Hi Mike, all FOGRA47 actually reflects a printing condition with uncoated paper (with little amount of OBA). We are currently working on FOGRA52 which reflects uncoated stock with typical (high) amount of OBA. Here we reflect the ISO 3664:2009 printing conditions that can be found in the real world :-) and all modern viewing cabinets (-> M1). The white point will be around 93 2 -10 ish ... Currently practical print tests are carried out (also to verify the corresponding [ECI] ICC profile). So please wait a few weeks (or visit the Fogra symposium where we have an extra session devoted to OBA :-) regards Andy On Dec 4, 2013, at 11:15 PM, Ben Goren wrote:
On Dec 4, 2013, at 2:58 PM, Graeme Gill <graeme2@argyllcms.com> wrote:
Mike Stewart wrote:
What is the best way to set up in this scenario? Should I use the UV Cut or not on papers with high levels of OBA.
It's not so much about the paper - it's about your viewing conditions.
This is the main reason why I avoid fluorescent papers for anything critical. Take the print from one room to another and then step outside and it dramatically changes appearance. A non-fluorescent print generally changes appearance only in ways that don't tend to consciously register unless you're looking for them, thanks to adaptation.
If the job is going to be printed on fluorescent paper, either it's going to be displayed in a fixed location (and I'll get a measurement of the light in that location and profile accordingly), or I'll just let Argyll do its best with its default options, which represent as good a compromise as you're going to find.
But if a critical match is needed, fluorescent paper is almost always the worng tool for the job.
That's especially true for something like a magazine that'll get read everywhere from living rooms to doctor's offices to the beach to the campfire....
Cheers,
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