Color Management is the science of getting the colors you want in your photographs – consistently. And in my workshops I hear all too often that people are disappointed because the colors they get in their prints are not what they saw on their monitors. They often go to a lot of work preparing an image and when they print it it’s as if all that work was a waste of time.
Color Management is indeed a science and can be very complicated and technical. But getting the same colors on the print that you see on your monitor is essential if you are to have control over the creative process. For that, color management is the key and in these series of articles I’m trying to break it down to make it more understandable and accessible for all of us.
In the previous two articles I presented the concept of a color space and what happens behind the scenes when you move the image from the camera to your computer. See Color Management Made Simple – Color Space and Color Management Made Simple – From Camera to Computer. In this article I’ll be covering the all important aspect of getting your prints to look like what you see on your monitor; that is, from Computer to Print.
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“Did you manipulate your photograph?” “Did you use a filter?” “Do you use a Mac?” “Do you crop your images?” “I’ll have a nicer day than you; I’m not shooting a Canon.” Yes, someone actually said that to me at Bridal Vale Falls in the Columbia River Gorge of Oregon in response to my cheery, “Have a nice day.” I guess when you take the entire population of photographers you will always find those that are prejudiced and closed minded just like any other population. They think they are right and anyone that disagrees with them is wrong. It’s that simple.
The current issue of Lenswork magazine, the premier journal for black and white photography, has an article by guest contributor Jim Kasson titled “Previsualization in the Digital Age.” I couldn’t wait to read it. In my workshops and lectures I’ve always advocated that an artist interprets reality and communicates that interpretation through her or his art. In landscape photography I’ve encouraged our workshop attendees to leave their camera gear in the car until they connect with a location and only then set up their cameras to try to capture what is is they are experiencing. Previsualization, the anticipation of what the finished work will look like, is a big part of communicating what you are feeling.
Continue reading “Taking Your Photography to the Next Level” »
Tags: Ansel Adams, anticipation, artists, California, Canon, Carmel, communication, constraining, crazy, creative vocabulary, Darkroom, decisive moment, delightful, experience, Filter, grow, Half Dome, Henry Cartier-Bresson, impressionistic, inspirational, interpretation, Jim Kasson, journey, lecture, Lenswork, Lightroom, Mac, moving, Nikon, open minded, PC, personal style, photogrpahy, PhotoShop, playfulness, possibilities, previsualization, reality, self-discovery, skills, spontaniety, stifling, unpredictability, view camera, William Neill, workshop, Yosemite, Zone System
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