Re: What rendering intent for RGB to CMYK
Re: What rendering intent for RGB to CMYK
- Subject: Re: What rendering intent for RGB to CMYK
- From: email@hidden (Bruce Fraser)
- Date: Wed, 6 Feb 2002 19:25:54 -0800
At 9:55 PM -0500 2/6/02, Roger Breton wrote:
So selecting "Ink Black" is telling Photoshop 6 to simulate the Source black
point on the Monitor as opposed to the Monitor's actual black point?
Correct.
All
right, then, how is this exactly carried over to the Print Dialog Box in a
cross-rendering task?
The monitor part is entirely out of the loop here. Paper White and
Ink Black are display-only controls, quite separate from the
transform from source to simulated proof space.
Does this mean that, if one selects "Proof Setup" as
the Source Space (Proof Setup set to RelCol w/Ink Black) Photoshop will
convert from Document Space to Proof Setup "Space" using RelCol ** w/BPC ***
? If that's what it is and I would tend to think that's what's going on, it
deserves to be made clearer.
The BPC on/off switch in this case is the one in Color Settings. I
agree that it's not very clear, but I'm not sure that adding a
separate BPC control to Proof Setup would have made it any clearer to
most users.
To be absolutely clear:
If you choose "Proof Setup" as the source space in Photoshop's Print
dlog, Photoshop will convert the image from the document space to the
space dictated by the profile chosen in Proof Setup, using the
rendering intent specified in Proof Setup, with the BPC setting in
Advanced Color Settings. If you think about it, this is the behavior
you'd want in most normal scenarios.
Also, I am not convinced that hardcopy proofing should strictly be done
AbsCol all the time. OK, I understand that pressmen are a tough crowd to
please and only AbsCol will satisfy them when it comes to the plethora of
inexpensive paper grade used in the industry (think "Spartan Web" or some
other low #3 coated) : granted that's far from Premium Glossy Inkjet media.
But how is one to proof when the production profile was derived from a super
high quality grade such as Warren Lustro Gloss or Champion Kromkote, with a
relatively high white L* value (around 95-96) while the Inkjet media used
for proofing also exhibits a correspondingly high white L* value -- in the
order of 96 or even 97, like the Imation DesignBase or the new Dupont
ChromaPro? In those circumstances, I ask you dear fellow list members, what
good is it to insist on proofing AbsCol?
Never show AbsCol proofs to designers. Or, if you absolutely have to,
make sure that you've trimmed off any proofer paper white. In the
scenario you mention, where the production stock is exceedingly
similar to the proofing stock, I'd use RelCol. I'd probably also turn
off BPC, though I suspect that in this scenario it would make very
little difference...
Bruce
--
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