Search: for:

b

SmartNote: 10
Type: Term
ColorGeek factor: unrated
b is the axis in the Lab color space which denotes the ?blue-yellow? component of the image. One end of the axis is blue and the other end yellow. Combined with the a axis, you can describe the hue and saturation of a color.

See Also

Term: CIELab, Lab
Term: a
Term: L

Kodak IT8 (Q60) Target Data Files

SmartNote: 1000
Type: TechTip
ColorGeek factor:
Kodak's IT8 targets (Q60 by their terminology) require the associated target data file (TDF) information if you are to use them for accurate reference or building scanner and camera profiles.


Main data area


or to save time, the direct links...


(above links will open in a new browser window)


If you have problems downloading the files (they open in the browser instead) try control-clicking (Mac) or right-clicking (win) the links on the Kodak site and choose the option to save the link to disk.


To purchase Kodak IT8 targets, Go here


Box around pointer on Macs after calibration

SmartNote: 1001
Type: TechTip
ColorGeek factor:
Some users have noticed that a small square appears around the pointer on screen after calibration with certain software on newer Macs.


This square is actually the "mask" used by the OS for the pointer. Calibrations that result in non-zero values at the ends of the calibration curves reveal a bug in Nvidia video card drivers with versions earlier than 2.4


The Fix:


Run the Software Update control panel and let it upgrade the MacOS to version 9.2.2. This will install the Nvidia 2.4 drivers and the problem will be corrected.


Thanks to Neil Snape, Roger Schutte and other users on the ColorSync mailing list for the update information.

See Also

MailingList: ColorSync Users Mailing List

Photodisc Test Image

SmartNote: 1003
Type: TestImage
ColorGeek factor:
The Photodisc test image is one of the most widely distributed test images available.

Getty Images purchased Photodisc and has been distributing the test image until recently.

It is no longer available from Getty Images and has been replaced by a new Getty Images test image.

click here for the new test image.

Fuji Test Images

SmartNote: 1004
Type: TestImage
ColorGeek factor:
This Fuji test image contains a wide range of colors and subjects include outdoor, people, studio product and neutrals.


Your web browser will want to display these images directly so control-click (Mac) or right-click (Win) the links below and then save them to your disk.


Fuji Test Image (525x375 pix) 182KB


Fuji Test Image (2100x1500 pix) 944KB

The Color of Toast

SmartNote: 1005
Type: TechTip
ColorGeek factor:

A lot has been written and said about color management in an attempt to describe what it is, what it solves and how it works. Like any discussion about computing, these descriptions often use fancy new terms that effectively confuse and turn off people who just want to understand, well, what it is, what it solves and how it works.

An effective and greatly simplified analogy is that of the toaster. Pay attention here because this is one even your clients will understand.
Let's say you get up in the morning, walk out to your kitchen and place a piece of bread in your toaster setting it to a level of "4". After a little while a certain color of toast pops out - hopefully a pleasing color. Now if you take the next piece of bread in the loaf over to your neighbors and put it in his toaster at the same setting of "4" do you think you will get the same color of toast?

Probably not.

This is the problem of color management. The settings used on the toaster do not necessarily produce the same colors. As in the toaster, RGB and CMYK values on your computer are also just settings. And, just like the toasters, when they are sent to different devices, they produce different colors!

Now if you were a severe toast geek, you would toast 10 pieces of bread in your toaster; one at every setting. Then you would lay them all out in order on your kitchen table, grab the bag of bread and head over to your neighbor's. Avoiding his bewildered stares you would toast 10 pieces of bread in his toaster and take them back to lay on your table beside your toaster's work. Fanning through your "Toasttone" independent toast guide(*) you would decide that "B" was, in fact, the color of toast you prefer. Looking up and down your toaster column you would confirm that yes, indeed, "4" is the setting on your toaster that will get you the color you want - you know this after several mornings of frantically waving smoke away from the alarm on your kitchen ceiling. After looking over your neighbor's toaster column, you note that a setting of "6" is what is needed to get the color you want from his toaster.

This, in essence, is what color management is all about. Carefully sampling what a device (monitor, printer, toaster, whatever) will do and then comparing it to an independent guide for actual color. In the case of the toast we used the fictitious Toast Guide and in the case of computers we typically use the Lab color space. Lab is a whole 3D range of numbers across 3 coordinates (L for lightness and a & b for color information). The important thing about Lab is that it is actually COLOR. That is, a number that represents a sensation.

Let's take a little reminder on color. Color is a sensation produced by the cooperation of our eyes and our brains in response to mixtures of light. To have color you need 1) light, 2) an object and 3) an observer - for our purposes, a human observer. Without all these components you do not have color.

Lab, as mentioned, is a whole range of numbers that are assigned to actual sensations. Each Lab number - like 50, 23, 47 - describes what a certain sample will look like under 5000K lighting (a graphic arts viewing standard in use in most viewing booths) and from a standard distance (creating a specifically sized spot on the retina) to an "average" person. In 1931 a group of scientists sat over 200 people down to perform painstaking color tests to come up with this "average" person and for our purposes it works quite well.

Back to the toaster.

To get the same color from different toasters, we needed to sample all the colors of toast the lowly machine could produce and then compare them to an independent guide. This lookup table is the equivalent of an ICC profile.

To get the same color from different devices - what we are basically trying to do here - we need to sample all the colors that device can produce and setup a table that converts between the device settings - say, a monitor - and the colors it produces at those settings. For a monitor we attach a device to the monitor and then run software that walks through a list of settings,: red (255,0,0), yellow (255,255,0), green (0,255,0), and so forth. At each RGB value, it takes a reading with the instrument and gets a Lab color back. After running through a long list that only a computer should have to suffer, a profile is built for that monitor.

If we want to get the same color from our printer as well then we also need to build a profile for it. The same technique applies. We send a file out to the printer that contains a long list of settings - for example: cyan (100,0,0,0), blue (100,100,0,0), magenta (0,100,0,0), and so forth. We then read each patch on the paper with a device like the Eye-One that supplies Lab values for each corresponding set of CMYK settings that were sent. A few calculations and your computer produces a profile for your printer.

Great, you think, but how do I use these things? That depends on what you are trying to achieve.

A good example is when you want to get the file you print to match the one you see on screen. The file on screen is, by definition, in MonitorRGB and you need to convert it to PrinterCMYK. If you apply the monitor profile to the file, it will convert all those MonitorRGB settings which are unique to your monitor to Lab (remember the toaster). Lab, you will recall, is color - so we are out of the arbitrary world of settings that only work for your monitor and on to something much more useful.

Any profile can be applied to those Lab values to get the color you want. In this case, we want the color to go to your printer. When the printer profile is applied it formulates the correct CMYK settings for each color in your file. A good quality profile will do a great job of matching those colors within the abilities of the printer.

(*) totally fictitious but familiar sounding color guide for Toast.

ColorSync on Mac OSX

SmartNote: 1013
Type: TechTip
ColorGeek factor:
ColorSync, Apple's system level Color Management System (CMS) has undergone a significant upgrade for Mac OSX

For all previous versions of Mac OS, color management and ColorSync did very little for the user until an application was explicitly called on ColorSync to perform color matching tasks.(with the exception of Quickdraw GX, a minimally supported upgrade attempt at QuickDraw). Many Mac users remember the first time they opened their ColorSync control panel, changed some settings and then saw that nothing had changed on screen (again, in most cases). They may have concluded that color management doesn't work and left it behind.

Well, with Mac OSX, ColorSync has finally been upgraded to a first-class citizen and is built into the Quartz imaging system at the heart of OS X. This means that if an application simply calls on OS X to display an image, it will be color managed to the best of ColorSync's abilities. At a bare minimum this means that the display profile set in the ColorSync preference pane will be use as the destination for all color heading to screen. Which profile will be used as the source? That depends on the application (which can override ColorSync defaults) and whether or not there is a profile embedded in the image.

As the new print paths in OS X are also managed by Quartz, users run a greater chance of liking what they see coming out of their printers.

A few other points worth mentioning are


  • ColorSync 4 - the version installed with Mac OS X - supports ICC v4 profiles, an updated profile format standard that is emerging from the ICC and will start showing up on desktops in the months to come.
  • Many color management settings are disappearing from the user interface. Sometimes it is tough to tell what is going on with the color on Mac OS X. The details of color settings are beginning to disappear from the user interface while the color is managed more easily and with better quality. This does not mean that those of us who make a living managing color are not made nervous by the apparent lack of control that is happening. Some of us cut our teeth on the down-and-dirty manual controls of Photoshop 4 (by plug-ins) and 5, ColorBlind Edit and other tools that allowed us to manage color but forced most users to learn more than they probably needed. Surely more than some wanted.
  • At the moment (10.1.3) it is not possible to turn color management completely off in the non-postscript print path favored by most inkjet printers. This may make it tough to create custom profiles for these printers that can be used in the printer drivers themselves. You are able to create profiles of the print setup that can be used upstream in the print path - such as in Photoshop - but this may not always be optimal.


Suffice to say that while the basic functions offered by ColorSync to application developers have not changed drastically, the level of integration into the new OS is a new, wonderful, frightening, mystifying thing.

Check back with us regularly for updated notes and links regarding ColorSync 4 on Mac OS X, ICC v4 profiles and other advances and changes in the color management world. In the meantime, pay a visit to the link below for a technote from Apple that starts at a basic overview and moves all the way into the system calls developers can make to ColorSync. Stop reading when your head gets full.

Steve Upton

Feb 28, 2002

See Also

WebSite: Apple ColorSync on Mac OSX Technote 2035
TechTip: ICC Profiles and Printers in Mac OSX
WebSite: ColorSync 3.0 APIs - Tech note 1185
WebSite: ColorSync 2.6 APIs - Tech note 1160

Apple ColorSync on Mac OSX Technote 2035

SmartNote: 1014
Type: WebSite
ColorGeek factor:

Link: http://developer.apple.com/technotes/tn/tn2035.html
(will open in a new browser window)

ColorSync 3.0 APIs - Tech note 1185

SmartNote: 1015
Type: WebSite
ColorGeek factor:

Link: http://developer.apple.com/technotes/tn/tn1185.html
(will open in a new browser window)

ColorSync 2.6 APIs - Tech note 1160

SmartNote: 1016
Type: WebSite
ColorGeek factor:

Link: http://developer.apple.com/technotes/tn/tn1160.html
(will open in a new browser window)

ICC Profiles and Printers in Mac OSX

SmartNote: 1017
Type: TechTip
ColorGeek factor:
As ColorSync is now ingrained at a much deeper level in the Mac OS than in previous versions, it follows that printing is affected by these changes. This is a very quick overview of how printing with RGB-based drivers (most inkjet printers used without a RIP) is setup and can be changed in OS X.


  • ICC profiles can now be stored in the printer driver packages themselves. The driver registers the profiles with OS X when it is initially activated and they become available to the system.
  • The setup of profiles and media settings is managed by XML files in some drivers, allowing some exploration into driver functionality when different media settings are selected by the user.
  • Apple's updated ColorSync utility shows the profiles in registered drivers and also allows the substitution of user profiles for the manufacturer's stock profiles. This avoids editing the XML files mentioned above. However, the creation of custom profiles by the user is constrained somewhat as noted below.
  • The substitution of profiles is implemented in an intelligent way so as to allow the user to easily remove their custom profile and default back to the original stock profile.
  • There does not appear to be a print path that allows the complete shut-off of all color management transforms. This is a necessary state for the proper printing of the profiling targets used when creating custom profiles. This does not mean that printers cannot be profiled, but any profiling will have to be on top of whatever color management is happening in the drivers. These profiles would be usable upstream of the drivers - such as by Photoshop 6.x - but will probably not be usable for substituting the stock printer profiles as mentioned above

Check back with us often for updates to Mac OS X color management and other topic areas.

See Also

TechTip: ColorSync on Mac OSX
WebSite: Apple ColorSync on Mac OSX Technote 2035

'Delta E' synthetic test image, Bruce Lindbloom

SmartNote: 1018
Type: TestImage
ColorGeek factor:
This is a great image that was rendered synthetically using a ray tracing program Bruce Lindbloom wrote himself.

It is a good illustration of the dangers of linear gamma image storage as well as a clear & clean image for testing profiles while still retaining the appearance of a real-world scene. Testing profiles using only colored patches is not terribly effective as the eye cannot judge colors in such an absolute form. Continuous tone images containing memory colors (flesh tones, plants, sky, some foods) are better as the eye picks up variations much more effectively.

Follow the link below and click on "Imaging"

Link: http://www.brucelindbloom.com/
(will open in a new browser window)

Profile Gamma Tagger

SmartNote: 1027
Type: Utility
ColorGeek factor:
Monitor profiles depend on the calibration of the display system (graphics card and monitor) in order to work correctly.


After your monitor calibration system has completed its job, the video graphics card LUT's contain calibration curves. When the computer is shut down or restarted, these curves are lost and must be replaced in order for the calibration to persist.


In ColorSync 2.5 and later, Apple created the 'vcgt' (Video Card Gamma Type) tag which can contain graphics card curves. Technically the 'vcgt' tag is not part of the ICC specification but it is very valuable in "marrying" the calibration with the profile. When the profile is selected in the Monitors control panel (Display system preference pane in Mac OSX), the contents of the vcgt tag are loaded into the graphics card and the display system is returned to its original state.


Most monitor profiling applications have been updated to create these vcgt tags but for those that have not, the Profile Gamma Tagger utility from Apple will pull the curves out of the graphics card and embed them into the profile in a vcgt tag.


Just drop a profile onto this utility, select the curves to embed and that's it. There is a Readme file included for more information. This utility is from the ColorSync SDK.


Special thanks to Bruce Lindbloom for finding a bug in the code and recompiling this utility for PowerPC. Great guy, good color.

Download Profile Gamma Tagger

(10K - Mac only)

CHROMiX ColorNews Issue #5 - Metamerism

SmartNote: 1029
Type: ColorNews
ColorGeek factor:
___________________________________________________________________
C H R O M i X C O L O R N E W S

Issue #5
June 6, 2002
___________________________________________________________________

=====================================================

Welcome to ColorNews, a periodic update on all things related to Color
Management. Please let us know what your interests are so we can address
these concerns in our coming issues. We apologize for the delay from our
last newsletter, many exciting changes have taken place at CHROMiX and
we will be covering them over the next few newsletters.

ColorNews covers newsworthy items including new product releases and
updates, and interesting, informative web sites. Each issue will
include a feature article covering an aspect of color management such
as profiles, workflow, and so forth.

In a visit to CHROMiX.com or profilecentral.com, you opted to receive
this newsletter. You may have also heard Steve Upton speak and
requested more information. If you have received this message in
error, we apologize. We value our relationship with you and do not
want to spam you. See below for details on how to provide feedback,
how to unsubscribe, or how to become a sponsor.

=====================================================
Table of Contents
=================

1. CHROMiX News
2. Color News
3. New Releases
4. ColorFAQs - this month's FAQ is on Metamerism, or
Things That Go Weird in the Light
5. ColorNews Administration (feedback, subscriptions, etc.)

=====================================================
CHROMiX News
================

There have been so many changes at CHROMiX since the last newsletter that it is worth mentioning them here:

- our Website has been completely rebuilt reflecting our new corporate look and brands. If you haven't been by in a while, please come take a look. We think you will like what you see.

- ColorThink 2.0 is nearing release - thank you all for your excitement, feedback and patience. We will let you know the moment it is ready.

- ColorGear.com is the new name for our online store which was the first of its kind and remains the most comprehensive color management store available. Please pay us a visit at <http://www.chromix.com/colorgear> (domain setup to be completed soon for colorgear.com) Also! call us toll free at 877-colorgear with any questions or orders!

- ColorValet is the new name for our ground-breaking remote profiling services. Print profiling is going strong and we have a new kit for free download that has been updated for Photoshop 6 (7 to follow soon) and includes larger targets for even more accurate profiles. ColorValet profiles are the highest quality profiles you can get, require only one printed target and are 100% guaranteed - give them a try, you have nothing to lose!

- ColorSmarts - want some? - we organized our technical tips, glossary, ColorNews back-issues, training, technical support and other services under one brand. Come search the most comprehensive technical database on color management topics - for free! Get smart!

- ProfileCentral is undergoing major changes under the hood. Please let us know if you have any profiles you wanted hosted. We'll notify you when the new changes are released.

Staffing - we have had several staffing changes over the last months but one we are really excited about is the addition of Rick Hatmaker. Rick has many years experience in the computing, digital imaging and color management markets and is now acting in a sales and system consulting role for us. Call him toll free at 877-colorgear x7 or hatmaker(at)chromix.com. He's eager to put his talents to work solving your color problems.

Offices - CHROMiX has moved into larger offices in Seattle to accommodate our growth. Our mailing address and phone numbers remain the same but the new space will accommodate our expanding profile-building lab and we are planning on holding small hands-on seminars there as well. We'll let you know more as it develops.

=====================================================
Color News
================

- Epson announces a free plug-in for users of Adobe Photoshop 7.0,
6.0, and Photoshop Elements 1.0, that will offer print imaging
matching for people owning a print image matching-enabled digital
camera and photo printer. Go to
support.epson.com/webadvice/wa0306.html.

- Court of Appeals finds in Apple's favor in ColorSync case brought
by Imatec - again! The Court upheld the lower court's decision
stating that the color management software did not infringe on
Imatec's patents, finding that Dr. Hanoch Shalit, president and CEO
of Imatec at the time the suit was filed, and his company did not own
the rights to the patent in question. A relief for our friends at
Apple to have this finally in the past!

- A little ColorSync info - in the control panel, for any of the
popups, hold the cursor over a profile name and a balloon will appear
showing the filename. This will only work if the file name is
different from the description name - but, all in all, a very handy
tool!


We are always happy to answer any and all questions you might have.
=====================================================
New Releases
===============

GretagMacbeth has made many announcements over that past few months including:

- Eye-One UV - the popular Eye-One system is now available with a UV filter to compensate for brighteners in papers. The UV filter cannot be removed however so the Eye-One is available in UV or nonUV configurations
- Eye-One Monitor upgrade path - you can save 10% on Eye-One Pro/Match bundles and keep your original Eye-One. Contact us for more details
- ProfileMaker 4 has been released. With an updated Editor, tuned ColorPicker, Multicolor module and other improvements it is a winner. Upgrades from 3.x are $389

ColorVision has released LCD capable versions of their popular Spyder monitor calibrator. The new instrument can calibrate and profile CRT and LCD displays and starts at $259.

- X-Rite and Monaco have combined forces to work on a Mac-compatible
color management solution that includes Monaco's MonacoPROOF software
and X-Rite's spectrophotometers. For more information go to
<http://maccentral.macworld.com/news/0108/21.color.shtml>

- Adobe has released an update for PageMaker ColorSync. This fix
allows you to start Pagemaker 7.0 without receiving the error message
that the app has "unexpectedly quit because of error type 1,010." We
HATE those types of error messages! Go to
<http://www.versiontracker.com/moreinfo.fcgi?id=11615&db=mac> for the
download.

- Jim Rich has written a new book, the "Photoshop 6 Color Companion,"
which promises to be invaluable to us PS6 users. To order, go to
www.gain.net, or call 800-662-3916. The book sells for $50, or $40
if you're a GATF/PIA member.


=====================================================
ColorFAQs
================================

Each month, our President Steve Upton will take time to answer questions
we receive on a regular basis. If you have specific questions or
comments, please see below for how to make submissions.

This Month - Metamerism - or Things That Go Weird in the Light.

Have you ever compared two garments in a store and decided they
matched, only to find that when you left the store and went out into
daylight they no longer matched and instead looked quite different?

If so, you have seen an optical phenomenon called metamerism (me 'ta
merizm). Strictly speaking, metamerism occurs when you see two
samples match under one light source (illuminant) and not match under
another.

How can this be?

Well, it comes down to the difference between how an object affects
light, and the color it appears to our eyes. Objects affect light by
selectively reflecting or absorbing light of different wavelengths.
So an object that absorbs most blue wavelengths and reflects most red
wavelengths will usually appear red to our eyes. The actual color it
appears to us is dependent on the spectral composition of the light
reflecting off the object.

Let's say, for example, we have two objects that each reflect red
light in approximately the same way but one reflects blue light while
the other absorbs it. If you put both objects under reddish lighting
(and most indoor tungsten lighting falls into this range) then they
may appear to be very close to the same color. As there is very
little blue light falling on our objects, the difference between
their blue reflectiveness is almost invisible. The red reflection is
about the same so they both reflect similar wavelengths and our eyes
see them as the same color!

This would not be a problem if we didn't have many different colors
of lighting in everyday life.

So let's take our objects outside into mid-afternoon daylight.
Sunlight at that time of day contains considerably more blue light
than indoor lighting. As before, our pair of objects will reflect red
light similarly but one of them will reflect a significant amount of
blue light while the other absorbs it. Our eyes will see the blue
light from one object combined with the red light and we would
probably call the result magenta. Suddenly what we thought were two
reddish objects no longer match at all!

Is this a problem?

That depends. In many ways this very phenomenon is essential to color
reproduction (see "Metamerism as Friend" below), but when colors
"shift" from our expectations, clients stop paying bills, and that is
a problem.

Where will we see this problem in the business of digital imaging?

- Proofs and press jobs failing to match under different lighting.

- Color builds chosen for normal printing failing to match under
unusual lighting. A good example of this is trade show booths and how
they are lit with unusual lights in exhibit halls.

- Two prints using different technologies - such as inkjet vs
photographic print - failing to match under certain lighting.

- A product shot failing to match the product in all lighting conditions.

There are other situations as well.


Is there anything we can do about it?

1) Be aware - this isn't really a solution but it is always the first
step toward one.
2) Choose pigments carefully. Beware of pigmented inks for inkjet
printers (see Pseudo Metamerism below)
3) Control your lighting - both for producing prints and for final
viewing, if possible.
4) Profile carefully

Can color management using ICC profiles correct for this problem?

No... and yes. ICC profiles are typically built using readings
referenced to D50 (5000K) lighting. That means that prints created
using these profiles will look best under D50 lighting. Viewing them
under any other lighting can give unpredictable results. Most
printing pigments and dyes have been carefully chosen to not conflict
with each other or other pigment sets. One exception that is
appearing more and more is pigmented inks for inkjet printers (again,
see Pseudo Metamerism below). Sometimes you can measure printed or
scan/camera targets with a different light source such as D65 in the
calculations. This should make the print viewable optimally under D65
lighting. This is not always successful and requires the appropriate
settings to be available both on the instrument and in the software.
We are continually experimenting with such techniques to find
solutions for our clients.

+-------------------------------------------------------------------+
| A D V E R T I S E M E N T
+-------------------------------------------------------------------+
| CHROMiX ColorThink - Your brain on color!
|
| If you haven't seen ColorThink yet, you're missing the full
| picture! ColorThink is the color management toolset that
| picks up where the other tools leave off. Manage your profiles
| individually or in sets, scan and fix problem profiles (including
| profiles imported from PC's to Macs). Graph profiles in 2D and 3D.
|
| ColorThink is $129 in our store and is now available as a free demo.
| <http://www.chromix.com/colorthink>
+-------------------------------------------------------------------+


*** Pseudo Metamerism ***

One closely-related problem cropping up more and more often in the
inkjet printing world is often (incorrectly) called metamerism.

When colorants are mixed carefully in a printer, you can achieve a
smooth, neutral gray gradient from black to white. With most inkjet
printers, the ink combination will include Cyan, Magenta, and Yellow
inks in varying amounts along with Black ink. When properly balanced,
pleasing black and white images can be printed. Many users are also
experimenting with near-neutral imaging such as adding a slightly
blue or sepia tone for effect.

With the fugitive nature of dye-based inks, many users are switching
to pigment-based inks for the vastly improved permanence. After all,
if you are printing and selling works for display, your customers
tend to have the expectation that the work will last beyond 2-3
years. Pigmented inks however, can suffer from a pigment balance
problem which rears its head in a similar manner to the two-sample
metamerism problem.

When a quality ICC profile is created for a pigmented ink set, you
will typically see a good neutral gray gradient. As mentioned above,
ICC profiling assumes the print is viewed under D50 lighting. With
some pigment sets (ie CMYK inks sold and/or used together) the gray
gradient color shifts considerably when viewed under different
illuminants. It is important to note that this is not an expected
color shift but rather a shift that appears strange to the eye. One
would expect that a gray tone viewed under D50 lighting would appear
to be a warmer gray when viewed under warmer, tungsten lighting. The
color balance failure we are referring to here shows up as a green or
magenta cast and is noticeably different than a shift normally
attributed to warmer or cooler light.

Many people incorrectly refer to this phenomenon as metamerism.
Metamerism, however, is specifically defined as a phenomenon that
occurs between two samples. The ink balancing situation does not
involve two samples but rather a balance of pigments in one sample.
Strictly speaking, then, it is not metamerism and we (at CHROMiX)
often refer to the problem as Gray Balance Failure or Color Balance
Failure.

What can I do to avoid Gray Balance Failure (GBF)?

As with the suggestions above there are several things to do to
minimize the effects of GBF.

1) Control your lighting - not always possible, but if you can it is
often the easiest solution.
2) Choose your pigmented ink set carefully. View them under different
lighting conditions to see if they shift considerably. Remember, it
is the combination of pigments that is causing the problem. Some
users have found success in mixing inks from different vendors such
as the black from one set in combination with the colored inks from
another. Needless to say, this route can require extensive testing.
3) Profile for different lighting conditions - as mentioned before,
this is not often very easy to do.

*** Metamerism as Friend ***

After all is said and done, it is fair to say that metamerism is our
enemy, right?

Not so fast...

Metamerism, remember is when an object matches another under a
certain illuminant even though the spectral characteristics of the
two objects differ. The act of balancing three or four colorants
(such as CMYK inks) so they appear to be the same color as an
original object is also based on metamerism. Because of the 3-channel
nature of our eyes, we can get 4 inks to appear to match a real-world
object like a person's face without the spectral characteristics of
the inks resembling the face much at all. This means that the print
and the face affect light differently but appear to be the same color
to our eyes!

This is the basis of digital imaging and printing today. It is fair
to say, then, that without metamerism we would not be able to do ANY
of the imaging we do today! It is only when the balance fails that we
call it a problem. Perhaps a match-failure problem should be called
metamerism "failure" rather than metamerism, but this term does not
seem to be used at all.

In closing...

As with anything in the color management world, being aware of the
problem is half the battle. Now that you know about metamerism and
GBF you can consider it as a contributing factor when things don't
look right.

Also, if you have no D50 lighting under which to view your prints it
is possible they will never look quite right. Invest in controlled
lighting for print viewing. With the many variables in digital color
work that can give you problems, nailing down lighting is considered
a basic requirement for print viewing as well as monitor to print
matching (see ColorNews issue #2).

_______________________________________________


=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

FEEDBACK and FAQs

To submit questions or feedback to CHROMiX, email us at colornews(at)CHROMiX.com
Please include your name and email address in all correspondence
(email, phone, fax etc).

SUBSCRIPTIONS

To unsubscribe to CHROMiX ColorNews, reply to this message with
"unsubscribe" in the subject.
To subscribe, email colornews(at)chromix.com with "subscribe" in
the subject.

ColorNews is edited by Carolyn Hobart (hobart(at)chromix.com).

Entire Contents of CHROMiX ColorNews (c)2002 CHROMiX
CHROMiX, ColorThink, ColorNews, and profilecentral.com are trademarks
of CHROMiX. All other trademarks are property of their respective
owners.
CHROMiX ColorNews is intended as an informative update to CHROMiX
customers and business associates. We are not responsible for errors
or omissions.

TC 9.18 Extended RGB target

SmartNote: 1030
Type: Utility
ColorGeek factor:
This test target was created by Bill Atkinson and has been tested by CHROMiX and other color management folks for several months.

It contains 918 patches and samples colors on a 9-point grid with extra neutral and near-neutral patches.

The download package contains the .TIFF image file and the reference data which is intended for use with GretagMacbeth's ProfileMaker Pro 3/4 but can be used with Eye-One Match software. It may also be usable with other programs that allow custom targets.

The patches have been scrambled and the target is suitable for use with the Eye-One and Spectrolino/SpectroScan devices.

TC 9.18 Extended RGB Target (Mac .sit format)


TC 9.18 Extended RGB Target (Win .zip format)

CHROMiX ColorNews Issue #6 - Digicam Profiling

SmartNote: 1053
Type: ColorNews
ColorGeek factor:
___________________________________________________________________
C H R O M i X C O L O R N E W S

Issue #6
March 25, 2003
___________________________________________________________________

====================================================================

Welcome to ColorNews, a periodic update on all things related to Color
Management. Please let us know what your interests are so we can address
these concerns in our coming issues. We apologize for the delay from our
last newsletter, many exciting changes have taken place at CHROMiX and
we will be covering them over the next few newsletters.

ColorNews covers newsworthy items including new product releases and
updates, and interesting, informative web sites. Each issue will
include a feature article covering an aspect of color management such
as profiles, workflow, and so forth.

In a visit to CHROMiX.com or profilecentral.com, you opted to receive
this newsletter. You may have also heard Steve Upton speak and
requested more information. If you have received this message in
error, we apologize. We value our relationship with you and do not
want to spam you. See below for details on how to provide feedback,
how to unsubscribe, or how to become a sponsor.

====================================================================
Table of Contents
=================

1. CHROMiX News
2. Color News
3. New Releases
4. ColorFAQs - this month's FAQ is on Digital Camera Profiling
5. ColorNews Administration (feedback, subscriptions, etc.)

====================================================================
CHROMiX News
================

There have been so many changes at CHROMiX since the last newsletter that it
is worth mentioning them here:

- ColorThink v2.0 for Mac was released earlier 2003. We appreciate all our
beta testers and customers who have helped provide feedback instrumental to
it's release. Version 2.0 now performs all graphing in OpenGL and offers
features such as translucent overlays, graphing of image colors, vector graphs
for showing color shifts etc. Now available for Mac OS X and OS 9.
<http://www.chromix.com/colorthink>

- ColorThink v2.0 for Windows is now in beta! We are very excited to see our
powerful visualization tool running (and running well!) on Windows. It takes
full advantage of OpenGL and ICM and will soon be everything all our friends on
Windows have been waiting for! To be notified the instant it ships, please
email us at cctwin(at)chromix.com

- Our ColorValet Press Kit for profiling of printing presses is now ready and
online! Now you can get high-quality sheet-averaged profiles build for only
$299 per paper stock. We have been building press profiles onsite and in our
lab for years now and are excited to be offering this formalized ColorValet
service. You run the press, we build the profiles.
<http://www.chromix.com/colorvalet/press/>

- Staffing - We are excited to announce that Mike Cummings has been added to
our technical support staff. Mike has many years experience in the
Mac-PC-UNIX computing environments, as well as programming and technical
support as several levels. Mike will be working on ColorValet Custom Profile
building, technical support for ColorValet profiles and ColorGear equipment.
Feel free to call Mike with any of your CHROMiX related support issues at
206-985-6837 x6 or cummings(at)chromix.com

- Training facility - because of the move to our larger Seattle facility
recently, we now offer individual or classroom training, customized to fit
your specific needs. We still offer our on-site and remote services, but
this adds a dimension that many customers have requested. Please call Rick
Hatmaker at 866-CHROMiX x7 or hatmaker(at)chromix.com for more information.

====================================================================
Color News
================

- Monaco has modified their pricing on Profiler so that it is divided into
two versions.
Gold - std kit without n-color and digicam, and Platinum - the full kit
available with previous Profiler. This new product pair makes direct price and
feature comparisons easier and gets you into the excellent Monaco Profiler
package for only $2799!
<http://www.chromix.com/colorgear/shop/productdetail.cxsa?toolid=457>

- GretagMacbeth has revamped the Eye-One line:

Eye-One Monitor is to be replaced by Eye-One Display, a smaller
colorimeter-based unit based on Sequel technology (more below). The
expected retail price is $250.

Eye-One Photo = reflective Eye-One unit (as was in the Eye-One Pro package)
+ RGB print profiling - retail priced around $1495
for early order special go here:
<http://www.chromix.com/colorgear/shop/productdetail.cxsa?toolid=1049>

Eye-One Publish = reflective Eye-One unit (as was in the Eye-One Pro
package) +RGB/CMYK profiling (basically renamed Eye-One Pro/Match bundle).
Retail will be around $2695 which is almost $400 reduction from Eye-One
Pro/Match!!!!

There will be a free upgrade for all current Match 1.X customers to version
2.0 match.

GretagMacbeth is offering a $200.00 upgrade coupon from EyeOne Display to
EyeOne Photo or Publish.

Eye-One Beamer = reflective Eye-One unit + special holder & software for
calibration & profiling of overhead display systems - cool! Retail $1595

New ambient light adaptor (works with NEW eye-ones only) allows "hold it up
and take a reading" of light sources. It is included with all new
Eye-Ones except the display.

GretagMacbeth has indicated a mid-April shipping date for the above items.

Also - BIG news. GretagMacbeth announced the intent to acquire Sequel
Imaging during the week of PMA. Apparently this won't affect OEM deals, etc.
There are a lot of Sequel devices in multiple forms available through many
different OEM deals so this is an interesting piece of news...

- Integrated Color Corporation has consolidated both the Mac (9 & OSX) and
PC version of ColorEyes and ColorEyes 2020 on one CD respectively. This will
clean things up for this great digital camera profiling product and make it
easier for users. ColorGear will reflect the changes on our website.
<http://www.chromix.com/colorgear/shop/productdetail.cxsa?toolid=1033>
<http://www.chromix.com/colorgear/shop/productdetail.cxsa?toolid=1036>

- PPI is hosting the ANNUAL PRINT BUYERS CONFERENCE to be held MAY 6 at the
Red Lion Hotel on Fifth Avenue in Seattle and MAY 8 at the Doubletree Hotel
Portland-Lloyd Center. <http://www.pnwcmug.com/images/PrintBuyersConf.pdf>

- PhotoMedia magazine has announced it has taken over production of the
Northwest Exhibition of Environmental Photography (NWEEP), renamed the event
"World in Focus" and expanded on its concept. The mission of the event is to
raise environmental and cultural awareness of our world through photography.
That purpose is realized via a photo contest which results in a six-week print
exhibit of the contest winners and opening reception at Seattle's Rainier
Square building, an awards ceremony and keynote seminar by photographer, Art
Wolfe at Seattle's Benaroya Hall on June 6, and an all-new seminar series at
the Seattle Center on June 6-8, 2003. Approximately 2,000+ attendees (mostly
professional and serious amateur photographers and others in the photo
industry) for the World in Focus Seminar Series weekend will converge on June
6-8. Also, tens of
thousands are expected to view the World in Focus Photo Exhibit at Rainier
Square in Seattle from June 5-July 20.
<http://www.worldinfocus.us>

We are always happy to answer any and all questions you might have.

====================================================================
New Releases
===============

- BestColor USA has released the much anticipated Best Designer Edition
v2.1/2.04. It is OS X and Classic compatible. It also now has added support
for the Epson UltraChrome technology, predominantly the Stylus 2200. The new
version is priced on ColorGear for $739. The upgrade is free to existing
users but you'll need your dongle id# and updated contact information to
process the order. You'll get a new dongle to replace the old one.
<http://www.chromix.com/colorgear/shop/productdetail.cxsa?toolid=460>

- Adobe has released Adobe camera RAW v1.0, a US$99 file format plug-in that
brings support for a wide range of digital SLR and compact camera RAW file
formats to Photoshop 7.01 (Mac and Windows). It does not replace the benefit of
custom camera profiles but it comes a long way.. (more below)

- Bruce Fraser, Chris Murphy and Fred Bunting have released the latest 'REAL
WORLD COLOR MANAGEMENT'. This is a fantastic resource material and a must if
you're new to color management or an old hand.
<http://www.amazon.com/exec/obidos/ASIN/0201773406/chromix/>


- Rita Amladi has released another great PhotoShop training course. The
latest is called 'ICC COLOR MANAGEMENT in PHOTOSHOP 7'. It is published by
The Virtual Training Company (VTC). We hope to have it for sale on our
website soon.

====================================================================
ColorFAQs
================================

Each month, our President Steve Upton will take time to answer questions
we receive on a regular basis. If you have specific questions or
comments, please see below for how to make submissions.

This Month - Digital Camera Profiling - touches a Hot and controversial
topic of recent history:


Profiling Digital Cameras

A hot topic indeed.

In some ways you would think it's like a scanner. A camera is really just a
scanner up on end with a lens right? Oh, but lighting is different isn't it?
You bet it is, that and other factors can make camera profiling a much
different experience than scanner profiling.

On a basic level, profiling digital cameras and scanners works the same way. A
target containing numerous color patches is captured into your computer. Save
the resulting RGB file and import it into your profiling application. Then load
the text file that contains the Lab measurements for each patch on your target.
The profiling software calculates an RGB-to-Lab lookup table, your profile.
That is pretty much where the similarities end.

On Target(s)

Several different targets are available for camera profiling including the
venerable IT8.x (Q60), Macbeth ColorChecker, ColorChecker DC as well as the
Hutch Color Target (HCT) and some proprietary ones. Like anything in life there
are tradeoffs when choosing any of them. Photo paper targets can produce
smoother tones but tend to have a smaller gamut and are subject to fading over
time. Paint chip targets (both colorcheckers) have greater longevity and
durability but in the case of the Macbeth Colorchecker, do not have enough mid
tones to effectively sample a camera's color response. The ColorChecker DC,
while having many more mid tone colors has been known to behave unpredictably
in polarized light and is under the process of being reformulated by
GretagMacbeth. We have found that the profiling software / target combination
plays a significant role in profiling results.
<http://www.chromix.com/ColorGear/Shop/ProductList.cxsa?refcode=cmptarget>

Making a scene?

Early camera profiling adventurers found that simply placing the profiling
target in the scene can create a profile for use in that lighting condition.
But any other lighting condition, even as much as moving a light, can cause
enough variance that a new profile is required. This "profiling the scene" can
be used to correct color in some situations but it is a very brittle technique
and falls out of favor after building 10 or 20 profiles.

A properly built camera profile, in combination with correct gray balancing,
characterizes the camera system effectively for a wide range of lighting
conditions. Occasionally a new profile is required when lighting is drastically
different than the profiled lighting or a camera is particularly sensitive to
infrared wavelengths. Still, a couple of profiles for your entire shooting
experience sure beats a life of constant profiling.

Lighting

When setting up RIP systems for customers, we typically say that you can never
spend too much time on ink levels and linearizing - it will always result in a
better print profile. Similarly, when it comes to building quality camera
profiles, you can never spend too much time setting up the lighting and target
for capture. This is the process that makes or breaks the quality of the
profile. Absolutely even lighting from a single light source is required. Those
who've spent many an hour shooting copy work will recall that even lighting is
quickly achieved with two light sources. That's fine for copy work but murder
for camera profiling. Any deviation in color temperature between the two lights
and you will have a color bias across the target that will kill your profile.
And as digital cameras can pickup as little as 1/10th stop variation, you have
to be very careful.

Gray Balance

Often called white balance, gray balancing a camera can be done in several ways
including automatically, in camera, in the camera software or in Photoshop. No
matter how it is achieved, gray balance is the secret to using profiles in a
wide range of circumstances. It effectively calibrates your camera for each
lighting situation (an oversimplification but OK for this level of
understanding). Calibration, as we know, is the key to devices behaving
themselves and profiles remaining valid.

Is that it?

Well, basically yes. The correct target and software combination, combined with
good technique will build you a good camera profile that is usable in a wide
range of circumstances.

Is it that easy?

Perhaps not. We have spent a considerable amount of time working out the
techniques of camera profiling and determining which product mixes actually
produce the results our customers expect. The results?

Tools: ColorEyes 20/20 from Integrated Color Corp is the profiling tool of
choice. It includes a proprietary reflective target that has a wide gamut,
enough color patches to sample the camera space effectively and extra patches
in important color zones such as flesh tones. ColorEyes 20/20 works as a
plug-in within Photoshop and is pretty much a one-button profiling tool - as
mentioned above, shooting the target is everything. Oh - in regards to shooting
the target, the software actually includes a real manual. When was the last
time you saw a printed, bound manual that contained useful, if not essential
information? Overall it's a great package and also the only one we have tested
so far that builds great camera profiles that work in a wide range of
circumstances.
<http://www.chromix.com/colorgear/shop/productdetail.cxsa?toolid=1036>


Technique: What can we say? It is everything when profiling these things (have
I repeated that enough?). As a result we have worked closely with the software
manufacturers and photographers to develop a comprehensive training program and
get our field color geeks up to speed. Please contact us for more information
about these services.

Adobe Camera Raw

Some of you may be reading this article and wondering when I am going to
mention Adobe Camera Raw (ACR). Recently Adobe released a Photoshop plugin that
allows the opening of "raw" digital camera files directly into Photoshop.
Typically users have been forced to use the camera manufacturer's own camera
software which ranges widely from camera to camera (even from the same
manufacturer) and rarely works well in either default mode or using custom
profiles.

ACR creates a single interface for a wide range of cameras and also supplies
some "tweaking" tools for adjusting white balance and other image
characteristics as the file is opened. What ACR brings to the table is a great
replacement for the bewildering and problematic software typically included
with cameras. ACR uses unmodifiable ICC technology internally that acts as
generic profiles. Testing has shown us that while ACR is a vast improvement
over existing software solutions, it does not give the results that our
professional customers demand. Custom profiles exhibit smoother highlights,
fuller flesh tones and more accurate colors for product and branding shots.
Some of the effects are subtle but make a noticeable difference, and for our
pro customers that is the difference they require.

Without getting into a full book on the subject, that is about as far as we can
go on the topic of digital camera profiling. I have always referred to camera
profiling as the bleeding edge of color management. It seems that finally we
can move away from the edge and get back to work with some great results.


=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

FEEDBACK and FAQs

To submit questions or feedback to CHROMiX, email us at
colornews(at)CHROMiX.com
Please include your name and email address in all correspondence
(email, phone, fax etc).

SUBSCRIPTIONS

To unsubscribe from CHROMiX ColorNews, reply to this message with
"unsubscribe" in the subject.
To subscribe, email colornews(at)chromix.com with "subscribe" in
the subject.

Entire Contents of CHROMiX ColorNews (c)2003 CHROMiX Inc.
CHROMiX, ColorThink, ColorNews, ColorSmarts and Profilecentral.com are trademarks of CHROMiX. All other trademarks are property of their respective owners.
CHROMiX ColorNews is intended as an informative update to CHROMiX
customers and business associates. We are not responsible for errors
or omissions.
--

CHROMiX ColorNews Issue #7 - Evaluating Color Graphically

SmartNote: 1054
Type: ColorNews
ColorGeek factor:

___________________________________________________________________
C H R O M i X C O L O R N E W S

Issue #7
April 29th, 2003
___________________________________________________________________

====================================================================

Welcome to ColorNews, a periodic update on all things related to Color
Management. We are striving for a regular consistent newsletter of high
value to our customers. Please let us know what your interests are so we
can address these concerns in our coming issues.

This month we would like to draw particular attention to two items:

** ColorThink v2.1 for Windows is shipping!! See details below.

** 'DIGITAL CAMERA PROFILING: IS IT FOR ME?' seminar event by CHROMiX will
be May 6th in Portland, Oregon and May 7th in Seattle, Washington. If you're
in the area, don't miss this no-cost education event! See details below.


====================================================================
Table of Contents
=================

1. CHROMiX News
2. Color News
3. Shows and Events
4. ColorFAQs - this month's FAQ is on Evaluating Color Graphically
5. ColorNews Administration (feedback, subscriptions, etc.)

====================================================================
CHROMiX News
================

There have been several things happening at CHROMiX in the last few weeks
since our last newsletter that are worth mentioning here:

- CHROMiX will be hosting 'DIGITAL CAMERA PROFILING: IS IT FOR ME?' seminar
on May 6th in Portland, Oregon and May 7th in Seattle, Washington. See
details below in Shows and Events.

- !!!!ColorThink v2.1 for Windows is now shipping!!!! We are very excited
to see our powerful visualization tool running very well on Windows. It
takes full advantage of OpenGL graphics and will soon be everything all our
friends on Windows have been waiting for! Pricing for both the Windows
version 2.1 and Mac version 2.0 is now $149. ColorThink is still the best
deal in color management. Of course, we're biased, and we're confident you
will be too once you see the value of this amazing tool. To order, call
sales at 866-CHROMiX Extension #1, or email sales(at)chromix.com or simply
order online at:
here

- Last month's release of our ColorValet Press Kit for profiling of printing
presses has been very well received and we appreciate your interest! These
high-quality sheet-averaged profiles are only $299 per paper stock. We have
been building press profiles onsite and in our lab for years now and are
excited to be offering this formalized ColorValet service. You run the
press, we build the profiles. here

- Customer Service Representative - Carolyn Boone (Extension #8) is our
beloved CSR and a very important aspect of keeping CHROMiX customers happy.
She has the relationships with manufacturers and the CHROMiX capacity to
solve non-technical problems. If you have a customer service need, don't
hesitate to contact her directly at 866-CHROMiX Extension 8 or email her at
boone(at)chromix.com.

- Training facility - because of the move to our larger Seattle facility
recently, we now offer individual or classroom training, customized to fit
your specific needs. We still offer our on-site and remote services, but
this adds a dimension that many customers have requested. Please call Rick
Hatmaker at 866-CHROMiX x7 or hatmaker(at)chromix.com for more information.

====================================================================
Color News
================

- FREE Event: CHROMiX will be hosting 'DIGITAL CAMERA PROFILING: IS IT FOR
ME?' seminar on May 6th in Portland, Oregon and May 7th in Seattle,
Washington. See details below in Shows and Events.

- April 15th is tax day in the U.S. A., but is also the day that
GretagMacbeth "officially" released their new products, which are very much
worth mentioning again: (actual shipping should start this week)

- Eye-One Display, a colorimeter-based unit for measuring and
profiling CRT's & LCD's. It comes with open-license software compatible with
Macintosh OS 9/X and Windows. The Eye-One Display replaces the Eye-One
Monitor. CHROMiX ColorGear price is $239.
here

- NOTE: GretagMacbeth is offering a $200.00 upgrade coupon from EyeOne
Display to either EyeOne Photo or Publish (below).

- Eye-One Photo, includes the popular EyeOne Pro device and software.
It will calibrate & profile monitors (Mac/PC and CRT/LCD), take spot
measurements, measure ambient light, measure other target charts and profile
RGB only output(most inkjets). CHROMiX ColorGear price is $1399, a great price for this
professional quality solution.
here

- Eye-One Publish (which replaces the Eye-One Pro+Match) does
everything Eye-One Photo does (above) plus CMYK output profiling and
reflective scanner profiling. ColorGear price is $2519.
here

- Eye-One Beamer (totally NEW!) This cool device measures and
calibrates monitors AND Projectors, take spot measurements, measure ambient
light and comes with it's own convenient carrying case. CHROMiX ColorGear
price is $1495. A must for presenters!
here

- LAST NOTE: There will be a free upgrade for all current Match 1.X
customers to version 2.0 match.

====================================================================
SHOWS & EVENTS
================

- May 6 & May 7, CHROMiX and Integrated Color Corporation will be hosting
'DIGITAL CAMERA PROFILING: IS IT FOR ME?'. Photographers, Photo Studios,
Photo Labs and Digital Artists will learn what it takes, what it costs and
what are the business and quality benefits to a color managed workflow using
custom profiles for digital cameras. ColorEyes 2020, Phase One Capture One
software and Adobe Photoshop will be highlighted to illustrate practical
applications. The first event is May 6th at 6:00pm at Scardina & Wilson
Photo Studio, 2246 NE Oregon St. (entrance on NE 23rd) in Portland, OR
97232. The second event will be May 7th at 6:00pm at Darrell Peterson
Photography Studio, 217 West Galer Street in Seattle, WA 98119.
If you're in the area, don't miss this valuable and educational session.
This is a no-cost event.
RSVP, email Rick Hatmaker at hatmaker(at)chromix.com. Seating is limited.

- May 1-3, Gutenberg Festival, Long Beach Convention Center, Long Beach,
California. This Western U.S.A. show covers the prepress, publishing,
printing, converting and digital equipment markets.
here

- May 6 & May 8, The Pacific Printing and Imaging Association (PPI) is
hosting the ANNUAL PRINT BUYERS CONFERENCE to be held May 6 at the Red Lion
Hotel on Fifth Avenue in Seattle and May 8 at the Doubletree Hotel
Portland–Lloyd Center. For the 12-page event flyer go to:
here

- May 22, the Pacific Northwest Color Management Users Group
(www.pnwcmug.com) will be having their upcoming User meeting in Portland,
Oregon. In a live simulcast from Cupertino, CA, John Zimmerer of Apple
Computer will discuss the current state of color and imaging on Mac OS X,
but will focus primarily on where the related technologies are headed.
Topics will include PDF and related standards (e.g., PDF/X-3),
under-appreciated parts of the ICC specification (e.g., abstract and device
link profiles), and the reasons why Apple chose CUPS as the print spooling
architecture for Mac OS X.
For more details go to: here or to
www.seminars.apple.com and search on Portland, OR. Please RSVP as seating is
limited.

- June 23-27, Apple will have the Worldwide Developers Conference 2003 in
San Francisco. 'Panther', the next major release of Mac OS X, will be
highlighted. Also, this is the definitive conference for Apple OS X
developers with comprehensive technical sessions covering Apple Developer
Tools, Application Frameworks, Core OS, and many other valuable sessions and
activities. here

- September 28 - October 1, Graph Expo will be held at McCormick Place
South, Chicago, Illinois. Graph Expo is the Nation’s most comprehensive
trade show and conference for graphic design, digital prepress, printing,
publishing converting and digital equipment professionals.
here


+-------------------------------------------------------------------+
| A D V E R T I S E M E N T
+-------------------------------------------------------------------+
| OFFER #1 NEW Bundle value! CHROMiX will be selling the new EYE-ONE
| DISPLAY ($239) plus a ColorValet Print Profile ($99), for a special
| low price of $299, until May 15th and only to ColorNews recipients.
| After that the price goes up to $314 (still a great value).
| here
|
| OFFER #2 We're extending the EYE-ONE PHOTO 'Pre-Order' price of $1349
| until May 15th (shipping extra).
| here
|
| Remember NO state taxes are charged outside of Washington state!!
|
| Call ColorGear Sales 866-CHROMiX x1 or sales(at)chromix.com for more.
+-------------------------------------------------------------------+
====================================================================
New Releases
===============

GretagMacbeth has just released version 2.0 of Eye-One Match. This is a free upgrade for any and all Eye-One users

====================================================================
ColorFAQs
================================

Each month, our President Steve Upton will take time to answer questions
we receive on a regular basis. If you have specific questions or
comments, please see below for how to make submissions.

This Month - Evaluating Color Graphically

ICC profiles contain a remarkable amount of information that is often overlooked. The color transformations performed by profiles allow colors to move through our workflows - say from scanner to press - unaltered... or at least that's what we hope.

It turns out that each device in your workflow has its own capabilities and that each successive device in your workflow tends to have less and less color reproduction ability. Once we accept this fact of physics we realize that color image reproduction may not be about the most accurate color attainable, but instead is about getting us the most pleasing image we can as the gamut of our image gets squished onto the final output device.

Color as a 3D representation

Whether it's human nature or mathematical necessity, color is typically reduced to three dimensions. XYZ, Lab, LCH, Yxy, Luv and many other 3D color spaces exist to help compare, convert and edit colors.

The classic shoe-heel-shaped Yxy chromaticity diagram is ubiquitous in color management 101 presentations as it quickly describes how the triangle-shaped gamut of a monitor compares with the blob-shaped gamut of a printing device. It doesn't take long however before we realize that white and black and all of the highlight and shadow colors near them are missing from the 2D graph. Those of us who slave over images spend a lot of time stressing over highlight and shadow reproduction and to have them left out of visualization tools limits our ability to evaluate what's going on in our workflows.

Enter 3D viewing

Plotting the gamut of a printer in 3 dimensions shows us a volume with curves, slopes, points and edges. We can quickly see the brightness and color cast of the paper, how deep the shadows can be and how clear and bright the printer can render saturated colors. Overlay a monitor or scanner profile and limitations in the printing system that were invisible before, become clear. Perhaps clear enough to motivate you to try a different paper type or ink set.

Comparing Gamuts

Several years ago I was struggling in my attempt to have a client's Epson 1270 simulate a Matchprint proof. All the 2D diagrams and manufacturer claims I had seen suggested that the gamut of these new inkjets was big and beautiful and could certainly reproduce anything a press could. If an inkjet printer can reproduce all the colors of a press, then with high-quality profiles you should be able to achieves an acceptable simulation of the press on the inkjet; a proof.

Problem was my test image contained a man's neck tie with a deep dark red that shifted to a grayish brick-red when printed on the 1270. I rebuilt profiles, tried multiple rendering intents and even went so far as to edit both the press and inkjet profiles in an attempt to get them to match. Finally I threw up my hands and I left with my tail between my legs... not a happy day for a color management professional.

Some weeks later I wrote a small piece of code that would later evolve into the ColorThink Grapher. It was wire-frame only and low resolution but it allowed me to overlay the gamut volume of the actual Epson 1270 and Matchprint profiles and I was quickly struck with the newly obvious truth. When the gamut comparison of the 1270 and Matchprint are seen in 2D, the 1270 seems to engulf the Matchprint gamut. But bring in 3D graphing and suddenly it becomes apparent that there were whole groups of dark, saturated colors that the Matchprint gamut contained but were not in the gamut of the Epson 1270! A little more graph fiddling and I could see that the reds in my client's image fell in this color contention zone.

So! Finally an answer. No wonder I couldn't get that bloody red to match, the 1270 was simply not able to print it! Did that solve my printing problem? No. The gamut limitations are a real part of the ink and paper combination of the 1270. Still, I would have loved to know that I was dealing with a physical printing limitation before I spent so much time and effort on a fruitless pursuit. The ColorThink Grapher has evolved a long way since those first graphs but the basic technique remains the same. All it takes is a couple of profiles and a good grapher to see whether or not one printer can possibly match another.

Device capability rather than profile behavior

Does this mean that once you have the graph showing one gamut engulfed by another that they'll match? No. The 3D profile gamuts in ColorThink are showing more of what the printer is able to reproduce rather than the ability of the profile when used with real images. In order to see the behavior of profiles themselves, actual image data should be used.

Choosing a representative data set

A good place to start when graphing image colors is an image containing a reasonably wide distribution of colors. Bright and dark, saturated and near-neutral, in gamut and out of gamut (for the printer) colors all help produce a visualization of how your profile affects the colors in your images. Drag an image onto the Grapher in ColorThink and the image's embedded color profile converts the RGB data to Lab.

Graphed in 3D along-side a print profile and it's apparent which colors are printable and which are going to need to undergo "gamut compression" in order to print.

ColorThink can also show how the colors will shift when the print profile is applied. Displayed as vectors, each image color is transformed into an arrow showing the direction and amount of color shift that will occur in your workflow. Finally you can see what is happening to those blues that got clobbered in your great sky shot!

Synthetic data

There are also many different synthetic test data sets available for when you want to isolate the effects to neutrals, certain color ranges, etc. If you can create the file in Photoshop or calculate the color numbers in Excel there is no end to the testing that can be performed. A common use of this technique is to create a small palette of corporate logo colors and then see how well they reproduce (or don't) on different devices: inkjets, monitors, presses, overhead displays, and so forth.

Rendering intents

As you probably learned in your color management 101 class, profiles contain different rendering intents so you can control how the color mapping occurs. Viewing the effects of different rendering intents can help you understand their purpose as well as when one intent is more appropriate than another. You can also compare the rendering intents of profiles from different manufacturers. This level of analysis is the sort of thing that makes same profile manufacturers nervous. It can expose bugs and mis-mappings that will appear unpredictably on your images.

Do these visualization tools solve all the problems you will encounter in your workflow? No, but they will definitely help you understand what is going on. Once you know more about how your color management system works you can start to methodically weed out the problem inks, papers, devices, profiles, applications and so forth. Only by breaking open the "black box" profiles can you begin to see their true capabilities and start to achieve the imaging quality that you are striving for.


=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
In a visit to CHROMiX.com or profilecentral.com, you opted to receive
this newsletter. You may have also heard Steve Upton speak and
requested more information. If you have received this message in
error, we apologize. We value our relationship with you and do not
want to spam you. See below for details on how to provide feedback,
how to unsubscribe, or how to become a sponsor.

FEEDBACK and FAQs

To submit questions or feedback to CHROMiX, email us at
colornews(at)CHROMiX.com
Please include your name and email address in all correspondence
(email, phone, fax etc).

SUBSCRIPTIONS

To unsubscribe from CHROMiX ColorNews, reply to this message with
"unsubscribe" in the subject.
To subscribe, email colornews(at)chromix.com with "subscribe" in
the subject.

Entire Contents of CHROMiX ColorNews (c)2003 CHROMiX Inc.
CHROMiX, ColorThink, ColorNews, ColorSmarts and Profilecentral.com are
trademarks of CHROMiX. All other trademarks are property of their respective
owners.
CHROMiX ColorNews is intended as an informative update to CHROMiX
customers and business associates. We are not responsible for errors
or omissions.
--

--

CHROMiX ColorNews Issue #8 - Input Profiles & Working Spaces

SmartNote: 1081
Type: ColorNews
ColorGeek factor:

___________________________________________________________________
C H R O M i X C O L O R N E W S

Issue #8
July 15th, 2003
___________________________________________________________________

====================================================================

Welcome to ColorNews, a periodic update on all things related to Color
Management. We are striving for a regular consistent newsletter of high
value to our customers. Please let us know what your interests are so we
can address these concerns in our coming issues.

This month we would like to draw particular attention to two items:

** Check out CHROMiX ColorGear July SPECIAL Deals!! See details below.

** 'INPUT PROFILES and COLOR SPACE CONVERSION GUIDELINES' an article
written by CHROMiX President Steve Upton that you'll want to read.

====================================================================
Table of Contents
=================

1. CHROMiX News
2. Color & Product News
3. Industry News
3. Shows and Events
4. ColorFAQs - this month's FAQ is on when to use an input profile
5. ColorNews Administration (feedback, subscriptions, etc.)

====================================================================
CHROMiX News
================

There have been several things happening at CHROMiX in the last few weeks
since our last newsletter that are worth mentioning here:

- CHROMiX ColorValet now officially does backlit and transparency profiles.
We've been building these for years and have brought this much requested
feature to the forefront. For more information, please call or email our
Color Sales Geek, Rick Hatmaker at hatmaker(at)chromix.com or extension 7.

- It's true! CHROMiX now carries popular LaCie Electron monitors AND the
incredibly accurate SONY Artisan monitor!! CHROMiX has for many years
resisted promoting any NON Color Management focused products or any Color
Management products with low value. However, these two fine products have
withstood our test and definitely qualify as quality, Color Management
products. Actually, our customers have been demanding we carry these, so we
did. See our ad below for July monitor specials!


====================================================================
Color & Product News
====================

- The GretagMacbeth Eye-One Beamer is FINALLY shipping!!! After the
initial announcement earlier this year, we've all been anxious to get this
product in hand. Now it's here! This cool device measures and calibrates
monitors AND Overhead Projectors, take spot measurements, measure ambient light and
comes with it's own convenient carrying case. And to color manage your PC
PowerPoint presentations - there's a software add-in called ColorPoint.
Without it, PowerPoint can't accept the great profiles you build with your
Eye-One! This product is a must for presenters!
click here

- ICS has dramatically reduced basICColor monitor calibration and
profiling software. All variations of the software with the Sequel Squid
have been reduced to become one of the best industry values. basICColor is
becoming the leader in innovative and quality monitor software products for
professionals. Check out the CHROMiX ColorGear deals:
a) basICColor v2.5 Display software only
click here
b) basICColor 2.5 Display & Squid device BUNDLE
click here

- GretagMacbeth has announced v2.0 EyeOne Match software (award
winning Eye-One Match color management software that comes with all of
Eye-One solutions). Here are the new features:
-New Easy mode for monitors and projectors
-Native White Point selection for monitors
-Print your test target direct from Eye-One Match - you no longer have to
open up another program
-Auto detection of network printers and we even assign the appropriate test
charts depending on the device (CMYK or RGB)
-Enhanced Zoom tool for cropping
-New Projector module
-New history section - know exactly where you are in the process
-New updated on-screen help - all in one convenient area
-And the best news, it's a FREE Upgrade to all registered owners of Eye-One!
Download at click here i1color.com! (Log in at the Support Tab)

- Monaco Systems has announced that MonacoPROOF, MonacoPROFILER Gold
and Platinum Editions are now localized in 5 languages in addition to
English. There is now language support for German, French, Spanish and
Japanese versions of our professional ICC profiling products.
click here

- Pantone and ColorVision announced PrintFIX, an integrated
hardware/software solution that delivers accurate printer profiles for
outstanding photographic inkjet prints. PrintFIX is an affordable color
control solution for photo, design and prepress applications. As a plug-in
for Adobe® Photoshop® or Adobe Photoshop Elements, PrintFIX prints a
calibration chart - a series of color patches - that are read back into the
computer with the USB PrintFIX Patch Reader. Within minutes, the PrintFIX
software creates an ICC profile of the printer's color behavior on specific
inkjet paper, creating a high quality print that matches what is seen on the
monitor.

- Camera Bits released Photo Mechanic 4.0.3 for Windows. The main
change in the latest update of the pro photo browser is support for the
embedding of ICC profiles into digital camera files, as well as optional
color-managed viewing of both thumbnails and previews. Camera Bits Home
Page is at click here

- Apple posted Mac OS X color management overview
A newly-posted seminar on the Apple web site entitled 'ColorSync in Mac OS X:
Technology Overview' This is full of interesting information on color
management and how it's implemented in the latest Mac OS.
click here

- Worth a look!! Erik Koldenhof and his crew put together an
excellent study of their color experiences with the Apple LCD displays in
combination with GretagMacbeth's EyeOne System for monitor calibration at:
click here
Erik Koldenhof is CEO of Koldenhof Grafimedia Expertise, Rijswijk, the
Netherlands

- The web browser wars continue, but here's the unofficial color
management perspective:

- Netscape released v7.1 at the end of June. It is not ICC-aware.
- MicroSoft has v5.2.3 of Explorer. The Mac version is ICC-aware.
- Apple released Safari v1.0 for OSX, which shows great promise. It is
ICC-aware, but has experienced some difficulties loading JPEG images within
HTML pages, but color manages isolated JPEG files just fine.
- OmniGroups OmniWeb 4.2 is ICC-aware, but has some document formatting
problems with pages that otherwise work fine on Netscape, Explorer, etc.

Think your browser is ICC-savvy? Check it out here.
click here


====================================================================
SHOWS & EVENTS
================

- July 24, the Pacific Northwest Color Management Users Group
(www.pnwcmug.com) will be having a SUMMER SOCIAL at Madison's at 1109 SE
Madison from 6:30pm to 9:00pm in Portland, Oregon. For more details or to
RSVP go to: click here

- July 14-19, MacWorld Expo New York. Apple will be showcasing the new G5
with 64-bit power. Steve Upton of CHROMiX will be a highlighted speaker, so
be sure to attend. For more information: click here

- September 28 - October 1, Graph Expo will be held at McCormick Place
South, Chicago, Illinois. Graph Expo is the Nation's most comprehensive
trade show and conference for graphic design, digital prepress, printing,
publishing converting and digital equipment professionals.
click here

- October 30 - November 1, PhotoPlus Expo in New York, NY. There are more
than 100 photography and design seminars and hands-on workshops taught by
world-renowned experts with a focus on cutting-edge innovations in digital
imaging products and techniques. Also there is over 200 manufacturers and
suppliers of photographic capture, storage, output and display equipment and
services, learn and get inspired in the Photography + Design For more
information: click here

- November 13-15, Graphics Canada will be in Toronto, Ontario, Canada. For
more information: click here


====================================================================
Industry News
===============

- SEQUEL IMAGING ACQUIRED BY AMAZYS/GRETAGMACBETH
The Amazys Group/GretagMacbeth has completed the acquisition of Sequel
Imaging of Londonderry, New Hampshire. Since its formation in 1989, Sequel
Imaging has focused strictly on the problem of measuring color and light
from displays. With their extensive color-science expertise, they have
created unique approaches to manage color on CRT, LCD and other types of
luminescent displays. Sequel products target three major market segments,
including desktop imaging, medical display applications and home
entertainment. Major customers include Sony, NEC-Mitsubishi, Barco, Monaco
and LaCie.

- X-Rite, Incorporated (NASDAQ:XRIT) announced that it has acquired
the assets of Monaco Systems, a Massachusetts-based company that develops
and distributes color management software to the graphic arts and photo
markets. This $10.6 million asset purchase funded by a combination of cash
and stock, some of which is subject to certain vesting requirements,
includes the entire Monaco line of color management products, all
intellectual property and operating assets.
This is X-Rite's third acquisition in 2003, affirming its position
as a global leader in the color business. Earlier this year, in an agreement
with Benjamin Moore & Co., X-Rite acquired the ColoRx® product line and
related assets from Thermo Electron Corporation, Benjamin Moore's former
supplier. More recently, X-Rite acquired the ccDot meter product line of
Centurfax Ltd., a London-based company that develops and distributes
products serving the pre-press and printing industries.

- Apple announced the first desktop Macs to utilize the PowerPC 970
processor from IBM. The processor, dubbed the G5, is at the heart of three
new desktop configurations running at 1.6GHz, 1.8GHz and dual 2.0GHz,
respectively. The new models will be shown, discussed and debated at
MacWorld New York and are to ship in August 2003. For more information:
http://www.macworldexpo.com/ and http://www.apple.com/

====================================================================
ColorFAQs
================================

Each month, our President Steve Upton will take time to answer questions
we receive on a regular basis. If you have specific questions or
comments, please see below for how to make submissions.

This Month - INPUT PROFILES and COLOR SPACE CONVERSION GUIDELINES

This issue's article is on the subtle but important issue of bringing files
into your workflow.

Let's say you have a great scanner profile that you took time to create with
an accurate target and it is delivering results that you love AND it saves
you tons of time.

When you bring files from your scanner into Photoshop you diligently assign
the scanner profile. Once Photoshop opens them, your scanner profile links
up with your display profile and the image you see on your display is
bright, accurate and wonderful.

Should you convert it into your working space or not? or when? or... why?

First, the similarities... let's compare an original scan file and its
embedded scanner profile to the same file after you have converted it to a
working space, say Adobe RGB (1998). Both files will have their embedded
profiles used when displaying on your screen, creating soft proofs and
printing. Even though the files contain different RGB values for each
respective pixel, the included profiles convert them to approximately the
same color so they both look good. This is all fine and dandy and the
way things should work normally.

So, you are asking... I'm several paragraphs into this article and I still
don't understand why he brought it up...

Fair enough, now with the differences.

First, the advantages of leaving your file in "scanner-space". When ever you
convert a file, you lose accuracy. So the fewer times you convert on the way
to print, the better. It's easy to see that the scanner->print path is
shorter than the scanner-> working space->print path. Also, scanner gamuts
are typically larger than working space gamuts. If your primary destination
is print, then the important question is how many scanner colors will print
well on the printer and not be "clipped" or otherwise altered when printed.
If you move your file through a working space you run the risk of clipping
even more colors - those that were in the scan and can print but don't fit
through the "keyhole" of your working space. This may be a good time to
graph your scanner, working space, and print profile in ColorThink to see if
you should choose a different working space...

Now that you have your head around scanner-space advantages and it seems
like a great idea, I'm afraid I'm going to turn it all around....

Converting your scan file to your working space has a bunch of advantages as
well. First, scanner profiles are filled with 3D look-up-tables (LUTs) that
are fairly large, so embedding a scanner profile can add 300-600 KB to each
file. Working space profiles are typically matrix-based so they consist of
only a few bytes of color information and are often 3-4 K in length -
negligible. On large files this may not be a big difference but if have many
files in your workflow, adding 400 KB to each file can plug things up.

Second, scanner profiles are made to convert from scanner RGB to Lab. Only.
They are a one-way trip out of scanner-land and there are no tables in the
profile to convert back (at least according to the ICC spec). If you had a
scanner RGB file in Photoshop and you wanted to paste an image from another
color space into your file, you would be unable to. If you wanted to specify a
color using Lab in the color picker you could not.

Third, scanner space is non-uniform. For example. The RGB setting
100,100,100 coming from your scanner is probably not gray. That's OK as your
scanner profile has already figured out that your scanner is actually seeing
gray when it scans RGB = 100,105,92. When your scanner profile does its job
all is fine. But lets say you want to put a gray border around the edge of
your scanner RGB-based image. You click into the color picker and specify a
nice middle gray such as 125,125,125. But as soon as you start applying this
gray in your image it looks strange - and decidedly NOT gray. This is the
same problem in reverse. 125,125,125 in scanner RGB is NOT gray and trying
to figure out what is gray is not worth the effort. If you convert your file
to Adobe RGB then 125,125,125 is gray as expected and all is fine. This gray
example is only one case of this problem. This issue exists throughout the
color space and is even tougher to figure out in other colors.

The process of converting a file from a non-uniform device space to a
uniform working space is often called "normalizing" the file. It's a bit
like running a comb through your hair in the morning, a good idea.

So it is fair to say that a file in scanner RGB is not really in a working
space at all as much of the work you might want to do is impossible.

The final benefit of converting to a working space is when people mess up
your files. If you send a scanner RGB file to someone who views in in their
web browser or (gasp!) strips the profile off the file when opening in
Photoshop it is going to look bad. Scanner RGB mistreated as monitor RGB is
not pretty (see gray problems above). A file in Adobe RGB will not look
right as monitor RGB or sRGB but it won't look as bad. I know that's little
comfort but sometimes that's what happens to our carefully created files.

Now that I have fully confused you I should give you some tasty bit of
wisdom to help you venture out in the world with this new-found knowledge.
Unfortunately this issue is like many other issues in which answers like "it
depends" rule the land.

If you are concerned about the greatest fidelity possible and will perform
minimal editing on your file, leaving your file in scanner RGB is probably
the best choice.

If, like most of us, you want to hand the file off downstream in RGB digital
form, are going to perform more than the most cursory edits, are planning on
compositing multiple images together, or just want gray to be predictable,
then conversion to an appropriate working space is a good idea. For more
information about whether or not you are using the best working space for
your workflow, look into ColorThink. 2D and 3D graphs comparing scanner,
working space and print gamuts will quickly show you what you need to know.


=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
In a visit to CHROMiX.com or profilecentral.com, you opted to receive
this newsletter. You may have also heard Steve Upton speak and
requested more information. If you have received this message in
error, we apologize. We value our relationship with you and do not
want to spam you. See below for details on how to provide feedback,
how to unsubscribe, or how to become a sponsor.

FEEDBACK and FAQs

To submit questions or feedback to CHROMiX, email us at
colornews(at)CHROMiX.com
Please include your name and email address in all correspondence
(email, phone, fax etc).

SUBSCRIPTIONS

To unsubscribe from CHROMiX ColorNews, reply to this message with
"unsubscribe" in the subject.
To subscribe, email colornews(at)chromix.com with "subscribe" in
the subject.

Entire Contents of CHROMiX ColorNews (c)2003 CHROMiX Inc.
CHROMiX, ColorThink, ColorNews, ColorSmarts and Profilecentral.com are
trademarks of CHROMiX. All other trademarks are property of their respective
owners.
CHROMiX ColorNews is intended as an informative update to CHROMiX
customers and business associates. We are not responsible for errors
or omissions.
--

--

CHROMiX ColorNews Issue #9 - 5 Color Management Myths

SmartNote: 1082
Type: ColorNews
ColorGeek factor:

___________________________________________________________________
C H R O M i X C O L O R N E W S

Issue #9
October 21, 2003
___________________________________________________________________

====================================================================

Welcome to ColorNews, a periodic update on all things related to Color
Management. We are striving for a regular consistent newsletter of high
value to our customers. Please let us know what your interests are so we
can address these concerns in our coming issues.

====================================================================
Table of Contents
=================

1. CHROMiX News
2. Color & Product News
3. Industry News
3. Shows and Events
4. ColorFAQs - this month's FAQ is on Five Color Management Myths
5. ColorNews Administration (feedback, subscriptions, etc.)

====================================================================
CHROMiX News
================

Since our last ColorNews issue (July 15th) many things have happened at CHROMiX that are worth mentioning here:

** The CHROMiX PARTNER PROGRAM is now officially launched! We are very excited about this and we hope you will be too. Read below or go to click here to find out how to 'get with the program'

** Check out how to get a FREE Eye-One Display and other CHROMiX ColorGear Winter SPECIALs!! See details below.

** Five Color Management Myths

====================================================================
Color & Product News
====================

GretagMacbeth has finally offered an upgrade path to ProfileMaker Pro 4.1 for it's many Eye-One Pro users. Until December 31st, 2003 take $500 off when you purchase the full version of ProfileMaker Pro 4.1. See CHROMiX offer below.

Adobe InDesign versus Quark Xpress:
a) David Blatner recently did an overview comparison between InDesign and Xpress. The article is at
click here
b) Seybold San Francisco conducted a shootout between InDesign and Xpress. Read Sean Cassidy's summary article at:
click here

Rumor has it that Integrated-Color is releasing a much enhanced version of ColorEyes 2020 called ColorEyes Portrait. This version apparently will have a greatly enhanced and expanded target that samples from the most difficult tonal ranges. Cost and features will be announced at Photo East show in PhotoPlus Expo in New York that starts October 30th. Stay tuned.

Pixel Genius LLC has released PhotoKit SHARPENER for Mac and Windows. SHARPENER provides a complete image "Sharpening Workflow". From capture to output, PhotoKit SHARPENER intelligently produces the optimum sharpness on any image, from any source, reproduced on any output device. But PhotoKit SHARPENER also provides the creative controls to address the requirements of individual images and the individual tastes of users. For more information go to:
click here

Nik multimedia, a developer of tools and plug-ins for photographers and designers, has a $100 Photoshop plug-in that reduces random imperfections (noise) in digital camera images. Called Dfine, the plug-in now offers profiles for 80 digital cameras types.
Dfine, first available in May, is also useful for minimizing artifacts from excess JPEG compression, such as the "ringing" near hard edges that occurs when the camera's quality setting is too low. Interestingly, Dfine offers the option of automatic action, via predefined camera profiles, or direct user control over the process.
For manual operation, the software lets a user define up to five colors in which noise is annoying and assign an appropriate level of reduction. It also provides nine detail-specific brushes for particular kinds of noise or artifacts, or for particular kinds of image content such as skin, sky or hair. Pressure-sensitive tablets (e.g., Wacom Intuos) allow applying the brushes according to pen pressure. The software also supports basic image improvements, such as contrast and color-cast removal, by pen pressure or dialog box.

Heidelberg announced their support for the free exchange of ICC color profiles.
Recently, the ICC and TC130 appealed to manufacturers of ICC-based color management software to lift restrictions in their end user license agreements.
click here

====================================================================
SHOWS & EVENTS
================
- Apple, Adobe, Hewlett Packard, Quark, Extensis, GretagMacbeth and others are sponsoring a road show in various cities called DRIVEN BY DESIGN. This event is for Design and Publishing professionals. Find out dates and locations at
click here

- The Pacific Northwest Color Management Users Group is having an event October 23 in Portland, OR. The subject will focus on using color management with the two leading compositing products: Adobe InDesign and Quark Xpress. The event will be at The Oregonian, Oct. 23 at 6:30PM. $10 for non-members.
Peter Constable of Adobe will be presenting Adobe InDesign and Dan Reid of Renaissance will present Quark Xpress. Expect a lively comparison and contrasting of each product followed by a user Q & A. Hmmm...should be interesting.
click here

- October 30 - November 1, PhotoPlus Expo in New York, NY. There are more than 100 photography and design seminars and hands-on workshops taught by world-renowned experts with a focus on cutting-edge innovations in digital imaging products and techniques. Also there is over 200 manufacturers and suppliers of photographic capture, storage, output and display equipment and services, learn and get inspired in the Photography + Design For more information:
click here

- November 13-15, Graphics Canada will be in Toronto, Ontario, Canada. For more information:
click here


====================================================================
CHROMiX Launches Partner Program
================

Over the past five years we have performed many color management installations for customers large and small. One important thing we have found in each case was questions about _your_ customers. "OK, I understand this, now what should I tell my clients?", "Is this the right calibration tool for my customers?". A big part of our training is integrating workflows together across companies. Just because your color is great doesn't mean your life is easy yet, does it?

With that in mind we have created a comprehensive program for working together with you and your customers. We are launching the first fruits of this program today:

The CHROMiX Partner Referral Program.

At its core is a simple idea. Link to us, put a small ID in the link and share in the revenue when anyone buys anything from our site within 30 days of the original link. How can this help you?

- Defer technical support - chances are good you're not in the color business. We're in the color business. Let us take care of it for you.
- Share in the revenue. Our Partner Referral Program fees are paid out quarterly and vary from 3% to 15% of each sale.
- Find solutions for your customers' problems. Be a hero, cement your client relationship.
- Receive better customer files. Better color means less problems. Ironing out your workflow is only part of the color solution.
- Off-load customer proofing maintenance. If you are installing systems, calibrating displays and building profiles for customers, we can help. And we can do it according to your workflow specifications.

All CHROMiX Products and Services are available in this program. This means:

ColorGear - all of the GretagMacbeth, Monaco, X-Rite, Fuji, ICS, GTI, ColorVision,
Sony, LaCie and all other manufacturers products for sale in our comprehensive
online store are eligible under this program.
ColorThink - our industry leading software is helpful to everyone working with color
ColorValet - top quality custom profiles for print, press and transmissive output
ColorSmarts - consulting, training, seminars, technical support - all eligible

This is a big deal, for us and for you. For us it represents the culmination of many months work rebuilding our web commerce systems and creating a program that makes sense for all involved. For you it represents a chance to help your customers, differentiate yourself from your competition and make some money in the process.

We've been speaking to many of you over the past months and have found excellent partners in many different industries including: photographers, consultants, printers, photo labs , industry orgs, stock agencies, technical writers, ad and marketing agencies and others. The Partner Referral Program is designed to be flexible and easy to setup. It is open to businesses and individuals and even international partners.

To get started just visit our site at click here and click on the "Partner Pavilion" link at the top of any page - or follow this link: click here. Signing up is easy and free. Then add links to your website, forum postings, opt-in newsletters (NO spamming, please). We have created graphic icons to use if you like. All the information you need to get going is in the Partner Pavilion.

We are very excited to launch this great program and look forward to working with you closer for better color and better business.

If you have any questions, feel free to contact us at: partnerProgram(at)chromix or call 206-985-6837 or toll free (US & Can) 866-CHROMiX (866.247.6649) extension 1

====================================================================
ColorFAQs
================================

Each month, our President Steve Upton will take time to answer questions
we receive on a regular basis. If you have specific questions or
comments, please see below for how to make submissions.

This Month - Five Color Management Myths

I keep running across "understandings" in the field, the media and on the Internet. It seems like a crime to let these statements and confusions pass without some attempt at clarifying them so I have tackled a few of the more common ringers I've been hearing.

-=-=-=-=-=-=-=-=
Color Management is not useful in CMYK-only workflows.
-=-=-=-=-=-=-=-=

"We can't use color management, we're a CMYK shop"

I can't tell you how many times we've heard this. While many shops work fine in CMYK-only mode, they can certainly benefit from color management in several ways:

1) Hard Proofing - creating effective press simulations on an inkjet is a challenge. If you don't use ICC profiles for the task it can be VERY difficult. I have been told by a number of printers that they have no color management in-house and yet they use inkjet proofing. After a little investigation they are surprised to discover that ICC profiles are in use in their RIP creating their proofs. Sometimes it's all been setup by "the vendor" and they didn't realize how it worked but they are missing out on other opportunities as well....

2) Soft proofing - if the simulation profile from the proofing RIP is moved onto the workstation and setup properly in Photoshop, soft proofing can get quite accurate on a calibrated display. Hand that profile off to your customer and their soft proofing will improve significantly - so will their expectations. Moving color management upstream to the creatives gets the "reality check" of press gamut limitations in the hand of the people that need it. This arrives at a printer's counter as a much more realistic customer.

and no CMYK is harmed in the above procedures....


-=-=-=-=-=-=-=-=
There is some internal Lab/Color reference that the output of printers is compared to when profiling
-=-=-=-=-=-=-=-=

I have heard it time and time again. "First the target is printed, then the output is compared to the color that should have appeared. A profile is calculated to correct for the behavior of the printer."

Wrong.

Unlike a strict, conformist military academy, profiling a printer does not find out how a printer performs and then force it to conform to a certain behavior. Its much more like a hippie commune. The innate abilities of the printer are discovered and then a translation table is written to convert from the desired colors (Lab) to the RGB/CMYK settings most appropriate for the printer. This may sound like splitting hairs but it makes a big difference. When profiling a printer it is best to tune it up to the best of its abilities - regardless of the fact that you may want to limit the gamut later using a proof or press profile for proofing purposes.


-=-=-=-=-=-=-=-=
The gamut of RGB is larger than CMYK
-=-=-=-=-=-=-=-=

RGB = big gamut
CMYK = small gamut

Right? Wrong.

As illustrated in our last ColorNews newsletter, overlaying an RGB gamut with a CMYK gamut often results in overlap much like drawing a circle over a triangle. Bits of the triangle (RGB) extend outside the circle AND bits of the circle (CMYK) extend outside of the triangle.

This means that there are RGB values that cannot be printed on press - no surprise there. BUT it also means there are CMYK values that are often outside of the gamut of RGB. So sRGB, Adobe RGB (1998) and your monitor RGB spaces will typically not show/contain all the colors (especially Cyans and some press Yellows) that can be printed on press.

Most inkjet printers used without a RIP are accessible using only RGB. Even though the printer uses CMYK or CcMmYK, due to operating system limitations, your application can only speak RGB to it.

Does this mean that the gamut will be affected by the use of RGB?

No, whether you print to a printer using RGB or CMYK, the choice of one over another should not affect the gamut. That said, using a RIP may allow you to change your inking and enlarge the gamut. While you will access this larger gamut via CMYK it is not CMYK itself that gets you the bigger gamut... you'll just have to trust me on this one.


-=-=-=-=-=-=-=-=
A profile is for calibration
-=-=-=-=-=-=-=-=

Calibration is monkeying with your device to get it to some known, repeatable behavior (see military school, above). Setting a monitor to 6500K and gamma 2.2 or linearizing a printer is calibration. This is an important function and closely related to Color Management but it is NOT color management.

Once you have calibrated your device, then you build a profile for it. In the case of monitor profiles, the calibration curves from the graphics card are often embedded into the profile for safe keeping. This might seem to blur the line between calibration and profiling but pay no attention to that. The profile describes your wonderful device's behavior to the rest of your color-managed workflow so all your devices can get along and color can travel through your workflow un-harassed.


-=-=-=-=-=-=-=-=
5000K on a monitor is the same as 5000K in a light booth
-=-=-=-=-=-=-=-=

Why this is not the case is a particularly involved answer. As I mentioned in issue #2 of ColorNews, it simply isn't so in most cases and the why's are outside the scope of this newsletter.

Suffice to say that if you have a good-quality light booth such as one from GTI, the lights in the booth are typically fairly close to 5000K. Close or not, if you choose to have your booth near your display then you are choosing for it to be your white standard. If you calibrate your display to 5000K you will probably find that the white on display does not match a piece of paper in the booth. Try calibrating to 6500K or some other white point until you get closer. It is not a sin to tweak the white point using controls on the front of your display. Just remember that you'll have to do it each time you re-calibrate. This is one of the reasons why monitor calibration software with a wide range of color temperature settings is a better option. Something to think about at upgrade time...

I will stop at 5 Myths for this newsletter, I have many more waiting in the wings and I'll trundle them out in the future. If you have any you would like included / answered / dispelled in a future newsletter, please forward them to me at uptonCN(at)chromix.com

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
In a visit to CHROMiX.com or profilecentral.com, you opted to receive
this newsletter. You may have also heard Steve Upton speak and
requested more information. If you have received this message in
error, we apologize. We value our relationship with you and do not
want to spam you. See below for details on how to provide feedback,
how to unsubscribe, or how to become a sponsor.

FEEDBACK and FAQs

To submit questions or feedback to CHROMiX, email us at
colornews(at)CHROMiX.com
Please include your name and email address in all correspondence
(email, phone, fax etc).

SUBSCRIPTIONS

To unsubscribe from CHROMiX ColorNews, reply to this message with
"unsubscribe" in the subject.
To subscribe, email colornews(at)chromix.com with "subscribe" in
the subject.

Entire Contents of CHROMiX ColorNews (c)2003 CHROMiX Inc.
CHROMiX, ColorThink, ColorNews, ColorSmarts and Profilecentral.com are
trademarks of CHROMiX. All other trademarks are property of their respective
owners.
CHROMiX ColorNews is intended as an informative update to CHROMiX
customers and business associates. We are not responsible for errors
or omissions.
--

--

--

CHROMiX ColorNews Issue #10 - The Color of Toast

SmartNote: 1083
Type: ColorNews
ColorGeek factor:

___________________________________________________________________
C H R O M i X C O L O R N E W S

Issue #10
December 17th, 2003
___________________________________________________________________

====================================================================

Welcome to ColorNews, a periodic update on things related to Color
Management. We are striving for a regular consistent newsletter of high
value to our customers. Please let us know what your interests are so we
can address these concerns in our coming issues.

This month we would like to draw particular attention to two items:

** ONE DAY HALF PRICE SALE ON PROFILEMAKER PRO!! See details below or go to
click here

** The Color of Toast
an article written by CHROMiX President Steve Upton that you'll want to read.

====================================================================
Table of Contents
=================

1. CHROMiX News
2. Color & Product News
3. Industry News
3. Shows and Events
4. ColorFAQs - this month's FAQ is on The Color of Toast
5. CHROMiX USED items for sale
6. ColorNews Administration (feedback, subscriptions, etc.)

====================================================================
CHROMiX News
================

Since our last ColorNews issue (October) many things have happened at CHROMiX that are worth mentioning here:

** CORBIS has become a CHROMiX PARTNER!!! This announcement has serious import if you're a CORBIS Photographer, Designer, Client or Member. You are eligible for unrivaled savings on CORBIS endorsed color management products! These products and services have been carefully thought out, tested, and conform to CORBIS high standards of quality. Check out the full details at
click here
or if you have any questions, please call Rick Hatmaker at Extension #7.

By the way
The PARTNER PROGRAM has been very well received. We are very excited about this and we hope you will be too. Go to
click here to find out how to 'get with the program' or check out the Steve Upton's article about it in last month's ColorNews issue #9 at click here

** Catch Steve Upton speaking at the following events:

MACWORLD, Moscone center, San Francisco, CA January 5-9, 2004
- How to Evaluate Color Profiles

SPOKANE ADVERTISING FEDERATION LUNCHEON, Spokane, WA February 4th, 2004
- Color Management for Advertising Agencies, 11:15am

** CHROMiX will be ending the FREE Eye-One Display promotion December 31st. See details below.

NOTE: If you've bought an EyeOne Display, you have until December 31st to utilize the $200 coupon towards the purchase of an EyeOne Photo, Publish, Beamer or Pro Bundle. Furthermore, CHROMiX will kick in another $50 towards your upgrade purchase! It doesn't matter where you bought it. That's $250 total savings!!! When it ends, it really ends. So take advantage before it's too late!

====================================================================
Color & Product News
====================

Apple released Panther (Mac OS 10.3). Jury is in. Good product!

In Panther Apple released ColorSync for OS 10.3 (Panther) that touts features like: Host-based color matching, an improved Display Calibrator, ColorSync Gamut Display and Comparison, Default ColorSync Matching, fully supports the ICC version 4 standard, and more. For more information go to:
click here

GretagMacbeth has just introduced a new EyeOne for higher end monitor calibration and control. EyeOne Display PM includes the ProfileMaker Monitor Module. Retail is $399, CHROMiX price is $379. Existing EyeOne owners can upgrade to the PM Module for $199.
click here

Meanwhile: GretagMacbeth is challenging users to switch from an old monitor calibration/profiling product to the EyeOne Display. Get $80 back from the trade-in of your old calibrator and software when you buy an EyeOne Display.
click here

Attention EyeOne Pro device owners: GretagMacbeth's $500 discount for upgrading to ProfileMaker Pro 4.1 ENDS December 31st, 2003. Take $500 off when you purchase the full version of ProfileMaker Pro 4.1. See CHROMiX offer at
click here

Monaco released two new versions of its OPTIX line: MonacoOPTIX XR and MonacoOPTIX XR PRO. These are the first products co-developed by X-Rite and Monaco since X-Rite acquired Monaco in July 2003)

Phase One released Capture One PRO 1.2 for Mac OS X in November. The new version of Phase One's digital SLR RAW processing application (formerly known as Capture One DSLR) broadens its base of cameras to include the full range of Canon SLR models, supports Mac OS X 10.3 and introduces much more functionality and improvements.


====================================================================
SHOWS & EVENTS
================
- December 7-9, 2003 (past) The GATF Color Management Conference was held in Phoenix, AZ. This is the only conference devoted exclusively to color management technology. It is also an opportunity to rub elbows with some of the top minds in the industry. This year's event was the one of the best! We encourage you to attend next year; it will be worth your time. Watch the http://www.gain.net/ GATF conference website schedule for the 2004 event.
CHROMiX (by the way) was the proud sponsor of the wireless network for all GATF Conference attendees at this year's event.
And, Steve Upton was the winner of the speaker who had the highest number of participations (5 seminars and 2 Labs). Go Steve Go!

- Shootsmarter.com and FujiFilm are sponsoring the FREE PROFESSIONAL WORKFLOW Workshop with Will Crockett at various locations around the country. Spend all day with nationally recognized digital mentor Will Crockett and improve the image quality of YOUR digital capture portraits. Will shares his deep technical knowledge, his pro digital techniques, and even a few secrets Find out more and US locations at: click here

- January 5-9, 2004 MacWorld Expo and Conference will be at Moscone Center in San Francisco. And, for the first time ever, MacWorld has devoted two entire days to Color Management within the PowerTools Conferences!
click here

- January 5-7, 2004 National Event Photographers Conference and Trade Show in Dallas, Texas.
click here

- February 7-10, 2004 PEI Live! Conference for Digital Photographers in Dallas, Texas. The Professional Photographers of America has elevated this to be one of the great photography events. Speakers include: John Paul Caponigro, Bruce Fraser, Jim Divitale, Jeff Schewe, Greg Gorman, Henry Wilhelm, Katrin Eismann, Martin Evening, Scott Kelby, Jack Reznicki.
click here

====================================================================
ColorFAQs
================================

Each month, our President Steve Upton will take time to answer questions
we receive on a regular basis. If you have specific questions or
comments, please see below for how to make submissions.

This Month - The Color of Toast

-
This article has seen a lot of seminars. It is the simplest method I have found so far to introduce the concept of color management with a minimum of technical terms and concepts. I have had such good success with this analogy that I felt I should publish it here.
-

A lot has been written and said about color management in an attempt to describe what it is, what it solves and how it works. Like any discussion about computing, these descriptions often use fancy new terms that effectively confuse and turn off people who just want to understand, well, what it is, what it solves and how it works.

An effective and greatly simplified analogy is that of the toaster. Pay attention here because this is one even your clients will understand.
Let's say you get up in the morning, walk out to your kitchen and place a piece of bread in your toaster setting it to a level of "4". After a little while a certain color of toast pops out - hopefully a pleasing color. Now if you take the next piece of bread in the loaf over to your neighbors and put it in his toaster at the same setting of "4" do you think you will get the same color of toast?

Probably not.

This is the problem of color management. The settings used on the toaster do not necessarily produce the same colors. As in the toaster, RGB and CMYK values on your computer are also just settings. And, just like the toasters, when they are sent to different devices, they produce different colors!

Now if you were a severe toast geek, you would toast 10 pieces of bread in your toaster; one at every setting. Then you would lay them all out in order on your kitchen table, grab the bag of bread and head over to your neighbor's. Avoiding his bewildered stares you would toast 10 pieces of bread in his toaster and take them back to lay on your table beside your toaster's work. Fanning through your Toastone independent toast guide(*) you would decide that "B" was, in fact, the color of toast you prefer. Looking up and down your toaster column you would confirm that yes, indeed, "4" is the setting on your toaster that will get you the color you want - you know this after several mornings of frantically waving smoke away from the alarm on your kitchen ceiling. After looking over your neighbor's toaster column, you note that a setting of "6" is what is needed to get the color you want from his toaster.

This, in essence, is what color management is all about. Carefully sampling what a device (monitor, printer, toaster, whatever) will do and then comparing it to an independent guide for actual color. In the case of the toast we used the fictitious Toast Guide and in the case of computers we typically use the Lab color space. Lab is a whole 3D range of numbers across 3 coordinates (L for lightness and a & b for color information). The important thing about Lab is that it is actually COLOR. That is, a number that represents a sensation.

Let's take a little reminder on color. Color is a sensation produced by the cooperation of our eyes and our brains in response to mixtures of light. To have color you need 1) light, 2) an object and 3) an observer - for our purposes, a human observer. Without all these components you do not have color.

Lab, as mentioned, is a whole range of numbers that are assigned to actual sensations. Each Lab number - like 50, 23, 47 - describes what a certain sample will look like under 5000K lighting (a graphic arts viewing standard in use in most viewing booths) and from a standard distance (creating a specifically sized spot on the retina) to an "average" person. In 1931 a group of scientists sat many people down to perform painstaking color tests to come up with this "average" person and for our purposes it works quite well.

Back to the toaster.

To get the same color from different toasters, we needed to sample all the colors of toast the lowly machine could produce and then compare them to an independent guide. This lookup table is the equivalent of an ICC profile.

To get the same color from different devices - what we are basically trying to do here - we need to sample all the colors that device can produce and setup a table that converts between the device settings - say, a monitor - and the colors it produces at those settings. For a monitor we attach a device to the monitor and then run software that walks through a list of settings,: red (255,0,0), yellow (255,255,0), green (0,255,0), and so forth. At each RGB value, it takes a reading with the instrument and gets a Lab color back. After running through a long list that only a computer should have to suffer, a profile is built for that monitor.

If we want to get the same color from our printer as well then we also need to build a profile for it. The same technique applies. We send a file out to the printer that contains a long list of settings - for example: cyan (100,0,0,0), blue (100,100,0,0), magenta (0,100,0,0), and so forth. We then read each patch on the paper with a device like the Eye-One that supplies Lab values for each corresponding set of CMYK settings that were sent. A few calculations and your computer produces a profile for your printer.

Great, you think, but how do I use these things? That depends on what you are trying to achieve.

A good example is when you want to get the file you print to match the one you see on screen. The file on screen is, by definition, in MonitorRGB and you need to convert it to PrinterCMYK. If you apply the monitor profile to the file, it will convert all those MonitorRGB settings which are unique to your monitor to Lab (remember the toaster). Lab, you will recall, is color - so we are out of the arbitrary world of settings that only work for your monitor and on to something much more useful.

Any profile can be applied to those Lab values to get the color you want. In this case, we want the color to go to your printer. When the printer profile is applied it formulates the correct CMYK settings for each color in your file. A good quality profile will do a great job of matching those colors within the abilities of the printer.

At first blush it may seem like a toaster is an over-simplification of color management but the analogy actually fits quite well. When you are in the process of untangling a complicated workflow just remember; they are all different toasters. A good profile for each device, applied properly and color will flow through your shop predictably.

* totally fictitious but familiar sounding color guide for Toast
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
In a visit to CHROMiX.com or profilecentral.com, you opted to receive
this newsletter. You may have also heard Steve Upton speak and
requested more information. If you have received this message in
error, we apologize. We value our relationship with you and do not
want to spam you. See below for details on how to provide feedback,
how to unsubscribe, or how to become a sponsor.


FEEDBACK and FAQs

To submit questions or feedback to CHROMiX, email us at
colornews(at)CHROMiX.com
Please include your name and email address in all correspondence
(email, phone, fax etc).

SUBSCRIPTIONS

To unsubscribe from CHROMiX ColorNews, reply to this message with
"unsubscribe" in the subject.
To subscribe, email colornews(at)chromix.com with "subscribe" in
the subject.

Entire Contents of CHROMiX ColorNews (c)2003 CHROMiX Inc.
CHROMiX, ColorThink, ColorNews, ColorSmarts and Profilecentral.com are
trademarks of CHROMiX. All other trademarks are property of their respective
owners.
CHROMiX ColorNews is intended as an informative update to CHROMiX
customers and business associates. We are not responsible for errors
or omissions.
--

--

CHROMiX Assumes ProfileCity Profiling Business

SmartNote: 1089
Type: PressRelease
ColorGeek factor:

CHROMiX, Inc. and ICS Announce Transfer of Profiling Business Interest

Business Combination Creates Largest, Most Comprehensive Profile Service Worldwide

Seattle, WA; February 11, 2004 – CHROMiX, Inc. and Integrated Color Solutions (ICS) announced today that they have reached an agreement for CHROMiX to assume ICS’s ProfileCity custom profiling service and combine it with their highly successful ColorValet profile building service.

This combination of CHROMiX’s ColorValet and ICS’s ProfileCity services will make CHROMiX the largest, most comprehensive profiling service in the world. "The experienced technical specialists and product developers at CHROMiX are well equipped to support the needs of ProfileCity customers," says Dan Caldwell, Vice President of Operations at ICS. He continued, "When ICS decided to look for a partner to handle the technical services of ProfileCity, CHROMiX was the logical choice. Their parallel business model of providing cost effective profiling via a website makes them the ideal company to assume the ProfileCity business unit of ICS."

"We are pleased to welcome ProfileCity customers and extend to them our unparalleled technical support and 100% print profile guarantee for their future profiles." said Steve Upton, President and CEO of CHROMiX. "Custom profiling is a service business. With dedicated technicians and customized equipment we deliver high-quality, worry free ICC profiles to photographers, fine-art printers, and commercial printers alike."

CHROMiX has profiled such diverse media as ceramic tile, silk, cotton, credit cards, CD’s and even jet airplane interiors. "Most of our profiles are for inkjets, proofing systems and presses" commented Upton "but the unusual materials keep us on our toes and gain us experience we can apply to any color challenge."

ProfileCity services are to be handled by CHROMiX starting immediately and will continue to be delivered using the same profiling technology, ensuring consistency with previous profiles.


CHROMiX, the creator of the popular ColorThink color management software, has long been a leader in the field of custom print, transmissive print, scanner and press profiles. CHROMiX has worked with companies in more than 40 countries for over five years creating the most accurate profiles possible. www.CHROMiX.com

ICS will remain focused on the development of the core color management technology used in ProfileCity profiling and in their flagship remote color-proofing product, Remote Director. www.ICScolor.com

Contact

Steve Upton
CHROMiX, Inc.
8320 5th Ave NE, Suite B
Seattle, WA 98115
206-985-6837