Susan Farnand and Don Williams
Susan Farnand is an Assistant Professor in the Program of Color Science at the Rochester Institute of Technology. She teaches course in the Principles of Color Science, Color Physics, and the Color Science History. Her research interests include human vision and perception, color science, cultural heritage imaging and 3D printing. She received her BS in engineering from Cornell University, her Masters in Imaging Science and her PhD in Color Science from the Rochester Institute of Technology. She began her career at Eastman Kodak, designing and evaluating printer systems. She is Publications Vice President of the international Society of Imaging Science and Technology and serves as an Associate Editor for the Journal of Imaging Science and Technology. She participates in several Standards efforts including ISO TC 42 JWG26 Archival Imaging.
Don Williams worked as a research imaging scientist for Kodak for 25 years until he left the company in 2006. His work there focused on both digital and traditional imaging practices across a number of disciplines that included reconnaissance, microfilm, consumer photography, and professional photography sectors.
He sits on international standards committees and is fully immersed and involved in the digital image archiving community, frequently contributing to the Federal Agencies Digitization Guideline Initiative and sits on the Still Image Working Group advisory board.
Don is the editor for ISO 12233, 2nd edition, Spatial Resolution Measurements, Digital Still Cameras, and has acted as coleader for equivalent performance standards on reflection and film scanners. His influence has extended into the mobile imaging arena where he was the sector leader for resolution measurement for Camera Phone Image Quality (CPIQ) imaging industry initiative.
Monday, June 11 - PM General Session
Modern Tools for Color Reproduction
Susan Farnand and Don Williams
Successful imaging performance assessment requires established performance goals, efficient test plans, and periodic performance auditing. All three of these require the selection and adoption of references against which to gauge imaging “goodness”. In many cases the use of common color elements such as those comprising the ColorChecker® test target is sufficient. However, we find that color imaging of cultural heritage content, especially collections predominated by near neutrals (e.g. paper, vellum, parchments), limited color gamut (e.g., watercolors), and near singular hues (early photographic prints), can be challenging. The capture of small color differences is not only important but problematic, largely because the color targets used today to calibrate or profile digital capture devices were not designed to discriminate the subtle color gradations of such content.
These and other important examples of how test targets can be customized for optimal color reproduction, as well as non-visible forensic investigations, will be presented. We will also look toward the future in which targets might also take on new textures, shapes, and characteristics that probe and test for more dimensions of color appearance. Lastly, emerging multi-spectral and 3D modalities will open a whole new landscape of possibilities for color calibration, consistency, and reproduction.