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THE MOTHER OF ALL COLOR
after the capture
BY EDDIE TAPP
84 RANGEFINDER SEPTEMBER 2014
the how-to issue
Have you ever examined the basic foundation of color theory and thought about how color is funneled through the stages of today’s color-managed digital workflow? The technology of color management is remarkable, and yet the biggest change over
the past two decades is that it has become easier and
more seamless to work with.
Predictable results are the main objective with color
management. Color film has characteristics of a single
color temperature (white balance) and ASA setting (film
speed). Today, we have enormous variations in camera
settings, from color temperature to ISO settings, and on
the computer we have an overwhelming amount of op-
tions, including plug-ins, presets and one-click miracles.
The vehicle for getting these results is consistency in
exposure, process and color management. If you are getting unexpected results, then chances are you have one
or more inconsistencies in the methods you use for input,
process or output. While experience is the best teacher, a
basic working knowledge of color management will take
some of the mystery out of getting predictable results.
Some of us pay little or no attention to color man-
Above: The biggest misconceptions about color management
and calibration are that they’re unnecessary and difficult, yet
they’re the easiest way to consistently capture and print true
colors, like these blues and greens.
