Output contrast issue: monitor to magazine CMYK

Jytzel wrote:

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

J.

It’s not really possible.

But if you’re a die hard you’d want to make sure your rendering intent was absolute colormetric and not relative.

This may involve adjusting the lighting in which you are viewing the printed version to a certain level. Since your monitor is pretty much always the same luminosity, disregarding ambient light contamination, the comparison would have to depend on the type, brightness, spread, focus, color temperature, etc. of the external lighting source as well as the brightness and quality of the paper.

Your monitor is RGB which is "additive" in that colors are added together to get white, whereas CMYK is "subtractive" in that all colors are minused out to get white. So you are really comparing apples and oranges.

Peadge 🙂

"Jytzel" wrote in message

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

J.

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated,..

Calibrated to what? And how? And most importantly, what white point are you using?

I want to make sure
that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor.

Impossible. Even with an expensive prepress monitor and a fifteen-thousand-dollar hardware color calibrator, a monitor will *never* look exactly like a printed piece–the laws of physics forbid it.

That’s why if color is important to you, you need to either learn about prepress, or hire a prepress expert to do this for you. A prepress expert will make a "contract proof" of the image–a printed proof, such as a MatchPrint or DuPont Waterproof, that is created from the same films that will be used to make the printing plate, using a special process designed to mimic as exactly as possible the primaries and processes of a printing press. Only a contract proof can be relied upon to truly represent what your image will look like on press.

Would there be any necessary
adjustments of contrast?

There will likely be many color correction adjustments necessary, depending on how critical you are. Make your adjustments based on what you see on your proof.

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

In article ,
(Jytzel) wrote:

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

J.

In Adobe software you can set up soft proofing to simulate paper white and ink black.

You shouldnt use a word as "exact".

A monitor is a monitor, its not a printed paper. You could never get a monitor to be exact the same.

An experienced person learns as he/she goes along. The other ones cries out for help…..The printing business is not an exact science.

WYSIWYG was the name of desktop publishing, in the early years. But they never intended color to be an issue…..they had b/w screens at that time.

Learn everything about color-management, then do the best you can. Learn from your misstakes, and dont do them twice.

/G

"Jytzel" skrev i meddelandet

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

J.

I’d guess that this is possible given the following:
that every paint/ink/lake/gel used in printing has its computational and mathematical model to predict bleeding, dried color
that every form of thinners diluent and gel has its mathematical & computational model
that every printing medium has its own computational & mathematical model and that there are in situ QC & QA monitoring steps to ensure consistency with models allowing local tweaks to parameters

Other than that like the previous poster states – it is an artform

Aerticeus

ps – there ain’t no substitutse for experience :0

A
"G

A couple of anecdotes: I am taking a tutorial on-line. Most of the other students use the curve adjustment plug-in for web work or photo-printing. I am evaluating it for use in prepress. My examples are always flatter than theirs….finally realized why. I have been preparing work for webpress newsprint for so long my brain and eyes have adjusted to it…and my monitor is not set as bright as it used to be. Oh well…I can’t be all things to all people.

My monstrous boss…you may recall me mentioning her before…was looking for a cheaper commercial printer a couple of years ago. We would try one for a couple of issues and then try another. Not only did page format keep changing but so did the color. I could not adjust to it fast enough. I don’t have the hardware to measure things…I just go by eye. So if one printer laid down a lot of black I got a darker photo. It didn’t get better until we stopped changing printers. After a half dozen issues from one printer I adjusted. For me…I don’t really think about the changes. Its just that if all the photos show a certain tendency towards a cast I start changing things in Photoshop.

"G

Jytzel wrote:

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

I’ll eventually have similar concerns. My strategy for handling it will be to have proofs printed and then adjust the computer image so that it eventually corresponds to a ‘good’ print on a specific printer. If the contrast looks fantastic on my monitor and then prints out with too much contrast, I’ll learn which RGB values are within range of the printer. It may help to setup a test image with gradations of color and gradations of values and use that for your proofs, and then go from there. Experiment. -doug

On Sun, 28 Nov 2004 22:50:53 GMT, "doug (critiques are welcomed)" wrote:

Jytzel wrote:

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

I’ll eventually have similar concerns. My strategy for handling it will be to have proofs printed and then adjust the computer image so that it eventually corresponds to a ‘good’ print on a specific printer. If the contrast looks fantastic on my monitor and then prints out with too much contrast, I’ll learn which RGB values are within range of the printer. It may help to setup a test image with gradations of color and gradations of values and use that for your proofs, and then go from there. Experiment. -doug

It would be far better to use proper colour management, get the profiles from the printer and soft proof the images.

—

Hecate – The Real One

veni, vidi, reliqui

If the contrast looks fantastic on my monitor and then
prints out with too much contrast, I’ll learn which RGB values are within range of the printer.

You are already walking down the wrong path, and if you continue, you’ll have nothing but frustration and misery, and you will never get the results you want.

Forget RGB. Stop working in RGB> If you plan to work for professional printing on a commercial press, you need to learn to work in CMYK, not RGB.

—
Art, literature, shareware, polyamory, kink, and more:
http://www.xeromag.com/franklin.html

Tacit wrote:

If the contrast looks fantastic on my monitor and then
prints out with too much contrast, I’ll learn which RGB values are within range of the printer.

You are already walking down the wrong path, and if you continue, you’ll have nothing but frustration and misery, and you will never get the results you want.

Forget RGB. Stop working in RGB> If you plan to work for professional printing on a commercial press, you need to learn to work in CMYK, not RGB.

Class, listen to Tacit!
—

Mike Russell
www.curvemeister.com
www.geigy.2y.net

In article , Jytzel
wrote:

I know that luminosity of papers is not as that of the
monitor.Assuming that my monitor is caliberated, I want to make sure that what the print I get on magazine paper is exactly the same contrast as I see it on the monitor. Would there be any necessary adjustments of contrast?

J.

You will need to set up a 5000 K proof/copy viewing station next to the monitor. Put a page from last issue in the viewing station and view the same page on the monitor. Use the monitor controls to adjust the contrast, etc. to simulate the print page. Repeat with several other pages. Check and make additional adjustments over several days.

I recommend that you learn about color management and how it may be applied in your situation.

Good Luck,

Gary Secondino