Tag Archives: Optimizing

How Colors are Created in the Digital World

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This short basics post will prime you to understand how colors are specified in digital files. In the reproduction market, of which Reed Art & Imaging is a part of, we use digitally driven devices to make faithful reproductions of original art, photographic captures and digital graphic designs. To accomplish this task with any hopes […]

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Getting the Best Possible Print from Your Fine Art Lab. Part 4 of 5

Getting to the final print: How much trust should you put in color profiles? A few notes on profiles. First, they are not a magic wand. Don’t expect them to make a so-so image look fantastic. They are NOT a repair tool, they are a color matching tool intended to get the output to mimic […]

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Getting the Best Possible Print from Your Fine Art Lab. Part 3 of 5

File optimizing and sweetening. If done properly, this is an area in your work flow that can really make your image sing. Gross corrections in color and density should have been handled using Bibble as your raw converter. Fine tuning localized areas of the image such as burning and dodging can be handled in Photoshop […]

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Getting the Best Possible Print from Your Fine Art Lab. Part 1 of 5

The end result of a great print is always the sum of it’s parts. Every step along the way, from the click of the shutter through file preparation, all the way to print presentation choices, affect the visual appeal of the print. This author/artist believes that a fine art print does not lie strictly in […]

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Getting the Best Possible Print from Your Fine Art Lab. Part 2 of 5

Is File Format Actually Important? Last week in part 1, I wrote about a print being the total sum of all the parts in the workflow and how each part plays a role. We also touched on the importance of proper exposure for a good starting place. As promised, this week I expand the parts […]

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What “they” might not be telling you about the flaws in ICC profiled workflows.

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Profiles are typically generated using less than .016% (yes that is less than 16/1000 of one percent!) or 16/100,000 of the 16.4 million colors available in 8bit RGB. Talk about a shot in the dark. There is a tremendous amount of mathematical software based “guessing” that occurs in the ICC color management process. Profiles are […]

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How to get great color, save your profits, and never have to work color or density in Photoshop. Part 1

I’m going to fill you in on the secrets of how to get great color, save your profits, and never have to work color or density in Photoshop. All without the use of ICC profiles, confusing work-flows or batch conversions. If you understood the above and it applies to you, chances are you are a […]

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