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The importance of this came home to me yet again as I was printing a set of B&W photos I made from a photoshoot in the Goreme region of Turkey. For this set of photos, in particular, it was truly important that the prints have exactly the tonality on paper that appeared under softproof when I completed the image adjustments as they looked on the display. I provide several samples here so you can appreciate what I mean (figures 1, 2, and 3).
The viewing of photographs is subjective and context-specific, depending on our visual perception, the ambient light surrounding our photo editing environment and the viewing light reflected from the prints. The greater the extent to which display calibration and profiling can be managed to take these factors into account, the more consistent will be the perception of the photograph between monitor and print. This is where basICColor display 6 software excels, particularly with the new Pro features.
A workflow consists of all the display parameters, profile settings, and a display profile incorporating those conditions (blue frame in Figure 8, left); if using NEC or Eizo displays, that package of settings and the associated profile goes into a user-specified monitor memory location. The Emulation (Figure 8, right side) is a separate Workflow that drives off of the currently active display profile but goes into its own memory location. Once an emulation is activated, the display becomes a soft proof of the image as it would be seen in the conditions being emulated. basICColor display 6 includes a bunch of canned profiles (e.g. SWOP, GRACOL, FOGRA, Newsprint, etc.) that can be simulated.
Print Viewing Light Measurement: In a profiling workflow using basICColor display 6 Pro, the user has the option of setting a measured value for the print viewing light environment, provided the instrument has an ambient light measurement disc that can be fitted in front of the sensor for measuring the value of the lighting. One does the ambient/viewing light measurement in a separate workflow, saves the result (Figure 12) and then inputs it as a parameter in the profiling workflow. This step fine-tunes the display profile to better match the viewing light environment, partly overcoming the disconnect between transmitted display luminance and the light that will reflect off the prints. basICColor display 6 Pro also supports calibration of certain print viewing booth models that allow for this and provides a reporting of the CRI values for 14 colours (Figure 13).
basICColor display software provides a cost-effective and very significant upgrade for calibration and profiling system users who feel that they'd like more control over display accuracy and settings and, thus, better peace of mind. display software is the right solution for any screen user who would like more flexibility for calibration; the ability to fine-tune calibration target values can result in far better print matching than is provided by the often very simplistic software bundled with hardware. basICColor display now includes excellent video industry calibration facilities as well as many upgraded and new features - such as virtually instant switching between calibrations/profiles without even opening the software.
With AirPrint technology, it's easy to print full-quality photos and documents from your Mac, iPhone, or iPad. AirPrint features include easy discovery, automatic media selection, and enterprise-class finishing options. The products listed here are provided by each manufacturer and are updated regularly by Apple. If you don't see your model, check with the manufacturer for more information.
AirPrint is a technology built into most popular printer models, including the printers and print servers listed here. To use AirPrint, you don't need to install an app, additional drivers, or other software.
USB-only devices Similar to AirPrint printers, these USB devices allow you to print or scan without having to install additional drivers. Because they require a USB connection, they support driverless printing or scanning only from Mac computers.
Low price on a commercial kitchen basic. Color coding and large print make it easy to see what you're using. This pail has a small footprint compared to some of the other pails I've seen, so it's great for tighter kitchen spaces where you don't need to do lots of repeat deep cleaning.
Within the Portal you will also be able to view your account, manage your printers, create updates, and perform upgrades for your customers. If you require new login permission, or a reminder of your login details, please contact your Magicard sales representative for assistance.
In color photography, electronic sensors or light-sensitive chemicals record color information at the time of exposure. This is usually done by analyzing the spectrum of colors into three channels of information, one dominated by red, another by green and the third by blue, in imitation of the way the normal human eye senses color. The recorded information is then used to reproduce the original colors by mixing various proportions of red, green and blue light (RGB color, used by video displays, digital projectors and some historical photographic processes), or by using dyes or pigments to remove various proportions of the red, green and blue which are present in white light (CMY color, used for prints on paper and transparencies on film).
The simpler and somewhat more economical alternative was the Joly screen process. This required no special camera or viewer, just a special color-compensating filter for the camera lens and a special holder for the photographic plates. The holder contained the heart of the system: a clear glass plate on which very fine lines of three colors had been ruled in a regular repeating pattern, completely covering its surface. The idea was that instead of taking three separate complete photographs through three colored filters, the filters could be in the form of a large number of very narrow strips (the colored lines) allowing the necessary color information to be recorded in a single compound image. After the negative was developed, a positive transparency was printed from it and a viewing screen with red, green and blue lines in the same pattern as the lines of the taking screen was applied and carefully aligned. The colors then appeared as if by magic. The transparency and screen were very like the layer of monochrome liquid crystal elements and overlay of hair-thin red, green and blue color filter stripes which create the color image in a typical LCD display. This was the invention of Irish scientist John Joly, although he, like so many other inventors, eventually discovered that his basic concept had been anticipated in Louis Ducos du Hauron's long-since-expired 1868 patent.[10]
The same three images taken through red, green and blue filters which are used for additive color synthesis may also be used to produce color prints and transparencies by the subtractive method, in which colors are subtracted from white light by dyes or pigments. In photography, the dye colors are normally cyan, a greenish-blue which absorbs red; magenta, a purplish-pink which absorbs green; and yellow, which absorbs blue. The red-filtered image is used to create a cyan dye image, the green-filtered image to create a magenta dye image, and the blue-filtered image to create a yellow dye image. When the three dye images are superimposed they form a complete color image.
This is also known as the CMYK color model. The "K" is a black component normally added in ink-jet and other mechanical printing processes to compensate for the imperfections of the colored inks used, which ideally should absorb or transmit various parts of the spectrum but not reflect any color, and to improve image definition.
At first it may seem that each image ought to be printed in the color of the filter used in making it, but by following any given color through the process the reason for printing in complementary colors should become apparent. A red object, for example, will be very pale in the red-filtered image but very dark in the other two images, so the result will be an area with just a trace of cyan, absorbing just a bit of red light, but a large amount of magenta and yellow, which together absorb most of the green and blue light, leaving mainly red light to be reflected back from the white paper in the case of a print, or transmitted through a clear support in the case of a transparency.
Before the technical innovations of the years 1935 to 1942, the only way to create a subtractive full-color print or transparency was by means of one of several labor-intensive and time-consuming procedures. Most commonly, three pigment images were first created separately by the so-called carbon process and then carefully combined in register. Sometimes, related processes were used to make three gelatin matrices which were dyed and assembled or used to transfer the three dye images into a single layer of gelatin coated on a final support. Chemical toning could be used to convert three black-and-white silver images into cyan, magenta and yellow images which were then assembled. In a few processes, the three images were created one on top of another by repeated coating or re-sensitizing, negative registration, exposure and development operations. A number of variations were devised and marketed during the first half of the 20th century, some of them short-lived, others, such as the Trichrome Carbro process, enduring for several decades. Because some of these processes allow very stable and light-fast coloring matter to be used, yielding images which can remain virtually unchanged for centuries, they are still not quite completely extinct. 2b1af7f3a8