you want to achieve and applying the simplest steps possible to get there.

The basics of color management requires:

• Calibrating your monitor
• Creating an ICC profile (usually part of step 1)
• Setting up color management in Photoshop or Elements (and perhaps other programs) correctly
• Setting up previews/screen proofing that make sense (Photoshop, not Elements)
• Applying appropriate color tagging to your images

If you neglect any one of these, you are gambling with your color results, plain and simple. If you do a few and not the others, you are not necessarily any better off than doing none at all. More frustrating, if you don't do them all, things may work sometimes, and not others, and you'll never be able to tell why. But attack each of these components with the intent to know why they are important, how they apply, and how to apply them, and you'll have the skeleton of color management, which is enough to hang your color on. You get skin on your skeleton when you define the purpose of what you are trying to achieve. Do you print to the same printer all the time? Do you print to many? Do you post images to the web exclusively? Do you print and post? Do images all come from the same camera? Do you have many sources of images (multiple cameras, images from friends, clients, etc.)? All these questions filter into your color management choice.

This is not the first time I've mentioned color management in my blog, and it won't be the last. Here are some other Color Management entries:

• What Color Space Do I Use? (Part 1)
• What Color Space Do I Use (Part 2)
• Calibrating My Home Printer

These additional resources should give you some background on making better color management choices.

For more info on approaching color management seriously, I have a 4 week primer course at betterphoto.com called From Monitor to Print that will work you through these 5 essentials, and test your results, making you color competent in a short amount of time with the least amount of work. You'll want to look into good calibration tools like the ColorVision Spyder (by the way, I posted an article on 9.11.08 about using the ColorVision Spyder Express to calibrate a dual monitor system -- which the manufacturer says is impossible). You can also simplify your color life by finding a system and sticking to it (don't change printers, papers, profiles, inks, or services without a plan).

Competent color handling is more than just calibration, but don't get psyched out. Make the effort to know what to do, and you can put it safely behind you.

Making a Holiday Card

With the holidays approaching it is still not too late to take on a project and do your own holiday card. All you really need is an image for the cover, some paper to print on (or a service to send to), Photoshop (or Elements), and a plan for the layout. The plan mostly has to do with printing to the edge, and getting the image on the front of the card.

Printing to the Edge
A layout problem that may confound those making their first cards is printing to the edge of the paper. Though some home printers have a print-to-the-edge feature, there is an edge area of the sheets you are printing that the printer will not print on -- commonly called a grip edge. It is often a quarter to a half an inch broad, and may vary from edge to edge depending on how paper was designed to go through the printer. The solutions to the problem of printing to the edge (and this holds for when you send a job to a shop to have it printed), is to design a little larger and then and crop the paper to the size you want the finished piece. So, for your holiday card, you wouldn’t start with paper that was exactly the right size and then use your printer to print the image exactly to the edge; you’d start with a larger sheet, print the layout, and then trim the paper down. To make your layout work, you'd lay out the graphic part of the card to print a bit beyond the crop edge—say, by an eighth of an inch (which is a printing standard). This is known as a bleed. The bleed provides a margin of error for the cropping. If the cut doesn’t fall precisely on the crop mark, the image will still come all the way to the edge of the cropped area.

The Basic Layout

Image on the Front
In laying out the card, be sure to think of how you want it to present! When you use a folded card, you have to put the front of the card on the right side of the layout so that when it folds the front of the card is in the right place. It may not be natural to think of the right side of the layout as the front, but that is where it is! The back of the card is on the left.

Outside

On the inside, the left and right facing sides are more intuitive. You usually want to have the saying on the right.

Inside

As far as the back of the card, you can put several things there for information purposes. Sometimes it is fun to put in your real or even an imaginary business name, copyright and date, website (if appropriate), and maybe some information about the photo (subject, title, separate copyright -- if applicable). Usually this is all in small type so as not to detract from the card. Homemade cards seem to always be the ones that stand out from the others.

For More Information...
For better ways to process your images and get the most out of them for your cards and other uses, be sure to check out Richard Lynch's Photoshop courses and his latest book: The Adobe Photoshop Layers Book

Holiday Gift Ideas
If you are looking for a good gift for that budding photographer or photoshop professional, try giving a betterphoto.com gift card. Good for courses, books and apparel!

Calibrating My Home Printer

Question:
I am struggling a lot with thee idea of color management and how it is best to approach it. I am not completely happy with my home printing results. I think I need printer profiling. I can have a printer profile made for $40 each, but I've also considered packages like X-Rite that cost about $1,000. What is the best route to take?

Answer:
Short Answer: I wouldn't do either.

One of the strangest things occurred to me several years ago when I was asked about how I process my images. At the time I was working on my fourth book, after years of doing digital processing and even working pre-press. I had a calibration device, gave people advice, made prints for shows...and my main workstation didn't even have a printer connected to it. In fact, I had a printer or two still in boxs that I never bothered to open. It may seem downright unnatural, but to me there is no need for a printer.

Now, that may seem strange at first, but there is a good reason why I don't have any printing equipment running. I am in the habit, and I think it is a good one, of sending my work out to be printed at a service. To me this has many advantages, not the least of which are cost, convenience, and consistency. These three C's may be a little different than the way most people look at them who are considering working with printers at home, but hear me out.

I use a service for image output and forgo the color profiling for the printer, printer cost, paper expense and maintenance entirely. I save time conceptually and actually not having to worry about issues of profiling for specific paper types, calibrating the monitor, and maintaining the additional software/hardware. I get to print on the most expensive equipment around (these are machines you would never buy for the home) for virtual pennies, and I lose all of the headache that goes with having my own printer, buying and maintaining supplies, potential for maintenance and repair, and finding a place to put it in my office. As long as I go with a good service (that calibrates regularly and uses top-notch equipment, processes, materials, and is responsible for mistakes), my result should be better than I could ever achieve at home.

If you look at cost alone in the proposed scenario, I save $1000 on the X-Rite, another $500 on a top notch home printer, more on paper and inks...and with a few inexpensive tests I can upload images to my service via ftp with confidence in the results, and have far more flexibility for sizing and format than I would at home. In other words, the $1500+ budget for my printer and supplies is something I spend directly on prints instead, without the hassles and headaches, and responsibility for keeping the equipment at peak performance. I am also not fussing with shopping for paper sales, and keeping a stock on hand. I don't have to have a paper cutter...and I am not limited to a smaller size print.

Each print may cost a little more if you look at it as materials alone (paper and ink--though the machines I print on don't use ink). The actual difference is pretty slight. But let's not forget the difference in equipment costs between using a service and printing at home in this scenario: $0 and $1500. It would take me a while to spend that $1500+ dollars in prints, and meanwhile it is earning extra money in interest, or I can invest it in other equipment. At the same time, I might never match the quality of the prints I get at the service, where I get beautiful, digital LED photographic prints on quality photographic paper. I am never longing to upgrade to the next better printer that comes down the pike, I don't have to read articles about home printer technologies, and I can rely on the service to absorb those periodic equipment upgrade expenses.

So, while I am probably fully qualified to run a printer at home and coulkd probably get good results, working without a printer, I can focus on what I do best -- working with my images and focusing on the capture and editing process.

Selling My Prints

Question:
I'm looking for a Gallery with a sales function that will take care of the orders, collection, printing, and shipping to get started selling my images. There just does not seem to be a photo site that has "everything" for a reasonable price/commission.

Answer:
The short answer: You may have to take matters in your own hands.

I don't know of a site that will provide everything from genuine sales opportunities to printing and drop shipping. It is an interesting idea, but I don't know if it is entirely practical from a business standpoint. First, you are asking the business owner to specialize in a lot of things, spanning web commerce, understanding of the market for arts, and knowledge of printing. Second, there is an awful lot of risk in taking on that challenge. Risk comes with a price, and that is why as you get closer to your ideal the services cost more.

A photo gallery site might have a technical web expertise and that might not correspond to having much knowledge of print at all. The site would expose themselves a risk to offer print services for redistribution, unless they were already a service or partnered with one. If you submit files that are not correct and haven't been tested and the service prints them, you will blame the service...and the service will either have to wrangle with disputes, or publish an almost irrational disclaimer. It may be a risk no portfolio-type site is currently willing to take for minimal profits that they'd make on the prints if they job them out, or the investment they'd need to make in printing equipment to provide the necessary services.

On the other hand, if you post your images for sale on a commission-free site ( see http://thefineartoriginals.com for example ), you'd be able to post your images for sale, collect your fees through any service like paypal ( http://www.paypal.com ), and choose any printing service you like to fulfil the job ( I use http://www.color-tech.com which will drop ship ). I send in images via FTP and have tested the prints on their equipment so there is no question that those making a purchase will be satisfied.

My suggestion may be one or two more steps than you'd prefer to take on your own, but you can get started for almost nothing, and you will have better control and understanding of the process -- and ultimately YOU reap more rewards from your sales. As distasteful as it is, artists may have to assume some responsibility for sales and marketing, or pay the premium for those services.