Back in the old days, we included a MacBeth colorchart in our
transparencies as a color reference for the printer. Worked beautifully
as long as the printer took the time to recreate the colorchart
accurately. I still believe this is a valid process. I include the
colorchart in the digital shot which I use to color correct the image.
When I supply images to the printer, I give them the image with a
colorchart to set up their profile and the cropped image for the final
print. It's an international standard you can count on. 

Robert Hickerson
Photographer/Database Project Manager
Spencer Museum of Art
University of Kansas
Lawrence, Kansas 66045
1-785-864-0134

-----Original Message-----
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of
Howard Brainen
Sent: Monday, March 12, 2007 12:01 PM
To: 'Museum Computer Network Listserv'
Subject: Re: [MCN-L] DM SIG: match prints from digital files

You are on the right track to bring all the files into your color
managed
workflow, make any adjustments needed on your monitors and then produce
a
guide print for the publisher. 

To many traditional printers, "match print" meant matched to the
particular
press, inkset and paper being used.  Today it is really just a guide.

Howard Brainen
Digital Imaging Consultant
TWO CAT DIGITAL INC.
14719 Catalina Street
San Leandro, CA  94577  USA
510-940-2670 x201
www.twocatdigital.com/consulting.html
blog: www.digitalenabler.blogspot.com

 

> -----Original Message-----
> From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On 
> Behalf Of Deborah Wythe
> Sent: Monday, March 12, 2007 6:36 AM
> To: mcn-l at mcn.edu
> Subject: [MCN-L] DM SIG: match prints from digital files
> 
> Hello all,
> 
> Have other photo studios/scan labs/R&R departments been 
> wrestling with the issue of match prints (or "match prints"), 
> now that most of us are no longer sending out transparencies 
> to publishers?
> 
> It's one thing to produce a match print on a high-end 
> printer, using color management and calibrated everything 
> when you have access to the original art or at least to a 
> good transparency.
> 
> It's an entirely different proposition to do so when you are 
> assembling images for a catalog from a variety of sources, 
> most of whom now simply send you a digital file and many of 
> whom do not have the capability of producing anything close 
> to a match print. Publishers generally insist on a match 
> print, and the lack of an analog resource to compare can 
> certainly cause problems in the color proofing process.
> 
> When we only have the file to go by, our solution is to 
> produce the best print we can, based on what we're seeing on 
> our calibrated monitors and using the color profile we 
> receive with the digital file. It's not ideal, but the best 
> we can do, considering. One dilemma, though, is what to call 
> these prints so that it's clear that they're not truly match 
> prints that have a solid relationship to the original art. Or 
> am I just splitting hairs? 
> How are others handling this?
> 
> Thanks for your input,
> Deb Wythe
> 
> Deborah Wythe
> Head, Digital Collections and Services
> Brooklyn Museum
> 200 Eastern Parkway
> Brooklyn, NY 11238
> tel: 718 501 6311
> fax: 718 501 6145
> deborahwythe at hotmail.com
> 
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