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Profile Maker 5.0
Monday June 28, 2004
by Bruce Fraser

Bruce Fraser gives us his expert critique of GretagMacbeth's professional color management suite - ProfileMaker 5.0.

Getting it Right: Correcting Skin Tones with Hue/Saturation
Wednesday June 9, 2004
by Jon Canfield

Jon Canfield shows us how to achieve accurate skin tones in Photoshop using Hue and Sat.

Book Review: Color Confidence by Tim Grey
Monday May 24, 2004
by IR Staff

IR Staff reviews Tim Grey's new book Color Confidence. Included is an excerpt from the book, Chapter 3, which deals with choosing and calibrating Displays.

Creating Panoramas
Monday May 10, 2004
by Ellen Anon

Ellen Anon illustrates the creation of Panoramas in Photoshop.

Working with Pressure Sensitive Tablets
Monday May 3, 2004
by Katrin Eismann

Katrin Eismann outlines the use of pressure sensitive tablets in image processing.

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Color Management/WorkFlow > Workflow > Real World Photoshop: Soft-proofing and printer targeting

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AuthorSubject: Real World Photoshop: Soft-proofing and printer targeting   [Go to Bottom of Page]
Mitch Alland
Posted on Sun Oct 26, 2003 7:31 AM

When I first started printing on the 7600 I found that (using Photo Black and Epson Semi-Matte) the Photoshop soft proof (using Proof Setup) was quite different from the "normal" PS view, particularly using very "good" paper profiles like the Bill Atkinson and ImagePrint profiles. Consequently, I started using "printer targeting layers" as recommended on pages 374-376 of Real World Photoshop. I found that I could use the same layers for most images: a curve to adjust and a hue/saturation layer, although I mostly used only the contrast curve. (I realized that, ironically, my previous printing on the 1290 using the (not so good) Epson profiles and driver did not require printer target adjustments because the prints were very close to the "normal" Photoshop, which I suppose was just a chance occurrence).

I then switched my 7600 to Matte Black and EEM and found that in most cases it did not seem necessary to use printer targeting adjustment despite the fact the Photoshop soft proof was even more different from the normal view, particularly when Paper White and Ink Black were check. The questions:

1. Is it "normal" that the Photo Black/Semi-Matte combination usually requires a contrast increase using a printer targeting adjustment while the Matte Black/EEM combination often does not require this, or is this likely to be a chance occurence in the prints that I made?

2. When soft-proofing is Photoshop should one generally check Paper White and Ink Black? (I read somewhere that for glossy-type papers one should usually soft-proof without checking Paper White and Ink Black but for matte papers one should check Paper White and Ink Black, although I don't remember where I saw this statement.)

--Mitch/Bangkok


... this thread contains expert advice from Andrew Rodney and Jeff Schewe.




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