Re: Who does the separations?
Re: Who does the separations?
- Subject: Re: Who does the separations?
- From: Klaus Karcher <email@hidden>
- Date: Tue, 09 Jan 2007 09:53:37 +0100
Richard Kenward wrote:
I agree that if the end usage cannot be determined, then photographers
are best sending out tagged RGB files with covering information as to
that fact together with good aim prints.
I am pleased we agree on this issue.
In my everyday business life this is the normal case.
In between I asked myself the question if all of the photographers
involved in this discussion make exclusively coffee-table books!
We serve agencies and clients in a wide range of economic sectors, e.g.
food-, fashion- and manufacturing industry, power and telecommunication
suppliers, banks, insurance companies, service providers, ...
They need all kinds of advertising material, trade fair stands,
packages, dispensers, displays, magazine and newspaper ads, catalogs,
field service media, billboards, booklets, mailings, ...
E.g. only for the packaging of a simple product like yogurt, the same
theme is needed for three different print conditions (cap, label and
dispenser). And packaging means -- as a rule -- strange, less
standardized processes and many spot colors.
Knowing the application and knowing that there will be only *one*
application at the time the photographer delivers his shots is a rare
exception for me.
I'm glad if we can at least narrow down the possible sizes and print
technologies when we have to build a key visual for a new campaign or
product. To balance when it's time to split the trunk into different
resolutions, cut-outs or groups of output conditions is often a
tightrope walk between flexibility and efficiency. (Of course the
deadlines are always "ASAP" and everything complies with Murpy's law: in
the moment you've saved and closed a reduced version, the phone rings
and you have to go back to the 2.5 GB PSB monster ...).
We sometimes use groups of adjustment layers on top of our master RGB
file to "swich" between different output conditions and to compensate
the different gamut mapping strategies (and flaws) of the profiles involved.
We need accurate scheduling, a sophisticated version tracking, skilled,
dependable, empathic and communicative employees and partners,
standardized processes, reliable color management (gamut mapping) and
many other things. What we don't need at all are photos or retouches
supplied in arbitrarily selected CMYK spaces.
Clipping can no be inverted (also device link profiles can't do this)
and therefore the decision *if*, *where* and *how* the gamut of an image
should be clipped or compressed makes sense when the output gamut is
known -- not before. We take responsibility for this decision (amongst
others), make proofs, show them to the customer and when he is
comfortable with it, our work is done and it's up to the printer to do
his part.
BTW: there *are* still few stock suppliers selling untagged "any" CMYK
images. And -- even worse -- there are art buyers who buy them.
Regards,
Klaus Karcher
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