Re: Colorsync-users Digest, Vol 4, Issue 371
Re: Colorsync-users Digest, Vol 4, Issue 371
- Subject: Re: Colorsync-users Digest, Vol 4, Issue 371
- From: Mike Strickler <email@hidden>
- Date: Tue, 16 Oct 2007 00:35:26 -0700
Message: 9
Date: Mon, 15 Oct 2007 17:27:59 -0400
From: Jim Rich <email@hidden>
Subject: Re: RGB printing with GMG
To: Colorsync list <email@hidden>
Message-ID: <C339539F.202E1%email@hidden>
Content-Type: text/plain; charset="US-ASCII"
Mike,
So in your view, how does a photographer who is vigilant about color,
quality and consistency handle a recalibration and get the printing
process
to return close to the same exact place it was in the printing process
when a print was made say last month with the Epson driver or even
other rip
products without remaking a profile?
And how close (using any method you want) is that new print to the
print
that was made last month?
Jim Rich
I hadn't realized that that your question was posted as well as sent
privately, so I'll try to reconstruct the answer I sent you (which
resides on a different computer) for the group.
The situation for "fine-art" printing involves somewhat somewhat
different assumptions. First, the fine art print is really the
primary image, not an attempt to exactly replicate the film or
digital original. So there is no question of an exact colorimetric
match there (and sometimes that isn't possible anyway--see related
comment below). As for consistency from print to print, within a run
of an edition, for example, it is enough to keep the nozzles clean.
Next we consider consistency over multiple runs over months or years.
Not only is this not a common situation (lucky photographer when it
is!), there isn't much incentive to be all that exact so long as the
prints convey the artist's intentions. If he gets a new printer or
changes his paper, his goal will more likely be to get better prints
with the newer printer and materials, not calibrate the new setup to
"proof" the previous output, even if he preserves a print for guidance.
On another, related note, Thomas stated that clipping was avoided in
the GMG RGB driver. Well, that will sometimes be true and sometimes
not. The only real limit to the color coming out of Photoshop or
Illustrator is that which is circumscribed by CIELab and the taste of
the artist, as opposed to the color coming out of the printer, which
is limited by the physical properties of actual, not virtual
colorants. I presume Thomas didn't wish to imply that the laws of
physics can be so easily overcome with the right RIP.
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