Graphics Programs Reference
In-Depth Information
from a desktop proofer like an ink-jet is a far better solution since the
appearance of the print has a basis in reality. If a cross-rendered print
could be produced, it means the person doing this cross rendering must
have a CMYK output profile for the process either supplied by the printer,
custom, or generic. That being the case, the image could be converted to
CMYK ready for output. Sending both an RGB tagged document and a
CMYK converted document using a good profile gives the printer every-
thing they could possibly need. What might be useful is some waiver that
lets the photographer off the hook if the printer decides to use the RGB
file and produces an inferior CMYK conversion (it happens more often
than you think). Once again, a cross-rendered proof from the CMYK doc-
ument can't hurt, especially if your client has paid for this output. For
this scenario to work, the photographer needs a CMYK output profile,
thus the reason this chapter exists.
There are some issues in producing really good CMYK profiles. Few
are technological issues. Most are either business related, cultural, or
simply due to a lack of control on the part of some or all parties involved
in this process. With proper communication and tools, the process of
making superb separations is not difficult once you understand a few prin-
ciples that will be discussed. The pluses to the photographer are control
over the final intent of their images all the way to press, a competitive
advantage over those photographers who fear CMYK, and a nice profit
center for the photo studio. This does require an investment in time,
which you're doing at this very moment by learning about the process;
equipment; and some selling skills. Once you've tested the process a few
times and proven to your clients that you can produce quality color sep-
arations, you'll be surprised that you once feared the process.
There are still issues to overcome. You know you want to target a
CMYK conversion to a specific print condition and sometimes getting that
part of the process defined is next to impossible. You still have to deal
with outside people running your files through their equipment. It's
unlikely that you'll be dropping a million dollars on your own Heidel-
berg press. You may find roadblocks to finding the right answers to some
necessary questions in an attempt to profile and color manage the
process. Again, this isn't a technology problem nor is it a problem that is
too complicated for you to solve. I hope that as time goes on and color
management is more accepted in the print world, this will get easier.
The Contract Proof
Even though we may have no idea where a job will be printed or on
which press, we do have an ace in the hole—it's known as a
contract proof
.
This is a proof by an outside shop or perhaps the printer running the
press. Once the art buyer agrees to accept the color of the proof, the
printer contractually agrees to match this color on their press. In other
words, a contract proof is made and the print buyer (client) views this
