Re: Photographers, printers, and proofs
Re: Photographers, printers, and proofs
- Subject: Re: Photographers, printers, and proofs
- From: Mike Strickler <email@hidden>
- Date: Fri, 18 Apr 2008 22:36:29 -0700
"Produce accurate color" doesn't actually mean anything. "Reproduce
color accurately" can mean something but one must define "accurate"
very carefully. Even "certified proofs" can mean very different
things to different people; most of these sheets are less than they
should be, to put it mildly. Both proof makers and buyers need to pay
close attention to the following:
All proofs for offset should be demonstrably compliant with the
chosen standard (e.g., GRACoL, SWOP, FOGRA), whether the proofing
system and media are officially blessed or not. Confirmation of a
good proofing system is NOT a GRACoL or SWOP logo but a print of a
proofing test form that includes the IT8.7-4 profiling chart along
with test patterns and images that demonstrate good gray balance and
tonal reproduction for visual assessment. The IT8.7-4 chart should be
read, with the data compared to the official characterization data
set, and DeltaE values should be within ISO 12647-7 tolerances. This
test should be done at regular intervals, but particularly when the
media or other system components have changed, or when buying proofs
from a new source. For process control every proof should have the
new Idealliance ISO 12647-7 control strip--within the image area so
it is color managed with the rest of the proof. The strip must be
read, not merely displayed, and results confirmed in a report that
accompanies each proof. Remember, certified systems can produce lousy
proofs just like uncertified systems, so insist on evidence that the
proof really passes muster.
I totally agree that creative professionals can benefit hugely from
in-house proofing systems (including most importantly good soft-
proofing), but the commitment goes beyond merely installing a
suitable system. It must also be maintained, and it may not be
realistic to expect that the time and knowledge (or the purchase of a
fast strip-reading spectro) necessary for this will be available at a
studio or agency. The RIP manufacturers have tired hard to make
recalibration friendly, but we're still finding that in practice it
gets put aside far too often, even in many printing companies. So the
budget usually must include the services of a qualified consultant
who will keep everything in tune.
Mike Strickler
MSP Graphic Services
423 Aaron St. Suite E
Cotati, CA 94931
707.664.1628
email@hidden
www.mspgraphics.com
On 18 Apr 2008, at 17:12, Peter Hammarling wrote:
I don't think it's practical for designer's to produce contract
type proofs in-house, if that's what this debate is about.
As a photographer ,I can assure you it's great to be able to produce
in house certifiable proofs. It establishes the provenance of colour
managed images in a hard copy form and works wonders when it comes to
any 'debate' about colour accuracy. Our clients ( including
agencies , design groups and direct t commissions ) all benefit from
this . Surprisingly (<BG>) they have found that they seem to avoid '
colour corrections' further down the workflow when they are able to
brandish the proof.
. Isn't it the job of the pre-press house and the printer to
produce accurate colour?
I would have thought that it's the job of the pre-press house and the
printer to maintain accurate colour . I know that this may appear as
a minor and pedantic take on the semantics , but the difference is
where the cost and responsibility lie for operating a properly
managed workflow. In house proofing, be it at the photographer's or
the designer's helps establish this. The cost of a hardware and
software to produce ISO certifiable proof is now well within the
budget constraints of most photographers working in the advertising
and design group markets , so it shouldn't really be an issue for a
design group.
Of course , there is more of an investment required than hard cash.
It 's also necessary to understand the whole process including CMYK
separation. As an advertising photographer working digitally , it's
become one of the tools of the job to understand the implications of
RGB to CMYK conversions when shooting and retouching.
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