BEST v5 (Photography and Color Management)
BEST v5 (Photography and Color Management)
- Subject: BEST v5 (Photography and Color Management)
- From: Kevin Connery <email@hidden>
- Date: Mon, 13 Oct 2003 00:45:28 -0700
Henrik Holmegaard wrote:
>
One does not publish loose images except on the web where they can't be
>
color managed. Loose images are placed in a page which is then
>
published as color managed. If the photographer is unable to receive a
>
PDF from the graphic designer and / or the press operator in order to
>
take part in the publishing process, but believes her job is done when
>
she has uploaded her TIFF images, then to be sure she may be able to
>
take part in some projects, but increasingly she will cut herself off
>
from work in which she cannot take part.
[...]]
>
>
Before the digital darkroom, the photographer's product was the chrome.
>
If the scan did not match the chrome, the viewable graphic was the
>
bottom line.
Bruce referenced this, but I'll reinforce it, given that it seems the majority of people
here seem to recognize the distinction between 'fine art photographers' and 'prepress', but
not the consumer-oriented commercial photographer--which is a group of folks I've been
helping a lot recently.
They used to shoot negative film, and sent it to their labs. Now, they want to print
in-house, and without some RIP, they end up spending a LOT of time placing stuff, building
packages manually, etc.
They often have never shot chromes, or only did it on rare occasions. They didn't "place
them in a page which is then published as color managed", they printed the single photos and
gave out that copy or copies to customers. They hadn't been responsible for the colors of
their work, either--that had been the job of the lab.
Some large fraction of those wedding, portrait, family, pet, and event photographers could
benefit from a RIP (or at least some aspects of it), but the current marketing choices by
RIP manufacturers haven't, for the most part, addressed this market. (Ilford's Studio is one
attempt that IS targeting this market, but I've only heard mixed reviews.)
PostScript capabilities that were 100% transparent in a RIP would be OK, but ANY increase in
complexity to provide that extra makes that addition a negative-value one for that kind of
photographer.
(I'll admit the prepress and commercial side is more widely represented on this list, but
wedding and portrait photographers need color management, just as much as the others, if not
more--reprinting 'the master' prior to a large press run is quite different than reprinting
'the master' because you can't sell that copy--one is a minor aspect of a much larger
process, and the other doubles ALL the material costs for a single redo.
--kdc / Kevin Connery
--
"Learning is not compulsory. . . neither is survival."
Dr. W. Edwards Deming
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