Photography & Colour Managenent(Bestv5)
Photography & Colour Managenent(Bestv5)
- Subject: Photography & Colour Managenent(Bestv5)
- From: Jason Berge <email@hidden>
- Date: Mon, 13 Oct 2003 13:22:04 +1300
Hi All, I have a few points about this whole photographers debate, so here
goes.
It is a question of intent (not rendering, mind you). There are basically
two markets for photography, and this goes back to the original question as
in the Bestv5 thread, how to proof in a grahic arts context, and how to
print for fine art reproduction.
My background is as a commercial and fine art photographer of some 12yrs
ecperience, and as a photographic retoucher for prepress for the last 5yrs,
so I see both sides of the coin, so to speak.
In the graphic arts arena one uses colour management to achieve the best
possible reproduction in the final printed press run, and your proof must
simulate the results that are achievable in that medium, ie your proofing
device simulates your press. Now this is a very much compressed gamut when
compared to RGB, which (say from a digital camera) is becoming the
substitute for "chromes". Colour should be managed from the capture stage
using profiles and if they wish to photographers may take control of the
CMYK conversion, as this is where the greatest change will occur in the
integrity of the image, and they need to be able to proof that and supply
clients with profiled files and accurate proofs.
In the fine art area, one is attempting to print as much of the original
colour gamut of your sourse file to the maximum gamut of the printer. This
is a very different objective from grahic arts proofing, although both can
be achieved using the same machine.
As I said it is a matter of intent, and adjusting workflow accordingly.
For graphic arts you use profiles that accurately translate your CMYK files
to your targeted press (or suitable spec such as SWOP) and maps that to your
proofing device to give an accurate simulation of average press conditions.
And for fine art printing you utilise a workflow that maps the largest
possible RGB to CMYK conversion to utilise the huge CMYK gamut of todays
inkjets which can reproduce RGB very well in the vast majority of cases. So
it is not a question of either or, but one of intent, and choosing the
appropriate conversions and methodes as both can be achieved using the same
hardware.
Regards
Jason Berge.
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