These files are copyrighted and must not be used commercially in full, or in part, without prior permission in writing. You may use them for noncommercial testing purposes if no part is cropped or altered.
Night Photography Starter Tips [version 2] [ZIP file will require decompression]
This is an abridged version of my presentation at Photoshop World 2012. It contains a number of quick tips for beginning night photographers and rules of thumb for the four different types of night photography exposures, including one of the most exciting: image stacking.
Onsight Color Evaluation Image [version 2] [ZIP file will require decompression]
This color psd file can be viewed or printed to evaluate how well or poorly a device is calibrated and/or profiled. It contains linear gray scales, additive and subtractive color scales, a grainger rainbow, skin tones, high key and low key images for evaluating highlight and shadow detail. It contains a text layer so that the printer, paper and intent can labeled with each print. Choose “update” if necessary when opening this file.
Onsight B&W Evaluation Image [version 2] [ZIP file will require decompression]
This black and white psd file can be printed to evaluate any black and white printing process. It contains a linear grayscales, and several images for evaluating skin tones, highlight and shadow detail. It contains a text layer so that the printer, paper and settings can labeled with each print. Choose “update” if necessary when opening this file.
Onsight RGB v7 Inkjet Profiling Target [version 7] [16 bit TIFF file]
The latest inkjet RGB profiling target for our private 16 bit remote profiling service. Remote profiling is available to existing customers that have received onsite color management training. Please email me for remote profiling instructions and let me know what printers you wish to have profiled.
Onsight RGB v7 Silver Halide Profiling Target [version 7] [PNG file]
The latest silver halide RGB profiling target for our private remote profiling service. Remote profiling is available to existing customers that have received onsite color management training. Please email me for remote profiling instructions and let me know what silver halide machines you wish to have profiled.
Onsight Grayscale Inkjet Profiling Target [version 8] [Layered PSD file compressed as ZIP]
The latest inkjet Grayscale profiling target for profiling advanced black and white printing modes with our private remote profiling service. Remote profiling is available to existing customers that have received onsite color management training. Please email me for remote profiling instructions and let me know what printers you wish to have profiled.
Onsight Alt-Process Profiling Target [version 9] [Layered PSD file compressed as ZIP]
The latest target for profiling alternative printing processes (platinum/palladium, cyanotypes, carbon, etc). This layered Photoshop file has both 21 and 51 step targets for the i1Pro and 51 step targets for the iSis and DTP70 that can be enabled. Remote profiling is available to workshop students and existing customers that have received onsite training. Please email me for remote profiling instructions and let me know what alt-processes you are working with that you wish to have profiled.
i1Profiler Workflow Files for 21 and 51 step grayscale targets [ZIP file requires decompression]
These i1Profiler worflow files allow i1Pro (1and2) and iSis owners to measure the QTR 21 and 51 step grayscale target for alt-process profiling within i1Profiler v1.3 and newer. I created these files so that we can use XRite’s forward moving i1Profiler software instead of the now discontinued MeasureTool software. They must be manually installed in the i1Profiler’s MeasureReferenceWorkflows folder. See my article on using i1Profiler to measure QTR grayscale targets.
ColorPort XML files for 21 and 51 step grayscale targets [ZIP file requires decompression]
These ColorPort reference files allow i1Pro and iSis owners to measure the QTR 21 and 51 step grayscale target for alt-process profiling. I created these files so that we can use XRite’s free ColorPort Utility instead of the now discontinued MeasureTool software. They must be manually installed in the ColorPort Resources>refs>cmyk folder. See my article on using ColorPort to measure QTR grayscale targets.
Onsight Media Selection Image [version 1]
This 5×7 color image can be used to determine a media’s optimal media selection prior to the profiling process. See my article on how to determine the optional media selection for your printer.
Onsight ColorChecker [version 2] [ZIP file will require decompression]
This ColorChecker reference file represents the true colors found on the Gretag Macbeth (GMB) ColorChecker. It is meant to be helpful for evaluating digital cameras and for color correcting images shot with a ColorChecker. This new version contains additional layers with printed numbers for each patch in ProPhotoRGB, AdobeRGB and sRGB.
Slate Desktop Pattern
A simple, textured neutral gray desktop pattern that is a little more interesting than flat gray.
I thought I’d show everyone what my days often look like as a consultant. For 20 years, I’ve traveled around working with people in their studios on issues like color management, story
workflow, and print quality. A lot of the time this means working on big printers like these.
In addition to common aqueous inkjet printers, I spend a lot of my time working on UV Curable, Solvent, Latex and sublimation printers from companies like Vutek, HP, Epson, Gandhi, Mimaki, Mutoh, Roland, Inca and others. Last week I visited 3 clients in 3 cities including one of my favorite clients, HPI in Houston, where we worked on several of their printers including the Vutek HS100 Pro. To show you how it works, here’s a short video of it making a 30×40 print of my image Solitude on white aluminum dibond:
This monster UV Curable machine has 48 4” print heads that cost $3500 each and unusually accurate dot placement, for a UV printer. Even though it can print at incredibly high speeds, we have it in it’s slowest setting here that produces the highest quality. It uses an 8 color UV Curable inkset that can print on just about anything, including metal and glass. The LED Ultraviolet curing lamps you see positioned on each side of the carriage cures, frys and hardens the ink to the substrate before it has a chance to bleed or move. This type of printer was previously used exclusively for outdoor signage because of it’s extreme print durability and lightfastness. The print quality has recently become so good that people are using them to print artwork shown in galleries and museums. I’ve been printing and exhibiting my own artwork on metal from this very printer for the past 2 years.
Here’s another fun printer I calibrated this week – the Evo 33 DS.
It’s a 3 meter wide Vutek printer that Evo modifies and puts their own dye sublimation inks into. It can print directly onto fabric which is then run through a heat sublimation machine to activate and cure the inks. You’ve probably seen big 10-20 foot prints on fabric in an airport lately that is made on a printer like this. The prints have an incredible color gamut, rich blacks and a durable, washable matte finish to them. Heat, timing, and latent image stability are some of the fun variables that make calibration challenging on this printer.
These printers use software RIPs with names like ONYX, EFI, Caldera, Wasatch, Colorburst, Versaworks, and many others. The color science built into these RIPs is often pretty poor, and because I’ve developed a number of techniques for analyzing and calibrating color on these machines, I help my customers get better print quality on their printers than their competitors. The prints we achieve are often better than what the manufacturer has achieved which has lead me to consult with a number of printer and media manufactures to improve their own understanding and quality.
Of course, I’m not just a color management/ print quality geek, I’m also an artist. An endless pursuit for optimal print quality is part of what drives both of these roles. Curiously, my night images contain a lot of dark, delicate shadow details and deep colors that are particularly tricky to reproduce. This has proven to be a good thing and these serve as fun real-world test images.
So that’s what my day job looks like. Lots of hours printing, measuring and analyzing lots of abstract prints with color patches on them, and towards the end of the day, a few really beautiful images.