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CMYK: Is it the devils color space? - Expanded Content

To provide a forum for further discussion about the issue of RGB-CMYK conversion we sent an e-mail to ASMP general members asking them to voice their opinions and experiences. As you will notice below, there is little or no consensus, even among the small group of photographers who responded to our query. In the absence of accepted standards, everyone is doing their own thing.

© Doug Walker, www.walkerphoto.com

Doug Walker's vibrant background lighting looked great in RGB, but not when converted to CMYK, as is often the case with vibrant blues and pinks. Much attention and care must be given to an image such as this to effect good results.

When converting this image Walker was dissatisfied with a straight CMYK conversion so he chose to softproof. He opened two images simultaneously (one RGB and the other a CMYK softproof) and made successful adjustments to the image so it looked good in softproof form. Following the printer's instructions to convert to SWOP Coated v2, the image looked great when he turned over the file.

Even after doing a softproof with successful results, the final printed piece still looked Magenta after printing. A hardproof was recommended by the photographer but was refused by the client due to deadline pressures. Obviously the SWOP Coated v2 profile did not represent the press conditions at the time of printing. This could have occurred for a number of reasons. Since SWOP Coated v2 is a good general ICC profile, using this data can get you close but it's never as good as using targeted data.

In an effort to improve the reproduction of his future work for this client, Walker took things one step further. He contacted the printer and obtained the proofing profile for their proofing device, the numbers for which actually characterize the proofer's behavior. He had Terry Wyse of WyseConsul Color Management Consulting create a series of custom profiles from this "characterized data". Subsequent covers using these custom CMYK profiles separated and printed much better than the previous covers printed using SWOP Coated v2.

As Wyse pointed out to Walker about working with targeted data, "it's akin to having a box of 100 speed chrome film which will yield good results when shot at 100 ASA. However, if this film is tested for speed and results actually show an optimum speed of ISO 80, you will certainly be closer using 80 than 100. The same thing applies to ICC profiles as well."

This is a good example of what can happen if client, photographer, color management consultant and printer all work closely together and share in the big picture.

From: Richard Anderson

Web site: http://www.RNAPHOTO.com

As I work on the digital standards, I've been in touch with lots of photographers and also lots of printers. There is this huge disconnect right now; most Photographers think that printers are the best ones to do RGB toCMYK, while most printers would prefer not to even accept RGB into their workflow. 

After one of my first all-digital photo shoots was poorly printed, I decided to learn how to convert digital files to CMYK, and have been offering that service to my clients.  I had lots of trepidation at first, but I discovered two things; If I could make the RGB file look good and the way I wanted it to look, the conversion to CMYK was relatively easy, and second, that printers could be trusted to preserve the look of a CMYK file a lot more than they could be trusted to preserve the look of an RGB file.

As more and more printers adopt color management, I think the risk of giving them RGB files will disappear, but it is always going to be true that the photographer should try to optimize the RGB file before sending it out into the world.  When I hear of photographers who give out RAW files, my blood pressure goes up. They must not care how their work gets printed!  It definitely puts them in the category of those who depend on the kindness of strangers.

From: David Riecks

Web site: http://www.riecks.com

RGB to CMYK

My first attempts at RGB to CMYK conversion, back in the mid '90s were done more out of a sense of desperation than anything. The magazines I'd been sending slides to were doing a good job at returning originals unscathed. However, the jobs I worked on locally¾that were printed locally¾often returned with scuffmarks, covered in separation oil, or worse. They weren't used to clients or photographers wanting to use images multiple times. Most of the jobs these printers did were for local clients who were doing one-offs, and the originals were often never used again.

Since I already was having Photo-CD scans made for designers to use for FPO's I decided to look more deeply into what was involved in the conversion of these files to CMYK data. Luckily one of the magazines I worked with was allowing me to do some retouching on the drumscans they were making of my work. Thus, I was able to use those files as models for understanding how an image on screen should appear, in order for it to look good in print.

Any separations I created myself, needed to "fit in" with the images they were creating, as there is no easy way to make changes for a single image on a press sheet that contains multiple images. If you think of creating a set of images that can be "gang" printed (like a contact sheet) where each image needs to match the others in terms of tonality/contrast and the depth/saturation of colors; then you'll get the overall concept.

About this time I discovered "Professional Photoshop 4" by Dan Margulis. This book was a goldmine of information that the printers and pre-press bureaus were unwilling, or unable to share. Most local printers really had no idea what their "specifications" were, other than that they knew the images that came off their drum scanners (or those supplied by the only prepress shop within 100 miles) would look good when printed. Many printers would tell you that they needed images for SWOP (Specifications for Web Offset Publications), even though they were printing on "sheetfed" presses. They were used to a "closed-loop" form of color management, quite different than what we mean when we talk of Color Management today.

I could understand the local prepress service bureau being unwilling to share, as my grasp of this knowledge would mean a loss of business to them. As luck would have it, I was able to "dip my toe into the water" by doing some retouching of my images that had been professionally drum scanned. Using those scans, my "Professional Photoshop 4" book, and the info palette in Photoshop 4, I learned to deconstruct and reverse engineer their separations.

In the past ten years, much has changed, and printers are much more willing to share information. Part of this has to do with the fact they are often using the same imaging tool as we do.... Adobe Photoshop. It amazes me that photographers who would not even think of shooting a job on transparency film without a decent hand-held light meter will think they can get by without investing in a color calibration tool for their monitor. The cost of many of these devices is less than a light meter, and they ensure consistency for those that are relying on what they see when going by the image on the monitor.

From: Matt Lit

Web site: http://www.litfoto.com

As a graphic designer (also) I used to do all my RGB to CMYK conversions. I had never really had a problem because I had been incredibly lucky! Also, I typically had the printer doing the scans right into CMYK format - so it was not an issue for most of the design jobs I was doing.

However, while working on an annual report a few years back, I did all the scanning in-house. The scans were in RGB format. I did the CMYK conversions according to my device profiles. When I got the proofs back (luckily proofs not involving films!) the colors were whacked! To resolve the issue I went back to every single original RGB photo, replaced these in the document and had the printer do the RGB to CMYK conversion - according to their device profiles. The job came out beautifully.

Ever since then, I make it part of my workflow, bid, conference with printer, that all photos will be provided in RGB format and the printer will make the conversion. Once I explain to the printer why I want to proceed in this manner, they not only understand, they all see the sense in doing it this way.

I work with multiple printers and since changing to this workflow have never had a problem with color issues.

From: Tony Armour

Web site: http://www.tonyarmour.com

We have had two different printers proof our RGB files with color so far off that we requested to meet with them to review their Photoshop set-up. As a result of this meeting with discovered flaws in their set-up. In one case the printer was unembedding our color profile by changing our Colormatch RGB file to Adobe RGB without knowing that they made the conversion. They did not understand the difference between the two profiles. Essentially, they did not understand color profiles, which was a shock to us. We chose to redo our files in Adobe RGB and the conversions worked. The other printer had set-up his conversions using the default setting for a web press when we were printing on a sheet fed press. In this case we supplied CMYK conversions and had successful results. Now we prefer to deliver CMYK conversions.

From: Michael Stewart

Web site: http://stewartimage.com

These three lines could do more for the general population of photographers, designers, and printers than any lengthy technical discussion.  Many do not understand that they are doing anything wrong. Please respect this direct quote. I crafted it carefully for brevity and content.It wasn't simple to make it so simple.

Photographers, Designers, and Printers-

    Please stop using Photoshop's Mode>CMYK.

    Instead, use Convert to Profile.

    Convert to Profile shows the profiles and options.

                                                                                     Thank You

From: Steve Hambuchen

Web site: http://www.stevehambuchen.com

I'm primarily an editorial shooter doing work for a few industrial and university clients--among others--in Portland, OR. Much of the work shows up in some pretty nice PR publications.

I am certainly no color management expert, but I do keep a calibrated monitor (Monaco Optix--weekly and before big jobs) and regularly shoot the Macbeth color checker before color-critical work. What I don't know is what specific questions to ask a client’s pre-press or design person regarding how they want their files. I've never been provided with an ICC profile (although I often ask) and usually when I start asking about profiles or colorspace, I usually get a, "just send it over at 300 dpi and don't worry about RGB or CMYK--we'll take care of that." About 1/3 of the time it's only mediocre once it's printed.

I do have one press I work with which talks in specifics regarding ink density and percentages and I still don't understand much of the lingo--their colors ultimately look very flat despite punching up the saturation to gamut warning levels. So somewhere I'm not doing something right I suppose.

Unless told otherwise, I usually send files in Adobe '98, thinking the designer's probably working in that space as well (if they even know what that means) and they'll be the one to do all the layout/composting etc., and someone beyond them will ultimately do the separations/CMYK work. This assumption may be completely wrong in some cases. The most successful examples of my work (colorwise) are followed by the designer all the way through a press check, but who's paying for press checks these days?

Most often, once I turn in files, I have no idea what anyone is doing to them, and the people I deal with are most often confused when I ask what I feel are basic questions. It feels like the one-time work of bureaus is lost in limbo and only half the time gets picked up responsibly.

From: Ron Scott

Web site: http://www.ronscott.com

For years I have avoided doing any RGB to CMYK separations (aka conversions) for my clients. It opens me up to a whole rash of grief. You see, there is no "standard" way to make this conversion. This is because the conversion is dependent upon how the image is to be printed (ink, press and paper type and other parameters). I would have to become an expert in commercial print reproduction to do these conversions well. This is something with which I did not have to be concerned when I was shooting film. I just gave properly exposed and color-balanced chromes to my client and they in turn passed them off to their printer to do the separations and realize the desired results. I see no reason to change that process today. I shoot properly exposed and color-balanced digital files and pass them to my client. As before, it is the job of the printer to get the color reproduction desired by the client.

Because of the proliferation of desktop software that includes the ability to do RGB to CMYK conversions, many clients (as well as photographers) may be tempted to do their own separations. And some clients insist that the photographers do it for them. The relative ease with which one can obtain a CMYK color space file using popular software makes this process seem simple and fool proof. However, when the color reproduction is less than satisfactory it is finger-pointing time. This is why I recommend that photographers avoid doing their own separations unless they really know what they are doing.

If one chooses to do separations, at the very least he or she should have a CMYK color-proofing printer. In spite of what hardware and software manufactures claim, it is not possible to preview accurately how colors will reproduce on the printed page by viewing the CMYK image on a monitor. Computer monitors have a greater dynamic range and display color by transmitted light using red, green and blue pixels. The printed page displays color by reflected light using cyan, magenta, yellow and black inks. This is no different from the old problem of trying to visualize how a color print might look by looking at the original transparency. At the very minimum one must have an accurate way to preview ink on paper and a color-proofer is the closest thing.

However, just having a color proof is not enough. This just shows how a CMYK image will appear if printed using the printing parameters set in the print software. Change the printing parameters (different paper, ink, press, etc.) and the proof is no longer accurate. The bottom line is that there is no universal way to make a CMYK separation that will work under all circumstances. This is why I think it best to provide the client an RGB file and let them obtain separations as needed to meet the requirements at hand.

Now if you still want to get into the separation business, learn something about commercial offset printing. Learn the difference between UCR and GCR. Learn about dot gain. Learn about SWOP versus other types of inks. In short, become a printer's apprentice. And then don't forget to charge your client handsomely for your service. What I do not recommend is that you open up your RGB image in Photoshop, convert it to CMYK, save it and ship that image to your client. That is unless you really know what you are doing and know how the image will be printed. Otherwise, I predict grief in your future.

From: Ben Saltzman

Web site: No Web site, e-mail: bensbest@bitstream.net

Here is a simple story. It is even true.

I photographed some spice containers on white for a client. They were tagged with "ColorMatch" RGB. The neutrals were drop dead neutral and I had detail in the highlights we cared about and almost a 300% black.

These beautiful files were burned to CD and delivered to the art buyer. The next morning I got a panic call from the art buyer. "The files you sent me are all green!!!!!". I calmly asked her if I could come over to their offices and if the sales representative from the print house that caused this mess could also be present. And make sure he brings the original RGB CD. (no, I didn't say the mess part to her). I arrived early to set the stage. We went to one of the many workstations they use in this agency to do "Professional" work. I opened Photoshop and checked the preferences. Everything was set to the defaults. sRGB etc., etc. I did Adobe Gamma, set the color space to ColorMatch and opened up the files from an extra disk I brought just in case the printer’s sales rep forgot his. The sales rep showed up while I was showing my client that " by the numbers " the files I delivered to her were neutral. (she never bothered to open them to look before she sent them). I converted the RGB file to my flavor of CMYK, and by the numbers compared it to their conversion. I took the original disk from the sales rep and loaded it into the machine to prove to both the sales rep and the client that the files the printer converted had indeed started out neutral. These converted files now had an overall cast of 30C. We both turned to the sales rep for an answer. All he could say was " That damned night shift " then he took back the original RGB disk and as he left promised to make it right.

Printing is not rocket science, but there are severe limitations.

From: David Robin

Web site: http://www.davidrobin.com

Yes indeed the RGB to CMYK conversion is an interesting issue. As photographers we can only guarantee color accuracy within our own calibrated closed-loop system. As soon as we begin to act as a pre-press house we are taking on responsibilities beyond that which we have control.

I have had numerous clients ask me to make these conversions. Most clients (including some production departments in large agencies) are surprisingly not familiar enough with the process to understand what they are asking for and that it is more than just pushing buttons on the computer.

In a nutshell I prefer that the client or pre-press house handle the conversions unless the client's production department can provide conversion settings from their printer or pre-press house. And even then I charge for this service (and the associated costly CMYK approval prints) as I am now being asked to perform the duties of a  pre-press house.

The act of converting RGB to CMYK means you are permanently losing color information. And choices are being made based on the offset printer's parameters and settings (not to mention calibrating your monitor to the printer's).Without this information we as photographers are working in the dark and being held responsible for the outcome.

From: Paul O’Mara

Web site: http://www.professional-digital-photography.com

I have been shooting a jewelry catalog (72 to 100 pages) for the past 12 years and digital since 2000. I have many horror stories since a new printer has been used each time.Just ask. If anything I know what can happen.

…The concept of color management can be overwhelming at first, especially 3 or 4 years ago as it was first being espoused by the likes of Andrew Rodney. I viewed it as one of the most important links in my total conversion to digital.

When I entered the digital world, a lot of "mystery" surrounding CMYK conversion still existed. It was only luck that produced a quality conversion.The print houses could do it consistently but at a cost because, since they used a closed system, only they could match with any consistency

One client in particular insisted that I do the conversions¾100 of them!.I got lucky because the printer was willing to work with me, but the client was unhappy with the costs of the extra proofing. The only way to avoid absorbing the extra cost was the original bid by the printer, which outlined the conversion costs. Fortunately now, output profiles are available at reputable print houses, so much of the guesswork has been eliminated. For the last two catalogs I photographed and converted, the colors matched and the client was happy. In both cases, the printers provided a profile for their output device.

At present, I prefer not to be responsible for the conversion but, when pressed, I can provide dependable files. I can do this only by understanding and implementing the Color Management practices Rodney preached back when I was learning digital. My ASMP (Atlanta) chapter was the source that led me to the workshop.

From: Dan Naylor

Web site: http://www.portfolios.com/naylorndwc

We have been shooting digital since 1999 and have experienced many surprises in converting files from RGB to CMYK. After working only with transparency film for years, visual color was the first challenge. I would do a shot and it would look fine on my monitor but, when my client opened it on their screen, it was awful. There were many causes, from different screen profiles to uncalibrated monitors.This still happens occasionally. Conversions have been getting better as the cameras and software has improved. Shooting with the Kodak DCS 560 and then DCS 660, there were major shifts and loss of tones, color and severe noise problems.Although, I don't use the DCS 660 very often anymore, the newer software, such as Photoshop Raw, can control a lot of the noise. The smoother the RGB files are the easier the conversion usually is. Changing over to the Nikon D1x improved the process quite a bit. I think that part of the problems with the Kodak, was that you could not shoot a straight RGB file. So, just converting from the camera to my monitor started the chain of events.The next process was setting up profiles on our system that matched the printer that the job was going to. This is probably the most important step and why we do all of our own conversions to CMYK. Giving someone an RGB file without an exact color reference is always a gamble. Other situations I have run across have been posterization of smooth tones and losing all form in certain colors. We have found solutions to most of the problems over the past six years, from doing minor retouching to remaking CMYK plates from the original RGB files. Anyway that you look at it, it’s usually more than just pushing a button.

…Although, I did give some examples of our experiences converting from RGB to CMYK, in my first e-mail, I will try to give you some more info. In essence I will only give a client an RGB file, if the intended use is in this color space (i.e.: for web or photographic prints). Based on the old saying of "garbage in, garbage out", it is worse in the image business. Even before digital, going from a transparency to CMYK was usually a disappointment to some degree. The advantage of the transparency was that it served as a visual guide to the user. With digital we lost this advantage.

My first hurdle happened when I handed over a digital capture to one of the artists in our group, only to find that his working space was 180 degrees out from mine, and with no visual guide to correct it by. If you can't even get consistency in your own studio, what can you expect when you send an RGB to the outside world? As I mentioned above, the better the input, the better the conversion. As the cameras and software have improved the conversions have become easier, but not fool proof. The artists I work with have developed conversion settings and profiles that aid in the process. In my personal experience, the better the RGB channels are the better the conversion will be. Also, subject matter, colors and exposure play a part in the results. For example, a brightly lit subject with average color has smoother channels than a shot taken with large areas of deep shadow. Depending on the camera, firmware, or software, certain colors can be a problem. One problem that I have experienced, even with good RGB channels, is posterizaton in large tonal areas after converting to CMYK. So much for just pushing the button. In conclusion, whether you are sending out an RGB or CMYK file, it has to match the output system.

From: Patrick Murphy-Racey

Web site: http://www.pmrphoto.com

One of the big problems in our field right now is that often, photographers have had to learn a great deal more about offset printing because we are doing so much pre-press work in the overall toning and batch processing of our images. A few years ago, I self published my first book which turned out to be a massive learning experience for me. I worked with a printer in Hong Kong so the support I received was less than stellar. I had to learn how to tone files so as to make the images reproduce as well as possible, but my RGB files, once converted to CMYK for the offset press, looked bad. I had to dive in to a whole new element of workflow and learn about paper stocks, what degree of percentage of black could be held by the combination of screen, paper, ink and file, etc...

Working with advertising agencies and photo editors at magazines can be a difficult process. Some of them still think film is better than digital, even when you're handing them 95 megabyte un-interpolated RAW files. I find myself spending more time qualifying photo editors about what they need in terms of the processing of the images than I do negotiating the fee. What they really what to hear is that, "when you get my CD, you won't have to do anything to the photos. The stuff will look great." This is a great relief to most of them and they are happy to pay me to do the job once you convince them of your ability and skill set in this area.

Not only are we expected to update $7,000 cameras every two years, and get paid the same day rates from 1985, now we have to update our computers, software, peripherals, AND learn the first few steps of pre-press. All this and the magazines are no longer having to pay for drum scans because they're receiving digital files. This is part of the reason I've moved my business emphasis away from editorial more towards advertising... The advertising folks know more about what they're getting from me and are more willing to pay for it, rather than demand all the extras for nothing and expect you to thank them for it.

Other than shooting a great picture in the first place, the conversion from RGB to CMYK is the pivotal moment in terms of the output quality in four-color reproduction. You generally lose your nice deep blacks and much of the contrast is lost. I do work in the K channel as well as overall "curves" adjustments. The recent addition of the highlight recovery pallet in CS has really helped to keep the highlights intact when moving from RGB to CMYK. Many of us are doing these things for our clients but how many of us are properly compensated for this?

From: Larry Angier

Web site: http://www.angier-fox.com

I try to educate my client at the beginning of the project and explain the "imperfect miracle" of color imaging. I show them samples of output, differences in displays, such as between my CRT and LCD displays, CMYK samples next to them, etc.

The most important thing I educate my client about is that no one except the two of us will ever see the original; that if we are in the mid 90’s out  of 100% in color consistency and get a very pleasing result, not only will the quality be there for everyone, but big $$$ are saved for everybody all the way around.

My knowledge comes from 30 years as a photographer and graphic designer, with lots of experience in commercial CMYK reproduction in addition to years as a commercial photo color printer printing C prints, Cibachrome, dye transfer and now digital. I've paid for many redos on film and proofing when the program glitched and didn't give me the proper Pantone conversion.

No comparison. Color quality today is the best it has ever been, bar none! Educating the client is paramount. Squeezing that last three to five percent out of getting a perfect result is a waste of time, money and effort. It isn't as important as some stuffed-shirts will have you believe!

From: Sam Notarbartolo

Web site: http://www.samnotarbartolo.com

(second e-mail)

Yes I sent in my experience, but it was more to do with a Printer wanting to convert my Raw to Tiff which is almost impossible.......

I state as many others that shoot Digital I will give an RGB file on my Estimate and verbally.......so far I have had good luck with the Printers reproducing my files, even done electronically without seeing a Proof.

I think the best thing a Photographer can do is understand how to give the best RGB file possible for the Printer to Convert to CMYK......

I have also seen an Art Director just click CMYK and use levels and curves and say DONE!!! "I have 25 years experience, I know what it should look like.".....lol

So it’s a mixed bag. Eye versus Numbers....

(first e-mail)

Hello thought I’d share my first experience about when things can go wrong...

Early last year I started shooting Digital. I asked a client if he wanted to shoot Digital or Film and they choose Digital... It was my second shoot with Digital.

Well the shoot went better than previous shoots because of course they were able to see what they were getting That was a good thing.

But things went sour when it got to the printer. My First mistake was listening to the Printer who said just give him the RAW files, Big Mistake. I thought this man knew what he was doing after a bunch of phone conversations and visits.But my inexperience proved me wrong and I found out I knew more than he did about the conversions. I was warned not to do give a RAW File out but I didn’t listen. Time dragged on and after many visits with him trying to make profs from the RAW he couldn’t get it. At that time I realized he had no idea of PS CS or conversions with Digital.

Also to note they were opening up a Studio and buying 30K worth of digital cameras.....

Well after many trips and my wanting to convert the files as they should be, was def ears, above sentence to be noted....

I was called by my client for a meeting at the printers the next day because they couldn’t work with the files....this was about 2 pm.I called another printer and spoke to them and asked if they could look at files to see if there was a problem.I rushed over to the print shop and converted a few files on my laptop. This printer checked on his monitor and there wasn’t a problem, the problem was the first printer!!!

I had several proofs made and ready for 9 am the following morning. I walked in and the first printer shook his head and said I cant print these. That’s when I pulled out the proofs I had made and showed them to him.....well his face dropped as did my clients. Who then asked when I had them done which I answered yesterday after the call you made.

My client then said work this out, and walked out of meeting, only for me to finally convert all the files...........

Needless to say I haven’t worked with the client since, and have had jobs printed in different states with the same results from catalogs to editorial with no problems whatsoever........

What gets me is these are the same printers that have said to shoot digital a few years ago, and now that a majority of us are hooting digitally, they are making problems for the inexperienced photographer. Not all printers, but it seems like this story hasn’t happened to me alone....

So if this helps anyone, good.....The moral to story is: DO NOT GIVE OUT A RAW FILE TO ANYONE........ this was a complete nightmare. I never experienced any problems with film or digital before or since....but this same printer couldn’t even print well from a 120mm transparency.

From : Alex Lippisch

Web site: No Website, E-mail: alex@lippisch.com

This has the potential of becoming very big problem for photographers who supply digital files.

Through firsthand experience I have learned that many designers, art directors, and printers in the work chain erroneously think that whatever Photoshop uses as default color management settings is sufficient. Most don't even know what those default settings are! If you give them RGB files they make a simple conversion to CMYK via Photoshop's mode change. Once an image is in CMYK they are in their element and area of expertise, or in plenty of cases non-expertise.

Therefore we as photographers need to take control of this process by becoming very CMYK aware, and if necessary back it all up with inkjet proofs.

I have taken a college class and continue to educate myself on CMYK in order to offer the service that many clients demand. I have learned the hard way that you can't trust just any printer to give you accurate information on how to configure Photoshop CMYK settings.

From: Jackie Shumaker

Web site: http://www.jackieshumaker.com

I deal with this issue often and find the problem to be that most photographers, designers and print house sales people do not have a basic understanding of what an ICC profile is, let alone how to use it. I will only convert to CMYK if the printer can give me an ICC profile for the press. If they cannot supply this you are better off sending an RGB file, then when the prepress person makes the conversion in their prepress department they should have and use the ICC profile for the press. In most cases when you send in an image file to a printer they strip out any assigned profiles because they expect that you have no idea what you are doing. This degrades the image and causes them to start over from scratch. No wonder they have such a hard time getting the color correct and the quality to hold. When I send CMYK files I always send explicit instructions not to touch the file in any way, send it direct to press with no alterations. Amazingly, the images come out just as they should.

We have an image that is going to press for a billboard right now and the in-house designer for the billboard company, who has been in her job for three years, has never had anyone request an ICC profile let alone know what it is. Just send the images in CMYK she kept saying. She has no clue. We sent in RGB files. The thing I find hard to understand is that the design and printing professions went digital long before photographers did, so why is it that designers do not understand ICC profiles and how they are used. Seems the right hand has no idea what the left hand is doing. We need some serious professional interplay between photographers, designers and pre-press departments so we can all be on the same page. Digital seems to be limited by the ignorance of the people down the line.

From: Irene Owsley

Web site: http://www.ireneowsley.com

I am on the board of the DC chapter of ASMP and just got your email about working with printers. Ironically, I just got off the phone with one of our presenters for a panel discussion focused on these very issues -- at least attempting to approach working with a printer in a positive, informed manner.Take a look at the program called RGB to CMYK: Achieving Predictable Color as outlined at http://www.asmpdc.com (March 2005). It’s really an excellent presentation, and the response has been overwhelming. Unfortunately our space will only accommodate 70 and we are nearly at capacity.

Additional Resources:

From: Bill Phipps

Head Technician, Printmaking Department, Parsons/New School University

There is quite a difference between RGB and CMYK. Enough of a difference that I subscribe to a magazine to keep up: Electronic Publishing - http://ep.pennnet.com/home.cfm

Dan Margulis writes a very valuable monthly article there. He can be reached at: DMargulis@aol.com

I highly suggest the following for anyone having trouble in this area:

Professional Photoshop: The Classic Guide to Color Correction by Dan Margulis. Publisher: Wiley (4th ed, August 2002), List Price: $49.99, ISBN#: 0764536958, Paperback, 416 pages

(Although the book is targeted at Photoshop 7 it is still valid with Photoshop CS. Dan has not seen the necessity of updating it yet and it can be of immense help).

Product Description: Professional Photoshop 7 not only covers color correcting for press, but also reflects the changing needs of readers by addressing issues such as outputting to color printers and high-volume copiers. The author teaches color correction with Photoshop by demystifying classic skills¾analyzing images, understanding Color Spaces, working with numerical color curves, using the Unsharp Mask filter. Covers new Photoshop 7. This edition includes three completely new chapters on previously unpublished techniques for correcting color.

ABOUT THE CD-ROM: Includes original images from the book, bonus instructional materials, Adobe Acrobat Reader for Windows and Macintosh.

From: Dave JoJo

Web site: None listed

I recommend you call Ben Diep, president of Color Space Imaging in NYC who has been my lab tech for the past ten years.He can tell you how crucial every step is and probably give you a great sound byte. Conversions, Color Space, Monitor Calibration--welcome to hell. He's the best guy in the business I know.

From: Lou Manna

Web site: http://www.loumanna.com

Rick Kerr at Tri-State Graphics Inc. is a close friend of mine and an excellent printer. He's very good and helpful in this field. Feel free to contact him for more info about this: RKTristate@aol.com, (212) 989-3445, Tri-State Graphics, 22-19 41^st Avenue, Long Island City, NY 11101

The text below is provided courtesy of Rick Kerr:

Reproduction

If you are planning on reproducing your work in quantity and / or are seeking better quality than your Desk Top Printer or Service Bureau can provide, you will need to explore the world of Commercial Printing. This is a complex and rich world, affording cutting edge technology and a myriad of ways in which to enhance and reproduce your work. Although we would like to provide you with a basic guide to think about before you enter this world, anyone taking this journey would be best served to consult our resource guide or contact a full service Printer. We do not possess the expertise or the desire to delve into this realm in this book. This realm has it’s own specifics and reality and you would be best served approaching those who know it best!

Pre-Production

Now that you have compiled your images, you need to plan how to convert your creative into a useable format(s) for reproduction. The format(s) you select will be predicated upon the method(s) and constraints of that specific type of reproduction that you choose. Here is a partial listing of the most common types:

• Offset Lithography
  
• Digital Printing
  
• Digitally Imaged (DI) Presses
  
• Letterpress
  
• Thermography
  
• Silk Screen Printing
  

Pre-Press/Desktop Publishing

It is here that your images must now be integrated with Publishing or Production Software. That will enable you to prepare Digital and Electronic Documents or Files for Copy and Art preparation. Here is a partial listing of those basics that you will need to acquaint yourself with:

• Type fundamentals
  
• Typesetting
  
• Retouching
  
• Registration
  
• Color Selection
  
• Color Reproduction
  
• PDF’S (Portable Document Format)
  
• Page Description Language
  
• Color Proofing / Formats / Output Options
  
• Image Assembly
  
• Impositions for Press
  

Press/Production

It is here that you will now reproduce your assembled creative in a specific fashion that you have selected. Additional areas of interest that you should concern yourself with, in conjunction with the services of a Print Production Specialist, are as follows:

• Film
  
• Printing Plates
  
• Ink
  
• Paper Stock Characteristics
  
• Grades of Paper
  
• Basis Weights
  
• Finishes
  
• Specialty, i.e.; Envelopes, Folders, Packaging, etc.
  

Post Press

Now that you have reproduced your work, it needs to be “Finished”. Various Finishing options are as follow:

• Cutting
  
• Die Cutting
  
• Folding
  
• Scoring
  
• Perfect Binding
  
• Saddle Stitching
  
• Emboss and De-bossing
  

Distribution / Dissemination

Now that you have “Finished” your project, you have to get it to where you want it to be! Related topics include:

• Direct Mail
  
• Circulation
  
• Lists
  
• Postal Regulations
  
• Response Mechanisms / Reply Mail
  
• Lettershop
  
• Fulfillment
  

Packaging/Wafer Sealing/Shipping

Although not a comprehensive guide, we trust that we have given you a broad enough Road Map to continue this journey. The more you travel it, the more you will experience!