Color Management for Black and White - Black and White in Photoshop CS4 and Photoshop Lightroom - page 26

to the output print. See Chapter 8, “Printing”, for more in-depth step-by-steps
on print proi les and printer driver settings.
Output and Media Considerations
Another signii cantly inl uential piece of the color reproduction puzzle
involves the variable gamuts of chosen media surfaces. Glossy surface papers
tend to have a much larger reproduction gamut than do matte and i ne art
surface papers. Larger gamuts allow for more saturated and richer color and
black reproduction. It is often a dii cult sacrii ce for a photographer to lose
color saturation in order to work with textured i ne art papers. But if saturation
is the look you are after, you may get the best results moving to glossy
surface papers. Notice the dif erence in the color output reproduction gamut
between Epson Matte and Semigloss papers.
Softproof, Evaluate, Tweak and Repeat
As we are limited by the boundaries of the laws of physics, the i nal
component of both the print workl ow and the color management system
is the softproof, tweak and repeat system we apply in order to resolve
the remaining dif erences in color and output consistency. The process of
softprooi ng and tweaking is the i nal phase of practice that brings an image
from the third base to the home plate in the otherwise nerdy tech speak
world for achieving color accuracy within the system.
Glossy papers have a larger gamut than matte surfaces