OK, I think I get it, but what about us guys who slave over a hot Mac keyboard all day cranking our newspaper ads. It would be helpful to see a set of instructions on just how to set up profiles for optimum 4-color reproduction in newspapers. We work the photos in Photoshop, convert to CMYK using the default profiles, then place 'em in Quark. And don't suggest that we ask the prepress guys at the newspapers, they know less than us. Thanks.
Submitted by bambamman on Tue, 07/29/2003 - 09:55.
I must strongly disagree with your most recent response. The prespress people I know, spend hours FIXING graphic designers mess ups. You may know how to make it look good on screen, but technically, graphic designes as a whole are very weak when it comes to printing their (art?) If prepress techies just printed most designs as they came in, the world would be more full of ugly print jobs.
Submitted by Colin MAC Guy on Thu, 11/17/2005 - 09:58.
Profiles author recommends are far too general. ECI, ISO, FOGRA... there are many far more precise profiles available online if printer doesn't have their own custom profiles. Which, as well as those I have mentioned above, should be used to render separations for specific print conditions and machines.
ex. LWC up to 70 g/m2 or above 70g/m2 depending on the paperweight would be a far better solution than SWOP (and there is a substantial difference between paperweights), and for sheetfed machines there are also much better 'non-press-specific' profiles than Photoshop's. And if you do your separations in Photoshop using ex. COMMSPE Glossy above 70 g/m2 without embedding profiles, place thus created images in ex. InDesign using the same col. settings but WITHOUT embedding profiles into PS/PDF your color will be rendered the way you have rendered it. Since film or plate output doesn't need color shifting to visually try to reproduce color like inkjet printers (further more we don't want ANY color shifts at CTF/CTP output ie. after our output file), and since such output devices should be as linearized as possible using densitometres, why is embedding ICC profiles recommended in a screenshot? Especially such general profiles that are not paper, temperature, moist or machine-specific?
Submitted by Boris Senker on Sat, 07/26/2003 - 12:39.
My first thought after reading this was in line with what gtwain said about dmax. For those of us out there print on ink jet printers, the US Sheetfed Coated v2 icc profile is probably too much ink, the US Web Coated (SWOP) v2 profile would be better. How many people are now going to look at their dark proofs and decide they need to lighten up the image?
An even worse evil that happened in the early days of PS 5 was it's default RGB color space of SRGB. That coupled with a default color management policy that converted your existing images to SRGB ruined a lot of legacy PS 4 images.
Good stuff to be talking about but I would also appreciate more depth. Where's our old friend and color geek Bruce Fraser when we need him?
Talk to your printer's head of prepress before doing any conversions. The Dmax of 340 of the Sheetfed Default can often be too high. Also the "Medium" default for the black often needs to be tweaked for good work. It's nearly always easier to run your ink up a bit for better density, than to try to lighten it up on press to help preserve shadow detail. In the example given about "just change the mode in Photoshop" was that gem coming from a printer or a sales rep?
While what has been said in the review is not wrong it gives a very simplistic outline of the whole process of creating CMYK files.
It would have been a good idea to give details of the rendering intent selections as they describe how Out of Gamut Colours should be dealt with when converting from RGB to CMYK. Each can give very different results and the same rendering intent will not be suitable for all images. It would also been good to mention that you could ask your printer or Repro House if they have a custom ICC Profile for there press/output device ensuring your files are within the gamut of that particular press etc.
selam While what has been said in the review is not wrong it gives a very simplistic outline of the whole process of creating CMYK files.
It would have been a good idea to give details of the rendering intent selections as they describe how Out of Gamut Colours should be dealt with when converting from RGB to CMYK.
Each can give very different results and the same rendering intent will not be suitable for all images. It would also been good to mention that you could ask your printer or Repro House if they have a custom ICC Profile for there press/output device ensuring your files are within the gamut of that particular press etc sohbet chat fenerbahce
Chat
Profiles for 4-color newspaper work?
OK, I think I get it, but what about us guys who slave over a hot Mac keyboard all day cranking our newspaper ads. It would be helpful to see a set of instructions on just how to set up profiles for optimum 4-color reproduction in newspapers. We work the photos in Photoshop, convert to CMYK using the default profiles, then place 'em in Quark. And don't suggest that we ask the prepress guys at the newspapers, they know less than us. Thanks.
Prepress People ......
I must strongly disagree with your most recent response. The prespress people I know, spend hours FIXING graphic designers mess ups. You may know how to make it look good on screen, but technically, graphic designes as a whole are very weak when it comes to printing their (art?) If prepress techies just printed most designs as they came in, the world would be more full of ugly print jobs.
Swap from SWOP
I will give it a try and chart results.
Thanks
Too generalized... and why embed profiles for press unless press
Profiles author recommends are far too general. ECI, ISO, FOGRA... there are many far more precise profiles available online if printer doesn't have their own custom profiles. Which, as well as those I have mentioned above, should be used to render separations for specific print conditions and machines.
ex. LWC up to 70 g/m2 or above 70g/m2 depending on the paperweight would be a far better solution than SWOP (and there is a substantial difference between paperweights), and for sheetfed machines there are also much better 'non-press-specific' profiles than Photoshop's. And if you do your separations in Photoshop using ex. COMMSPE Glossy above 70 g/m2 without embedding profiles, place thus created images in ex. InDesign using the same col. settings but WITHOUT embedding profiles into PS/PDF your color will be rendered the way you have rendered it. Since film or plate output doesn't need color shifting to visually try to reproduce color like inkjet printers (further more we don't want ANY color shifts at CTF/CTP output ie. after our output file), and since such output devices should be as linearized as possible using densitometres, why is embedding ICC profiles recommended in a screenshot? Especially such general profiles that are not paper, temperature, moist or machine-specific?
What about the evils of SRGB?
My first thought after reading this was in line with what gtwain said about dmax. For those of us out there print on ink jet printers, the US Sheetfed Coated v2 icc profile is probably too much ink, the US Web Coated (SWOP) v2 profile would be better. How many people are now going to look at their dark proofs and decide they need to lighten up the image?
An even worse evil that happened in the early days of PS 5 was it's default RGB color space of SRGB. That coupled with a default color management policy that converted your existing images to SRGB ruined a lot of legacy PS 4 images.
Good stuff to be talking about but I would also appreciate more depth. Where's our old friend and color geek Bruce Fraser when we need him?
Michael
Swap from SWOP
I will give it a try and chart results.
Thanks
Dmax and black plate info missing
Talk to your printer's head of prepress before doing any conversions. The Dmax of 340 of the Sheetfed Default can often be too high. Also the "Medium" default for the black often needs to be tweaked for good work. It's nearly always easier to run your ink up a bit for better density, than to try to lighten it up on press to help preserve shadow detail. In the example given about "just change the mode in Photoshop" was that gem coming from a printer or a sales rep?
More detail
While what has been said in the review is not wrong it gives a very simplistic outline of the whole process of creating CMYK files.
It would have been a good idea to give details of the rendering intent selections as they describe how Out of Gamut Colours should be dealt with when converting from RGB to CMYK. Each can give very different results and the same rendering intent will not be suitable for all images. It would also been good to mention that you could ask your printer or Repro House if they have a custom ICC Profile for there press/output device ensuring your files are within the gamut of that particular press etc.
detail
selam While what has been said in the review is not wrong it gives a very simplistic outline of the whole process of creating CMYK files.
It would have been a good idea to give details of the rendering intent selections as they describe how Out of Gamut Colours should be dealt with when converting from RGB to CMYK.
Each can give very different results and the same rendering intent will not be suitable for all images. It would also been good to mention that you could ask your printer or Repro House if they have a custom ICC Profile for there press/output device ensuring your files are within the gamut of that particular press etc sohbet chat fenerbahce
Chat