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301 Moved Permanently - apdig.com
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HTTP Code 301 Moved Permanently

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  • When changing a website domain
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The browser will automatically redirect the user to the new address, and search engines will update their indexes.

200 OK - https://apdig.com/
HTTP Status: 200
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HTTP Code 200 OK

200 status code is a standard successful HTTP server response. It means that the client’s request (e.g., from a browser) was successfully processed, and the server is delivering the requested data.

When is Code 200 used?

  • When loading a web page
  • When successfully receiving an API response
  • When processing a form or another HTTP request

What does Code 200 mean for the user?

The user receives content without errors, and the page or application functions properly. If Code 200 is accompanied by data, the browser or program processes and displays it to the user.

GET / HTTP/1.1
Host: apdig.com
Accept: */*
User-Agent: Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; [email protected])

<!DOCTYPE html>
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  <title>Australian Photographic Digital Imaging Guidelines</title>
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<p align="left"><b>Australian Photographic Digital Imaging Guidelines</b><br>
  Download: <a href="apdig.pdf" target="_blank" title="opens new window"><u>APDIG.pdf</u></a> 
  (88KB)<br>
  Version 1.8 (<a href="javascript:version();" title="Click for version history (opens new window)"><u>version 
  history</u></a>) <br>
  Contact: <a href="&#109;&#97;&#105;&#108;&#116;&#111;&#58;&#105;&#110;&#102;&#111;&#64;&#97;&#112;&#100;&#105;&#103;&#46;&#99;&#111;&#109;">&#105;&#110;&#102;&#111;&#64;&#97;&#112;&#100;&#105;&#103;&#46;&#99;&#111;&#109;</a></p>
<p align="left">The following guidelines have been established to help photographers 
  delivering digital files. Each point is explained further by clicking on the <font color="blue"><i>More detail</i></font> link. You are granted permission and encouraged to distribute these guidelines but only in their entirety and not for profit. </p>
<blockquote>
  <p><b>Critical Parameters</b></p>
  <p> <b>1. </b>ICC colour-managed environment.

<a href="javascript:;" onClick="showDescText('1')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="1" class="subdesc"><br />

  The ICC (<a href="http://www.color.org" target="_blank">International 
  Color Consortium</a>) specifies international standards for colour management. 
  Photographers who supply digital files for publishing need to be in an ICC managed 
  environment, as do their clients. Your cameras, operating system, software, 
  and output devices all need to be setup for an ICC managed workflow. A detailed 
  description of the ICC workflow is beyond the scope of this guide. </p>

<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('1')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>

  <p> <b>2.</b> Capture digital images in camera's raw format.

<a href="javascript:;" onClick="showDescText('2')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="2" class="subdesc"><br />

  Most professional digital cameras and backs allow users 
  to record images in a raw format. A raw file is essentially a record of the 
  data captured from the camera's imaging sensor without any in-camera processing. 
  By capturing in raw you begin with the highest quality file with the most options 
  / flexibility / quality for postproduction.</p>
<p> Presently raw formats are proprietary to each camera/back manufacturer and 
  require processing to a common format such as JPEG or TIFF. There are several 
  raw converters including Adobe Photoshop Lightroom and Phase One Capture One, as well as 
  each camera manufacturers own proprietary software. </p>
<p>It is important to note that raw files are not colour managed in any way. While 
  these files may appear to contain profiled information, colour management strategies 
  and profiles only commence during the conversion from raw to TIFF or JPG. </p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('2')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p>   <p> <b>3.</b>Calibrate your monitor(s) regularly with a hardware device to the D65 standard and Gamma 2.2. This is becoming a worldwide standard.

<a href="javascript:;" onClick="showDescText('3')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="3" class="subdesc"><br />
<p>Professional photographers need to invest 
  in a quality hardware monitor calibration device such as supplied by X-Rite (<a href="https://www.x-rite.com/" target="_blank">www.x-rite.com</a>) 
  or Datacolor (<a href="https://www.datacolor.com/" target="_blank">www.datacolor.com</a>). 
  The human eye and Adobe Gamma (a part of Photoshop) do not permit calibration 
  with high enough precision for professional use. Comuter monitor's colour drifts 
  over time and should be verified regularly. </p>
<p>In the past prepress would recommend a Mac use D50 and Gamma 1.8 to match the 
  Apple Laserwriter. Today D65 and Gamma 2.2 are becoming the common standard 
  for both PC and Mac. If you wish to supply proof prints, you will need to extend 
  similar calibration procedures to your printer and print viewing area. </p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('3')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p><b>4. </b>For Prepress use <br>
    &nbsp;&nbsp;&nbsp;&nbsp;a. Colour space: Adobe RGB (1998) embedded in final 
    image. <br>
    &nbsp;&nbsp;&nbsp;&nbsp;b. File format: TIFF uncompressed in Windows byte 
    order, or JPEG at level 12 compression, @ 300 PPI (DPI).

<a href="javascript:;" onClick="showDescText('4')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="4" class="subdesc"><br />
<p>Adobe RGB (1998) is a commonly used industry-standard colour 
  profile supplied with Adobe Photoshop. sRGB does not have a wide enough colour 
  gamut and clips some CMYK colours.
</p>
<p>Tagged Image File Format (TIFF) is the preferred file format. When saving tiffs 
  in Photoshop you are given options for compression and byte order. For maximum 
  compatibility, TIFFs should be saved with 8-bit, uncompressed options in Windows 
  byte-order. Tiffs can also be supplied in 16 bit which doubles the file size 
  but allows for more aggressive tonal editing. To capture 16 bit images may require 
  shooting in the cameras' raw format, sometimes referred to as a digital negative. 
  Images can also be delivered in JPEG file format saved at maximum quality (level 
  12 compression in Photoshop). </p>
<p>Sharpening is best done in stages. A `light', initial sharpen is often performed 
  on an image to overcome the softness inherited from capture devices such as 
  digital cameras and scanners. Final sharpening should only be performed after 
  all editing and resizing etc has been completed. As most clients will resize 
  images in the final stages of production, final sharpening is best left to them. 
</p>
<p>Ensure files saved on a Macintosh computer have a three-letter file extension 
  corresponding to their file type, e.g. TIF or JPG. </p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('4')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p><b>5.</b> Deliver files via cloud services or SSD.

<a href="javascript:;" onClick="showDescText('5')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="5" class="subdesc"><br />
<p>Optical discs were the preferred method of delivery however as image resolution and file sizes have increased delivery via cloud services, USB flash drive, 
	SSD or portable hard drives are now more common. Format and label the drive for the client computer system, i.e., FAT32, Mac HFS or Windows NTFS. 
	Write optical discs using the ISO 9660 format to maintain compatibility across platforms. Close disc sessions so no more data can be written. 
	A relaxed ISO 9660 standard is also common but check with your client. Label the disc with a meaningful title that the computer can pick up and display. </p>
<p>For archival purposes we recommend marking discs only with pens that are designed 
  for the purpose. The safest place to write on a disc is on the small clear hub. 
  Adhesive paper labels should be avoided as they could come loose in an optical disc drive, 
  and may also cause a disc to become unbalanced and unreadable.</p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('5')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p><b>Recommended Parameters</b></p>


  <p><b>6.</b> For Web use <br>
    &nbsp;&nbsp;&nbsp;&nbsp;a. Colour space: sRGB embedded in final image. <br>
    &nbsp;&nbsp;&nbsp; b. File format: JPEG.

<a href="javascript:;" onClick="showDescText('6')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="6" class="subdesc"><br />
<p>For internet use sRGB is the standard colour space, although 
  the most common web browsers are not colour managed. Colour profiles and other 
  metadata add to file size and may not be useful for web use. </p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('6')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p> <b>7.</b> Converting to CMYK <br>
    &nbsp;&nbsp;&nbsp;&nbsp;a. CAUTION: Only convert files to CMYK when a profile 
    or full press specifications are supplied by the client, and no further retouching 
    is required. <br>
	&nbsp;&nbsp;&nbsp;&nbsp;b. Using ISO Standard AS/ISO 12647-2.<br>
    &nbsp;&nbsp;&nbsp;&nbsp;c. File format: TIFF uncompressed in Windows byte 
    order, or JPEG at level 12 compression, @ 300 PPI (DPI). Sized to final art 
    with final sharpening. 

<a href="javascript:;" onClick="showDescText('7')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="7" class="subdesc"><br />
<p>Every digital camera & scanner is a RGB (Red, Green, Blue) 
  device, so without exception all images start off as RGB. Most printing processes 
  use CMYK (Cyan, Magenta, Yellow, Black) inks (sometimes adding additional ink 
  colours). This means somewhere in the imaging chain there will need to be a 
  RGB to CMYK conversion. There are many ways to perform this conversion, but 
  only one way to do it correctly.</p>
<p>We suggest you convert from RGB to CMYK using Standards Australia &amp; International Organization for Standardization standard profiles (<a href="http://www.iso.org/iso/catalogue_detail.htm?csnumber=37880" target="_blank">AS/ISO 12647-2</a>). Profiles may be downloaded from <a href="http://www.eci.org/en/start" target="_blank">www.eci.org/en/start</a>. If you are unsure which ICC profile to use for offset printing, we recommended you use ISO Coated v2 300% (ECI).</p>
<p> CMYK conversion usually occurs at the end of the workflow and is device dependent. 
  Each press / inkset / media combination has different characteristics requiring 
  a specific colour conversion / ICC profile. There is no such thing as a "Generic 
  CMYK" colour space. Do NOT convert from RGB to CMYK until you know which device/process 
  you are printing to &amp; which CMYK conversion / profile to use. As CMYK colour 
  spaces are much smaller than RGB, for maximum quality all editing should be 
  done in RGB before the CMYK conversion. </p>
<p>CMYK conversion is an art unto itself and is beyond the scope of these guidelines. 
  Photographers supplying CMYK need to be aware of any liability they expose themselves 
  to and should include a disclaimer (see <a href="#11">point <sup>11</sup></a>). As with 
  RGB delivery, for maximum compatibility CMYK TIFFs or JPEGs should saved as 
  8-bit, uncompressed and in Windows byte order. </p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('7')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p><b>8.</b> For printing to colour-managed lab <br>
    &nbsp;&nbsp;&nbsp; a. Ask your photo lab for their normal file specifications 
    (eg: Adobe RGB, JPG, 300ppi).<br>
    &nbsp;&nbsp;&nbsp; b. Soft-proof using lab-supplied colour profile for the 
    specific media. Ensure your monitor is correctly profiled. <br>
    &nbsp;&nbsp;&nbsp; c. Do NOT "Convert To" or apply the profile (send to lab 
    in standard colour space like Adobe RGB 1998). <br>
    &nbsp;&nbsp;&nbsp; d. Apply sharpening if recommended by the lab. <br>
    &nbsp;&nbsp;&nbsp; e. If uploading convert to JPEG. Or send TIFF on CD.

<a href="javascript:;" onClick="showDescText('8')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="8" class="subdesc"><br />
<p> Each lab will have different specifications for printing; 
  ask before supplying files to print. Professional photo labs should supply colour 
  profiles for each surface and paper type. Soft proofing allows you to preview 
  on screen in Photoshop how the image will be printed and make any necessary 
  adjustments. Labs should NOT request you alter your monitor to match a sample 
  print.</p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('8')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>

  <p><b>9.</b> Make sure the client is viewing the files on a monitor profiled 
    to the international standard D65. 

<a href="javascript:;" onClick="showDescText('9')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="9" class="subdesc"><br />
<p> Make sure the client is viewing the files on a calibrated 
  monitor profiled to the international standard D65. Anyone anywhere in the world, 
  viewing a monitor correctly profiled to ICC standards will view the image(s) 
  correctly, as the author desired. </p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('9')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>

  <p><b>10.</b> Embed copyright &amp; usage into the file (IPTC) viewable in 
    Photoshop > File Info.

<a href="javascript:;" onClick="showDescText('10')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="10" class="subdesc"><br />
<p> IPTC (International Press Telecommunications Council) 
  has established standards for metadata attached to files describing what the 
  file is. It can include information about copyright, photographer (author), 
  date, captions and more. Most important to photographers is copyright, and usage 
  - which may be entered into the 'caption' or 'special instructions' fields. 
  Several applications can write metadata including Adobe Photoshop. IPTC information 
  is viewable in Photoshop under File -> File Info.</p>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('10')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <a name="#11"></a><p><b>11.</b> Provide a ReadMe file with images outlining specifications 
    and disclaimer. 

<a href="javascript:;" onClick="showDescText('11')"><i>More detail</i><img src="arrow.gif" border="0" onload="infoldItems()" /></a><div id="11" class="subdesc"><br />
<p>A ReadMe file, preferably in PDF or HTML format, contains 
  information about the images delivered. It may include your usage agreement, 
  copyright and a disclaimer such as:</p>
<ol>
  <li> On this disc you will find "our product". </li>
  <li>Our product is an ICC colour-managed RGB file with the Adobe RGB (1998) 
    colour profile embedded in the file. </li>
  <li>All image editing was done on a monitor profiled to the international standard 
    D65. Conformance to this standard was achieved with a measuring instrument. 
    Any monitor that is correctly profiled to ICC (International Color Consortium) 
    standards will view the image(s) correctly, as the author desired. </li>
  <li>Any prints supplied with the disc should be used as a guide only. They are 
    intended for identifying files, assessing expressions, composition, etc and 
    not for evaluating colour accuracy. They are NOT contract proofs unless identified 
    as such. </li>
  <li>All files on this CD should be scanned for viruses, file integrity verified 
    then backed up. We will not be held liable for any loss. </li>
</ol>
<p style="text-align: right;"><a href="javascript:;" onClick="showDescText('11')"><i>Hide</i><img src="arrowup.gif" border="0"/></a></div></p>


  <p>&nbsp; </p>
</blockquote>

<p><b>Disclaimer<br>
  </b>This information is supplied in good faith as a generic guide. 
  No legal liability is assumed for the suitability of this information to your 
  specific needs. All recommendations should be tested in your own work environment. 
  We recommend you have any disclaimer(s) checked by your legal expert and consult 
  a digital colour expert for advanced advice. </p>
<p><b>Errors<br>
  </b>Please report errors to: <a href="&#109;&#97;&#105;&#108;&#116;&#111;&#58;&#105;&#110;&#102;&#111;&#64;&#97;&#112;&#100;&#105;&#103;&#46;&#99;&#111;&#109;">&#105;&#110;&#102;&#111;&#64;&#97;&#112;&#100;&#105;&#103;&#46;&#99;&#111;&#109;</a> </p>
<p><b>Copyright<a name="copyright"></a></b><br>
  &copy; 2004-2025<b> </b>the authors: <a href="https://longshots.com.au" target="_blank">William 
  Long</a>, <a href="https://www.photographer.com.au" target="_blank">Robert Edwards</a>, 
  <a href="https://www.murrayfredericks.com" target="_blank">Murray Fredericks</a>, 
  <a href="https://spectralize.com.au" target="_blank">Nadish Naoroji</a> and 
  <a href="https://www.nickrains.com" target="_blank">Nick Rains</a>. APDIG retains 
  copyright on all content as enforced under the Digital Millennium Copyright 
  Act, in addition to local and international copyright laws. All rights reserved.</p>
	<p align="left"><b>Privacy Policy</b><br>
  We do not use cookies or collect any personal information about you when you visit this website. 
</p>
<p align="left"><b>Contact</b><br>
  If your organisation would like to be involved in or endorse the APDIG please 
  contact us:<br>
  email: <a href="&#109;&#97;&#105;&#108;&#116;&#111;&#58;&#105;&#110;&#102;&#111;&#64;&#97;&#112;&#100;&#105;&#103;&#46;&#99;&#111;&#109;">&#105;&#110;&#102;&#111;&#64;&#97;&#112;&#100;&#105;&#103;&#46;&#99;&#111;&#109;</a></p>
 
<p align="left"><b>Endorsed by</b><br>
  <a href="https://www.imagemakersassociation.com.au" target="_blank"><u>IMAA</u></a> (Image Makers Association Australia)<br>
  ACMP (Association of Australian Commercial + Media Photographers)<br>
  AIPP (Australian 
  Institute of Professional Photography)<br>
  IDEA (Imaging &amp; Digital Entertainment Association)<br>
  APCI (Association of Professional Color Imagers)</p>

<p>&nbsp; </p>

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