Re: is a rip needed
Re: is a rip needed
- Subject: Re: is a rip needed
- From: Darrin Southern <email@hidden>
- Date: Sat, 09 Jun 2001 18:49:46 +1000
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First let me say that I'm just a photographer learning as I go so I hope
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I don't sound to green
You will find we are 'all' just different shades of green . . .
. . . I hope these answers assume the right shade for you.
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I just demo'd the epson 5500 with the full version of Bestcolor, they used a
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bestcolor supplied profile for epson glossy photo paper.
Although the Epson range of stock is quite consistent, you may find the
profiles were built with paper from the other side of world.
And more importantly, what was the destination (Reference) profile ?
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They told me that the 5500 with the bestcolor rip is the best combination
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they have found.
The best combination for what ?
The BEST is for building a profile for the ink and stock of the inkjet, and
then marrying it to the destination profile of a proof or press.
It is for making the inkjet, print the same as the press.
There is quite a bit of work in building a correct custom BEST baseline, the
total ink limit and then building custom 'inkjet' profile, as well as the
reference profiles.
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they printed 3 of my photos. I was not impressed all 3 were flat and
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cyan, one seemed to have a little solarization in the highlights.
This maybe how you pictures will look when printed to the set Reference
output device ie: the press.
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I ran back to my little $399,00 printer with no rip printed out the
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same cmyk images using a epson ex 1440 photo paper profile, they were
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perfect & the best part was the colors looked neutral matching my monitor.
Again, the BEST is not really for making pictures for putting on the wall,
but so that your pictures look 'as bad' as they would on the press, so that
there are not any nasty surprises.
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What is going on, I must be missing something and is a rip needed
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for this type of work.
You may not need a rip, if the final output for your images is not going to
be on a press.
The questions you may need to ask yourself are:
RGB or CYMK workflow.
I would read back through the recent weeks' archives and the discussions
about RGB workspaces.
Dye or pigment inks.
This is where the biggest 'visual' difference in output can occur, due to
the different gamuts of the two. Also ask yourself about the archive quality
you need, as the 'dye' based pictures of the kids I did for mum a year ago,
now look very different . . .
Darrin.
PS: I wrote this before reading Neil's and Harvey's replies, I sent it
anyway.