Re: Files from digital photographers..long answer to short question.
Re: Files from digital photographers..long answer to short question.
- Subject: Re: Files from digital photographers..long answer to short question.
- From: Bob Marchant <email@hidden>
- Date: Wed, 10 Nov 2004 18:21:55 -0800
On 5 Nov 2004, at 09:52, Corporate Image wrote:
This may be a little off the subject but it just so happens that Im
dealing with a photographer that we were paying to color correct all
of the photos that he is taking for us. After we get them we are
having to go back after the conversion process and color correct them
again.
From your background, do you have any incite on this subject?
Hello all.
Time to stick my head above the parapet.
Jonathan...is the photographer being asked to provide CMYK separations?
Has your photographer been given the CMYK destination target for his
images .If so why is he correcting in RGB ( apart from the necessary
corrections for RGB mastering and archiving) ? If he hasn't got the
CMYK destination spec , then he's on a hiding to nothing, short of
making a knowledgeable guess as to a suitable generic CMYK.
Ray Maxwell wrote:
We continue to read about digital photographers who deliver files
rather than film or prints. They are being asked to deliver CMYK
files equivalent to those delivered by color separators. They cannot
do this without knowledge about the press conditions, inks, paper, and
many other parameters.
Dare I say it ....yes,why not :-) ? ...... .from where we're standing
film is dead , so we're talking about a whole load more photographers
delivering digital files. Yes , there are a load of these photographers
supplying images without 'due diligence' , usually at the more
'economical' end of the market. But there are a whole load more who
follow best practice guidelines , profile everything in sight , employ
a belt and braces solution to file supply and still end up in tears
when they see their images destroyed in print by lack of communication
somewhere in the workflow.
On the ' committee ' side , here in the UK we are pushing for the idea
of open , transparent and non proprietary file exchange where both the
suppliers and receivers can have confidence in the transaction. The
only way to achieve this is by open dialogue , and with this in mind
we've been working with many of the major bodies here to establish open
standards. The Association of Photographers has had a 'Code of Practice
' for digital image file exchange since the year 2000. This was
developed by the Digital Imaging Group of the AOP in collaboration with
the UK Advertising Pre Press Association , and the Institute of
Practitioners in Advertising.
I've been privileged enough to sit on the technical committee of the
Periodical Publishers Association ( they represent the majority of UK
periodical magazines ) who have produced a number of initiatives to
facilitate a more open , workable and accurate production workflow for
not just editorial but also advertising image content. Can't say that
everybody on the committtee agrees on some of the methodology , but can
say that the members are a generally a well meaning bunch who operate
with that rare mix of dedication combined with an underlying sense of
humour that enables many groups to survive long meetings without blood
being drawn. The good news is that an organisation with some clout in
thec UK is making the effort to resolve some of the major issues facing
all of us right now , and they've allowed a wide swathe of disciplines
to voice their opinions at the same meetings. They've set a
'Pass4Press' standard that formalises a PDF format for magazine artwork
submission . They've established a Proof4Press standard whose aim is to
define proofing standards for their publications (this is an ongoing
process and a group of us are holding out for ISO standards to be
adopted throughout both this and other initiatives). Our current
project is Pic4Press that aims to define best practice for image file
supply for these publications , including recommended RGB and CMYK
colour spaces for suppliers( Both Pass4Press and Pic4Press could be the
subject of a long and convoluted thread that I'm sure some of the more
esteemed members of this list will want to discuss quite soon,
particularly the European ones).
There is also another current initiative underway in the UK that is
slightly more ambitious in its scope , but accordingly much more
complex. It is another 'best practice ' document that hopes to define
best working practice across the whole digital imaging process
including mini labs , bureaus , 'social' photographers etc as well as
the usual suspects. As a result the beta document has at times
resembled more of a camel than the thoroughbred racehorse it was
intended to emulate , but it is being progressively refined as certain
committee members continue to discuss such delicate subjects as
monitor working colour temperature ( best visual versus existing
standards etc) .
On the personal side , pretty much the same situation exists .We're
calibrated / profiled / certified and well anoraked .But no amount of
kit or knowledge will work efficiently without the appropriate
communication.We've found that best practice starts with dialogue with
the other parties involved as to how to proceed ,rather than all of us
digging our heels in and insisting on imposing a rigid framework on
others. That's not to say that a framework shouldn't exist , but that
it should be built in such a way to allow flexibility of input and
output where necesary to enable accurate ( as possible ! ) repro (
we're working on the idea of a digital spine or something based on one
of those molecular models where each contributor can join the workflow
where he/she wishes , and knowing exactly how they fit the workflow ,
proceed along it in any direction as far as their particular skillset
enables them).
Bottom line that as long as we remember that we're all meant to be on
the same side , life can be a whole lot easier.
Regards,
Bob Marchant.
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