Graphics Programs Reference
In-Depth Information
Luckily, one of our partners, David Coons, was a color scientist and
understood the world of Look-up Tables and color sampling. David
created a Look-up Table for several of our popular papers and we hired
a programmer who created a plug-in that allowed us to perform custom
RGB-to-CMYK conversions for specific substrates. We were able to create
custom gamma curves and alter the white and black points to tweak the
conversion. Soon we were able to create specific settings for specific
papers and the number of proofs we ran was cut in half. Now keep in
mind that none of these advancements allowed us to soft proof. Any of
the tweaks we made in Photoshop were “seat of the pants” corrections.
In 1996, we purchased a Colortron, mainly using it to do spot read-
ings and monitor calibration. ColorSync remained a confusing and arcane
tool. We found the ColorSync plug-in modules too much trouble to use
with our work flow. It required us to import the target file (a proprietary
IRIS format), convert it into TIFF, and then process it with the ColorSync
plug-ins. This process added 15 minutes to the entire process and we
found the results to be less than accurate. The release of Photoshop 5.0
in 1998 fully implemented ColorSync and we seriously began to create
a color-managed work flow. By this time we had purchased a Scitex
EverSmart Supreme scanner and a GretagMacbeth Spectrolino and we
began experimenting with alternate methods of CMYK conversion. We
were soon able to create profiles for the IRIS 3047 that provided a con-
version far superior to the CMYK plug-in we had used for several years.
Now we were able to create a final proof in three or four attempts.
Things really got interesting in 2000 when Epson seeded us with an
Epson Stylus Photo 9000 printer and we initiated a long-term beta tester
relationship that continues to this day. We began profiling numerous
papers as we searched for new substrates for the Epson printers. Every
software and hardware upgrade required all new profiles. Needless to say,
our color management skills became finely honed. We refined all the
variables we could and for the first time we were able to successfully use
the soft-proofing feature in Photoshop. Now we rarely printed more than
two proofs—our accountants were happy!
We continue to use a tight color-managed work flow. I can't imagine
working without it. Our clients are even beginning to see the light and
now we rarely receive an untagged file. Once you demonstrate the effec-
tiveness of color management and provide a step-by-guide to implement
it, most will use it.
So, what did we learn in our quest?
• Color management is a tool. A valuable tool. But it doesn't
eliminate the need for a good set of eyes and a refined visual
vocabulary.
• Color management is image dependent. It's precision varies. A
friend compared color management to airline travel—an airplane
takes you from airport to airport. When you arrive sometimes
