Who does the seperations? (Re: Profile Names and other suggestions)
Who does the seperations? (Re: Profile Names and other suggestions)
- Subject: Who does the seperations? (Re: Profile Names and other suggestions)
- From: Richard Kenward <email@hidden>
- Date: Sat, 6 Jan 2007 22:22:20 +0000
In his posting of Sat, 6 Jan 2007, writes
Andrew Rodney <email@hidden>
Look, both sides can come up with all kinds of examples of boneheaded
users
doing stupid things that hose files. It's pointless.
Again, I submit it's vastly easier to train a photographer to produce
acceptable files for output to any device, even a press then it is to
train
a prepress person to shoot a job. As yet, I know of no technology that
makes
it easy to light a subject well, compose it well and produce an
artistic
expression that someone on the receiving end will pay for. On the other
hand, if print shops would conform to print standards or at least keep
their
processes under control and supply an ICC profile for that process, any
photographer who understands how to use Photoshop's soft proofing and
the
Convert to Profile command can get 90%+ to the goal necessary to
reproduce
the image. You want to massage the file? Fine. But let's look at the
recent
history of photography, typesetting, prepress and imaging. What's the
old
saying? Those who repeat the same mistakes and ignore history are
likely to
continue making the same mistakes over and over again.
Dear Andrew
I agree with much of what you have written to this long running thread!
I have had years of having images wrecked by pre-press/printers not
doing their job right either through ignorance or simply not caring
sufficiently. The good people are in the minority from where I am
sitting.
Let's not forget that it's the photographer who will very likely be the
one person who has been in direct contact with the job from the very
start of a project. They should know what it is about their images that
makes them live and 'work' and fulfil the client's brief. They should
also have a very good understanding of what compromises to make
following conversion from RGB to CMYK, so as to achieve the best end
result. After all, their whole working lives have been spent in working
with seeing and working with colour and with various print process.
Why the heck should some possibly uncaring operative in a printer's
pre-press department be so much better placed to make a good separation
I wonder; especially as they may well be ignoring profiles and be
working on a worn out, unprofiled monitors in poor working conditions,
with not a hope-in-hell of seeing the photographer's RGB files as
intended. Obviously this is not so likely in a decent pre-press
company, but then we are still left with the question of what
conversion, for what conditions and where etc. Strikes me they are in
exactly the same boat as the photographer on that score but with perhaps
more experience but less 'connection' with the job!
IMO it's perfectly feasible for any photographer serious about their
work, and committed to the task of carrying out CMYK conversions, to
equip themselves with all that's necessary for the
task.....rip/printer/proofing booth/spectro. and the necessary working
knowledge.
I totally support the view that photographers who want to carry out
their own conversions should get out onto the print shop floor, and get
a good understanding of what goes on there. It's also a good education
to see jobs through from start to finish, including signing off on the
pass sheets, and being involved in the decisions leading up to that
point. I started doing this over twenty-five years ago, and would not
have any hesitation in pulling the plates on a job if I felt that the
results were not going to happen.
Cheers
Richard
snip
--
Richard Kenward www.precision-drum-scanning.co.uk +44(0)1873 890767
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