Basic Color Software
Olowookere Devost
basICColor input 6 Pro defines a new dimension of camera profiling. If you work in reproduction of cultural heritage, in archiving of valuable documents, pock shots, forensics or other areas which require perfect color reproduction, basICColor input 6 Pro is a must. Even creative photography will benefit from correct color "out-of-the-box"! Creative retouching becomes simpler and faster if you start from a common and color correct basis. Your desired "looks" can be embedded directly into your camera profiles with the built-in color and gray editing functions. This will save additional work in many cases.
basICColor input 6 distinguishes automatically between raw and TIFF or JPEG and creates either DCPs for the Adobe Raw Workflow or ICC profiles for TIFF/JPEG. In any case your images will benefit with perfect detail in the shadows and colors true to life.
basICColor input 6 Pro optimizes saturated colors automatically, and also allows to edit colors and grayscales manually. All edits will be stored in the active camera profile immediately. Viewing the original shot in a color managed application while editing allows for visualy and numeric control of the editing process.
- USB dongle for mobile use
- Maintenance contract for support and free upgrades
- basICColor scan Target
- basICColor rescan Target for profiling of printed originals
- Questions about targets, support for custom targets - please contact us!
A set of primary colors or primary colours (see spelling differences) consists of colorants or colored lights that can be mixed in varying amounts to produce a gamut of colors. This is the essential method used to create the perception of a broad range of colors in, e.g., electronic displays, color printing, and paintings. Perceptions associated with a given combination of primary colors can be predicted by an appropriate mixing model (e.g., additive, subtractive) that reflects the physics of how light interacts with physical media, and ultimately the retina. The most common color mixing models are the additive primary colors (red, green, blue) and the subtractive primary colors (cyan, magenta, yellow).
Primary colors can also be conceptual (not necessarily real), either as additive mathematical elements of a color space or as irreducible phenomenological categories in domains such as psychology and philosophy. Color space primaries are precisely defined and empirically rooted in psychophysical colorimetry experiments which are foundational for understanding color vision. Primaries of some color spaces are complete (that is, all visible colors are described in terms of their primaries weighted by nonnegative primary intensity coefficients) but necessarily imaginary[1] (that is, there is no plausible way that those primary colors could be represented physically, or perceived). Phenomenological accounts of primary colors, such as the psychological primaries, have been used as the conceptual basis for practical color applications even though they are not a quantitative description in and of themselves.
Sets of color space primaries are generally arbitrary, in the sense that there is no one set of primaries that can be considered the canonical set. Primary pigments or light sources are selected for a given application on the basis of subjective preferences as well as practical factors such as cost, stability, availability etc.
The concept of primary colors has a long, complex history. The choice of primary colors has changed over time in different domains that study color. Descriptions of primary colors come from areas including philosophy, art history, color order systems, and scientific work involving the physics of light and perception of color.
Art education materials commonly use red, yellow, and blue as primary colors, sometimes suggesting that they can mix all colors. No set of real colorants or lights can mix all possible colors, however. In physics, the three primary colors are typically red, green and blue, after the different types of photoreceptor pigments in the cone cells.[2][3]
A color model is an abstract model intended to describe the ways that colors behave, especially in color mixing. Most color models are defined by the interaction of multiple primary colors. Since most humans are trichromatic, color models that want to reproduce a meaningful portion of a human's perceptual gamut must use at least three primaries.[4] More than three primaries are allowed, for example, to increase the size of the gamut of the color space, but the entire human perceptual gamut can be reproduced with just three primaries (albeit imaginary ones as in the CIE XYZ color space).
Some humans (and most mammals[5]) are dichromats, corresponding to specific forms of color blindness in which color vision is mediated by only two of the types of color receptors. Dichromats require only two primaries to reproduce their entire gamut and their participation in color matching experiments was essential in the determination of cone fundamentals leading to all modern color spaces.[6] Despite most vertebrates being tetrachromatic,[7] and therefore requiring four primaries to reproduce their entire gamut, there is only one scholarly report of a functional human tetrachromat, for which trichromatic color models are insufficient.[8]
Additive mixing of coincident spot lights was applied in the experiments used to derive the CIE 1931 colorspace (see color space primaries section). The original monochromatic primaries of the wavelengths of 435.8 nm (violet), 546.1 nm (green), and 700 nm (red) were used in this application due to the convenience they afforded to the experimental work.[13]
The exact colors chosen for additive primaries are a compromise between the available technology (including considerations such as cost and power usage) and the need for large chromaticity gamut. For example, in 1953 the NTSC specified primaries that were representative of the phosphors available in that era for color CRTs. Over decades, market pressures for brighter colors resulted in CRTs using primaries that deviated significantly from the original standard.[15] Currently, ITU-R BT.709-5 primaries are typical for high-definition television.[16]
Cyan (C), magenta (M), and yellow (Y) are good chromatic subtractive primaries in that filters with those colors can be overlaid to yield a surprisingly large chromaticity gamut.[21] A black (K) ink (from the older "key plate") is also used in CMYK systems to augment C, M and Y inks or dyes due to both being more efficient in terms of time and expense and less likely to introduce visible defects.[22] Before the color names cyan and magenta were in common use, these primaries were often known as blue and red, respectively, and their exact color has changed over time with access to new pigments and technologies.[23] Organizations such as Fogra,[24] European Color Initiative and SWOP publish colorimetric CMYK standards for the printing industry.[25]
Color theorists since the seventeenth century, and many artists and designers since that time, have taken red, yellow, and blue to be the primary colors (see history below). This RYB system, in "traditional color theory", is often used to order and compare colors, and sometimes proposed as a system of mixing pigments to get a wide range of, or "all", colors.[27]O'Connor describes the role of RYB primaries in traditional color theory:[28]
A cornerstone component of traditional color theory, the RYB conceptual color model underpins the notion that the creation of an exhaustive gamut of color nuances occurs via intermixture of red, yellow, and blue pigments, especially when applied in conjunction with white and black pigment color. In the literature relating to traditional color theory and RYB color, red, yellow, and blue are often referred to as primary colors and represent exemplar hues rather than specific hues that are more pure, unique, or proprietary variants of these hues.
It does not matter to the makers of dyes if, as the physicist says, red light and green light in mixture make yellow light, when they find by experiment that red pigment and green pigment in mixture produce gray. No matter what the spectroscope may demonstrate regarding the combination of yellow rays of light and blue rays of light, the fact remains that yellow pigment mixed with the blue pigment produces green pigment.
The widespread adoption of teaching of RYB as primary colors in post-secondary art schools in the twentieth century has been attributed to the influence of the Bauhaus, where Johannes Itten developed his ideas on color during his time there in the 1920s, and of his book on color[30][31] published in 1961.[26]
Of course, the notion that all colors can be mixed from RYB primaries is not true, just as it is not true in any system of real primaries.[33] For example, if the blue pigment is a deep Prussian blue, then a muddy desaturated green may be the best that can be had by mixing with yellow.[34] To achieve a larger gamut of colors via mixing, the blue and red pigments used in illustrative materials such as the Color Mixing Guide in the image are often closer to peacock blue (a blue-green or cyan) and carmine (or crimson or magenta) respectively.[34][35][36] Printers traditionally used inks of such colors, known as "process blue" and "process red", before modern color science and the printing industry converged on the process colors (and names) cyan and magenta[34][36](this is not to say that RYB is the same as CMY, or that it is exactly subtractive, but that there is a range of ways to conceptualize traditional RYB as a subtractive system in the framework of modern color science).
Because the 'optimal' pigments in practice produce unsatisfactory mixtures; because the alternative selections are less granulating, more transparent, and mix darker values; and because visual preferences have demanded relatively saturated yellow to red mixtures, obtained at the expense of relatively dull green and purple mixtures. Artists jettisoned 'theory' to obtain the best color mixtures in practice.
c80f0f1006