File Delivery Overview (alt)
Delivery files break down into two categories, rendered files, and unrendered files. We recommend delivery of rendered files whenever possible and delivery of unrendered files only in special circumstances. Delivering a rendered file that is “fixed” with all of your intentions for the file’s interpretation is critical to ensure its reproduction meets your intentions and standards. Files must have all information embedded, and when appropriate, a reference print.
*Note – when we say repro ready, we mean a file that has been optimized tothe specs of the output destination – size, resolution, sharpening, working space
Rendered file Categories:
• Repro ready RGB or CMYK image files*
• The minimum information required to deliver finished files
• Preparing image files for the Web
• Image Size
• How to resize images in Photoshop
• Preserving your metadata when using Photoshop Save For Web and Devices
• Preparing image files for digital projectors and other screen devices
• Preparing RGB Files for Digital Printing
• color profiles
• Preparing Digital Image Files for CMYK Delivery
• CMYK Guideprints
• Sharpening for output
• Repro ready, but unsized, RGB or CMYK image files with no output sharpening
• Batch processed RGB Image files
• Camera JPEG or TIFF files
• Rendered file delivery formats
Unrendered file Categories:
• DNG files
• Proprietry raw Files
• Electronic delivery
• Optical media: CD, DVD, or Blu-ray
• Hard drive
Delivery Paperwork: The “ReadMe” File
figure1 General file delivery categories
• Repro ready RGB or CMYK image files
• Repro ready, but unsized, RGB or CMYK image files with no output sharpening
• Batch processed RGB Image files
• Camera JPEG or TIFF files
Repro ready RGB or CMYK image files
Delivering finished RGB or CMYK image files provides the greatest degree of control over how the images will display or be reproduced. Delivering completely finished files requires a high level of communication (precise instructions from the service provider and precise instructions about the file from you) between provider and receiver.
This process usually involves:
• flattening the masterfile, no layers, channels or paths
• converting it to the delivery color profile, file format, and
• almost always 8-bit depth.
The image receiver may need images for a variety of uses including offset reproduction, the Web, digital projection, or for prints. In the case of multiple uses, it’s best if the images match visually despite the different media. The first step for delivery of finished files is to nail down the exact media requirements. Hopefully, this occurred during the planning step – collect as much information as possible about the deliverables or file requirements from the service provider.
The minimum information required to deliver finished files is:
• The reproduction size
• The media that the file will be output to, i.e. print, Web, projection, digital prints
• If it is for print, the type of screening, line screen and the general paper specification (if not the exact paper)
• The type of press (offset, web, gravure, digital, etc.)
In today’s fluid and fast paced production environment, getting answers to these seemingly simple set of questions is akin to asking your broker if the stock market will go up or down tomorrow. Many times design directors do not determine final sizes until they have the images in hand. It is often impossible to know who will be printing any particular project. Sometimes it is multiple printers—especially in the case of magazine ads that may run in a variety of publications. It is also increasingly common for a set of images to appear in all media. If you can get this information it is much easier to create appropriately prepared delivery files.
One strategy that works well for some is to deliver files in sets of small, medium, and large, at 300 ppi for print, and small, medium, and large, at pixel dimensions to match for web or projection. Although this is slightly more work, it does enable output sharpening since the image receiver should be able to adjust the size of the most appropriately sized image without impacting the sharpening very much. It is important for the image files to be sized down and not up, unless the up-res is ten percent or less.
Preparing image files for the Web
If the web designer can give you pixel dimensions for the needed image files, your job is fairly easy.
Masterfiles should be
• flattened (no layers, channels or paths) and
• converted to sRGB color space.
It is good practice to embed the profile, even if most web browsers won’t see it, a few, such as Safari, do, and color accuracy will be enhanced in those cases.
Trip wire: One caveat to be aware of when embedding the profile is when color consistency is more important than color accuracy. In a non-color managed browser, un-tagged images are assigned the viewer’s monitor profile. This means that identical RGB triplets, tagged and un-tagged, display the same. In a color managed browser such as Safari, tagged and un-tagged the RGB triplets do not display the same since the untagged RGB will display in monitor color and the tagged RGB will display in sRGB color.
Image Size
The image files should then be resized to the correct width and height (in pixels). The ppi is irrelevant. But, if you want to visualize the final size on screen in terms of inches (or centimeters), set the resolution to 72 ppi (see sidebar for explanation of ppi for screen) and adjust the inches or centimeters to the desired size. Since this usually involves making the image files smaller, there are two resampling choices to consider: bicubic, or bicubic sharper. Many prefer bicubic sharper since it sharpens and resizes in one action. For more control, use bicubic resampling, and then sharpen to taste using smart sharpen, unsharp mask, or high-pass sharpening. Since you are sharpening for screen, the effect you see at 100% on your monitor is accurate.
How to resize images in Photoshop
The Image Interpolation choice that is set here is what will be used to calculate any dynamic changes (crop, or any of the functions within the free transform options) in Photoshop.
figure2 Photoshop image resize dialog box showing the several interpolation methods available for when you resize images for delivery.
Preserving your metadata when using Photoshop Save For Web and Devices
The final step is to save the image files to the JPEG, PNG, or more rarely GIF format. JPEG is the usual choice since it offers the best quality/size ratio for photographic images. Photoshop offers two conversion choices: “save as” JPEG, or “Save For Web and Devices”. Save for Web and Devices offers more control over compression options as well as letting you see the final compression effects before you convert. Save for Web and Devices strips most metadata from files by default as you save them, which can be desirable if you need the smallest possible file size, but undesirable if you wish to keep your copyright and other IPTC information in the image file. Photoshop CS3 saves only the image file description and the creator’s copyright notice by default. It is possible to save all metadata (XMP format only) in CS3 if the “include XMP” option box is checked. In CS3, this option saves an XMP copy of the EXIF data as well, so stripping EXIF data must be done prior to using this option. Photoshop CS4 has improved the situation considerably with four metadata options (XMP format only):
• None
• Copyright and contact information
• All metadata except EXIF data, and
• All metadata.
figure3 CS4 Save for Web and Devices metadata options
Preparing image files for digital projectors and other screen devices
Digital projectors come in a variety of resolutions. You should deliver flattened image files that have the correct pixel dimensions for the projection device. The common resolutions are:
• VGA (640x480) — primarily used on small graphic tablets.
• SVGA (800x600) — only seen now on older projectors.
• XGA (1024x768) — the most common resolution for Power Point presentations and projected video.
• SXGA (1280x1024)
• SXGA+ (1400x1050) — newer projectors
• Widescreen (1920x1080) — HDTV
figure4 The crop tool in Photoshop CS4 can be set to crop at specific pixel dimensions to match a screen
Images should be cropped to fit the varying aspect ratios. If cropping is undesirable, images can be dropped into a canvass of the correct aspect ratio that is filled with a compatible color (or black). If the image is to be zoomed in on, or panned across, it will need to be sized accordingly. Projected images should be sharpened for screen just as they are for the Web.
Although digital projectors can be calibrated and profiled using the same or similar tools and software as for computer monitors, they seldom are. For this reason, it is usually a good idea to convert the delivery files to the sRGB color space. Conversion to sRGB is particularly important if the images are to be incorporated into other software, such as Power Point, KeyNote or MSWord, since these programs vary in their ability to read and use embedded color profiles.
Preparing RGB Files for Digital Printing
Digital print devices include ink-jet, continuous tone printers such as those found in digital color labs, and commercial digital presses. Files delivered for these uses need to be “high resolution”, which may mean 300 ppi at the final printed size in inches or centimeters. In our testing, we discovered that some laser print devices show smoother tonal rendition and better detail if given 400 ppi files.
Files should be
• Flattened, with no channels or paths,
• Converted to 8-bit except in cases where 16-bit printing is supported, as is the case with some of the newer printer drivers and RIPs.
Ink-jet printers can print at very high dpi resolutions such as 720, 1440, and 2880. There has always been some confusion between the terms “dots per inch” (dpi) and “pixels per inch” (ppi) and those that don’t understand the distinction might conclude that the best resolution for an 8” x 10” Epson ink-jet would be 8 x 10 x the native resolution of Epson Photo Stylus printers which is 1440 ppi. The fact is that this would be a great waste of pixels. Most agree that there is no more detail to be realized beyond 480 ppi, and that 360 ppi is a very practical upper limit. As a rule, large ink-jet prints can be made from lower resolution files, although 180 ppi is often mentioned as the practical lower limit—depending on print size and viewing distance.
Continuous tone printers, such as the Kodak Durst Lamda, and Cymbolic Sciences Lightjets print at much lower ppi resolution than ink-jets (either 200 ppi or 400 ppi). These devices expose photographic paper with laser light generated from digital files and despite their lower native resolution compared to ink-jets, they create continuous tone images. This technology is flexible in terms of input resolution. A one-to-one matching of input to output resolution is ideal, but good results can be had with an input resolution one-half that of the output resolution. This makes this type of printer ideal for very large print sizes.
Commercial Digital Presses are becoming an increasingly common adjunct to offset presses in the commercial print world. Since they are much easier to set-up and run than offset presses, they are ideal for short runs and print-on-demand applications. In general, they print with a linescreen equivalent of around 200 dpi. Most printers recommend 300 ppi resolution files for input, although anything above 200 ppi is quite safe. Depending on the image, you may see a smoother tone as a result of resolution up to 400 ppi.
Color Profiles
Ink-jets, continuous tone printers, and commercial digital presses can all be profiled. In addition, they can be used with Raster Image Processors (RIPs), which usually provide a means to calibrate as well as profile the device. Obtaining a specific profile for any of these printers is ideal. Unless you own the device and have the means to profile it, you will need to rely on good communication with the people who run the machine to find out if there is a custom profile available to use, or whether they use a RIP to apply an input profile on the fly. When that is the case, delivering a good RGB file in a standard RGB space such as sRGB or Adobe RGB (1998) will suffice. If the shop running the device shrugs off color management questions, your best bet is to deliver sRGB files and hope for the best. If you have the time and inclination, you can pay to have test targets printed and then create your own profiles. Be aware that the longevity of these profiles depends entirely on the level of process control at the print shop or service bureau.
Preparing Digital Image Files for CMYK Delivery
The majority of photographers shy away from providing CMYK files. Perhaps it’s because many of them remember making color separations from the film days as an arcane process requiring $50,000.00 drum scanners, specialized RIP software, and printers who treat the whole process like it was their own version of the original Coke recipe. Meanwhile, many design directors blithely push the “convert to profile” button without a second thought. The truth is somewhere in between. Good RGB to CMYK conversion is both an art and a science, but it is not rocket science.
The big difference between preparing image files for RGB output versus CMYK output is the CMYK color mode has a much smaller gamut (range of possible colors) than the RGB color mode. Consequently, certain colors that appear in RGB simply don’t translate into CMYK, which is why vivid blue skies often become dull or take on a magenta hue. It also explains why detail disappears in very saturated colors. For example, the weave in a saturated red fabric may turn into undifferentiated red mush. Various strategies can be employed to adjust the hue and saturation of RGB files to achieve reasonable CMYK rendering. Fancier strategies, such as replacing a weak black (K) channel with one derived from the Cyan or Magenta channel, can be used to bring back detail in out of gamut colors. The truth is that these problems only surface occasionally and the norm is for RGB images to convert fairly easily to CMYK. Read more (and see a movie) about RGB>CMYK conversion in the CMYK output section
One potential stumbling block is the concern that specific CMYK profiles are needed for best results. Offset presses are different from other printing devices in that they have much greater calibration control. Newer presses are controlled by computers which can adjust the mix of inks at many points across the press sheet with a high degree of accuracy. Just as we gray balance monitors and gray balance cameras, good press operators gray balance their presses. The gray balancing methodology outlined in the GRACol/SWOP specifications has the huge benefit of making specific CMYK profiles largely irrelevant except in the unusual case of non-standard ink colors. Three profiles, one for sheetfed presses and two for web presses cover the range of papers from premium coated #1 sheets, to wood pulp based #5 sheets. Adobe’s version of these three profiles shipped with CS4, or the GRACoL/SWOP versions can be downloaded from the SWOP.org website. The GRACoL Coated profiles can be used in place of U.S. Sheetfed Coated and The Web Coated SWOP 2006 Grade 3 or Grade 5 paper profiles can replace the U.S. Web Coated v2 profiles that shipped with earlier versions of Photoshop up to CS3. We have discovered that even non color-managed print shops print better from the new GRACoL or SWOP profiles (as long as they don’t assign a different profile to the image files). If you are provided with a specific CMYK profile, by all means use it; however, don’t assume that just because the printer is unknown you are unable to deliver good CMYK files. An additional benefit of the GRACoL/SWOP methodology and the accompanying CMYK profiles is that they maximize the CMYK gamut, getting the most color out of the press and making conversion from RGB easier, since less colors get clipped. Although the new profiles are all formulated for coated stock, and have correspondingly high Total Ink Limits, most printers can easily bring those values down for uncoated stock via Photoshop, a device link profile, or by means of the RIP.
CMYK Guideprints
CMYK guideprints can be a very useful tool, especially when the printer is unknown. These are easily produced on desktop printers. The main criteria is that you have a good profile for the printer/paper combination, and that you make the print from either the CMYK proof space (RGB file with the appropriate CMYK profile set as the destination space) , or from the CMYK derivative file. Doing either will restrict the colors to the target CMYK color gamut, giving a realistic preview of how the image file will print on the offset press. Using the printer driver will give a good visual match, using a RIP will get you even closer especially if the RIP has a linearization function. Linearization calibrates the printer and makes the profile even more accurate. RIP driven ink-jets are, in fact, what printer’s use nowadays for making proofs.
One advantage of delivering CMYK files is that if the image files will be reproduced in a variety of media, from Web to print (screen to substrate), it is possible to achieve a visual match across the various media if you create the CMYK files first. Then when you convert them back to RGB for the other uses they will match since the colors have already been reduced to the CMYK gamut. Please see _____ for a discussion of the pitfalls involved with moving between color spaces and modes.
Sharpening for output
All image files regardless of reproduction method, require output sharpening. This targeted output sharpening occurs when the image is at the final size for the specific display or printing device and substrate. Sometimes the only piece of missing information preventing delivery of a completely finished image file is the exact reproduction size. While it is possible to sharpen delivery files “generically”, any resizing done after this will resample the pixels and result in some loss of sharpness. As mentioned previously, a work around is to deliver sets of files at different sizes, but this does add to the workload. However, use of Photoshop actions can automate and speed up this process.
There are two fundamental ways to sharpen digital images,
• sharpening the pixels that make up an image, and/or
• edge sharpening, which is sharpening the edges of shapes within an image.
We conclude that capture sharpening is best done inside Camera Raw or Lightroom and other pixel sharpening, using Unsharp Mask, Smart Sharpen filters, or sharpening plug-ins such as PhotoKit Sharpener, Nik Sharpener Pro, and Focal Blade, , works well for both capture and creative sharpening. When it comes to sharpening for output, we prefer edge sharpening. Edge sharpening avoids emphasizing noise or other artifacts. In addition, edge sharpening holds up better if an image is resized slightly—which is often an unavoidable occurrence when image files are put into page layouts. The best technique for edge sharpening is to use one of the many variations of combining the Photoshop high-pass filter with an overlay, hard light, soft light, or linear light-blending mode. A nice advantage of this method is that it requires a duplicate layer, which makes the process non-destructive and infinitely adjustable by tweaking the opacity of the high pass layer. This technique also allows for adding a layer mask to prevent some areas from being sharpened or to minimize selective sharpening.
We found one of the most succinct and best explanations of the sharpening tools in Camera Raw and Lightroom in “The Ultimate Workshop” by Schewe and Evening.
When judging sharpening for print, the image should be viewed at 50% or even 25% (if is a very large image), and not at 100%. Viewing at 50% gives a much better approximation of the actual effect of the sharpening whereas 100% view will be largely misleading. Appropriate sharpness is definitely a subjective decision. Our advice is to try many techniques until you find one that gives good results and is repeatable. Keep a record of what you like best so you do not have to recreate this part of the wheel each time. Remember that different output devices as well as different substrates may each require very different approaches and levels of output sharpening.
Read more about digital image sharpening in the Sharpening section...
Repro Ready, but Unsized, RGB or CMYK Image Files with No Output Sharpening
When the final size for an image is unknown, it is best practice to submit the file without output sharpening. This is a very common delivery category since information about final size can be hard to come by. All the file preparation outlined above is carried out with the exception of sizing and sharpening. We’ve outlined the strategy of delivering sets of files at varying sizes, but this requires more work and uses up more delivery bandwidth so it may not be practical for large numbers of files. In addition, the image receiver may prefer to resize the files and do the output sharpening. If the delivery format is TIFF or PSD, these files can be delivered with a sharpening layer. The layer should be labeled to indicate that it is a sharpening layer. This method allows the image receiver to flatten the file, retaining the sharpening, as long as the image is not drastically resampled. Alternatively, they can discard the layer and redo the sharpening if the resample requires different sharpening.
Batch processed RGB files
Shooting raw files and delivering batch processed RGB, either JPEG or TIFF, is the next best option in terms of controlling image appearance and quality. So much control is now available in PIEware that for many images, additional work in Photoshop is optional or not needed. As a result, we’ve expanded our definition of masterfile to include raw or DNG files that have been adjusted in PIEware. Once the PIEwork has been done all that is required is to export the raw or DNG to standard format (TIFF or JPEG), and deliver it. It’s even possible to sharpen for output via PIEware.
This is the Workflow Options dialogue box in Camera Raw. Output sharpening uses similar algorithms to what is used in the capture sharpen controls in Camera Raw and Lightroom. These are based on PhotoKit Sharpener with a little more punch from Thomas Knoll.
CMYK conversion is not supported yet, but most photographers prefer to deliver RGB files anyway. If you convert raw to DNG you can take advantage of the full size embedded JPEG preview option and copy out the JPEGs with applications such as Expressions Media or PhotoMechanic. These JPEGs are the equivalent of quality 7 Photoshop JPEGs, and are tagged with the sRGB profile. Batch processed image files will likely need to be resized by the image receiver, which means that they will need to provide the output sharpening.
Camera JPEG or TIFF
Since PIEware can be used to adjust JPEG and TIFF (although not with as much latitude as with raw), camera JPEGs or TIFFs can be adjusted and batch optimized. The caveat is that these files will need to be resaved in order for the adjustments to take effect. This is not a problem for TIFF but resaving JPEG files does carry a penalty due to recompression. If the resave is done at the minimum compression (maximum quality in Photoshop terms), it is not usually detectable. Best practice is to save a JPEG file as a TIFF, do any image editing necessary, and then resave it (Save As, or Save for Web and Devices) as a JPEG.
This can also be done via Image Processor as described earlier in this section.
Delivering camera capture JPEG or TIFF is the next step down in terms of control, but not necessarily quality. If the camera has been set up correctly, the exposure and the white balance is accurate, camera generated JPEG or TIFFs can be high quality files. Getting perfect white balance is difficult, however, and while turning camera sharpening off is recommended to keep image destruction to a minimum, it does mean that the images that are made with cameras using low-pass filters will need to be sharpened and resaved in order to appear sharp when displayed or reproduced.
When delivering capture JPEG or TIFF files, you will need to verify that the correct color profile tag has been embedded in the image files. Progress has been made; particularly since the DCF 2.0 EXIF specification was released in 2003, which added Adobe RGB (1998) to sRGB as supported camera embedded tags. Newer professional cameras allow the choice of either sRGB or Adobe RGB (1998) and the image files will be appropriately tagged. Older cameras and many point and shoot cameras still require the user to assign the correct profile. This can be done in a variety of software although in some applications this requires resaving the file. The best method is to use one of the downloader applications that we mentioned in the Ingestion section that can embed the appropriate profile during ingestion.
Rendered file delivery formats
Rendered file delivery formats are usually JPEG, TIFF, or rarely Photoshop (PSD). PDF format can be used for image files although its main use is for files that contain both vector and raster data such as those from page layout programs like InDesign and QuarkXPress. One feature of PDF is that it supports password protection although this feature has limited real world functionality. Some publishers and service Bureaus specify EPS as a preferred format, but we recommend that you only use this delivery format if it is specifically requested. Some museums have standardized on JPEG 2000 due to its enhanced feature set which include improved lossy as well as completely lossless compression. JPEG 2000 is not widely supported by Web browsers and is generally not used in the professional photographic, print, or design community.
Standard JPEG is probably the most common delivery format as it takes up much less space on delivery media and uses less bandwidth for electronic delivery. JPEGs saved at the least compression or maximum quality, however you wish to express it, are visually indistinguishable from uncompressed TIFF files. Standard JPEG format has several important caveats when compared to TIFF. These do not impact their usefulness as a delivery format as long as these features are understood. The fact that JPEG files can be very highly compressed means that it is easy to introduce visual and completely destructive image artifacts if the Photoshop save quality drops below 6 (on a sliding scale of 12). Different applications and even Photoshop Save For Web & Devices use different scales, which can be confusing. The best rule of thumb is to not go below the mid-point of any JPEG save scale if it can be avoided. Quality 8 on a scale of 12 is the minimum that should be used for delivery files. If you think there is any chance that delivery JPEGs will be altered and resaved as JPEGs, it is best to save at quality 12. It is a good plan to explain in a delivery memo or delivery readme file that JPEGs should be saved as TIFF or PSD files before any additional work is done on them. This will minimize compression artifacts on resave (and educate the uninformed) and allow the use of layers and other Photoshop features.
TIFF is probably the second most common delivery format after JPEG. Many design directors and publishers prefer it because it is an uncompressed format and doesn’t lose any quality with multiple saves. TIFF also has the advantage of supporting greater bit-depth and layers. The disadvantage of TIFF is that it is approximately ten times larger than JPEG. TIFF can be compressed both lossless (LZW) and lossy (ZIP, JPEG). However, LZW compression doesn’t result in much size saving (and may actually increase file size for 16-bit TIFFs). ZIP compression results in a slightly smaller file size than LZW, and JPEG compression comes very close to standard JPEG compression size. However, few TIFF readers, other than Photoshop and InDesign, read ZIP or JPEG compressed TIFF files. JPEG compression offers one advantage over simply saving as a JPEG and that is layers are preserved. JPEG compressed TIFFs do not support 16-bit depth. We recommend delivering compressed versions of TIFF only if they are specifically requested.
PSD, the native Photoshop file, is used more for the creation of rendered masterfiles rather than as a delivery file format. It supports the complete range of Photoshop features such as multiple layers, adjustment layers type layers, layer effects, paths, multiple channels, screening etc. It is this extreme functionality that makes PSD a good option for masterfiles. PSD’s uniqueness has been somewhat diminished now that TIFF and PDF now can save everything that can be saved in a PSD file. PSD files can be much larger than TIFF files if “maximize file compatibility” is turned on since this causes a flattened composite version of the file to be saved as a file within a file. Turning this feature off prevents some applications, Expressions Media for instance, from showing a layered PSD file as an image file, which is not too useful if you catalog layered masterfiles. We recommend that if PSD is not specifically requested, and it seldom is, to use either TIFF or JPEG for delivery. (see Archive for recommended masterfiles file formats) Read more about file formats in the file format section
DNG files
Some organizations, such as DISC, which represents the publishing industry, have recommended DNG as a delivery file format. The attraction of DNG is that it is a standardized raw format and can be opened in all Adobe software (and an increasing number of other PIEware) no matter what camera it came from. In addition, DNG files can contain a rendered JPEG file, which gives a correct preview, in Adobe software, many browsers and cataloging applications, preserving the photographer’s intentions for the image. On the other hand, DNG can be re-interpreted in supporting PIEware like any raw file. However, any digital image file can be re-interpreted and raw data is the best data to work with, even compared to 16 bit rendered files. DNG delivery may work well for photographers who want to shoot raw files, but don’t have the time, inclination, or facilities to do extensive post production work.
Proprietry raw Files
We do not recommend delivery of proprietary raw files unless they are being given to a trusted partner in the creative production pipeline. Raw files display differently in every PIEware no matter how the camera is set. This means that the interpretation of the images is entirely up to the choice of PIEware and how the PIEware is configured. For instance, Camera RAW can be set-up to auto adjust the main image controls: exposure, recovery, fill light, blacks, brightness, and contrast. The results may be good, or they may not be so good. The take-away is that the photographer’s intentions have clearly gone out the window. Some say that delivering raw files is the equivalent of handing over unprocessed film. We would suggest that understates the problem. Film is processed to a standard at least, whereas there is no standard for how raw files are processed. Delivering raw files is definitely dependent on the kindness of strangers; their knowledge base, their skill set and skill level and even taste with regards to how they think images should look.
Ideally, the IPTC metadata was embedded in or attached to camera files during ingestion. More metadata may have been added during editing. If nothing has been done to strip metadata during processing or masterfile creation, it should be intact in the derivative files. If images were copied to a new canvass in the process of making masterfiles, the metadata will have been stripped. In this case, the metadata should be re-embedded. All delivery files should have basic IPTC metadata embedded in them—which is at least copyright and contact information. The copyright status field should indicate that the images are copyrighted. This is the minimum.
PLUS is an emerging standard that describes picture-licensing terms, organizing all rights-related fields into a standardized metadata framework. This is accomplished via The PLUS Media Summary code, an alphanumeric string representing all of the media rights included in an image license. These codes in combination with an Internet database that is under development (The PLUS registry) will link images to rights holders. This database will contain updated versions of licenses allowing users to match images to available licensing options. The PLUS glossary of licensing terms allows precise, multilingual communication of the media usage offered. Although gaining some acceptance, there is still no file info panel dedicated to showing PLUS information. For the time being, PLUS codes can be inserted into the instructions or rights usage terms fields.
We recommend that you take the time to drop the delivery file folder into Adobe Bridge, or another file browser that reads metadata, to double check that the IPTC data is intact and complete. It’s also a good idea to educate image receivers about metadata: how to view it and how to use it as an organizational tool. Check out www.photometadata.org and controlled vocabulary.com for useful information. Currently too many users of digital photography depend exclusively on the 31 file name characters to provide information about digital images. Not only does this result in unwieldy filenames, but leads to renaming files, a leading cause of miscommunication with regard to file delivery. To counteract this possibility, DPBestflow® recommends putting the file name into the title field of the metadata. This makes it easy to determine the original file name if someone changes it.
Delivery files do not necessarily need to have EXIF data (camera data) in them. Many photographers prefer to strip out the camera data and leave the IPTC metadata. Photographers who are delivering to news organizations, however, may be instructed to keep the camera data intact for verification purposes.
Today’s technology provides many ways to deliver image files . The possibilities are:
• Electronic delivery, which includes:
• FTP delivery services
• FTP to and from a file server
• File hosting services
• Professional image display and delivery sevices
• Physical delivery
• Optical media: CD, DVD, or Blu-ray
• Hard drive
Electronic delivery is attractive for its speed, low cost, and immediacy. Image files can typically be delivered nearly as quickly as they can be burned to optical media if you have fast broadband upload speeds. The downside is that there are limits on the size of the delivery and it is dependent on good bandwidth on both ends. There is also the slight possibility of file corruption if some of the bits don’t get reassembled correctly. Electronic delivery also depends on the image receiver having a reasonable color management set-up. Unless they have profiled monitors, they may not see the same color and tone you assume they do.
E-mail delivery has the smallest capacity—often 10 MB or less, so it is only good for a few image files at a time. Folders of files can be sent by e-mail if they are compressed (zipped) using WinZip or Stuffit utilities. There are many FTP delivery services, such as YouSendIt, that make sending large files or large numbers of files quite easy. They often incorporate lossless ZIP compression, which improves upload, and download speeds. FTP can also be used to place files on a file server. All that is required is an FTP application such as FileZilla, Fetch, Transmit and space on a server to park the files. As mentioned earlier in the proofing chapter, Internet services such as Collages.net, Photoshelter.com, and Smugmug.com, among others, can be used as file servers in addition to their other services.
Electronic delivery of high volume, large file size can be very time consuming, even with good bandwidth. Do keep in mind that sometimes it is simply more efficient to burn the files to disk and use any of the mail options available to us.
Physical delivery
Physical delivery is often preferred since it provides the image receiver with an archive. It is sometimes used as a backup to electronic delivery for that very reason. Physical delivery also allows for the delivery of printed proofs or CMYK guide prints, as well as any read me files, instructions printed out as well as burned to disk. This alleviates the concern of purely electronic delivery being totally dependent on profiled monitors on the receiving end.
CD’s can hold up to 750 MB of data. We recommend using only CD-R and not CD-RW since CD-R writes faster and cannot be overwritten. DVD-R holds up to 4.7 GB of data, making them more useful for larger file delivery needs. Dual sided and double layer DVD’s are also available but have the drawbacks of slower write times, are not backwardly compatible with older CD/DVD reader/writers, are much more expensive, and more delicate.
A concern for physical delivery is cross-platform compatibility. CD’s should be written in a format that allows them to be read on both Mac and PC. This is simply an option to select in the CD burning software. DVD’s are compatible with both platforms. Hard drives are usually formatted either for Mac or for PC, since the two platforms have different file systems. If a hard drive needs to be compatible with both platforms, it can be formatted with the Windows FAT32 format since both platforms can read and write to this file system. On the Mac this formatting option is listed as MS-DOS (FAT) in the Disk Utility.
Hard drives used for file delivery should ideally feature Firewire connectivity, although it is increasingly common for portable drives to have multiple connectivity. Another development is that the smaller 2.5 inch drives which are used in laptop computers and the so-called pocket drives, are up to, and probably surpassing 500 GB by the time you read this. These small drives are usually designed to withstand shock better than 3.5 inch drives since they are designed for use in portable devices. They are also smaller and have lighter shipping weight.
While hard drives are definitely the highest capacity media for file delivery, they are the most expensive option. They can also be overwritten, so they are less secure than write-once optical media.
Delivery Paperwork: The “ReadMe” File
Just as good transmittal paperwork is required for film delivery, a transmittal readme file should accompany every digital file delivery. This can be a RTF format or MSWord document that describes the number of files, the file format, color space (and whether the profile is embedded or not), the file characteristics, such as the bit-depth, whether the files are layered, and whether they have been sharpened for output. There should be a statement indicating whether the files are copyrighted and to whom, as well as the rights usage and licensing terms. It is best to include this document where it can be easily disciphered on the delivery disc. This information can also be printed on ink-jet or light-scribe writable CD or DVD media. It is not a good idea to use adhesive labels on CD/DVD media since labels can separate during use, potentially jamming the CD/DVD reader. An adhesive label can be put on delivery hard drives.
We recommend adding Read Me files, printing them whenever possible for delivery with the media. When sending work electronically, these important communication documents should be included with the image files and then sent in a follow-up email.
Figure5 Sample readme file
