Re: Artisan calibration/soft proof workflow
Re: Artisan calibration/soft proof workflow
- Subject: Re: Artisan calibration/soft proof workflow
- From: Chris Murphy <email@hidden>
- Date: Sun, 4 Jan 2004 12:27:00 -0700
On Jan 4, 2004, at 12:06 PM, Will and Pam wrote:
If you want your paper white on the
Epson to match your screen then the white point should be adjusted to a
visual match of the paper in the light booth compared to the monitor.
Yes
controlling the booth brightness will get you a closer match.
Does this imply that if we are aiming at getting the best match in our
archive file (which in most cases is not going to be printed right
away), we
should visually adjust the monitor white point to the paper white of
each
original scanned, as viewed in the light booth?
I do not think this is particularly helpful myself. I have customers
who are picky enough about paper white issues that they fiddle with
white point settings to get monitor white to best represent paper
white. But this is only in environments where they are using one or two
stocks consistently. If you have a bunch of different whites in your
originals, this technique is more trouble than it's worth, I think. But
if you find it helpful, great.
But I also have more customers who I consider to be pretty serious
about color fidelity who just set the whitepoint to something in the
ballpark for their paper stock and just leave it that way.
The nice thing about the Artisan, and custom output profiles, and
Photoshop is that you can get very good soft proofs on-screen including
paper white simulation without having to laboriously figure out what
whitepoint setting works best on a case by case basis.
Chris Murphy
Color Remedies (TM)
www.colorremedies.com/realworldcolor
---------------------------------------------------------
Co-author "Real World Color Management"
Published by PeachPit Press (ISBN 0-201-77340-6)
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