June 23, 2011

Secrets of the Parrot Test3a Revealed!

Filed under: Uncategorized — admin @ 1:50 pm

You’ve heard us talk about it.  Maybe you’ve even had one of us email you one.  Well, now, here’s your own special copy of the Infamous and Notorious Parrot Test3a target!  Just click the photo and you can download the full-sized JPEG file in a few short seconds.

Great, you say…  but what does it mean?

From the most simple use, it’s just a known target.  It’s in Adobe RGB (1998), and we’ve printed it on literally every professional inkjet printing system made since about 1997.  We can look at the Parrot Test3a from across the room, and get a feel for whether a printer is behaving itself.

Beyond that, though, it’s a target that we look at very carefully to evaluate a printer, a paper, inks and how a profile is behaving in real-world terms.  Here’s a little key to what we look at.

There are a few things we look at right off, and the Grayscale patches in the lower right are the first of them.  The bottom row, in particular, tells us how heavy the ink load is on the paper, and if we’re holding a tone into the lowest values.  Overall, the Grayscale patches tell us if there’s a hue being introduced into the neutral values, contaminating the basic CMYK ramps of the inks.

What the callouts don’t show you, though, are what you see when you look at the paper.  Is it buckling from being over-saturated with ink?  Is in nice and even?  Can you see through from the back?  You can do this with any target, but the Test 3a shows us in a very predicable way.

The sample shots are really there just for an impression of how the tonal values are being reproduced in a more subjective way.  That said, those four portraits in the bottom left give you a very accurate impression of the skintone rendering, a tough job, as well as how the tones transition to the deeper shadows.  More than a few times we’ve seen distinct banding under the hairlines of those models, or a bright magenta where baby-face pink should be.

It’s most useful for evaluating a new paper, though, for us, but also for you.  After you print it a few times, you’re going to start expecting a certain look, and you’re going to see when a new paper strays from that look, for better or worse.  Does the print look softer?  Snappier?  How rich does it appear?  That’s a start…  but with the Test 3a, we can look under the hood and understand exactly why the paper appears as it does.

Yes…  it can get pretty geeky pretty quick.  But as we like to say around here…  embrace the Inner Geek!

Color Management… How Hard Is It, Really?

Filed under: Uncategorized — admin @ 10:59 am

Answer:  Not hard at all.  Really.

There was a time, not long ago, when Color Management was the Next Big Frontier, and using good Color Management was pretty difficult…  simply because, honestly, it didn’t work yet.  Besides that, the tools were simply out of reach, from a cost standpoint.  That, thankfully, is no longer the case.  Understanding everything that goes on “under the hood” may still be a challenge for most, but implementing good Color Management and getting predictable results?  It’s a piece of cake.

Here’s how it works.

There are five steps.

  1. Accurate Display.
  2. Color Settings in Photoshop.
  3. Color managing in Photoshop.
  4. Turning off Printer Color Controls.
  5. Viewing light.

First, you need a good, “color accurate” monitor.  Simply, if your monitor can’t display a color, you aren’t going to be able to see it.  Make sense?  If you’re trying to hear the subtle tones of a Cello on your boom-box, it ain’t gonna happen.  You need good speakers.  Likewise, if you’re trying to see all the colors in that sunset you just shot on an personal or office-level computer screen, you’re not going to.  It’s simply not able to “shoot” that kind of color fidelity.  Here’s our favorite line of Color Accurate displays: the Eizo ColorEdge, for one example.

Second.  You need to calibrate it. With a good device.

Calibrating a monitor with a good device like the i1 Display, shown here, ensures you’re working with the same standards as every other Graphics or Printing professional out there, if you calibrate it to the common industry standards.  Cheaper devices (and frankly, the i1 Display is not a lot of money) will give you inferior results.  Calibrating to your own personal preferences will give you unpredictable results.  Calibrating it to industry standards with a good device like the i1 Display will guarantee your color-accurate display is, in fact, accurate.  (The standards for the printing/photo industry are a Gamma of 2.2, a White Point of 6500K or D65, and a Luminance of 120.)

Great…  you have a monitor that can display all the colors, and you’ve calibrated it to make sure it is displaying the accurately.  Now.  How do you make sure Photoshop is working with the color the way it should?  Simple.  Go into the Color Settings (Edit > Color Settings) and set them to North America Prepress 2.  Game over.

Finally, you have to make sure that when you send the file to the printer, you’re controlling where the color is managed.  This is where things have gotten a lot simpler…  Photoshop and your Operating System, especially on the Apple side, are now talking together.  Here’s how that works.

Open a file.

Since you’ve set your color settings in Photoshop correctly, you’re working in Adobe RGB (1998) as a Working Color Space.  You hit Print.  (File > Print)

You get this screen:

Make sure you’ve selected “Photoshop Manages Color”.

Now, you select the printer/paper/ink profile in the pulldown that says “Printer Profile”.  This is not a “close enough” or near-guess case.  Your printer profile has to match your printer, your paper, and your inks exactly.  90% of the issues we here from printers stem from using a profile they thought was “close”.

Now you’ve Color Managed your file. You have to let the printer driver know it needs to lay off any additional color adjustments.

When you hit “Print”, in the more recent versions of software like Photoshop CS5 and Apple Snow Leopard, the setting you just made will turn the Printer Color Management to “Off”.  That’s of crucial importance, and where most people goof.  Here’s what it should look like.  In CS5, the button that says “Page Setup” is different, it will say “Print Settings”.  In previous versions you just hit “Print” and, in either case, it takes you to this screen:

Hit the button that says “Layout” and you’ll get this, where you select “Color Options”:

From there, select, for Color Management, “Application”.  Hit “Print”, you’re done.

This is shown for the HP Printers, if you’re using Epson, it’s the same process, except you have to make sure that the correct media is set in the Epson Driver. The first selection is called “Print Settings”.

Select that, and set your paper type.  Here we’re printing to Premium Luster.  Now make sure your Epson Color Controls are set to “Off”, as shown.

You’ve made your print.  You’ve successfully, and correctly color managed your process.  How hard was that?  Are you done?  Not quite yet.

The single piece of the puzzle that goes ignored most often is the viewing light.  If you take your nice print and go into your bathroom or kitchen and try to evaluate it there, it’s going to look green.  The cool-white fluorescent lights are not white, they’re slightly greenish.  If you put it under your halogen desk lamp, it’s going to look brownish-red.  If you hold it up to the window, you’re going to get the blue sky lighting the print.  Think you don’t need a standard viewing light? Think again, it may well be the single most important part of your workflow.

This is a GTI PDV-e Desktop viewing light.  There are several models, of varying sizes, features and prices.  You can have all the Color Management in the world at your fingertips, but if you can’t evaluate your prints under some sort of standardized light source, you’re essentially working blind.  If you don’t believe it, do this little test.  Make a print.  Look at it with window light.  Now fluorescent lights.  And finally, look at it under a halogen track light or desk lamp.  The more subtle and neutral the print is, the more dramatically you’re going to see the color shifts.

Now, you’re done.

It really is just that simple.  If you’re interested in learning all the whys and wherefores of how a Color Management system works under the hood and how you can tamper with the controls, there are countless groups, forums, webinars are resources that can lead you down that tortured path.  Better yet, you can buy my book.  If, however,  you just want your prints to come close to what your screen is showing you, then this is all you need to do.

Happy printing!

-Ted Dillard

June 8, 2011

New Parrot and Angelica Labels Feature Our Photographer Friends

Filed under: Uncategorized — admin @ 2:24 pm

We here at Parrot Digigraphic are celebrating our long tradition of collaboration and partnership with Photographers and Fine Artists with the release of an entirely fresh re-design by designer and illustrator Jennifer Manganello for our Angelica and Parrot inket media labels, featuring the work of Photographers Bob Bergeron, David Saffir, Dr. Nicholas Hellmuth and Thomas Balsamo.

Parrot has worked in collaboration for nearly two decades developing media that meets the needs of fine-art reproduction, such as the collections produced by Bergeron at Tri-Color Graphics, the delicate and subtle Black and White tones of Thomas Balsamo’s sensitive portraits… or the vibrant color pallets of the work of David Saffir and Dr. Hellmuth. Through these partnerships Parrot has developed a media line without equal, including Parrot and Angelica Fine Art Watercolor papers, high-gamut Canvas, gloss, matte and luster Photo media as well as a versatile array of vinyl and film signage and display materials.

From John Lorusso, President of Parrot Digigraphic:
“We have a long history of collaboration with artists and photographers, and we feel that this is a good start in honoring our relationship with our valued partners. We greatly appreciate the support of our friends, clients, and colleagues.”

Lorusso continued: “Fine Art papers are like the finest wines – the choice of the right paper for an image, or series of images is an intensely personal decision, and intimately linked with the creative process. At Parrot, we’re constantly striving to give our clients the finest materials to select from.”

For more information of the featured photographers, see their respective websites:

Bob Bergeron: Tri-Color Digital – Fine digital printing, scanning and art reproduction services

Thomas Balsamo: Portraits by Thomas

Dr. Nicholas Hellmuth: Flaar Reports – Imaging Equipment testing and evaluation.

David Saffir: David Saffir Photography – Commercial and Fine Art Photography, Fine Art Printmaking, Photography Workshops

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