Re: Remote proofing
Re: Remote proofing
- Subject: Re: Remote proofing
- From: Henrik Holmegaard <email@hidden>
- Date: Sat, 13 Mar 2004 06:13:13 +0100
On torsdag, mar 11, 2004, at 21:45 Europe/Copenhagen, bruce fraser
wrote:
Current implementations know nothing of image content, just of the
spaces in which they reside,
First, 3rd generation font file formats are all multi-script. Adobe
Myriad Pro supports Western European / Central European, Cyrillic and
Greek which gives me a Script Working Space.
I can enter any Unicode co-ordinate I please in InDesign 3 using
Unicode Hex Input, but if my Script Working Space does not support it,
the co-ordinate does not exist to all intents and purposes.
I can enter any CIEL*a*b* D50 2 degree standard observer co-ordinate I
please in InDesign 3, but if my CMYK Working Space does not support it,
the co-ordinate does not exist to all intents and purposes (: the
argument in the cookbooks).
Let's have a discussion about first principles and look at how
positions have been since 1998, and what messages are being
communicated.
There are two basic positions, (1) MyPhotoshop / MyInkjet / OS RGB
pipeline and (2) EveryAdobeApp / PageGeometry / Passthrough PostScript
or DirectPDF / ProofCMYK / PrintCMYK.
Position_1 was reasonable in the timeframe where Photoshop had to work
with QuarkXPress which uses TechNote 5044 host-based separation and
trapping.
Position_1 is not reasonable when Photoshop has to work with InDesign
in a distributed virtual color network based on passthrough PS and
direct PDF.
The argument advanced in the quote is irrelevant, because it has
_always_ been the image designer's job to deliver images that will
render well.
Danish scanner and camera makers have the same tale of photographers
shooting shadows and saturations no printing condition.
(And the omission of explanations of tonal mapping in books about
Photoshop is why LinoColor was criticized because photographers called
for eyepopping black.)
If the photographer hopes to have her RGB image rendered, it is her job
to bring the image into a press-oriented RGB working space such as
ECI-RGB.
What RGB space she uses as her own archive is her business, but if she
wants to bring her RGB content into production, then she has to do an
RGB to RGB conversion.
This discussion reminds me of a position taken by Western feminists vis
a vis commonsense body language in a place like Zanzibar or Basra.
(Essentially these people insist that they have a right to Scandinavian
and Californian body language in a different cultural context.)
Device independence does _not_ mean devoid of context. It means
flexibility _within_ a context.
Creative design is only possible by knowing the limitations of the
technology in order to transcend the limitations of the technology.
And context is partly about the intended class of printing condition
and partly about the intended printing pipeline.
The U.S. approach to MyApp / MyInkjet / MyOS RGB Pipeline is a
significant reason that workflows are broken, because it creates the
illusion that professional design is divorced from a professional
understanding of PostScript imaging, whether in the font dimension, the
color management dimension or the mechanical separations dimension.
Thanks,
Henrik
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