MOP wrote:
"Mike Russell" wrote in message
MOP wrote:
Can anyone tell me how I can make PS 7 use my screen proof set-up stay set to the custom setting all the time.
I keep forgetting to check, doing my colour matching only to find when I print out the colours are all wrong?
I don’t recommend this for several reasons. It’s better to set up your printer correctly to get a good match between your screen and the printer. Set the display first, using Adobe gamma, and then the printer. No equipment or additional software is required for a good match.
Ian Lyon’s web place has some good instructions for this: http://www.computer-darkroom.com/ps7-colour/ps7_1.htm
If your display and printer are not set up correctly, then the proof set-up
will still not work correctly, and you will lose additional important advantages, such as the ability to set a pure gray value by ensuring that red, green, and blue are equal.
—
Mike Russell
www.curvemeister.com
www.geigy.2y.net
I’m a bit confused here but I need to get it right as I’m using a lot of paper on the Epson 7600 at the moment, in Photoshop when R = G = B , i.e. I have desaturated the image the output is pretty much neutral, I’m a oldschool dark room printer and used to using B&W paper so have a good eye for B&W colour (sorry if that’s confusing to non B&W people) if I change the colour profile on the printer, surely that will give my B&W prints a colour cast?
Not necessarily. Profiles can affect color saturation and rendering without changing what happens to grayscale images. I don’t think that’s the problem though. This is a guess on my part, but If you’re seeing a tonal difference between black and white on the screen and what you get on the printer, it might be as simple as changing the gamma setting in the printer driver settings to get a better match.
at the moment I’m getting pretty good results using soft proof as the colout match is about right. I’m using a couple of Silicon Graphics 19"
monitors and have set them
up using Adobe Gamma
Sounds about right. In particular, if you have something that works, stay with it. I think you’d get good results as well, perhaps with a little less trouble by getting your printer to match the monitor more closely.
the real problem is I do a lot of fashion and portraits and I’m having problems getting the skin tones right, landscape pics don’t give me any problems in either normal or soft proof mode, it’s just getting the skin tones right, I tend to adjust these in selective colour using the red control and reducing C & M.
This is a relatively subtle adjustment, and I’m ready to back off on my initial recommendation and say that this may be an appropriate use of soft proofing. For fashion images a paler look is often what you want, hence dropping cyan and magenta, and selective color will do this without wrecking the other colors in the image. I do have one idea though, that might get your display looking a bit closer to your printer. In color settings, Photoshop has a setting to desaturate monitor colors. Check and see if this is checked, and if it is, uncheck it.and see if you can get closer to your printouts, which from what you are saying are more saturated than your display.
There is also a setting in the Epson printer driver to reduce saturation, but this requires that you abandon whatever ICC profile you have installed for the printer. If you are specifying the Epson profile in Photoshop, though, you may have the option of dropping saturation a bit in the driver, which would be another way to get your flesh tones to match more closely.
All in all, it sounds like you’re doing a good job of getting the results you need, without chasing the "profile to the max" wil o’ the wisp. —
Mike Russell
www.curvemeister.com
www.geigy.2y.net