Digital Color Imaging

This paper surveys current technology and research in the area of digital color imaging. In order to establish the background and lay down terminology, fundamental concepts of color perception and measurement are first presented us-ing vector-space notation and terminology. Present-day color recording and reproduction systems are reviewed along with the common mathematical models used for representing these devices. Algorithms for processing color images for display and communication are surveyed, and a forecast of research trends is attempted. An extensive bibliography is provided

Image-Processing Techniques for the Creation of Presentation-Quality Astronomical Images

The quality of modern astronomical data, the power of modern computers and the agility of current image-processing software enable the creation of high-quality images in a purely digital form. The combination of these technological advancements has created a new ability to make color astronomical images. And in many ways it has led to a new philosophy towards how to create them. A practical guide is presented on how to generate astronomical images from research data with powerful image-processing programs. These programs use a layering metaphor that allows for an unlimited number of astronomical datasets to be combined in any desired color scheme, creating an immense parameter space to be explored using an iterative approach. Several examples of image creation are presented. A philosophy is also presented on how to use color and composition to create images that simultaneously highlight scientific detail and are aesthetically appealing. This philosophy is necessary because most datasets do not correspond to the wavelength range of sensitivity of the human eye. The use of visual grammar, defined as the elements which affect the interpretation of an image, can maximize the richness and detail in an image while maintaining scientific accuracy. By properly using visual grammar, one can imply qualities that a two-dimensional image intrinsically cannot show, such as depth, motion and energy. In addition, composition can be used to engage viewers and keep them interested for a longer period of time. The use of these techniques can result in a striking image that will effectively convey the science within the image, to scientists and to the public.Comment: 104 pages, 38 figures, submitted to A

The development of the toner density sensor for closed-loop feedback laser printer calibration

A new infrared (IR) sensor was developed for application in closed-loop feedback printer calibration as it relates to monochrome (black toner only) laser printers. The toner density IR sensor (TDS) was introduced in the early 1980’s; however, due to cost and limitation of technologies at the time, implementation was not accomplished until within the past decade. Existing IR sensor designs do not discuss/address: • EMI (electromagnetic interference) effects on the sensor due to EP (electrophotography) components • Design considerations for environmental conditions • Sensor response time as it affects printer process speed The toner density sensor (TDS) implemented in the Lexmark E series printer reduces these problems and eliminates the use of the current traditional “open-loop” (meaning feedback are parameters not directly affecting print darkness such as page count, toner level, etc.) calibration process where print darkness is adjusted using previously calculated and stored EP process parameters. The historical process does not have the ability to capture cartridge component variation and environmental changes which affect print darkness variation. The TDS captures real time data which is used to calculate EP process parameters for the adjustment of print darkness; as a result, greatly reducing variations uncontrolled by historical printer calibration. Specifically, the first and primary purpose of this research is to reduce print darkness variation using the TDS. The second goal is to mitigate the TDS EMI implementation issue for reliable data accuracy

A Designer\u27s guide to the evaluation of digital proofs

Digital color proofs and pre-proofs are used by graphic artists and commercial printers throughout the prepress process. However the prepress process has undergone radical changes over the past decade due to the introduction of desk top publishing and desktop prepress. Alongside of the desktop publishing revo lution has come a multitude of new digital proofing technologies for use in this ever changing environment. Technologies including, but not limited to, liquid inkjet, dye sublimation, continuous inkjet, color laser, and thermal wax transfer printers have provided an entire range of color accuracy and price suitability to many of their users. However one needs to be able to understand the practical applications and limitations of these technologies to make a suitable choice for a specific prepress operation or design process. Therefore a handbook for the users of digital proofs has been created for their benefit. The underlying structure of this handbook is based on the following six chap ters. The first chapter, entitled Communicating with Prepress and the Attributes of Digital Proofing, contains multiple parts. Firstly, it contains information for the designer in regards to the advantages and disadvantages of all types of digital output devices. It discusses the advantages which digital output devices may or may not have over conventional proofing systems. Additionally, ideas such as the vantages and drawbacks of preproofers and proofers is elaborated upon. Information for this part of the chapter was obtained through questionnaires completed by, and interviews with print buyers, art directors, and production managers from advertising agencies and prepress providers in the Rochester area. More information for this section of the first chapter was obtained through various manufacturer\u27s literature, printing industry reports and various periodi cals. Chapter One also discusses ideas behind the application of color printers (preproofers) and digital proofers. These ideas address issues which pertain to the application of specific printing and proofing processes to specific phases of the creative and production processes. Additionally, discussions regarding proof ing costs, qualities, and production turnaround time may be found in this part of the first chapter. Information for this section of Chapter One was obtained through information found in printing and publishing related periodicals, as well as in manufacturers\u27 literature. Finally, the first chapter develops a system for the correction of digital preproofs and proofs. Multiple groups of ideas pertaining to the correction of digital output are discussed. Some of these include sections entitled Digital File Tracking and Identification, Evaluation of Design Elements, Evaluating Colors, Element Positioning, and Element Dimension Adjustments. Information for this part of the chapter was obtained through the evaluation of previously corrected digital con tract proofs and preproofs, as well as the interviews and questionnaires men tioned above. The second chapter, entitled Proofing Typography, displays the many different ways that printing and proofing technologies affect text type and display typog raphy. Using the CD-Rom included in the back of the book, one may view on screen how the following technologies affect type ranging from 3 points to 72 points in size: liquid inkjet, large format liquid inkjet, phase-change inkjet, ther mal wax transfer, dye sublimation, continuous inkjet, and dye ablation. Information and samples for this chapter were obtained through printing and proofing system manufacturers and advertising agencies in the Rochester area. The Color Primer and Chapter Three: Proofing for Imagery and Color, contain information for the designer which may be applied to proper evaluation of color on color prints and digital proofs. The Color Primer discusses subjects such as color space, the additive and subtractive color theories, and common color mea surement tools. Chapter Three then applies some of this knowledge in its discus sions of proper lighting conditions for viewing prints and proofs, and different human factors which influence the highly subjective evaluation of all digital color output. Information for this chapter was gathered using graphic arts and printing industry related periodicals and industry-wide books related to color and its reproduction. The fourth chapter, entitled Substrates and Digital Output, educates the design er about the effects on text, imagery, and graphics which occur when creating digital prints and proofs on a variety of papers. Various paper surfaces such as gloss, semi-gloss and matte surfaces are addressed. The affects of colored paper on imagery and graphics are also elaborated upon. Additionally, printing and proofing processes are discussed in regards to the substrates that they accept for output. Information for this chapter was gathered through manufacturers\u27 litera ture and various industry related books and periodical articles. The Proofing Process Supplement was created to familiarize the designer with all currently popular forms of digital output technology. The process supplement discusses the imaging processes used by the following digital output technolo gies: liquid inkjet, phase-change inkjet, thermal wax transfer, dye sublimation, continuous inkjet, and dye ablation. Additionally, the supplement contains brief explanations regarding screening technologies. Information for the process sup plement was gathered through manufacturers\u27 literature, interviews with pre press providers in the Rochester area, and interviews with technical representa tives from the manufacturers of devices which use the above digital, color out put technologies. Chapter Five, entitled Image Fidelity, simply illustrates how all of the current ly popular printing and proofing technologies affect graphics and imagery. Using the CD-Rom included with the guidebook, the reader may view magni fied and normal views of printing and proof sample imagery. Information noted by the reader in the proofing process supplement may then be actively applied when viewing these samples. Information and sample prints for the fifth chapter were gathered from several manufacturers and advertising agencies in the Rochester area. The sixth chapter, entitled The Acceptance of Digital Contract Proofing, discusses a new definition of the contract proof in regards to the evolution of digital proof ing. This chapter provides ideas for the designer, art director, and print buyer to realize when considering the use of digital contract proofing. Several questions are raised concerning what requirements a digital contract proof must fulfill depending upon the areas of its application and any agreements between the designer and prepress provider regarding their specific definition of a digital contract proof. Additionally, specific advantages of digital contract proofs, such as their ability to fingerprint a press and/or press run, are discussed. Finally, a discussion pertaining to the education of all users of digital proofing technolo gies is presented to aid the overall acceptance of digital contract proofing. Information for this chapter was obtained through the extensive interviews of leading technical and product oriented representatives from the manufacturers of currently used digital contract proofing systems. Many conclusions have been reached with the completion of this guidebook. In brief, the first and most prominent conclusion which may be reached states that the acceptance of digital contract proofing lies within the education of all designers, art directors and print buyers about digital printing and proofing technologies. As the use of digital contract proofing grows, education and inter est by all creative professionals will orient them towards their use of digital proofing systems. The next conclusion which has been reached is that the proper application of color printers and digital proofers is of major importance for the designer due to the added flexibility and rewards which result from the use of digital color out put devices throughout the creative and production processes. Another conclu sion which may be reached is that the display of proofing and printing process effects on text, graphics, and imagery serves to directly inform the creative pro fessional how these elements may be distorted by the utilized output device. Knowledge gained by the creative professional in regards to these effects helps to answer many questions regarding print or proof quality and proper output device application. Finally, additional knowledge gained by designers which pertains to proper viewing of all color output, color theories, color measurement, and proofing sub strates helps them to better communicate with those prepress and print professionals involved in the production process

Let wildlife live: A Computer illustrated calendar of endangered species

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Digital color press technologies: Analysis of the printing characteristics as compared with SWOP

At the introduction of any new technology, there is a steep learning curve for ser vice providers and end users alike. With new digital printing technologies, service providers must learn how to evaluate and optimize the print characteristics of their presses, in order to provide a product of highest quality. For print buyers, designers and other end users of digital imaging, it is important to understand the level of quality that can be expected from the new imaging devices, in order to develop a market and customer base for the new technologies

A Study of the color management implementation on the RGB-based digital imaging workflow: digital camera to RGB printers

An RGB (red, green, and blue color information) workflow is used in digital photography today because a lot of the devices digital cameras, scanners, monitors, image recorders (LVT or Light Value Technology), and some types of printers are based on RGB color information. In addition, rapidly growing new media such as the Internet and CD-ROM (Compact Disc-Read-Only Memory) publishing use an RGB -based monitor as the output device. Because color is device-dependent, each device has a different method of representing color information. Each has a different range of color they can reproduce. Most of the time, the range of color, color gamut, that devices can produce is smaller than that of the original capturing device. As a result, a color image reproduction does not match accurately with its original. Therefore, in typical color image reproduction, the task of matching a color image reproduction with its original is a significant problem that operators must overcome to achieve good quality color image reproduction. Generally, there are two approaches to conquer these problems. The first method is trial-and-error in the legacy-based system. This method is effective in a pair-wise working environment and highly depended on a skill operator. The second method is the ICC-based (ICC or International Color Consortium) color management system (CMS) which is more practical in the multiple devices working environment. Using the right method leads to the higher efficiency of a digital photography produc tion. Therefore, the purpose of this thesis project is to verify that ICC-based CMS with an RGB workflow has higher efficiency (better utilized of resource and capacity) than a legacy-based traditional color reproduction workflow. In this study, the RGB workflows from digital cameras to RGB digital printers were used because of the increasing num ber of digital camera users and the advantages of using an RGB workflow in digital pho tography. There were two experimental image reproduction workflows the legacy-based system and the ICC-based color management system. Both of them used the same raw RGB images that were captured from digital cameras as their input files. The color images were modified with two different color matching methods according to each workflow. Then, they were printed out to two RGB digital printers. Twenty observers were asked to evaluate the picture quality as well as the reproduction quality. The results demonstrated that the two workflows had the ability to produce an accept able picture quality reproduction. For reproduction quality aspect, the reproductions of the ICC-based CMS workflow had higher reproduction quality than the legacy-based workflow. In addition, when the time usage of the workflow was taken into account, it showed that the ICC-based CMS had higher efficiency than the legacy-based system. However, many times, image production jobs do not start with optimum quality raw images as in this study; for example, they are under/over exposure or have some defects. These images need some retouching work or fine adjustment to improve their quality. In these cases, the ICC-based CMS with skilled operators can be implemented to these types of production in order to achieve the high efficiency workflow

Automatic multi-resolution spatio-frequency mottle metric (sfmm) for evaluation of macrouniformity

Evaluation of mottle is an area of on-going research in print quality assessment. We propose an unsupervised evaluation technique and a metric that measures mottle in a hard-copy laser print. The proposed algorithm uses a scanned image to quantify the low frequency variation or mottle in what is supposed to be a uniform field. `Banding\u27 and `Streaking\u27 effects are explicitly ignored and the proposed algorithm scales the test targets from Flat print (Good) to Noisy print (Bad) based on mottle only. The evaluation procedure is modeled as feature computation in different combinations of spatial, frequency and wavelet domains. The model is primarily independent of the nature of the input test target, i.e. whether it is chromatic or achromatic. The algorithm adapts accordingly and provides a mottle metric for any test target. The evaluation process is done using three major modules: (1) Pre-processing Stage, which includes acquisition of the test target and preparing it for processing; (2) Spatio-frequency Parameter Estimation where different features characterizing mottle are calculated in spatial and frequency domains; (3) Invalid Feature Removal Stage, where the invalid or insignificant features (in context to mottle) are eliminated and the dataset is ranked relatively. The algorithm was demonstrated successfully on a collection of 60 K-Only printed images spread over 2 datasets printed on 3 different faulty printers and 4 different media Also, it was tested on 5 color targets for the color version of the algorithm printed using 2 different printers and 5 different media, provided by Hewlett Packard Company

The Influence of media displays and image quality attributes for HDR image reproductions

High Dynamic Range (HDR) photography has been in existence at least since the time of Ansel Adams, with his experiments using analog film and darkroom techniques for the production of black and white prints in the 1940\u27s (Ashbrook, 2010). This photographic method has the ability to provide a more accurate representation of a scene through a greater range of the light and dark areas captured in an image. In the mid-20th century HDR Photography it has continued to grow in popularity among those interested in photography wishing to optimize their resulting image beyond a more commonly used technique. Presently, the limitations of commonly available reproduction technologies can lead to unpredictable output results through media such as monitor displays and inkjet prints. The purpose of this research was to determine the influence of quality attributes and image content on the preference of display media for HDR image reproductions. To achieve this purpose, a psychophysical experiment was conducted of 38 observers with previous imaging related exposure. This part of the study consisted of HDR comparisons across both a monitor display device and inkjet prints. Through qualitative and quantitative methods, common trends were identified among observer responses. The results show that for inkjet prints are the most preferred for the output of HDR images, specifically when printed on a metallic substrate. Additionally, the content of displayed images can directly impact display preference depending on the viewer\u27s perception and relationship formed with the photographic image. When evaluating HDR images across two media platforms, quality attributes comprising of a strong influence towards preference are sharpness, naturalness, contrast and highlights while artifacts, physical qualities and shadows were found to have barely any influence. Within the attributes related to HDR, relationships between attributes are found to be significant regarding image evaluation, leading to areas of further research

Characterization and identification of printed objects

A study about the physical appearance of pre-photographic, photomechanical, photographic and digital positive reflective prints was made, relating the obtained images with the history, materials and technology used to create them. The studied samples are from the Image Permanence Institute (IPI) study collection. The digital images were obtained using a digital SLR on a copystand and a compound light microscope, with different lighting angles (0º, 45ºand 90º) and magnifications from overall views on the copystand down to a 20x objective lens on the microscope. Most of these images were originally created by IPI for www.digitalsamplebook.org, a web tool for teaching print identification, and will be used on the www.graphicsatlas.org website, along with textual information on identification, technology and history information about these reproduction processes