Re: RGB to CMYK
Re: RGB to CMYK
- Subject: Re: RGB to CMYK
- From: Denis Gliksman <email@hidden>
- Date: Wed, 7 Dec 2005 18:11:36 +0100
Le 6 déc. 05, à 07:24, email@hidden a écrit :
Message: 1
Date: Mon, 05 Dec 2005 12:57:06 -0800
From: Marco Ugolini <email@hidden>
Subject: Re: RGB to CMYK
To: ColorSync Users Mailing List <email@hidden>
Message-ID: <BFB9E9A2.6E80%email@hidden>
Content-Type: text/plain; charset="US-ASCII"
Yes, if you let the clients see those prints, that works against you,
because they understand nothing about how color works, and may fall in love
with what they see in those unmanaged prints.
Those prints are not color unmanaged, at all, and it is a good point that the client fall in love ith your work in a certain way ... But it is true that the difference is hard to admit between the screen, inkjet prints, and CMYK ...
The R800 (and many inkjet printers) uses many inks, specially 2 blacks, and saturation is very good, but not good to simulate CMYK. The best result i got was using archival mat paper, with my own profiles, but still there were differences.
So it is why i bought the 4800 and proofing paper ...
Thanks for the advise but i have read Real World Color Management when it got out a few years ago. And many other papers ... I have an eyeone, my monitors are calibrated, i make my own profiles for the different papers i use, with Eyeone & Eyeone Match, it works, and even if it is not the "top pro" solution, it is one a photographer can handle.
The problem is what happen outside the studio ...
A lot of people say/write " Photographs should stick on RGB delivery ", fine, but in reallity it is not so simple...
How long can we say to our clients: My RGB is good, i don't give you prints, CMYK is your problem.
I couldn't do it more than 3 years ...
The difference between RGB and CMYK isn't the only problem, you may have other problems that don't come from you either:
When in a catalogue an image is printed at 2 differents places, with a big color difference (very often ...), it should help to tell the clients that many other parameters may modify the apparence of your image and that the photographer has no control on all that ...
When the same image is printed in a catalog as well on a packaging and that there is a hudge difference, it should tell the same. But it is not sufficent again.
When pre-press people make mistakes openning the images without the profile, the client call the photographer:
"Houston, we have a problem ..."
Just to avoid the last point, the client asked me to deliver CMYK to avoid surprises ...
For the 2 first points, i decide to give a greater confidence to my client on my work with some reference prints to allow him to show what he wants.
So I suggest to make "pre-proof" prints on my Epson 4800 from CMYK files, if they like them they make chromalins to be sure, then it goes to the printer with both prints ...
My concern is that i know that making a generic CMYK isn't the ideal solution.
Since i don't have any answer from the printer, my original question was: "is there a better/safer CMYK to use when you have no information".
On the 4800, printing from euroscale or Iso Fogra27 converted files doesn't seems to make any difference.
(At least for these images)
Thanks.
Best regards
Denis
PS:Sorry for the poor english.
Denis Gliksman
La Grange Numérique
01 34 87 60 34
06 07 72 75 25
email@hidden
http://www.la-grange-numerique.com
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