Profiling & LinoColor...
Profiling & LinoColor...
- Subject: Profiling & LinoColor...
- From: James Steincamp <email@hidden>
- Date: Sat, 23 Jun 2001 12:56:08 -0400
I've been attempting to create a solid profile for my Heidelberg Saphir
Ultra 2 / LinoColor 6.05 combination) with limited success. Perhaps part of
problem is that I do not completely understand what LinoColor is doing
behind the scenes as I make a scan. In my case I am only concerned about
scanning prints.
The profile that I have created works reasonably well, however my image
gains contrast when compared to the original (both on screen [Sony F520] and
on my Epson 5500... though the printer and the screen are a reasonable
match). This seems to point to an issue with the scanner and its profile.
I should note here that for the scans I have made so far the 'Set Up'
palette is configured to use the profile I created for 'Calibration,' that
'Contrast' is set to standard, that 'ColorAssist' is set to off and that
'LCH Corr.,' 'CMYK Corr.' and 'Filter' are all set to uncorrected. It seems
reasonable to assume that allowing LinoColor to make any automatic
corrections to my scans would have an adverse effect upon my attempts to
allow the profile to make the decisions about colour, yes?
I have followed the instructions in the LinoColor manual for creating a
image suitable for profiling by using 'import -> calibration scan to disk'
and processing the resulting file through Gretag Macbeth's ProfileMaker 3.15
suite of applications. If I understand it correctly, the calibration scan
bypasses any automatic corrections that LinoColor provides in the 'Set Up'
palette.
But then there is the matter of the 'Import -> Set Base Density -> Dialogue'
which allows for 'Set Base Density' and 'Analyse Attributes.' What impact do
these options have upon the calibration scan? Should I set 'Analyse
Attributes' for 'Positive' and 'Negative' in any specific manner?
If LinoColor is making decisions about base density on an image by image
basis, wouldn't that wreak havoc on the process of trying to get consistent
colour? What if I should choose to scan a sepia toned print (say Agfa
Brovira paper) first, then a Cibachrome print on glossy, ultra-white paper
followed next by a water colour painting on a textured Arches Hot Press
paper? I can't possibly create a profile for every substrate that I am
likely to encounter in day to day work.
Is there some fundamental element of LinoColor that I am failing to
understand? Help!
thanks again...
-james