Re: Photographers, printers, and proofs
Re: Photographers, printers, and proofs
- Subject: Re: Photographers, printers, and proofs
- From: Mike Strickler <email@hidden>
- Date: Sat, 19 Apr 2008 09:25:04 -0700
Good points, Bob. Responses below.
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Message: 9
Date: Sat, 19 Apr 2008 10:57:27 +0100
From: Bob Marchant <email@hidden>
Subject: Re: Photographers, printers, and proofs
To: ColorSync List <email@hidden>
Message-ID: <email@hidden>
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
On 19 Apr 2008, at 06:36, Mike Strickler wrote:
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.
Hi Mike
Fully agree with the above , but if it's a decent proofing device ,
I'd expect the DeltaE values to be tighter the ISO 12647-7
tolerances.
Well, at the time of installation, yes. And with diligence you can
maintain this, but frankly in practice this doesn't happen and
doesn't need to. If you're even close, especially on the gray
patches, I'd be thrilled, especially if the proof checks out
visually. The ISO tolerances are not for every day use, but for
certification of systems--I should have mentioned this. In other
words, it's a goal to shoot for when you're trying to find out what
your system can achieve on, as Don Hutcheson would say, "a good day,
downhill, with the wind at your back and a full tank of gas." I know
we'll now hear from certain people who claim they get an overall
DeltaE of .38 on every proof, and so on, but that's just meant to
scare you.
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.
Why not ? If it's a reasonable investment as a lone photographer ,
surely it's not beyond a design group to have the same.
Of course it's reasonable. I merely observe that in practice it
rarely happens, mostly because people are too busy. They don't want
to do it. That does not preclude an individual photographer from
actually doing it, and I applaud one who does.
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.
I appreciate the need for consultants in many areas, especially
initial set ups , education and building custom profiles for those
who are not especiallly CM savvy , but it shouldn't be beyond the
capabilities of designers to linearise their proofer now and then. It
may be that it's more effective cost wise for some agencies / design
groups to outsource this , but as a sole trader photographer , the
numbers don't stack up quite so convincingly ,and it just has to be
a matter of climbing that steep learning curve <BG>.
I realized that statement would appear self-serving, but there was no
way around the fact that very few creative professionals have the
time, even if they have the interest. If you do, I say, hurrah, and
go for it.
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