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Reykjavik & Its Graffiti by Mark D Segal
Introduction
When taking the time and effort needed in a digital workflow to make prints that translate our photographic vision onto paper (for example – the contrast and vibrancy of tone and colour), we first express that vision on a properly calibrated and profiled computer display, ideally under soft proof, editing the photos until we’ve achieved our intended vision. That editing process changes the color numbers (tone and colour values) being sent to the monitor and the printer. We want the printer to lay down the appropriate colours.

An ideal printing process will translate the photo’s intended colour numbers into a print, wherein the measured colors on the print exactly match the colour numbers sent to the printer. Unfortunately, that ideal printing process does not exist (for many reasons), but it is a worthy goal and we can come close. The more accurate t...

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Mark has been making photographs for the past six decades and started adopting a digital workflow in 1999 first with scanning film, then going fully digital in 2004. He has worked with a considerable range of software, equipment and techniques over the years, accumulated substantial experience as an author, educator and communicator in several fields and is a frequent contributor to the Luminous-Landscape website. Mark developed a particular interest in film scanning and authored the ebook “Scanning Workflows with SilverFast 8, SilverFast HDR, Adobe Photoshop Lightroom and Adobe Photoshop” available on the SilverFast website. In his “other life” (the one that pays for the photography), Mark is a retiree from the World Bank Group and now a consultant in electric power development.
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