Re: Re: Rel vs Abs proofs
Re: Re: Rel vs Abs proofs
- Subject: Re: Re: Rel vs Abs proofs
- From: Eric Nunn <email@hidden>
- Date: Sat, 28 Oct 2006 12:47:41 +0100
On 16 Oct 2006, at 20:02, email@hidden wrote:
Re: Rel vs Abs proofs
Sorry to come in a bit late on this subject, but I've been reading through the thread of this and felt I had to add my twopennoff!
Surely this argument is about the fundamentals of what we, the graphic reproduction community are all about.
If the only reason work is being produced is because it is going to be mass produced on a printing machine, if the "proof" doesn't match as accurately as possible the target printing condition, then it is not a "proof" at all, it is a "version" of the job.
Colour management is all about managing expectation, the common colour experience, predicting what the
final product will look like at any stage in the production food chain-from the click of the shutter onwards. The digital capture, The inkjet or matchprint or cromalin, or even a colour monitor is not the final product, the 250,000 copies coming off the machine is. So if we don't try to simulate that condition, warts and all, what are we trying to do exactly?
What's the point of a photographer, commissioned to shoot a a front cover, getting a huge accoladefor his "art", but producing a shot that is largely out of gamut for CMYK?
What's the point of art editors making judgements on content for their project on uncalibrated monitors, or designers choosing esoteric (or even ordinary) substrates, without a clue as to what effect that stock has on the colour pallette of tints they have in their minds eye, or see on
their uncalibrated monitors.
And what's the point of producing a "proof" that does not as accurately as possible simulate the end result.
So for me it has to be AbsCol, if we are talking about "proofs"!
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