Canon DIGITAL PHOTO User Manual

$19.95

0055W589 01/06

PRINTED IN U.S.A.

A guidebook for photographers who choose

EOS digital cameras as the tools of their trade.

Shooting

Data Processing

Contents

The purpose of this guidebook . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Switch to Digital Photography

Professional digital photography— . . . . . . . . . . . . . . . . . . . . . . 18 hitting its stride at last

Equipment

Essential equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 System requirements for digital photo creativity . . . . . . . . . . . 25 Printer selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Storing image data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Software environment for shooting and data processing . . . . . 29

Shooting

Hints for professional shooting . . . . . . . . . . . . . . . . . . . . . . . . . 32 Checking with histograms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 White balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 ISO settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Color matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Selecting the recording format . . . . . . . . . . . . . . . . . . . . . . . . . 39 Image synthesis with image-processing software . . . . . . . . . . 40 TS-E lens series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Averting common problems in digital photos . . . . . . . . . . . . . . 44

Data Processing 1

Preparing your image data for commercial printing . . . . . . . . . 48 Monitor settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Monitor calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 The color management system built into Adobe software . . . . 56 Color settings in Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . 57

Data Processing 2

Data processing check sheet . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Picture Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Viewing, adjusting, and developing images with . . . . . . . . . . . 67 Digital Photo Professional ver.2.0

Settings and image selection . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Adjusting and developing RAW data . . . . . . . . . . . . . . . . . . . . 70 Linkages with other software . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Saving image data and accurate communication . . . . . . . . . . 74 Final print simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 The problem of memorized colors . . . . . . . . . . . . . . . . . . . . . . 79 Important points concerning image adjustment . . . . . . . . . . . 80

Appendix

Image processing with Adobe Photoshop . . . . . . . . . . . . . . . . 82 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Shooting notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

The purpose of this guidebook

Enhancing your understanding of

For all professional photographers

the digital workflow

This guidebook is designed to assist professional photographers in their switch to digital photography. In particular, the guidebook helps explain many of the creative options available when using digital cameras to produce photos for commercial printing. We believe photographers in all fields from advertising to publishing to photojournalism, whether shooting in the field or in a studio, will find this guidebook a source of useful information.

This guidebook separates the workflow of digital photography into two sections: The first section covers shooting-related topics, such as lighting techniques, studio photography, and potential outdoor uses for digital cameras. It also describes actual shooting situations to clearly illustrate functional differences between film and digital cameras.

The second section deals with data processing; it covers everything from color management and file handling to image analysis and printing preparations.

Clarifying the responsibilities of photographers

Workflow is a linear description of the path that your digital assets follow

The responsibilities of photographers in the digital workflow vary widely with the specific requirements of each job.

By taking you through the entire process of digital photography, from shooting and image compensation to editing and printing preparation, we will help you to define and streamline the varying workflow responsibilities and draw the line between your own responsibilities and those of others involved.

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Page guide icon

•Pages where additional information can be found are indicated using the icon shown above. We recommend that you refer to these pages for a more complete understanding of the processes or techniques discussed.

•Nearly every photo in this guidebook was taken with the EOS-1Ds Mark II. (See P.90-91 for details of the photos and their printing preparation.)

•This guidebook was produced mainly with the EOS-1Ds Mark II in mind.

Free your imagination!

Capture the new day with

EOS digital cameras.

Digital definition for crystal clear images.

EOS digital cameras have changed the world of photography.

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Meeting the demands of studio and location portraiture — natural gradation and color reproduction capture the texture of skin, fabric, and other materials, as well as detailed facial expressions.

Outstanding gradation accurately reproduces colors and textures.

Shot with the EOS 20D

Canon’s unrivaled combination of CMOS sensor and DIGIC Image Processor — achieves sharp, dynamic images.

A symphony of light capturing the full range of visual information from highlights to shadows.

10	Shot with the EOS-1Ds Mark II	Shot with the EOS-1D Mark II	1111

True reproduction even with minimal light. Reproduction quality possible only with this visually faithful digital technology.

Same scene under the same conditions shot with film.

Shot with the EOS-1Ds Mark II

Photographic film can produce reciprocity failure, resulting in negatives with dark areas that are under-exposed relative to light areas. In long night exposures, the details of shadows are lost, and colors are inaccurately reproduced. In contrast, EOS digital cameras provide proper exposure levels even in minimal light conditions and correctly capture details of the subject. With mixed light sources using film cameras, color balance often gives rise to color seepage. EOS digital cameras address this with white balance settings that

result in true color reproduction.

100% crops from digital (left) and film (above).

EOS-1Ds Mark II		645 film

The ability to capture details beyond the reach of film produces true-to-life images.

Actual film size

EOS-1Ds Mark II, TS-E 90mm f/2.8 Rendered in Digital Photo Professional ver.1.6 Up-resed in Photoshop CS2® in

10% increments to 220MB

100% crop

Details of the action and the

atmosphere show outstanding

clarity in full-size digital images.

EOS-1Ds Mark II

22 Megapixel Digital Back

6x7 camera w/140mm f/4.5 macro lens Up-resed in Photoshop CS2® in 10% increments to 220MB 100% crop

22 MP Digital Back

100 ISO 120 roll film

6x7 roll film camera w/140mm f/4.5 macro lens ISO 100 120 film processed normally Scanned to 220MB on a drum scanner 100% crop

Professional digital photography — hitting its stride at last

The speed and efficiency of digital photography are self-evident and widely acknowledged. In the field of photojournalism, where speed and efficiency are all-important, the switch from film to digital photography has already been made. Now, with dramatic improvements in the performance of digital cameras, the wave of change is sweeping into advertising and other fields as well.

Digital cameras are evolving, and the emphasis is shifting from efficiency to quality

Canon introduced the world’s first electronic still/video camera (the RC-701) in 1986, and digital cameras have been evolving rapidly ever since. Low running costs (i.e. through the elimination of film expenses) and the immediate ability to produce and review images made digital cameras the choice of photojournalists from the introduction of the very first professional grade digital cameras. Even so, however, digital camera image quality did not compare to that of film, so those fields in which image quality is a critical business selling point (e.g. advertising, publishing, and photo portraiture) maintained a steadfast dedication to film photography.

The arrival of the 11-megapixel EOS-1Ds in 2002, however, significantly changed the performance and perception of digital cameras. The EOS-1Ds accelerated the transition from film to digital with its outstanding resolution, full-size 35mm CMOS sensor, high image quality, and large files. These outstanding performance characteristics, coupled with Canon’s superior ergonomic design triggered an explosion in commercial applications of digital photography.

The next generation of EOS –– the 16.7- megapixel EOS-1Ds Mark II –– arrived in 2004. With resolution at this level, Canon

is now able to address the needs of photographic studios, for whom image quality of high resolution files is paramount.

The switch to digital technology is expanding the world of photography

Desktop publishing (DTP) is now a fixture in the fields of advertising and publishing; creativity and efficiency have improved dramatically as a result of their influence on the workflow. The switch to digital photo technology in the field of professional photography is creating similar improvements in digital workflow processes. Since advances in digital camera technology have eliminated concerns about the quality of digital images, the domain of the photographer (which film restricts to the act of shooting pictures) has been expanded by the digital

• Conventional film camera workflow

Since the printing process is divided into various steps and different areas of expertise, the photographer’s intentions may not be reflected in the final print.

camera for even greater control over images. Now is the time to take advantage of the power and flexibility of digital photography. Make the switch today!

Digital cameras provide greater control over image creation

In the age of black-and-white photography, film development and printing were critical aspects of the photographer’s domain.

With the advent of automated color film processing, much of the control over the final image was given up by the photographer. In this new film-free era, photographers can once again take full command of the entire creative process, thus ensuring that the final images faithfully reflect their original intentions.

• New digital camera workflow

A consistent workflow, from shooting to printing, reflects the photographer’s intentions in the final print. Photographer-oriented photo creativity becomes a reality.

Shifting to the new digital workflow

When shooting, processing and printing come together, the results can be breathtaking

Digital cameras provide photographers with greater flexibility and control over image production than ever before. However, specialized knowledge of image processing is required to make the most of this advantage. Even photos taken in the best of conditions can easily lose their quality through incorrect image processing. For best results, photographers should learn how to handle image processing and output proficiently.

Where do photographer responsibilities end in the new digital workflow?

Defining deliverables requires communication and proofing. Understanding the final output requirements while building your workflow demands an initial investment of time and effort. But that investment will reward you with accurate, predictable color and quality for every image.

You can now control the entire creative process from shooting to image data preparation for final output. Digital data transfer has created new rules for the media markets; unfortunately these rules keep changing. Few photographers are familiar with the prepress process.

To efficiently produce digital photos of the highest quality, we recommend that you learn about the prepress process to determine the best solution for your clients and their output requirements.

There is no single generic workflow that fits every situation. Customer demands and client considerations determine the path that assets follow in the digital workflow. Work backward and plan ahead.

Digital images are evaluated on a monitor

In conventional plate making, positive film and prints serve as clear guidelines for color reproduction. Even when color tones need adjustment, everyone involved can share a common understanding by referring to instructions made on the positive film

or prints. This clarity of communication minimizes gaps between intended colors and actual results.

Colors and gradations in digital image data, on the other hand, exist as numbers that are difficult to refer to. This lack of clear guidelines creates various uncertainties and makes it difficult to check if colors and gradations are correct. Images displayed on monitors (which serve the same purpose as positive film and prints in conventional

photography) are the common point of reference for digital image evaluation.

Color management helps simplify color evaluation

When evaluating digital image data, colors can appear different on different monitors. To make matters worse, even when the same image is displayed on the same monitor using the same operating system and application software, the colors can still differ if the settings of the operating system and software are different.

The concept of color management was born of the need to minimize differences in color reproduction on different devices and in different environments and ensure the image always appears like the original. In the past, color management was mainly concerned with coordinating color reproduction between the monitor and the printer. However, these days it has become an essential element throughout the digital photographer’s workflow.

Since photographers, plate makers, and printers each check the colors of digital photos on their respective monitors, they may end up examining the image data in different color tones unless their color environments are coordinated using strict color management. Without color management, the gaps in color reproduction

• Image evaluation standards in workflow for commercial printing of film photos

Introduction 19

18 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

could result in flawed image evaluations and unintended print results.

The simplest method of color management is to use the same image processing software, such as Adobe Photoshop, and apply the same color management settings throughout all processes within the workflow. However, this rudimentary method is not sufficient for realizing the full potential of digital camera data.

Too often, photographers are drawn to digital cameras for the ease with which data can be transferred to designers, clients, and plate makers, and a workflow is established without taking proper color management into account. We highly recommend that you avoid this pitfall through appropriate color management protocols.

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The importance of color management

Photographers must adhere to strict color management principles in order to ensure that accurate, consistent color quality is maintained throughout the entire workflow process for a variety of image endpoints,

including: print, world wide web, CD/DVD authoring, across networks, storage media and multiple monitors.

A common practice today is to supply a print along with the image data for the plate maker to use as a guide. With the introduction of virtual proofing and modern color-managed workflow, this practice will no longer be necessary. Color management has now come of age! With proper understanding and practice, the photographer can exercise complete control over viewing, editing, and proofing, as well as final print quality. To do this, you must utilize the proofing and color gamut functions of commercially available image editing software such as Adobe Photoshop.

Inkjet printers can reproduce a wider range of colors than commercial printing equipment, so the key to image quality is how the plate maker adjusts for areas that cannot be adequately expressed by commercial printing equipment.

When you want to see how colors will differ in commercially printed images, you can use Adobe Photoshop or Canon Digital Photo Professional to simulate the conversion

Strict color management is a must!P.50

from RGB (red, green, blue color spectrum) to CMYK (cyan, magenta, yellow, and black color spectrum).

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Photographers who understand the process can improve efficiency and final image quality

Color management is necessary at every step of the process that leads to commercially printed digital photos. However, the color management responsibilities of each person in the process is rarely defined.

This lack of clarity can burden photographers who take full control in their efforts to ensure quality and efficiency. Conversely, photographers who leave too many responsibilities to others may end up with low-quality results.

To prevent such problems and realize the full potential of digital photography, photographers must understand the entire process so they can recognize the factors that affect image quality. Then they should take an active part in defining and delegating the responsibilities for color management.

Digital photo processing requires strict color management since there is no central standard for color evaluation.

Photo printing environments rapidly adopting digital technology

Photo printing environments where digitalization is already forging ahead

Even if issues of resolution, dynamic range, and color management are successfully addressed, prints are still ultimately necessary. We turn to prints, not displays or offset printing, when we want to preserve an image. Prints, of course, can be kept for a long time. This quality, as well as the strong demand for depth and density of color and light that only photographic paper can provide, have been traditional reasons for the hesitation to switch to digital photography. In the past, creating prints from digital data was cumbersome and time consuming. First, digital data were burned onto color reversal film using a film recorder, and then a print was created with the color reversal film. Now, however, photo-printing equipment has itself been upgraded to digital technology, and prints can be created directly from image data.

Digital printing equipment in high-precision professional labs surpass negative prints

As digital cameras have come into wider use, professional labs have upgraded their digital data handling capabilities. The growing use of large format photo printers has been of particular value in providing a greater range of choice for printing digital photos. The Lambda printer, (a commonly used large format printer) exposes conventional photographic paper to RGB lasers and produces colors through a development process. The result is prints of exactly the same quality and texture previously possible only by using photographic paper in the traditional printing process. What’s more, with Adobe RGB serving as the color spectrum standard, color expression more vibrant than that possible with traditional printing can be achieved. There are also Lambda printers that use LED technology.

This technology permits enlargements to be sharper than those created using traditional optical methods.

Photo studios consider adopting digital technology for portraits

The rapid transition to digital technology in professional photo labs has encouraged some photo studios, which until now have used digital cameras only for ID photos, to adopt digital large-format prints. Some of these studios have made a complete switch to digital technology and are now using digital cameras for portraits too.

Broadly speaking, there are presently two separate workflows in digital photography. In one, image data are given to a professional lab, which then handles everything from correction to printing. Advances in broadband technology have encouraged an increasing number of labs to upgrade their computing environments, so they can be sent image data over the internet. The ability to easily transfer large volumes of highquality image data makes the simplicity of sending and receiving orders an advantage for this workflow. In the other workflow, the photographer personally corrects the image data and has a professional lab use these data to create prints. The lab and the photographer examine test prints beforehand and, working together in the color management process, create prints that satisfy the photographer. In either case, if care is taken to use the same settings on tools used by both the photographer and the lab from the beginning, prints even

• Photo studio/professional lab workflow

more stable than those possible with film can be obtained. Active communication with the lab, therefore, is the key to efficiency and high quality.

With advances in printing technology, we are seeing the emergence of a creative environment in which the capability of the operator and the senses of the photographer are indispensable. It appears that once there is solid order-sending and receiving know-how among photographers and professional labs, we will see digital cameras used more and more for portraits, as well as other types of photographic projects.

Impact of inkjet printer performance improvements

Previously, inkjet printers produced images markedly different from those printed on photographic paper. Performance improvements in recent years, however, have produced marvelous granularity that exceeds that of traditional photo printing, and have given us spectrums that have been expanded with 8-ink systems and other technologies. This has resulted in color reproduction that surpasses that of positive film.

Additionally, improvements in waterresistance, weather-resistance, and light stability, as well as improvements in inks and printing paper, have made it possible to obtain extremely stable print results.

Introduction 21

20 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

Digital camera workflow with plate making

Digital camera workflows in the advertising and publishing fields

In advertising and publishing, digital cameras are still not used to the extent they are in the creative and printing fields.

Color management, in particular, is only now being adopted by plate makers and designers. On the other hand, there is growing demand for greater production efficiency, and we are seeing, as in the case of JMPA Color, clients (advertisers) requesting the use of color management.

The key determinant for the future adoption of color management is improvement in the efficiency and precision of color checking made possible by digital transmission of image data and digital proofing. We also anticipate that issues in color reproduction based on digital camera image data will become increasingly important.

These critical color management issues are all tied together by the problem of who will convert the RGB data created when a photo is shot to the CMYK data used for printing. This conversion has traditionally been performed by printers, not photographers. However, as mentioned earlier, if photographers, within the realm

Topics for the advertising and publishing industries

Digital camera workflow will improve the efficiency and consistency of image quality by unifying plate-making systems and photography. Closed conditions will be necessary and, under the present circumstances, there are areas in which open development will be difficult.

[1]Achieving both speed and stable quality for photojournalism (Case of Newspaper Company A)

In pursuit of both speed and stability of image quality offered by digital cameras, Newspaper Company A adopted a network-based printing system. Data

of RGB, use software to perform simulations when necessary, more consistent results can be achieved.

In the fields of advertising and publishing, great faith is placed in film. This will likely result in a longer transition to digital

• Workflow within the RGB realm

processes. Nevertheless, in fields where digital data workflow has been established, the move to full digitalization is proceeding rapidly. For professionals, who have taken the lead in other ways, it is necessary to adopt the new workflow with even more vigor.

The photographer can control	Digital Photo Professional
RGB-based color management

Photographer

Designer

Prepress department

A final print simulation is used to check how the commercial print will appear

Pass on the printed sample for reference

The commercial printing/prepress company controls CMYK-based color management

sent from shooting and production locations are printed with colors

adjusted by a high-precision DDCP (Direct Digital Color Proofer), and the prints are then immediately sent to the production location where color tone can be checked. With this method, image quality is checked before traditional color proofing, and significant time is saved.

[2]Shortening the editing process and improving color reproducibility (Case of Printing Company B)

For printed materials, such as mail order catalogs, the difference between printed colors and the actual colors of the items pictured can cause problems. Printing Company B, therefore, implemented the

use of a proofer at shoot locations. Armed with the profiles of the printing company and the plate-making company, the proofer, together with a color managed display, made it possible to check colors immediately after photos were taken. Color checks performed with the buyer and designer at shooting locations minimized problems during and after the design process.

[3] RGB files converted to CMYK can produce dramatically different results depending upon the profile and conversion method used. A wonderful RGB image can easily be destroyed by the employment of improper conversion techniques.

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EOS DIGITAL DIGITAL PHOTO GUIDEBOOK

Equipment

22 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

Essential Equipment

Essential equipment

Handling the exceptionally high-resolution EOS-1Ds Mark II data requires proper equipment and forethought to achieve an efficient work environment.

	Handling 16.7-megapixel images
	Handling 16.7-megapixel images
	requires high-spec hardware.
	requires high-spec hardware.
Comfortably handling high-resolution		Computer
EOS-1Ds Mark II data requires not only		Computer
EOS-1Ds Mark II data requires not only
fast hardware but also a large amount of
memory and high-capacity storage media.
	The fastest computers currently available
	The fastest computers currently available
are ideal for handling these data files,		Display
and you should seriously consider using		Display
high-capacity storage media and a
dedicated server, particularly if you are
dedicated server, particularly if you are
interested in processing and archiving
a large volume of images.		External
		memory
	Printer and display color setting will	device/
		device/
		media
	determine print quality.	media
	determine print quality.
The most important device for evaluating
digital camera data is the display monitor.
digital camera data is the display monitor.
Therefore, it is important to select one that
will allow you to perform color management		Network
and that can express images with minimal
difference from other devices. You should
difference from other devices. You should
select a high-definition monitor with a
large screen.
	Printers are used for everything from	Printer
simple checking to the production of
finished works, as well as the production
of color samples for post-processing.
of color samples for post-processing.
Printers differ in terms of size, printing
method, running costs, etc., so you can
choose one that best suits your needs.

Is the processor fast?

Is the OS suitable for your work and operating environment?

Is there adequate memory (RAM)?

Is the image quality good enough to evaluate colors?

Is the external data storage device/media capable of storing large files?

Does the device use media suitable for exchanging data with third parties?

Is the load being shared across multiple machines?

Will the printer be used primarily for printing finished works or for checking images for printing?

Is it necessary for the printer to perform large-format printing?

System requirements for digital photo creativity

If you use a digital camera, your workflow is likely to encompass more than just shooting photos. Other components in typical systems used by creative digital professionals include a desktop computer for analyzing and processing photo data, peripheral equipment such as communication devices and printers, and perhaps even a laptop for use in a studio.

Photo data handling requires a high-performance computer

A single photo taken with the EOS-1Ds Mark II can be 50 to 100MB in size. Once this data file is opened in graphics software and processed in layers, the file can easily grow to become several hundred megabytes. Moreover, users sometimes work on several large files at the same time.

Since the handling of RAW data places a heavy load on the CPU, the processing speed of your computer naturally affects work efficiency.

To adequately handle photo data created by EOS digital cameras, we strongly recommend using a high-spec model in terms of CPU speed, memory (RAM), hard disk size, etc.

Transfer image data with the method that best fits the situation

When EOS digital data are processed with a computer, they are usually transferred to the computer using the camera’s memory card. When working in a studio or other locations, where it is possible to perform correction work on a computer, or when you would like to reduce the time necessary

to transfer data to a computer, EOS digital cameras can be connected directly to a computer using an IEEE1394 cable. Data can also be transferred over a wireless LAN connection. The EOS-1Ds Mark II is compatible with WFT-E1A, an accessory that permits high-speed image transfer over wired/wireless LANs, thus avoiding the hassle of multiple cable connections.

Macintosh for unified color control. Windows for cost efficiency

When purchasing a computer, you will most likely choose a Macintosh or Windowscompatible computer. Many professionals who handle photo retouching on a computer choose Macintosh, which is particularly well suited for graphics and desktop publishing. Since one company produces both the computer and OS, the color control foundation of Macintosh computers is unified at the basic level, which offers a significant advantage.

On the other hand, Windows-compatible computers are typically less expensive.

High-performance laptops are an excellent option in many shooting situations

Laptops are a convenient choice for outdoor shooting sessions where mobility is important. In some cases, when no AC outlet is available, they may even become a necessity. New high-end laptop models offer performance equivalent to desktop computers and can function as primary computers for photo processing when desired.

Laptop displays were previously too small to support digital photo operations, but newer high-spec laptops with large LCD screens are capable of doing the job.

Displays are essential for color checking and should be selected with care

Since digital cameras don’t produce positive film, you must evaluate the colors of your digital photos on a computer monitor. This means the performance of your display may affect the quality of your final output. To select the right display for digital photo operations, we recommend you gain an understanding of displays and select

a large, high-quality model. P.49, 54

24 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

Equipment 25

System requirements for digital photo creativity

A large-capacity storage device is necessary for storing photo data files

When using EOS digital cameras, you may produce over 10GB of photo data in a single day of shooting. It is therefore essential to have data storage and backup systems ready to go before the volume of your image data snowballs out of control.

For optimum efficiency and secure data archiving, we recommend using an external hard disk drive. DVD±RW drives, which store data by the gigabyte, are suitable as backup. Other removable media, such as CD-R and MO disks, are handy choices for delivery and exchange of photo data among designers and clients.

Portable hard disk drives (HDD) are suitable for temporary storage of large amounts of data

Portable HDDs, which are relatively small and lightweight, are particularly handy when shooting in remote locations.

Bus-powered HDDs can receive power from a connected computer through a single

26 EOS DIGITAL • DIGITAL PHOTO GUIDEBOOK

USB or IEEE1394 cable. No AC adapter is required. However, special care must be taken when multiple devices are connected to the same computer, because an electric power shortage could result in data errors.

IEEE1394 and USB 2.0 offer high transfer speeds and are recommended when transferring large amounts of photo data.

Choose a high-spec computer and high-capacity data storage

EOS-1Ds Mark II images are best stored on high-speed, high-capacity hard disks. To transfer data to a computer, it is worth noting that the latest PowerMacs come standard with high-speed FireWire 800 ports, which are faster than IEEE1394 (FireWire 400) ports and reduce the time needed to transfer large files.

You should also consider using RAID storage, which manages multiple hard disks as if they were one. Mac OS X makes using RAID storage simple and, therefore, allows you to build a computing environment with even greater speed and reliability.

Share data with multiple machines by utilizing LAN

File sharing over a network is almost a requisite for efficient data management. Fortunately, network communications have recently accelerated due to infrastructural improvements and always-on connections have become common with the introduction of ADSL and optical services. Moreover, Mac OS X and Windows XP offer significantly improved file sharing capabilities. These numerous advances now enable file sharing to be handled over the internet with ease.

However, the growing demand of digital photo professionals for higher transfer speeds and larger-capacity file sharing often leads to the use of special server OS software within company intranets.

In studios or other such locations, a wireless LAN is an effective tool.

The IEEE802.11g telecommunications standard currently preferred by professional photographers is relatively fast, at 54Mbps, and removes the nuisance of cables for those who move around a lot in the studio.

Printer selection

Select the printer most suitable for your needs

Printers can be divided into several categories based on printing method, usage and paper size handling capabilities. When selecting a printer, you should consider price, running costs, print quality and capabilities that are necessary to meet your particular needs.

Inkjet printers are affordable and offer high image quality

Ease of maintenance and affordable prices are not the only benefits of inkjet printers. Due to dramatic improvements in their print quality, they are now powerful tools for printing digital photos.

Since the color space of inkjet printers exceeds that of offset printing unless specific procedures are followed (P.20), their prints are of limited use for evaluating the colors of images before commercial printing unless specific soft-proofing procedures are followed. However, inkjet printers can create finished prints that bring out the full quality of photos taken with digital cameras. Larger models with A3+ sized full-bleed capabilities can even produce 13˝ x 19˝ prints that are appropriate for framing on a wall.

Inkjet printer

Compact photo printers can be used in place of Polaroids

Printing directly from the camera with a portable, low-cost compact photo printer is an effective alternative to using Polaroids.

Laser printers deliver high printing speed

Laser printers are ideal for producing photo albums in small volume, lists of photos for use as contact prints, and text documents in large volume. Compared to inkjet printers, laser printers offer lower running costs and faster printing. Their output quality is high even on normal printing paper and during two-sided printing.

In addition to conventional laser printers, there are multifunctional products that combine color printer, copier and fax functions in one compact body. If your office space is limited, these space-saving products are an attractive alternative.

Color laser printer

Multifunction color printer

Compact photo printer

Large format printers give photos maximum impact

Large format printers are recommended for those who often print photos at large size. Even poster-sized printouts of high-resolution images taken with the EOS-1Ds Mark II will offer fine detail when viewed from a normal distance.

Large format printer

Color proofing printers enhance the commercial printing workflow

Color proofing printers let you make adjustments to match the color tone, ink, and paper of the final commercial print. They are ideal for checking colors before commercial printing but not the best choice for outputting images as finished work.

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Color proofing printer

Photographic printers use photo paper and film

The photographic printers employed at photo labs and image output centers use RGB lasers to print the images on photographic paper and film.

P.21

Equipment 27

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