Graphics Programs Reference
In-Depth Information
what I see on the screen; it's very different when you're printing analog
imagery because what you'd have to do is estimate how much of a filter
pack you'd need to correct the image. With color management solutions,
once you know you have the image the way you want it to appear on
screen and you have a good profile, that basically represents what you're
going to translate to the ink and the media. You can then be assured that
what you're going to get is what you see on the screen. It's much less
trial and error than the old days working analog.
ADR:
But you have to do some interpretation? What you see on the
monitor and the print isn't an exact match?
GG:
No, even working with soft proofing and adjustment layers, I
still find that in the final analysis I still do a bit of fine tweaking. And it's
done in earlier stages with adjustment layers, whether it's a curves adjust-
ment layer or whatever, but it's like anything else, once you get used to
realizing what your printer is capable of and not capable of, and likewise
what the inks and papers are capable of, then you know maybe you need
to push your curves to improve upon the soft proof. For me, taking this
to the next level by using a third-party RIP. It's all about fine tuning to
get the image where you want it to be and it's totally subjective. How I
see my white or black point is going to be totally different than how
someone else will see them. That's why I can't rely on other people to
do this for me. Being a control freak, I have to be the one ultimately
responsible for where I set my black point, where I set my white point,
and where I looking to place my midtones. Lots of that is done in the
profiling process but a lot of it is also done just by tweaking the files in
the ninth stage just before you go to print.
ADR:
What part of color management drives you crazy?
GG:
The weakest link is the lack of understanding by some people.
For example if I'm sending a file out for someone else to print and they
don't properly implement color management. Even though there are
standardizations in calibrated monitors, color spaces, inks, and media, no
two people are going to be able to print the picture identically and that
can be an issue. If I send out my files with a Matchprint, those people
are never going to get exactly the same output from the file but this is
certainly a good starting point. The biggest issue is trying to get your pic-
tures reproduced in magazines the way you see them. Even if you supply
them a Matchprint, there are still so many variables in how others inter-
pret your vision. Even if you set up everything properly in your Photo-
shop color settings, and you're using specific color spaces, two different
people will print the same image slightly differently. There still isn't
enough standardization between two parties.
ADR:
But when you print your own images, you have all the control
you need?
