Go to http://www.kelbytraining.com/instruc...-margulis.html. Watch the first couple of lessons in the Picture Postcard Workflow Part 1, which you can do for free. That's where Dan explains his current workflow recommendations, including why he used to recommend other methods.
You might want to check into Real World Color Management by Bruce Fraser, Chris Murphy, and Fred Bunting.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
From RWCM,
The components of Color Management.
All ICC-based color management systems use four basic components:
>PCs. The profile connection space allows us to give a color an unambiguous numerical value in CIE XYZ or CIE LAB that doesn't depend on the quirks of the various devices we use to reproduce that color, but instead defines the color as we actually see it.
>Profiles. A profile describes the relationship between a devices's RGB or CMYK control signals and the actual color that those signals produce. Specifically, it defines the CIE XYZ or CIE LAB values taht correspond to a given set of REG or CMYK numbers.
>CMM THe CMM (Color Management Module), often called the engine, is the piee of software that performs al the calculations needed to convert the RGB or CMYK values. THE CMM works with the color data contained in the profiles.
>Rendering Intents. The ICC specification includes four different rendering intents, which are simply different ways of dealing with "out-of-gamut" colors--colors that are present in the source space that the output device is physically incapable of reproducing.
The PCS is the yardstick we use to measure and define color...The key feature of both CIE XYZ and CIE LAB is that the represent perceived color."
"It's this property that makes it possible for color management systems to use CIE XYZ and CIE LAB as teh "hub" through which all color conversions travel. When a color is defined by XYZ or LAB values, we know how humans with normal color vision see it."
...
"A profile can describe a single device, such as an individual scanner, monitor, or printer; a class of devices, such as Apple Cinema Displays..., or an abstract color space, such as Adobe RGB 98...But no matter what it describes, a profile is essential a look-up table, with one set of entries that contains device control signal values--RGB or CMYK numbers-- and another set that contains the actual colors, expressed int he PCS, that those control signals produce."
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
I start with an input profile. This is either a scanner ICC file, or a camera specific file in the case of a digital camera. With a scanner file, I assign it to the file in Photoshop and convert to a working space, usually Adobe 1998. If it's a digital camera file, Lightroom takes care of the conversion to Adobe 1998 or Pro Photo RGB. All Photoshop editing is done in these color spaces, with a possible mode change to LAB, but I always end up with an RGB file. This file is not converted to a printer output space. Rather, I use soft-proofing, small corrections and test prints to optimize the file for a specific output. I print from Photoshop for color prints, specifying the printer profile in the appropriate area of the Photoshop print dialog. The working file itself is never converted to the output profile, as this would damage the file.Originally Posted by bob carnie
Images on a monitor and on a piece of paper are not the same. They will never match exactly. Small test prints are always necessary no matter how much color management you use. If possible test prints should be viewed under display conditions.
I don't print on very many surfaces. Yes, I do make my own output profiles. No, I don't change stock daily.
Well, that's enough free consulting for one day.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
Just consider it the betterment of another soul.
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