Re: Artisan calibration/soft proof workflow
Re: Artisan calibration/soft proof workflow
- Subject: Re: Artisan calibration/soft proof workflow
- From: neil snape <email@hidden>
- Date: Sun, 04 Jan 2004 21:44:31 +0100
on 04/01/2004 20:06, 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? (Probably this would mean
>
adjusting the white point very often since the material we are scanning is
>
on a wide variety of substrates with colors ranging from very white to
>
yellow, even to brown). (I hope the answer is no!).
>
>
Will
Yes, no is the answer!
You said you wanted to proof the scans or source on the Epson. You can set
the paper white of the Epson to be simulated on the monitor. There you'll
have a monitor to print match for one specific paper media to proof to. The
source scans of the art work needn't be included for the visual match
between the monitor and proof ***if*** the monitor and printer are well
calibrated/profiled. What throws a stick into <paper white> on inkjet media
is the fluorescence of optical brighteners by the spiky light booth lamps.
Neil Snape nsnape @ noos.fr neil_snape @ mac.com
http://mapage.noos.fr/nsnape
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