is t reporter - imaging · 2016-12-05 · 4 vol.29no.1 january–march2014 fédérale de lausanne...

REPORTER“THE WINDOW ON IMAGING”

IS&T

imaging.org

Color and Imaging: CIC 21Winner of the Cactus Award

Camera Color Correction Using Two-DimensionalTransformsJon S. McElvain and Walter Gish, Dolby Laboratories, Inc. (USA)

Abstract: For digital camera systems, transforming from thenative camera RGB signals into an intermediate working space isoften required, with common examples involving transformationsinto XYZ or the sRGB. For scene-linear camera signals, by far themost common approach utilizes 3x3 matrices. For color pipelinesdesigned for Rec709 displays, matrix-based input transforms arecapable of producing reasonable accuracy in this domain. Howev-er, the associated colorimetric errors can become significant for sat-urated colors, for example those beyond Rec709. To address thisshortfall, a novel input color transformation method has been de-veloped that involves the use of two-dimensional lookup tables(LUTs). Because the surfaces associated with the 2D LUTs possessmany degrees of freedom, highly accurate colorimetric transforma-tions can be achieved. For several cinematic and broadcast camerastested, this new transformation method consistently shows amodest reduction of mean deltaE errors continues top of page 2

Technologies in Digital Photo Fulfillment: TDPF2014Archiving Family Memories—Photos, Negatives,Slides, and Movie FilmLaurent Martin, ScanCafe (USA)Abstract: We will discuss the myriads of challenges faced by aconsumer in digitization, restoration and long term archival oftheir personal visual assets—photos, negatives, albums, videotapes, and movie film. Special emphasis on preservation of B&Wnegatives and movie film which see the most abrasion damage.We will present a workflow and solution for duplication ofdegrading old photo albums in order to enable distribution andsharing of family legacy photos.

Award Winning Avatrex™ TechnologyTom Snooks, S-One Holdings (USA)Abstract:Utopia Digital Technologies, a New Berlin, Wisconsin-based division of S-One Holdings Corporation, has developed atransportable image receptive coating which incorporates bothink receptor and adhesive properties on one side and an inherentprint protective layer on the other side. This patent pending tech-nology is called Avatrex™.

A significant functional solution of this technology is theability to print on bonded leather and produce custom hardcovers for photo books and photo albums using equipment thatexists in most print shops.

Videos in Photo Books and Other Tangible ProductsReiner Fageth, CEWE Stiftung & Co. KGaA (Germany)Abstract: This paper describes in addition to the paper present-ed last year how videos can be implemented into printed photobooks and presents first results about the users’ implementation.We will show that—surprisingly or not— continues top of page 2

To view the full papers of these abstracts for no fee go towww.imaging.org/ist/publications/reporter/index.cfm

* These papers were presented at CIC21, held November November 4 - 8, 2013 inAlbuquerque, New Mexico.

To view the full papers of these abstracts for no fee go towww.imaging.org/ist/publications/reporter/index.cfm

* These papers were presented at the International Symposium on Technologies inDigital Photo Fulfillment conference, held January 5-6, 2014, in Las Vegas, NV.

INSIDE THIS ISSUEHighlighted Abstracts: CIC21 and TDPF 2014 1CIC21 Report. . . . . . . . . . . . . . . . . . . . . . . . 3TDPF 2014 Report . . . . . . . . . . . . . . . . . . . . 5In Remembrance: Steven Puglia . . . . . . . . . . . . 7Imaging and Graphic Arts Standards Update . 9

Vol. 29 No. 1 January - March 2014

HIGHLIGHTED PAPERS FROM RECENT CONFERENCES

IS&T Reporter2

www.imaging.orgVol. 29 No. 1 January – March 2014

CIC21 paper continued from page 1

for lower-saturation colors. The improvement in accuracy be-comes much more significant as saturation increases, such thatthe mean deltaE errors are reduced by more than a factor ofthree.

Winners of the MERL Best Student Paper Award

Perceiving Gloss in Surfaces and ImagesAdria Fores and James Ferwerda, Rochester Institute of Technology, andIngeborg Tastl and John Recker, Hewlett-Packard Laboratories (USA)Abstract: Color Appearance Models are successfully used tomodel the color perception differences seen when the same stim-uli are presented on different media, e.g. hard copy or a self-lu-minous display. It is currently unknown if the similar effects arepresent in gloss perception and if there is need for Gloss Appear-ance Models.

Gloss communication, and the higher level material appear-ance communication is becoming more important everyday withthe increase in customized manufacturing and the need for thecostumer to preview a final product while short-runs, time andcost constraints prohibit the use of hard-copy proofs.

Three experiments are proposed in order to analyze thisphenomenon. The Gloss matching performance of observers onreal objects is first going to be studied. Then, the same experi-ment will be repeated with synthetic images. Finally, a cross-me-dia matching experiment will be performed, where the observerswill have to match a real material with synthetic representations.

The same trend was observed in the experiment using onlyreal objects and in the cross-media situation, where a highmatching accuracy was obtained for low gloss samples, and thegloss of mid and high gloss samples was underestimated. Thesame accuracy for low gloss samples was obtained for the exper-iment with only synthetic images, but mid and high gloss sampleswere overestimated. The sensitivity of the observers was higherwhen only real samples were used, it decreased when the displaywas used due the lack of visual disparity and multiple viewingconditions, and it was lowest on the last experiment, influencedby the multiple media and the above limitations.

Observer Variability Experiment Using a Four-PrimaryDisplay and its Relationship with Physiological FactorsYuta Asano and Mark D. Fairchild, Rochester Institute of Technology(USA), and Laurent Blondé, Technicolor (France)Abstract: There exist individual differences in color matchingfunctions and the use of a single standard observer as a represen-tative of a whole population often limits the accuracy of color re-production, especially for narrowband stimuli. We conducted apaired comparison experiment for 58 color-normal people in-volving color difference judgments using four nearly metameric

spectra pairs. The performance of observer functions: CIEPO06,Sarkar’s observers, and the extended CIEPO06 incorporatingpeak-shift in L and M cones were investigated. Large observervariability was found in the obtained results, which is much larger than what CIEPO06 predicts. At least two different groupswere found in the experimental results, which could be explainedby eye-lens and macular pigment optical density variations. Weestimated the individual cone fundamentals from another exper-iment where observers performed five color matching, and usedthem to predict the paired comparison results. They gave betteror at least comparable prediction to those of CIE 1964 observerand CIEPO06. �

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pictures from videos are similarly used such as classical images totell compelling stories.

Videos taken with a traditional camcorder are not good can-didates for implementation into photo books, as they are usuallymade with the intention of generating a movie. Videos taken byDSCs and smart phones are taken on the fly and are on averageless than one minute in length and are the basis for the followingevaluations.

New and Coming ISO Image Permanence andDurability Standards and how They Promote thePhoto Fulfillment IndustryJoseph E. LaBarca, Pixel Preservation International (USA)Abstract: Recently published ISO permanence and durabilitystandards, along with soon-to-publish standards in progress, willprovide standardized testing and reporting of image permanenceand durability performance. By using standardized methods fortesting and reporting, companies can assess and promote prod-uct performance in a way that is easily comparable by both pro-fessional fulfillment laboratories and consumers. In addition, anew ISO joint working group has been formed that will mirrorthe ongoing convergence of printing technologies covering boththe traditional photographic and graphic arts based printing.This paper will provide an overview of the new standards, thenew joint working group, and the benefits these will provide inpromotion of hard copy printing throughout the photo fulfill-ment industry. �

IS&T Honors and Awards celebrate the

achievements and service of members of the imaging

community. We encourage you to nominate col-

leagues for these prestigeous tributes. To do so, visit

www.imaging.org/ist/Membership/honors.cfm.

The Twenty-first Color and ImagingConference (CIC21) was held in Albu-querque, New Mexico, 4-8 November

2013. Color and imaging experts gatheredto consider a wide gamut of questionsconcerning cinema, multispectral imagingand spectral reproduction, high dynamicrange imaging, gonioapparent materials,fine art retouching, multiprimary displays,genetic polymorphism, 3D color, andnon-convexity of the spectrum locus,among others. The General Chair wasClement Fredembach (consultant), andthe Technical Program Co-Chairs wereVien Cheung (University of Leeds) andJennifer Gille (Qualcomm QTI).

The four-day event started with a dayof short courses, organized by Co-chairsAlex Forsythe (Academy of Motion Pic-ture Arts and Sciences) Jérémie Gerhardt(Fraunhofer Focus), and taught by leadingcolor and imaging scientists and engi-neers. Sixteen classes in four tracks com-prised topics that continue to interest stu-dents, such as high dynamic rangeimaging, motion pictures, lighting, digitalcameras, and color gamut mapping, aswell as new topics such as perception andaesthetic preference, and normal and

defective color vision. A full listing of thecourses and their instructors can be foundat www.imaging.org/ist/conferences/cic/CIC21_Preliminary_Program.pdf.

The conference committee put to-gether a unique technical program ofkeynotes, oral papers, discussion panels,and interactive papers. Along with the fulldaily schedules, participants had ampletime for in-depth discussion and network-ing. An ice-breaker welcome receptionand a conference reception, Tuesday andThursday evenings, respectively, werehighly commended. Some of the speakerswere presenting at CIC for the first time,which added a fresh and exciting dimen-sion to the conference.

Keynotes AddPerspectiveKeynotes added per-spective, and this yearfive highly distinguishedindividuals presentedwork on diverse topics.Wednesday morning,Graham Finlayson, pro-fessor of computer sci-ence at University ofEast Anglia (UK), spokeon Illuminant Estima-tion: Back to the Future;that evening, paleob-otanist and retired New

Mexico State Archaeologist Glenna Deanof Abiquiu Dye Studios (USA) presentedSticks, Flowers, Fibers: In the Footsteps ofNew Mexico’s Prehistoric and ColonialColor Engineers. Thursday morningheard Shawn Belston, senior vice presi-dent of library and technical services at20th Century Fox (USA), discuss The Artand Science of Film Restoration, and Fri-day morning Roger Hersch, professor ofcomputer science at École Polytechnique

3Society for Imaging Science and Technology

Vol. 29 No. 1 January – March 2014www.imaging.org

Heavy Metal Meets Sticks, Flowers, and FiberCIC21 kicked off the conference’s third decade with a diverse and enlightening programBy Jennifer Gille (Qualcomm QTI) and Vien Cheung (University of Leeds), CIC21 Program Co-chairs

CIC 21Attendees*: 142Oral Papers and Keynotes: 31Interactive Papers: 15Short Courses: 15Exhibitors: 3Dates: Nov. 5-8, 2013Location: Albuquerque, New Mexico*includes Short Course only and guests

Albuquerque, New Mexico, and its world famous balloons welcomed this year’s CIC attendees.

The CIC demonstration session allowed authors the opportunity to showthe work behind their talks. Here Shahram Peyvandi (Rutgers University)(far left) and author Yuta Asano (RIT) (far right) watch Gabriel Marcu(Apple) interact with his observer metamerism device.

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Ingeborg Tastl (Hewlett-Packard Laboratories)learns about Contrast Optical’s state-of-the-art HDRvideo camera and display system from Tania Pouli(Max Planck Institute for Informatics).

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Fédérale de Lausanne (EPFL, Switzer-land), spoke on Color Reproduction andBeyond. Sabine Süsstrunk, professor forimages and visual representation, also atEPFL, wrapped up the conference withher presentation, Controversial Color.

Cactus and MERL Best Paper AwardsSponsored by Mitsubishi Electric ResearchLaboratories, the MERL Best Student Pa-per award is voted on by all CIC attendees.This year the recipients were Yuta Asanoand Adria Fores, both from the MunsellColor Science Laboratory at RIT.

Asano was given the award for hispresentation, Observer Variability Experi-ment Using a Four-Primary Display andits Relationship with Physiological Fac-tors. Using a Sharp Quattron display toproduce metameric spectra for experi-mental stimuli, he found greater-than-expected variability among observers intheir color difference judgments, despiteusing CIEPO 06, which can take into ac-count observer age (and the significantfactor of lens yellowing) and a field size.Calculating individualized cone funda-mentals produced better predictions.

Fores won for his presentation, Per-ceiving Gloss in Surfaces and Images. Thispaper was motivated by the question ofwhether or not there is a need for a gloss(or surface) appearance model along thelines of the various color appearance mod-els. In three gloss-matching experiments,cylinders wrapped with various papers ofdifferent glosses were compared: realscene/real scene, synthetic scene/realscene, and synthetic scene/syntheticscene.

The winner of the 2014 Cactus Awardfor Best Interactive Paper was Jon McEl-vain of Dolby Laboratories (USA) for hispaper, Camera Color Correction UsingTwo-dimensional Transforms. Cinema,professional and prosumer cameras, andultimately wide-gamut displays all requireinput color transforms that are beyond thestandard 3x3 matrix. Other methods, suchas 3D LUTs or the use of higher-orderpolynomials are improvements, but comeat the cost of higher computational com-plexity. This paper describes a novel input

color transformation method using two-dimensional lookup tables (LUTs). Themethod allows improvement in accuracyparticularly significant for saturated col-ors, with a smaller footprint than 3D LUTs.It is suggested that such type of highercomplexity camera transform method willbe crucial for workflows intended for widegamut display systems such as those com-patible with ITU recommendation 2020.

Heavy Metal and Hardcore TheoryTwo panel sessions brought focus to par-ticular topics. Heavy Metal, organized byDanny Rich (Sun Chemical Corporation),discussed gonioapparent materials such asautomotive paints (think metallic candyapple red and beyond) and the characteri-zation of their color and appearance.Participants Mike Nofi (Flex Products /JDS Uniphase Custom Color Solutions),

Greg Shrider (Byk-Gardner), and RichKnapp (X-Rite, Inc.) addressed solutionsfor the difficulties of measuring and de-scribing in objective terms the complexinteractions of light and materials thatproduce beautiful and surprising effectsthat vary substantially with lighting andviewing angle.

Hardcore Color Theory, organized byMike Brill (Datacolor) and introduced byhis paper, Convexity of the SpectrumLocus, a Metric for Cameras?, asked thequestion, “What color management prob-lems happen when a camera’s spectrumlocus is non-convex?” His answer notedthat, for a human or camera with a convexspectrum locus, a triad of spectralreflectances that are well behaved in acertain way will keep their chromaticityordering (clockwise vs. counter-clock-

wise) under illuminant change. Pan-el members Pouya Bastani (Simon-Fraser University), Mark Fairchild(RIT), Brian Funt (Simon-FraserUniversity), Po-Chieh Hung (Koni-ca-Minolta), Ján Morovič (Hewlett-Packard Company), and EricWalowit (consultant) discussed non-convexity of the spectrum locus forboth humans and cameras. At theend, the human spectrum locus wasdeemed to have only trivial non-con-vexities, but many camera spectrumloci were shown to be quite non-con-vex (see Figure 1), continues on page 8

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Above: Wei-Chung Cheng (US Food and Drug Ad-ministration) discusses color matching and targetswith exhibitor Don Williams (Image Science Associ-ates). Right: Howard Stein (consultant), John Mc-Cann (McCann Imaging), and Po-Chieh Hung (Kon-ica-Minolta) view samples related to Roger Hersch’s(EPFL) keynote on color reproduction.

Figure 1. Measured camera response showing non-convexity over much of the spectrum locus.From M. H. Brill (2013), Spectrum-locus convexity: A metric for cameras? The 21st Colorand Imaging Conference: Color Science and Engineering Systems, Technologies andApplications, 227-230.

IS&T Reporter



The Fifth International Symposium onTechnologies for Digital Photo Fulfill-ment (TDPF) conference showcased a

diverse collection of product commercial-ization success stories in the developingdigital photo market. Partnered with theDigital Imaging Marketing Association(DIMA) conference and collocated withthe Consumer Electronics Show (CES),TDPF2014 provided a venue to highlightnew products and new technology, andopportunity for networking with othersin the industry.

Preserving MemoriesFamily memories, cultural heritage, artis-tic expression, all of these rely on thegrowth and entrepreneurial spirit foundtoday among digital imaging companies.Digital fulfillment takes consumers’ pre-cious memories from the realm of perish-able digital files and converts them to tan-gible human viewable objects, makingthem immune to the ongoing advances indigital imaging technologies. On the flipside, digital capture recovers and pre-serves historic and legacy photos, docu-ments, and works of art from the physicalravages of time. One message camethrough loud and clear at this year’s con-ference: one size does not fit all, and so theindustry is responding with technicaladvances to satisfy a range of customerand market needs.

We also glimpsed the accomplish-ments and ongoing work underway in theISO committee for print image perma-

nence, tasked withproviding test meth-ods and specification.

Henry Wilhelmand Harold Fuson (TheCenter for the Image.org with WilhelmImaging Research, Inc.)presented a keynote“Personal and FamilyArchives: A SimplifiedApproach to Collect-ing, Organizing, andPreserving Analogand Digital Photographs, Movies, Videos,Letters, and Other Documents,” calling forthe market to provide systems that ordi-nary individuals and families—thecreators—can use to organize, share, andperpetuate family histories and stories.

In their assessment, a successfulsystem has these qualities:• Can be implemented over the life-

time of the creator.• Can form a natural part of the

creator's habits and routine activitiesfrom an early age.

• Includes protocols for preservingmaterials and protecting them fromphysical damage.

• Includes organizational methodolo-gies that are flexible, easy to master,adaptable to technology changes overlong periods of time.

• Allows easy access to its informa-tional content, by the creator andothers chosen.

• Allows easy transfer to the nextgeneration archivist when the priorgeneration caretaker passes it on.

• Incorporates authenticationprocedures.Wilhelm made the point that cultural

norms have shifted. Today, we do nothave physical objects for images or formany of our documents. And in this casewe are speaking of a norm of theworldwide youth culture, not a limited

geopolitical culture. For long-term stor-age, he recommended against using pro-prietary libraries or cloud systems. Oper-ating system file storage is least likely tobecome unreadable over generations, andsearch capabilities will continue to im-prove. At the other end of the spectrum,with physical image materials, Wilhelmcautioned us to retain the originals afterdigitization. As technology progresses,improved methods of digitization maywarrant repeating the process.

Joe LaBarca (Pixel Preservation Inter-national) discussed the challenge of bring-ing the millennial generation back toprint. They have seen their parents’ photoalbums, and LaBarca posited that givensufficiently easy, compatible avenues forsorting their flood of digital captures tofind the sprinkling of print-worthyimages, they too would print.

Inserting Video into Photo BooksThis idea “they too would print” wasborne out in the talk given by ReinerFageth (CEWE Stiftung & Co. KGaA),reporting strong growth in Germany in

New Products Build Profits—Customers Respond to InnovationAnn L. McCarthy, IS&T TDPF Coordinator

In his talk “Videos in Photo Books and Other Tangible Products,” ReinerFageth (CEWE Stiftung & Co. KGaA) reported strong growth in the Germanphoto book market and discussed photo book enhancements such as cloudstorage, QR Codes technology, and videos in printed photo book products.

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One message came throughloud and clear at this year’sconference: one size does notfit all, and so the industry is

responding with technicaladvances to satisfy a range ofcustomer and market needs.

TDPF 2014Attendees: varied by sessionOral Papers: 15Dates: Jan. 5-6, 2014Location: Las Vegas, NV

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the photo book market. Fageth presenteda fascinating photo book enhancement,combining cloud storage, QR Code tech-nology, and printed photo books. CEWEoffers videos in printed photo book prod-ucts, linking classical printed media withonline media. Based on their customer ob-servations, CEWE finds that digital cam-era and smartphone videos are takenspontaneously and average less than oneminute in length. Prior to this innovation,these videos could not be combined withthe current state-of-the-art for story-telling: printed photo books. CEWE hasimplemented an easy-to-use methodwhereby customers may select scenes outof a video to use in their photo books, andfurther, may then create an even morecompelling story by adding the videos tothe photo book via automatically generat-ed QR codes that are printed in the photobook. More than 75% of CEWE photobook customers currently use the featureto implement QR codes and scenes fromvideos so that videos play in their photobooks. With that feature they pay forcloud storage of the video so that it can beserved whenever the book is ‘read’. Fagethnoted that the data uploaded are growingto significantly higher volumes, the videosnormally at least double the amount ofdata transferred to the online storage percustomer.

Books in Two MinutesSeveral presenters raised the importanceof marketing for today’s photo products.Products introduced within the past fouror five years account for a significant por-tion of profits. Continuing innovation andbringing those innovations to customersin accessible and friendly ways invitesthose customers to try new products, andthey do.

Brigitte Peleman-Vantieghem (PelemanIndustries, Inc.) described the uniBindcustom photo book solution for retail. Sheemphasized the point that different re-gions of the world are interested in differ-ent photo product features. Because theyserve customers worldwide, a key part ofuniBind’s practice is to listen to theunique needs of each customer. One of

their recent projects tackled the questionof “How to conquer the retail world?” Aretail customer came to them interested incapturing in-store a portion of the photobook business. The requirements fromthis retailer are: low cost equipment, noskill required to operate, and fast produc-tion—so that the end-customer has atmost a two minute wait. uniBind createdan impressive solution, the CaseMaker350 Combo, which satisfies the retailrequirements and produces a hardcoverphoto book with the option of a customphoto on the cover.

Like Kids in a Candy StoreCertainly print media can be a determin-ing factor in the customer appeal of printproducts. Debate concerning print mediatechnology and one-sided versus two-sided advantages occurred at severalpoints during the conference. On onepoint all agreed: attendees at the confer-ence felt like kids in a candy store withtheir hands on the new transparent con-formable media, AvatrexTM, demonstratedby Tom Snooks (S-One Holdings Corpo-ration). Attendees passed around rocks,boards, photo albums, and other sampleproducts demonstrating applications forthis breakthrough material. The Avatrextechnology is a nano metallic trans-portable graphic system with a metallical-ly infused target surface adhesion layerthat is thermally bonded to a metallicallyinfused protection layer. The metalnanoparticles create a nanoionic bondforce field which enables the nano metal-lic graphic apparatus to adhere to any sub-stantially uniform surface capable offorming a uniform surface bond. The im-age is printed in reverse and then adheredto a display surface with the printed col-orants protected on the inside. This is thefirst printable laminate that is not a PVCmaterial and is not a film but a compositeof three different water-based coating lay-ers. Avatrex can be printed by virtually alldigital and traditional methods and is ap-plicable to industrial, commercial andconsumer print applications.

Avatrex is perfectly clear until print-ed. Heat and in some cases primers are

used to bond the printed laminate to thefinal support/display materials. Avatrexhas no shape memory and so conforms tothe display surface—presenting the tex-ture of the material it is placed on. TheAvatrex printed images appeared to beembedded in the rocks and boards on dis-play during the session. Currently the ma-jority of the product sells to photo bookmanufacturers to bond printed photo-graphs to photo book covers. In this way,the resulting custom covers are scuff re-sistant, water resistant, and UV protected.

Telling Tales from “Digital Clutter”ScanCafe has tackled the challenge of im-proving the ‘create’ experience in the pho-to book workflow. As asserted by LaurentMartin (ScanCafe), we take photos to tellstories. The average number of photostaken at life events has exploded, in partbecause the cost of capture is $0. Whereasin the past an event might have had onephotographer, now everyone can and doestake photos—and in some cases a singleperson might use multiple devices. Theresult is that many images on multipledevices are captured for each event. Andthen people do nothing with them. Martinasked “How do we get people to do some-thing with them?”

Such digital clutter is a barrier inprint fulfillment and in the amateur pho-tographer’s enjoyment of photos. Scan-Cafe has industrialized the artistic photobook creation processes through a carefulcombination of technology and humandecision-making. This solution, which is acombination of technology and thetrained human eye, can take a “heap” ofdigital photos and transform them into abeautifully laid out “photo story”—whichcan then be printed or enjoyed via a digi-tal display or mobile device—with zerowork from the user. Conversion rates withthe ScanCafe photo book solution (fromphoto upload to print) are in excess of 75%,in comparison to average conversion ratesfor photo book tools in the range of 30%.

The art of storytelling resides at theheart of the ScanCafe photo book creationprocess: to create meaningful groupings ofphotos of scenes, select the most relevant/



best, extract and focus on the beauty fromeach photo, and then compose these selec-tions into a meaningful layout. ScanCafesees digital imaging as a multi-step systemchallenge—capture, aggregate, cloud, ac-cess, share, and buy products, all to answerpeoples’ desire for personal storytelling.Currently ScanCafe has a centralizedrepository for capture, with rich metadata.This is combined with human design tocreate meaningful photo stories withoutconsumer involvement—and to providemaximum ease of use to obtain a personalstorytelling photo book. Martin believesthat without this conversion from pull topush—the majority of people will not doanything with their photos. A manual pho-to book creation process is too time-con-suming and difficult for most.

Enabling Artistic CreationIn the second conference keynote, Emerg-ing Opportunities for Commercial DigitalPrinting Processes in the Fine Arts, FrankCost (Rochester Institute of Technology),

spoke on embracing the creative and artis-tic opportunities that arise with the internetand digital media, encouraging us to “thinkof the internet as a giant box of crayons.”Unexpectedly, the ease of replication af-forded by digital technology creates a chal-lenge for artists. There is only one MonaLisa. In the case of print art, the plate ormaster is used only a limited number oftimes. This creates scarcity and hence val-ue; e.g., the practice of numbered repro-ductions, each signed by the artist. Com-mon historical practice in making print artis to make the numbered reproductionsand then strike (destroy) the master / plateto prevent additional reproductions. Thisensures the value of the numbered repro-duction for the buyer. Moving forward,how can artists manufacture scarcity in adigital world? How can they “destroy” theoriginal? This open question in the art mar-ket stands in contrast with digital preserva-tion practice, focused on creating archivesthat will survive for hundreds of years.

Cost described his experiences with

creating innovative print formats, build-ing excitement in the art communitythrough display forms made possible bydigital print. For example, in a joint proj-ect with a Rochester gallery, Cost andMerlin Digital Printing Solutions printedpanoramas in five minutes—120 feet ofcontinuous printing —that with anothertechnology would have taken weeks. Peo-ple attending the subsequent art showloved the brilliant color gamut and thecontinuous print form wrapped aroundthe walls of the display room. Cost hasalso experimented with other unusualforms: e.g., a 19" square book, and an ac-cordion book. From the print shop per-spective—seeking to engage artists, he hasbeen concerned with artists’ willingness touse digital press technology. In his experi-ence, print technology innovation can en-able artistic expression. If a print providercan create a form for an artist that theycannot get anywhere else, their technologyprejudices will give way. �

On Sunday, January 12, 2014, photo-graph conservators, archivists, imagestandards experts, and colleagues

joined family and friends to honor long-timeIS&T member, Steven T. Puglia. An instruc-tor, presenter, session chair, and reviewer,Puglia was an active member of the IS&TArchiving Conference community.

Puglia devoted his professional life tothe challenges of preserving our culturalheritage. He understood and worked tire-lessly to address the preservation of, andaccess to, at-risk photographic print, nega-tive, and digital image collections that doc-ument history, connect cultures, educategenerations, and embody beauty. He tookthe long view, knowing that “preservationis a long-term management process, anddigital preservation requires a life-cycleperspective and active management.”

Puglia started his preservation careerduplicating historical negative collectionsfor the Northeast Document ConservationCenter in Andover, Massachusetts. Afterstudying photography at RochesterInstitute of Technology and the University

of Delaware, he worked as a preservationand imaging specialist in the reformattinglabs at NARA, the National Archives &Records Administration (1988 to 2011).There he set up and became manager ofthe first digital imaging department,working on the preservation of govern-ment records, setting standards, and de-veloping new methods. During that timePuglia led a task group within the Interna-tional Standards Organization TechnicalCommittee 42 – Photography (ISO/TC 42),developing print image permanence testmethod standards.

In 2011, Puglia joined the US Libraryof Congress as digital conversion servicesmanager in the Office of Strategic Initia-tives. In this role, he provided technicalleadership for a wide range of projects in-volving the conversion continues on page 14

In Appreciation of Steve Puglia, Digital Preservation Pioneerby Ann L. McCarthy, IS&T Standards Coordinator

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and the conclusion was that potential col-or management problems akin tometamerism might arise from cameranon-convexity.

Rainbows, Bright Ideas, Perception,Skin Tones, and Material AppearanceHighlight Technical SessionsThe technical paper program of oral pre-sentations at CIC is single track. The firsttwo sessions on Wednesday, Inside theRainbow and Beyond the Rainbow, exam-ined spectral issues in color science. Forsome applications, retaining more com-plete spectral information, beyond thetypical constrained RGB gamut, is desir-able. For instance, Shrestha and Harde-berg, in Multispectral Imaging Using LEDIllumination and an RGB Camera, de-scribed a method for multispectral imag-ing under controlled illumination, usingtwo or three combinations of light sourceswith two or three captures, that is simple,inexpensive, and fast, suitable for applica-tions such as documenting cultural andheritage artworks.

Wednesday continued with theBright Ideas and Heavy Metal sessions,looking at the interactions between illumi-nants, surface properties such as gloss,and appearance. McCann, Vonikakis, Bo-nanomi, and Rizzi, in Chromaticity Limitsin Color Constancy Calculations, pulledtogether complexities of non-uniform il-lumination, camera “chromaticity” limita-tions, color masking within cameras, andscene-dependent veiling glare,to arguethat what they call “computer vision colorconstancy,” as distinguished from colorconstancy in human vision, is best evalu-ated in real scenes (not the laboratory)using actual reflectance measurementsfrom a spot meter as ground truth.

The sessions Colorful Language andPicture Perfect started Thursday’s lineup,looking into the ways color is communi-cated verbally, and into color in the fineand graphic arts. Tominaga, Imai, Saito,and Horiuchi looked at color analysis offine-art paintings in Extraction of Artists’Color Features of Art Paintings and Its

Application to Color Image Correction.They described a method for analyzing anartist’s color distribution from a very largedatabase of paintings and extracting his orher color features, and then applying acolor correction algorithm using thosefeatures to the captured image of a work ofthat artist such that color mismatches dueto museum lighting, image acquisition,printing or display are corrected. Figure 2shows an example of various renderings ofa single image, Manet’s “The Fife Player”.How correct is each?

High-quality interactions among par-ticipants are a hallmark of CIC with theInteractive Paper Session. Interest waspiqued in the Spotlight Session, with eachauthor giving a two-minute paper pre-view. In the afternoon, the sessions Doyou see what I see? and Playing with Col-or examined questions of perception suchas observer variability and metamerism.The Interactive Session followed.

Friday’s sessions, The Skinny on Col-or, Putting Color to Work, and Hard CoreColor Theory looked at the reproductionof skin color, color in printers and dis-plays, and spectrum locus convexity (seeabove), respectively. Morovič et al. de-scribed 8 Vertex HANS: An Ultra-simplePrinter Color Architecture. In this archi-tecture, an entire printing system can becharacterized using just eight halftonepatterns and the system’s dot gain. Thesystem shows the potential for great accu-racy and consistency with minimal colorset-up requirements.

The technical program concludedwith a Late-Breaking-News session featur-

ing recent discoveries in color imaging,and the final keynote address.

The 2014 CIC will take place inBoston, Massachusetts, November 3-7.Collocated with CIC22 will be the 2nd In-ternational Congress of the InternationalAcademy of Digital Pathology, ICC Dev-Con, and the Medical Imaging WorkingGroup. Details on CIC22 and CIC21 canbe found at www.imaging.org. �

Figure 2. Three samples of color-mismatched images.

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IS&T REPORTERExecutive Editor: Peter Burns

Managing Editor: Donna SmithTechnical Editor: Ann McCarthy

The IS&T Reporter is published quarterly bythe Society for Imaging Science and Tech-nology (IS&T). Articles and letters to the editordo not necessarily constitute endorsement orreflect the opinions of the editors or IS&T. Ad-vertising and copy are subject to acceptanceby the editor.

IS&T is an international organization dedi-cated to keeping constituents aware of thelatest scientific and technological develop-ments in the broad field of imaging throughconferences, journals, and other activities.

IS&T focuses on all aspects of imaging, withparticular emphasis on digital printing, elec-tronic imaging, image perception, photo ful-fillment, color imaging, image preservation,digital fabrication, and the physics andchemistry of imaging processes. For more in-formation, visit imaging.org. IS&T publishesthe Journal of Imaging Science & Technologyand Journal of Electronic Imaging (with SPIE).

Please send inquiries to: [email protected]©2014 Society for

Imaging Science and Technology.All rights reserved.

ISSN 2327-4395 printISSN 2327-4409 onnline



Imaging Standards News

This Imaging Standards News is focused on both U.S. nationaland international standards applicable to photographic imag-ing, including analog, digital and print concerns. IS&T imag-

ing standards encompass the capture, communication, and dis-play of a photographer’s desired image content, the advancementand maintenance of analog photographic imaging technologies,and the preservation of physical imaging materials; all practicesessential to everyday enjoyment of photography and to our pho-tographic heritage.

ISO/TC 42: Working GroupsTC 42 and its contributing experts are conducting current projectswithin the following working groups and joint working groups. Ineach of these areas, experts are welcome to contribute through theircorresponding national committees. For meeting details for theworking groups listed below, please contact the Secretariat,[email protected].— WG 3, Sensitometry, image measurement and viewing; next

meeting in Gunnersbury, West London, May 12-14, 2014,hosted by BSI.

— WG 5, Physical properties and image permanence of photo-graphic materials; next meeting in Gunnersbury, WestLondon, May 12-14, 2014, hosted by BSI.

— WG 18, Electronic still picture imaging; next meeting in SanDiego, CA, June 24-27, 2014.

Working Groups with current projects, joint with other ISO andIEC committees:— WG 8, Joint with TC 6, Photographic film and paper products

– Dimensions; next meeting in Gunnersbury, West London,May 12-14, 2014, hosted by BSI.

— JWG 20, Joint with IEC, Digital Still Cameras; next meetingin San Diego, CA, June 24-27, 2014.

— JWG 23, Joint with TC 130 and CIE, Extended colour encod-ings for digital image storage, manipulation and interchange;next meeting in San Diego, CA, June 24-27, 2014.

— WG 25, TC 42/WG 18 joint with TC 130, Use of XMP fordigital photography; next meeting in San Diego, CA, June 24-27, 2014.

— JWG 26, Joint with TC 46/SC 11 and TC 171, Imaging systemcapability qualification for archival recording and approval;next meeting in Berlin, Germany, May 12th, 2014.

IS&T Standards Website updateWith the publication of ISO 12233:2014, Photography —Electronic still picture imaging — Resolution and spatial frequen-

cy responses, the webpage for the related Digital Camera Resolu-tion Measurement Tools has been updated to include a link tothe ANSI Standards web store.

News from recent ISO TC 42 WG MeetingsISO/TC42 WG 18, JWG 20, JWG23, and JWG25Meetings, February 12 –14, 2014, Yokohama, JapanForty-three representatives from four countries gathered at thePacifico Yokohama in Yokohama, Japan.

Often in standards development, the critical foundation of astandard depends upon agreement among the experts on the fun-damental imaging concepts and definitions that underlie thework. Not only must a standard provide terminology that is clearto practitioners of the science, a standard must then providepractical methods based on that terminology. Two topics fromthe Yokohama meeting demonstrate the importance of unam-biguous and consistent use of terms.

ISO/AWI 18844, Electronic still picture imaging — Flaremeasurement techniques for digital camera systems, will specifythe definition of image flare for digital cameras, and provide testpatterns, measurement conditions, and methods, so as to enablethe comparison of the results of measurement. In Yokohama, animproved definition of image flare was presented: “unwanted in-crease in signal resulting from light incident on an image sensorthat does not emanate from a corresponding subject point”. Theproject team will continue development of the related testingmethods.

ISO 3664, Viewing conditions — Graphic technology andphotography, and the e-ILV term list standardized in the CIE(available at http://eilv.cie.co.at/), provide the definition of veil-ing glare: “light, reflected from an imaging medium, that has notbeen modulated by the means used to produce the image”, withnotes that “Veiling glare lightens and reduces the contrast of thedarker parts of an image. The veiling glare is sometimes referredto as ‘ambient flare’.” The understanding of veiling glare has par-ticular importance in the application of standardized color en-codings, particularly those intended for softcopy display viewing.For example, in IEC61966-2-1, Colour measurement and man-agement — Part 2-1: Colour management — Default RGB colourspace — sRGB, veiling glare is defined by reference to ISO 3664.Veiling glare, in turn, guides the understanding of the practicalconcept of medium black point, useful in color management,which is defined in the above mentioned e-ILV term list as “neu-tral colour with the lowest luminance that can be produced by animaging medium in normal use, measured using the specifiedmeasurement geometry”. With a self-luminant softcopy display,the lowest luminance that can be produced and measured can be

The Standards Roundup: Imaging and Graphic Artsby Ann L. McCarthy, IS&T Standards Coordinator

IS&T Reporter10


attributed to veiling glare (neglecting any internal flare). Overtime, as the application and use of sRGB have become wide-spread, and because the veiling glare of the sRGB standard isspecified to be measured on the faceplate of the display, recom-mendations for treatment of medium black point that differ fromthe reference veiling glare defined in the sRGB standard have be-come widespread. These recommendations can be a concernwith regard to the maintenance of the sRGB standard as an un-derpinning to its many applications. ISO 22028-1, Photographyand graphic technology — Extended colour encodings for digitalimage storage, manipulation and interchange — Part 1: Architec-ture and requirements, contains one such differing recommenda-tion, to utilize a reference medium black point luminance meas-ured from the point of an observer rather than at the faceplate ofthe display. Action was taken at the Yokohama meeting to workwith IEC/TC100/TA2 to address the concerns.

Progress in JWG26, Imaging system capability qualificationfor archival recording and approvalJWG 26 has produced a working draft of TS 19264, Photography—Electronic still-picture imaging— Image Quality Analysis. Perusal ofthe draft brings to light a key difference between this TechnicalSpecification and other image quality standards. While other imagequality standards are intended for use in evaluating image productsthemselves, the intent of this work is to develop methods for assess-ing the systems that produce image reproductions. In particular thisproject is concerned with the high quality scan reproduction that isunderway in the world’s museums and historical records organiza-tions. In such context, accuracy is the key objective necessary to ful-fill our collective obligation to succeeding generations. Standard-ized tools and methods whereby archivists can evaluate andcompare the available equipment will be widely appreciated.

The introduction of the TS 19264 draft makes several inter-esting points, setting the stage for the work. Image quality analy-sis is applicable in developing and evaluating imaging systems, incalibrating and setting up imaging systems, and in process con-trol of the systems over time. The particular attributes of imagequality that factor in a given situation depend significantly on theoriginals to be digitized. One key challenge in the method of ap-plying ‘original vs. reproduction’ image quality analysis is thatthe test originals must be of such quality, and have such attrib-utes, that collectively they can a) represent the valued originals,and b) exceed the quality reproduction capability of the repro-duction systems. In particular, it is useful for the image qualitycharacteristics and metrics used in the analysis to yield quantifiedvalues applicable to discriminating fine differences in imagingsystem behavior. Knowledge of the weaknesses in currentsystems also factors in developing appropriate test originals.

Next ISO/TC42 WG 5, WG 3, and WG 8 Meetings, May12 – 15, 2014, Gunnersbury, West London, hosted by BSIThe completion of ISO 18940, Imaging Materials — Reflectioncolour photographic images — Indoor stability specifications for

consumers, will provide the necessary umbrella specification todirect the use of the individual image print stability attribute testmethods. Now that the four core attribute test methods are pub-lished (ISO 18936 thermal, ISO 18937 light, ISO 18941 ozone,ISO 18946 humidity), work is accelerating on the overarchingconsumer specification standard.

In preparation for the ISO18940 discussion in Gunnersbury,committee members will collect and examine performance datafrom existing products. A short round robin is being consideredto provide additional data. The challenge inherent in ISO 18940is considerable. ISO 18940 will standardize the presentation ofimage print stability test results to consumers and must bestraightforward in conveying print product capabilities, whilenot inhibiting the evolution and improvement of print technolo-gies going forward. The objective is to standardize consumerfacing terminology in a way that will pertain correctly to a vari-ety of print technologies now and in years to come. We mustkeep in mind that standards can have a positive impact on printtechnology development. In the time that has elapsed while WG5has refined and published the four core attribute test methodstandards, the image print stability of typical photo print materi-als has improved significantly.

The NP ballots have been issued for ISO/NP 18948-1, Imag-ing Materials — Photo Books – Test Methods for Permanence andDurability Part 1 — Photo Book Materials and Construction TestMethods, and ISO/NP 18948-2, Imaging Materials — PhotoBooks — Test Methods for Permanence and Durability — Part 2:Open and Closed Book Image Permanence and Physical Durabili-ty Test Methods. This series of standards includes test methods toassess the permanence and durability of photo books, includingcover and pages, with associated requirements for permitted re-porting. The test methods pertain to color hardcopy materials ofa variety of different print methods and the performance tests donot differentiate according to print technology.

Preview the CIE 2014 Lighting Quality &Energy Efficiency ConferenceKuala Lumpur, MALAYSIA, 23-26 April, 2014

A quiet revolution is underway in the world of lighting andthis conference promises to be a seminal gathering of re-searchers and practitioners. A wide range of topics, such as“What is Colour Fidelity in Museum Lighting?”, “The Impactof the Luminance Levels and Color Temperature on ViewingFine Art Under LED Lighting,” “The Preference of ColourTemperature Depending on Daylight and Weather,” “White-ness Metric for Light Sources,” “Specifications for the Chro-maticity of White Light Sources,” and many others will be ofinterest to IS&T members and members of the imaging stan-dards community. Conference details are available athttp://malaysia2014.cie.co.at/.



In Part 1, the focus is on assessing the quality of the materi-als and the processes used to produce a photo book. Part 2 spec-ifies test methods to assess the image permanence of photo booksthat are displayed or left open, exposed to light, humidity, andozone. Part 2 separately defines test methods pertinent to bookskept in a closed state, such as when photo books are stored in abook case. A discussion of testing to evaluate how well a photobook holds up under special environmental stress, such as in theheat of a car in summer is also included.

Photo book durability concerns a wide range of topics beyondthe image permanence of the photo book pages. For example, be-cause of the durability questions related to PVC and PVC com-pounds, these materials are not recommended in ISO 18902, Imagingmaterials — Processed imaging materials — Albums, framing andstorage materials, or in ISO 18920, Imaging materials — Reflectionprints— Storage practices.However, today, certain photo book man-ufacturers use PVC materials in photo book covers and have pre-sented evidence supporting the durability of specialized PVC materi-als for such use. As a result, PVC materials stability testing conductedby the committee will be discussed at the Gunnersbury meeting.

Graphic Arts Standards News

Graphic Arts Standards News covers US national and inter-national standards applicable to the graphic arts industry,developed by ISO Technical Committee 130 (Graphic

Technology). This is brought to you in collaboration with the As-sociation for Suppliers of Printing, Publishing, and ConvertingTechnologies (NPES), which serves as the Secretariat for the USTAG to ISO TC 130.

ISO/TC 130: Working GroupsTC 130 is organized into working groups with convener andassistant convener responsibilities assigned to national bodies.The U.S. serves as the convener of four working groups. In eachof these areas, experts are welcome to contribute through theircorresponding national committees. For meeting details for theworking groups listed below, please contact the ISO/TC 130 USTAG Secretariat at: http://www.npes.org/programs/standard-sworkroom/tc130theustag.aspx. Working Groups with currentprojects within TC 130 are:— TF3 “Workflow standards roadmap”.— WG 1 “Terminology”.— WG 2 “Prepress data exchange”.— WG 2/TF2 “Prepress data exchange – PDF/X”.— WG 2/TF3 “Prepress data exchange – Variable Data Ex-

change (VDF)”.— WG 2/TF4 “Prepress data exchange – XMP”.— WG 3 “Process control and related metrology”.— WG 4 “Media and materials”.— WG 5 “Ergonomics and Safety”.— WG 7 “Color management (JWG ISO/TC 130 and ICC)”.— JWG 8 “Joint TC 130-TC 42 WG for revision of ISO 13655”.

— WG 9 “Joint TC 130-TC 42 WG for development of ISO12640-5”.

— WG 10 “Joint between ISO/TC 130 and ISO/TC 247 forstandards addressing management of security printingprocesses”.

— WG 11 “Environmental impact of graphics technology”.— WG 12 “Postpress”.— WG 13 “Printing conformity assessment requirements”.— JWG 14 “Joint ISO/TC 130-ISO/IEC JTC 1/SC 28 WG,

Print Quality Measurement Methods”.

27th TC 130 Plenary Meeting, December 2013In addition to the Plenary meeting, 93 experts representing 17countries participated in 12 WG and TF meetings. Thefollowing are a subset of the resolutions from the Plenary meeting:• 496: ISO/TC 130 resolves to initiate work, at Stage 0, to

develop a new standard to associate processing steps andcontent data information in a PDF file. The proposed title is:

IEC TC 119 (Printed Electronics)The work of TC119 is progressing well and the Committee isstarting to establish some formal structure. TC119 now has 4Working Groups with 3 other groups that could yet achievethat status. These working groups are now active and con-ducting meetings separate to the Plenary sessions. As an ex-ample WG3 (Equipment) and WG4 (Printability) havearranged a meeting together at a common location in Tokyo.

There are two working groups that should be of particu-lar interest to the NIP/DF community within the IS&T.

WG2 (Materials) is currently working in two major areas.The first is standards for Printed Electronics substrates withthe focus currently being on glass and polymer media. I wouldurge readers with interest in other substrates such as paper andinkjet media to look into this work and consider involvement.

WG3 (Equipment) is setting standards for both contactand non-contact fabrication. In particular this group is look-ing to develop performance metrics for inkjet heads in Print-ed Electronics applications, interpreting work previously pre-sented at NIP/Digital Fabrication.

Involvement in International Standards activity is organ-ised by country. TC119 currently has 12 nations actively par-ticipating with 1 more currently seeking association. Thereare also seven nations observing this work. Two of these havesignificant Printed Electronics programs so it is hoped thatthey will soon apply for P member status.

The next full meeting of TC119 takes place March 17-19in Cambridge, United Kingdom. It is followed by a one daymeeting “Manufacturing for Printed Electronics” on the 20thand visits to local institutions on the 21st.

—Alan Hodgson, Chair IEC TC 119

IS&T Reporter12


Graphic Technology — Use of PDF to associate processingsteps and content data. This work is to be done withinWG2/TF2. The proposed document editor is LievenPlettinck.

• 497: ISO/TC 130 resolves to initiate work, at Stage 0, to de-velop a new part of ISO 16612 to enable the use of the PDFplaceholder architecture to accomplish content substitution.The tentative title of the new Part is: Graphic technology —Variable data exchange — Part 3: Use of PDF/X-4 for contentsubstitution. This work is to be done within WG2/TF3. Theproposed document editor is Christoph Oeters.

• 498: ISO/TC 130 requests its secretariat to advise interestedparties that resolution 435, which temporarily restricted theaddition of new work in WG 3 due to the group’s heavyworkload, can now be rescinded.

• 499: ISO/TC 130 at the request of WG 3 instructs its secre-tariat to change the development track and the title of ISO15311-1 “Graphic Technology — Requirements for printedmatter for the commercial and industrial production — Part1: Parameters and measurements measures” to TS (TechnicalSpecification) at stage 30.00.

• 500: ISO/TC 130 at the request of WG 3 instructs its secre-tariat to initiate NWIs for ISO/TS 15311-2 “Graphic Tech-nology — Requirements for printed matter for the commercialand industrial production — Part 2: Commercial ProductionPrinting” and ISO/TS 15311-3 “Graphic Technology —Requirements for printed matter for the commercial and in-dustrial production— Part 3: Large Format Signage Printing”and adjust the titles accordingly.

• 501: ISO/TC 130 at the request of WG 3 instructs its secre-tariat to initiate work at stage 0 to revise ISO 13655 and toreactivate JWG 8 to accomplish this task. The TC 130 secre-tariat is also requested to notify TC 42 of this activity and in-vite their continued participation in JWG 8. The proposedconvener of JWG 8 and editor of this work is Danny C. Rich,with secretariat support provided by US national body.

• 505: ISO/TC 130 requests the Chairman, the secretary andthe convenor of WG 11 to start the dialogue required to cre-ate a JWG with IEC TC 100/TA 13 for the development of astandard with the preliminary title of “Calculating the car-bon footprint of electronic media”. Proposed are LaurelBrunner as Convenor and Hiroyuki Nakamura as DeputyConvenor.

• 506: ISO/TC 130 resolves to initiate work at stage 0 to de-velop an International Standard to define a test method onpage pull under the following working title: “Page pull testto determine book binding quality”. This work is assigned toTC 130 WG 12. The proposed project leader is UweBertholdt.

• 507: ISO/TC 130 requests its secretariat to inform ISO/CSthat the following parts of ISO/PWI 18621 “Graphic Tech-nology - Measurement of visual attributes of printed materi-als” have been identified: Part 11 “Method for computing and

analysing colour gamut”. The proposed document editor isPhil Green. Part 21 “M-Score test method for evaluation ofmacroscopic uniformity”. The proposed document editor isAndreas Kraushaar. Part 31 “L-Score method for perceivedresolution evaluation utilizing a contrast resolution target”.The proposed document editors are Thomas Liensbergerand Eric Zeise.

• 510: ISO/TC 130 resolves, in response to TC 42 Resolution2013-12, to invite TC 42 to join in the work of and become aparticipant in TC 130 JWG 14, which currently includes JTC1 SC 28. TC 130 requests its secretariat to communicate thisdecision to JTC 1 SC 28 to ensure their concurrence and tonotify ISO/CS of this decision.

On a personal note, in resolution 512, ISO/TC 130acknowldeges the retirement of William K. (Kip) Smythe fromNPES and his withdrawal from the US and International Stan-dards activities. He is one of the few current members of TC 130that participated in the reactivation of TC 130 in Berlin in 1989,and has been the convenor of WG5 since its inception. His in-volvement and leadership will be sorely missed within TC 130and within the ICC where he served as Secretary.

IS&T joins TC 130 in wishing Kip well in his retirement.

News from current ISO/TC 130 ProjectsJanuary 2014 publications announcementsFor your information the following ISO standards have beenpublished and are available for purchase from ISO, ANSI andother national bodies. These standards can also be purchasedfrom NPES.• ISO 12640-5:2013, Graphic technology — Prepress digital

data exchange – Part 5: Scene-referred standard colour imagedata (RIMM/SCID)

• ISO 12647-1:2013, Graphic technology — Process control forthe production of half-tone colour separations, proof and pro-duction prints — Part 1: Parameters and measurement meth-ods

• ISO 12647-2:2013, Graphic technology — Process control forthe production of half-tone colour separations, proof andproduction prints — Part 2: Offset lithographic processes

• ISO 12647-2:2013, Graphic technology — Process control forthe production of half-tone colour separations, proof andproduction prints — Part3: Coldset offset lithography onnewsprint

Recent progress in standards development• The DIS ballot for ISO/DIS 16760, Graphic technology —

Prepress data exchange — Preparation and visualization ofRGB images to be used in RGB-based graphics arts workflows,was approved with one negative vote and a range of editori-al and technical comments. One concern revolves aroundthe standardization of an ICC perceptual rendering intentimage conversion for RGB images in such workflows.



• The NP/CD ballot for ISO/CD 18620, Graphic technology —Prepress data exchange — Tone adjustment curves exchange,was approved unanimously, with comments. The ability tobe able to provide calibration data for printing plates in astandard form to ensure easy and accurate exchange of datais and is becoming more important as printing moves to-wards a manufacturing process. This standard will enablesuch exchanges to take place. The standard will define theminimum set of data required by all of today's applicationsand provide a format that is easily extensible so that addi-tional metadata can be included when agreed on between theparties.

• The DIS ballot for ISO/DIS 17972-1, Graphic technology —Colour data exchange format — Part 1: Relationship to CxF3(CxF/X), was approved unanimously with editorial and mi-nor technical comments.

• Revision of ISO 13655, Graphic technology — Spectral meas-urement and colorimetric computation for graphic arts im-ages, is underway. Danny C. Rich, JWG8 Convenor and ISO13655 editor, reported that the first draft of ISO 13655 withhis proposed revisions was discussed during a teleconferenceon January 31 where many of the proposed changes wereapproved.

News from CGATS/USTAG TC 130 ProjectsOn the topic of Print Characterization TargetsProposals are under consideration for a new target IT8.7/5. Thetarget development will assess the problems of printing to differ-ent substrates and considerations of what problems may occur inthe future with new print technologies. Spectral data capture willbe considered as this aids in looking at new methods of substratecorrection and aligns with International Color Consortium(ICC) goal to move to a spectral model.

The fundamental concept of a standard target is under ex-amination. Will future print systems be best served by continueduse of a fixed target? Can we improve the applicability of a uni-versal target or must we create targets that are more process spe-cific? Is a dynamic target that would be adjustable to the printingprocess essential? Such a dynamic target would alter the funda-mental paradigm. Members noted that digital manufacturers arecreating intelligent devices that will have the ability to make ad-justments on the fly and that manufacturers in Europe are askingfor this type of capability today.

Target use case recommendations should also be clarified.For example, the same characterization data used to create anICC profile should not be used to validate the resultant profile.

During the development of the next generation target, testresults will include gamut mapping information showing datafrom each candidate characterization target for each printingcondition. This will allow examination of the challenges inherentin creating a standard print target for the wide range of printtechnologies and print conditions in use today and anticipated inthe future.

On the topic of ISO 15339, Graphic technology — Printingfrom digital data across multiple technologiesBackground: The ISO 15339, Graphic technology — Printing fromdigital data across multiple technologies, project objective is to de-fine printing process control by means of standardized printcharacterization data sets.

Recently ISO ballots were conducted for ISO/DIS 15339-1,Part 1: Principles, and ISO/DIS 15339-2, Part 2: Characterizedprinting conditions. The two ballots were approved, however withnegative votes and comments ranging from editorial to funda-mental technical concerns. The proposed FDIS versions of bothstandards, with accompanying proposed resolution of commentsfrom the DIS ballot, have been circulated.

On the topic of Substrate CorrectionDuring the Joint CGATS/USTAG/PPC meeting, February 4-6, inPortland, Oregon, a presentation was given by Robert Chung andLi Wu (RIT School of Media Sciences), on the topic of “The Ef-fect of Substrate Correction on Printing Conformity”. The presen-tation opened with a restatement of the well-known dichotomy,that when printing is managed as a graphic arts process accept-ability is ranked by subjective customer approval, whereas whenprinting is managed as a manufacturing process, acceptability isranked using objective standards. In the manufacturing processcase, a number of supporting standards are required.

Customer preference for printing on bright papers creates adilemma for print manufacturing standardization, given thatthese customer-preferred substrates do not conform to the stan-dards and are not stable over time. A method to apply substrate-corrected colorimetric aims (SCCA) to meet printing specifica-tions has been developed (Tristimulus linear correction method,ISO13655; extended to correct paper color difference, McDowell2011), but is not widely understood and adopted in the printingindustry. The research presented examined the question: “Whatis the effect of substrate correction on dataset conformity for alarge number of offset, digital printing, and proofing jobs?”

Three cases were examined with regard to the efficacy of theSCCA method:• Jobs Using Conforming Paper when the Press Is Calibrated• Jobs Using Non-conforming Paper when the Press Is

Calibrated• Job Using Conforming Paper when the Press Is Not Cali-

bratedThe study results clearly show that in the two cases in which

the press is calibrated, which should be the case in a print manu-facturing process, the SCCA method removes the paper color dif-ference and improves the outcome of conformity assessment. Forexample, the graphs on page 14 show the conformity obtainedwith SCCA in jobs with non-conforming paper (low L*) whenthe press is calibrated. The color plots show the color differences(ΔX, ΔY, ΔZ) between measurement and the uncorrected data setaims. The grey plots show the color differences (ΔX, ΔY, ΔZ)between measurement and the SCCA data set aims.


continues from page 7

of analog materials to digital, while hecontinued his support of imaging stan-dards. He was well known to, and respect-ed by, members of the American Institutefor Conservation (AIC) Photographic Ma-terials Group, AIC Electronic MediaGroup, ISO/TC 42, and conservation pro-fessionals working in libraries andarchives around the world. Through this

work, Puglia became a technical conduitbetween conservators, preservation man-agers, and the information technologycommunities.

Puglia was a quiet, effective leaderwith extraordinary diplomatic skills and akeen sense of humor. Many remember hispresentations on cost-benefit studies, im-aging performance, and reformatting of

photographic collec-tions. These were aimedat providing museumand library administra-tors with the informa-tion required to developsound, sustainablepreservation strategies.

Puglia was a drivingforce in creating guide-lines to steer culturalheritage institutions to-ward standard methodsfor digitizing their treas-ures. While at NARA, hewas the primary authorof Technical Guidelinesfor Digitizing CulturalHeritage Materials: Cre-ation of Raster ImageMaster Files. This 2004document continues toserve as a valuable teach-

ing tool and reference. In 2007, Pugliajoined the Federal Agencies DigitizationGuidelines Initiatives (FADGI) Still Im-ages Working Group and participated as akey technical member, providing invalu-able input on imaging technique andworkflow.

Puglia introduced improved imagingtechniques, ensuring these methods werepractical, cost-effective, and consistentlyof high quality. He shared his knowledgegenerously, inspiring and teaching gener-ations of emerging conservators, collec-tion care professionals, and photogra-phers about traditional and borne-digitalreproduction techniques. In recognitionof his professional contributions, Pugliareceived the prestigious HP Image Perma-nence Award in 2009 from IS&T, andAIC’s Special Recognition for Allied Pro-fessionals in 2013.

Puglia is remembered beyond thetechnical nitty gritty of his work. A goodlistener, Puglia invested in people. He wasthat rare person devoted not only todeveloping his own expertise, but alsowilling to generously share his under-standing of the world with others—whether through photography or his loveof music, art, nature, automobiles, andtimber framing.

He will be missed. �

SCCA removes the paper color difference and changes theoutcome of the conformity assessment. Note: the conformityassessment in the study was based on all 10 normative require-ments according to CGATS TR016 (2012). CGATS TR016 iscurrently under revision.

Color differences (∆X) Color differences (∆Y) Color differences (∆Z)

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May 13 - 16, 2014; Berlin, GermanyArchiving 2014 General Chair: Christoph Voges

September 7 - 11, 2014; Philadelphia, PennsylvaniaNIP30/Digital Fabrication 2014 General Chair: Branka Lozo

November 3 - 7, 2014; Boston, Massachusetts22nd Color and Imaging Conference (CIC22) and2nd International Congress of the International Academy ofDigital Pathology (IADP) General Chairs: Jennifer Gille andYukaku Yagi

February 8 - 12, 2015; San Francisco, CaliforniaElectronic Imaging 2015 Symposium Chairs: Sheila Hemamiand Choon-Woo Kim

UPCOMING IS&T EVENTS

Learn more at www.imaging.org/ist/Conferences/.A complete list of imaging-related meetings is atwww.imaging.org/ist/conferences/events.cfm

For questions about the activities of TC 42, for suggestions for (or inputto) future updates, or standards questions in general, please contact theIS&T Standards Coordinator at [email protected].