What To Do When PS Color Proofing Reveals Problems?

Discussion in 'Digital Photography' started by Mardon, Mar 22, 2006.

  1. Mardon

    Mardon Guest

    When a problem is uncovered during "Color Proofing" in Photoshop CS2,
    how do I fix the image so that the printer will be able to handle the
    colors correctly? I have a specific example of what I'm talking
    about that you can see here:
    Mardon, Mar 22, 2006
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  2. Bill Hilton

    Bill Hilton Guest

    > Mardon writes ...
    >When a problem is uncovered during "Color Proofing" in Photoshop
    >CS2, how do I fix the image so that the printer will be able to handle
    >the colors correctly?

    I assume you mean "soft proofing" ... if you're pretty sure that the
    printer profile is accurate (many aren't) and that your monitor profile
    is accurate (in other words that the 'soft proof' will match the final
    print fairly well) then here's what I do ... duplicate the image, show
    both the proofed version (which shows the problem) and the original
    (which looks the way you want it to look on the screen) on the screen
    at the same time ... on the proofed version make a new layer set and
    name it for the printer paper you are proof-correcting for (in your
    example maybe "costco matte") ... add adjustment layers to this layer
    set (which ever adjustment layer types you're most comfortable using -
    Curves, Levels, etc) and correct the proof until it looks as close to
    the original as you can get.

    So when you're done you should be able to turn off the layer set and
    the soft proof option and see the original image, then turn on the soft
    proof and the layer set with these adjustment layers for that proof and
    see the same thing, within the limits of the printer (gamut). It's not
    uncommon for people to have multiple adjustment layer sets for
    different printers or papers if they regularly print on different
    machines or papers (for example, 'Lightjet matte' or 'Epson 4000
    Luster' or 'Epson 4000 Velvet Fine Art' are three of mine for one image
    that gets printed a lot. Then when you're ready to print you can make
    a copy of the image with the proper adjustment layer set turned on,
    flatten it and send it to the printer.

    The key is to use adjustment layers in a layer set so you can make the
    changes without changing the underlying image. I should also point out
    that when you soft proof checking or not checking 'simulate: paper
    white' makes a big difference in how the proof looks on-screen. This
    may or may not agree with the final print, depending on the light you
    use to view the print. And finally this method is only as good as the
    two profiles and there are a lot of profiles that are not accurate.

    Bill Hilton, Mar 22, 2006
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  3. bmoag

    bmoag Guest

    Since soft proofing is nearly worthless I strongly suspect you have an
    error in your workflow or an incoorect/damaged/corrupt profile.
    Soft proofing is only marginally useful when making major conversions, e.g
    from an RGB to a CMYK medium, and have made a major error in color
    management while still in Photoshop.
    There is no way on earth soft proofing can show significant differences when
    you are looking through profiles for different paper surfaces for the same
    printer because you are viewing the image through a computer monitor
    interface. You actually have to make a test print to really see what is
    going on. This is also where experience pays off in having made a certain
    volume of prints with different paper surfaces and understanding what the
    differences are between the different paper surfaces.
    bmoag, Mar 22, 2006
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