Re: Supplied RGB
Re: Supplied RGB
- Subject: Re: Supplied RGB
- From: Lauren Cross <email@hidden>
- Date: Thu, 27 May 2004 11:21:49 -0400
Hi folks,
I've been following this thread with a lot of interest, and have begun some
measures to streamline the process with which I process digital photography.
Some background, I do the separations for a very beautiful magazine here in
Virginia. I also receive images from photographers to check, proof and
adjust as necessary via the art director. The files I get are sometimes
cmyk, sometimes RGB (sRGB, Adobe RGB 1998, some with the camera's default
profile), 8-bit, 16-bit you name it. I have had mixed results--depending on
lighting, photographer, etc. Some issues I have run into are excessive
noise, very muddy skintones, no sharpening, oversharp. Also, the megapixel
resolution of the camera sometimes isn't high enough to produce a full
resolution image at the size it's being used, so the files sometimes need to
be interpolated. I took it upon myself to come up with a set of best
practices for the art director and photographer before realizing that DISC
had done the same thing. After talking to a few photographers, I had a
better understanding of some of the issues they face in agency production.
I like the DISC grid of resolution requirements--very helpful.
I disagree with jpegs for delivery--after the first compression, you may not
notice a difference, but subsequent saves can really mung the image.
If you are delivering cmyk files, send the rgbs as well. That way, we in
prepress can 1. have a reference image and 2. we can start our process with
a different conversion if necessary.
Include a delivery memo. An example of one photographer's contains the
following info:
>
The file(s) is/are: 8-Bit, Uncompressed, RGB, TIF files sized as noted above
with an embedded Color Space Adobe RGB 1998. If you use a different color
space, please ensure you "convert" color space in Photoshop rather than
"discard." The colors have been maintained since creation in a
color-calibrated Apple Mac G4/G5 environment here.
>
Note that we typically employ a two stage sharpening process, (1) some creative
sharpening perhaps to eyes, eyebrows, lips and teeth or some overall edge
sharpening, and (2) sharpening you or your pre-press house would do in the
production process.
>
Some light edge sharpening has been done to this image. Please size the files
and sharpen as you and/or Pre-Press would normally do for production.
So far I have found that a few photographers like to deliver cmyk images,
and I have given them my conversion profile, but some have seen the
conversion and run screaming in the other direction. I've even given them
some correction "tips", but this also failed to please them. The art
director is ready to tell everyone to shoot to film, because digital is
costing him more in proofing and color adjustment than scanning and
proofing.
In my environment, I'd prefer to get RGB tif files, Adobe RGB 1998 profile,
8-bit uninterpolated images. It's going to be difficult to control the
printed quality of your images without being on the prepress end, and it's
going to be difficult to control what quality images come to me if we don't
communicate these things to the photographer.
Apologies for the long post, but it is so pertinent and every single
photographer I spoke to was excited about this greater exchange of
information, and the willingness of a prepress person to address the issues.
Lauren Cross
--
Lauren E. Cross
Prepress Technician
Sr Retoucher
Adobe Certified Expert, Photoshop 7
105 S Foushee St.
Richmond, VA 23227
804-225-7780
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| References: | |
| | >Supplied RGB (From: Rich Apollo <email@hidden>) |