dialogue for a better workflow
dialogue for a better workflow
- Subject: dialogue for a better workflow
- From: Kim Christiansen <email@hidden>
- Date: Mon, 13 Oct 2003 11:16:51 -0700
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From: Jay Kinghorn <email@hidden>
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Subject: RIP's for Photographers
(snip)
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In stepping down from my soapbox, I would conclude that photographers and
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printers need to sit down for a candid dialog of exactly what is
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expected of each participant in the image production process. Who is
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liable for color inaccuracies? Who needs to provide the proofs? Who
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does the separations? Clearly delineating job responsibilities would
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make everyone's lives easier.
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Jay Kinghorn
Jay, how right you are. This is a subject that I have to broach with my
design, photography and print/pre press clients all the time. And it only
gets worse when we go all digital. It was bad enough when Photographers
started scanning their own images! Then printers started using CTP, and we
go one from there. One set of fingers points one way and another a third way
and nobody wants to take responsibility for a lack of communication and a
set of pre conceived notions about "how it should work". Without a clear
standard that everyone can work from, we are shooting in the dark for a pea
sized target.
My background is in early pre press systems sales and training, pre press
color trade shop, Ad/Design agency, Start-up stock background photography
company and finally as a consultant working with all of the above and a few
more.
What I can say is this:
Photographers should be responsible for delivering a good looking product
that matches either a print from film or a print from a reliable ink jet.
That's it. If the photographer exists within a color managed environment and
feels comfortable with those settings, that should be communicated to the
printer/pre press people and the client buying your work. That is, let the
client know that you are 100% confident that your file matches the print
they purchased and you have PROVEN your systems work and that your files
exist within your chosen color space. Also, that you have provided said
information to the printer/pre press shop for color conversion to be done by
THEM. DON" MUCK WITH CMYK conversions unless you have a lot of experience or
you could end up buying a press run. Even if the file looks OK on a proofing
system at the printer, it may NOT print OK. Just stick to the world of RGB
and large gamut color spaces and make sure you communicate clearly and
document said communication.
Clients who buy photography need to be assured that their chosen
printer/trade shop understands and implements ICC color management or can
accept files processed with such a workflow. That way they can stand a
chance at getting the printer to print what they bought from the
photographer (sorry, licensed?) Clients also need to understand that just
because it's digital does NOT mean that they won't need any proofs made. The
process on the pre-press and printing end is still the same, the printer
will need to follow their normal procedures regardless where the image came
from. If their printer does not ICC and their photographer does or the other
way around, well then, that's where the problems start.
Printers/Pre press shops really need to get their act together and learn
what an ICC workflow means and what a profile to profile conversion is. Once
the file is in a "decent" CMYK format, the you can start to proof and tweak
as necessary. If you REALLY have your act together, and have profiled your
press or have profiled your proofing system, you can save time and money by
KNOWING what your CMYK space is and getting your files real close in one
step! But without the whole IC step, you're going to be pulling a lot of
proofs when you don't have to.
The above being said, RIPs, profiling software and hardware, printers,
papers etc are all details. They're important details that can make or break
your process, but if you cannot manage expectations, communication and
process control, you do not stand much chance of success. If we can manage
our end, communicate our processes and standards and what we expect from
other members of the process, then we can start to make this a smooth (read:
profitable) experience for all.
God bless the fine art producers. You only have to satisfy yourself and the
discerning art buyer, and hope the image does not fade after five years.
<grin>
--
Kim Christiansen
The MacSmith
Studio Systems Consulting
--
web: www.themacsmith.cc
Telephone 206-229-7725
member: Apple Consultants Network
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