Re: No More RGB/Taking a CMYK delivery on
Re: No More RGB/Taking a CMYK delivery on
- Subject: Re: No More RGB/Taking a CMYK delivery on
- From: Roger Breton <email@hidden>
- Date: Wed, 26 May 2004 13:46:37 -0400
Sounds like you're doing all the right moves to me, Doug.
I "read" in your printer gibberish below that they could very well
still be using good-old Photoshop 4 SWOP Coated (20%) profile or some
customized GCR variant of it. The way I challenge these people,
technically, if ever you want to getto the bottom of this argument with
them, is to ask them first what printing conditions they are simulating
on their prepress proofs (read inkjet proofs -- Sherpa or Epson or HP
-- or even CMYK Pictros). Then, I ask what is it they are converting to
in terms of CMYK when supplied RGB images, in Photoshop. Ultimately, I
will compare my managed inkjet proofs to whathever "proof" they want me
to sign off on and start questionning from that point by visually
comparing sets of proofs. If my proofs match theirs then I know they
talk the same language I do. But if they don't we have to find some
common ground. The hidden assumption is always that the press is
'supposed' to be able to match their proofs. If I happen to have a
profile of their press I go for it and that works well. But if I don't
I could use a ColorArt of Matchprint profile or, even better, US
WebCoated SWOP v2 (TR-001 in Adobe's clothing).
I know it's a riot, sometimes.
Roger Breton
On 26-May-04, at 11:37 AM, Doug Walker wrote:
Hello all,
I am a commercial photographer who has been following this and
ColorTheory groups for quite some time. I have read cover to cover
RWCM and RWPS and every pdf inbetween.
Recently I had a couple catalog covers go wrong as the supplied
AdobeRGB (which we photographers were preached to as the most
versatile delivery) was somehow hashed and converted to sRGB.
As such, I am going to deliver CMYK instead of RGB.
A couple real world questions.
I spoke with a prepress manager today about their workflow which is
essentially 7 Web presses. He said, "We build our separations based
on US Prepress Default, with 20% dot gain and no color management.
300 TAC, 85 shadow, 4 highlight through 5, 4, 4" He also stated that
they use SWOP (CGATS TR001) to get things close.
When pressed he also said after experimentation (Deviations from
Standard SWOP are - Light Generation, 280 TAC) Hold 3% Highlight Dot
(5C 3M 3Y), 93% Shadow dot (90C 80M 80Y 85K) +1/4 tones, -1/2 tones,
+3/4 tones
What can we glean from this information group? In every day terms.
Here is what I believe to be the correct process to create CMYK
delivery In my color managed workflow. If I am missing a step I would
appreciate any thoughts.
I start with AdobeRGB master 16bit tifs, do major color adjustments,
apply capture sharpening, downsample to 8 bit, softproof, correct,
flatten and convert emmbedding profile.
Also, can I softproof in 16 bit and do corerctions? or must I
downsample to 8 bit and do all softproofing corrections. Also how
does one boost quarter-tones and 3/quarter tones? What does it mean
to do so?
Finally, once the image looks great and gamut is controlled, I presume
it is here where one converts to the needed profile....and then
applies output sharpening (at 100%) and saves out Embedding the
profile to be imported into Quark.
Doug Walker, FP
"Specializing in Corporate People in their Workplaces in a Clean, Bold
Classic Style!"
website: http://www.walkerphoto.com
Phone (360) 943-1293
Member, ASMP, APA SF
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