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Thanks Guys for your really good explanations. Really helpful. It's making sence!! :) So what is it that determines the actual combination used; The profile GCR policy, the Color engin used (different in the RIP and Photoshop) or both? So which do you find gives the best conversion, (or which...

Following on from a previous post, for an input profile why are the B2A tables required, and for an output profile why are the A2B tables required? eg: The A2B tables in printer profile would be used soft proofing but why not just use the inverse of the B2A tables to map the printer gamut back...

Thanks Magnus. I think I have got it! Changing one's work flow is quite a big step!! To confirm my understanding is correct could you confirm the following 3 Rip settings would all turn off the colour managment.? 1) Ignore incoming profiles = No colour managment 2) Set outgoing profile to none...

Thanks Magnus for you reply. The RIP is Ergosoft and the quoted reply was from their tech support. Surely you would not want to 'ignore embedded CMYK profiles' in the RIP. I can understand turning off the RIP output profile setting (output profile = None) and I suppose then logicaly any embedded...

I use i1 Profiler for creating profiles. In i1 Profiler printer linerisation (individual ink channel curves & individual ink channel limits) can be set in the profile along with the TIC. My understanding is that it is not recomended to set these limits in both places, ie in the RIP & in the...

Thanks for the replies. Gordo: Most of the artwork we receive these days is in sRGB. It used to be Adobe 98 but I think that was only because of the default PS workspace. If there are no embedded profiles then first guess is to assign sRGB and then try Adobe 98. So to answer your question, we...

So, our workflow goes something like this: 1) Edit client's file in RGB workspace in Photoshop with soft proofing on and set to simulate output device. 2) Convert a copy of the edited file to output device's profile, selecting the rendering intent that gives best conversion. 3) Import the...

Thanks. You input much appreciated. Jon

Thanks for the reply. The processes we are using can vary so much that it’s extremely hard to nail it down to a consistent standard. The chemistry: Although we mix / formulate our own cmyk inks from base pigments. Along with film production this is probably the most consistent part of the...

Thanks for the reply. I somehow suspected that it was going to be the clunky cmyk engine! However, in that the engines inaccuracies are consistent, ie we get the same result each time, is it better to put the true ink values into the custom cmyk setup or edit them before entering so that we...

Custom Lab ink values are entered into Photoshop’s custom cmyk set up, these are then saved along with the other relevant settings as a custom profile. On using this profile either as the working space or by converting a document to it and then adding 100% of either C, M, Y or K the resulting...

Rich, thank you. Now I am starting to get my head around this. It’s a case of the more that you think you know the more you realise that you don’t. It obviously requires a bit more research on my part to broaden my understanding. Between your good self and Lukas you have pointed me in the...

Thanks Lukas I’m going to need a little time to work my way through your explanations. I’m beginning to realise that I may be confusing the process that the RIP performs as opposed to that of the editing software – in my case Photoshop. The 18% I’m referring to is the "mid point" between...

Lucas, I would not take offence at your explanations, in fact the complete opposite - I’m grateful for your replies! To answer your questions; The dot gain we get on press is high, around 30% as we are screen printers. Apologies for confusing the terms “spot colour” and “grey”. If working on...

Thanks for the reply Lucas, it’s appreciated. I will attempt to explain my confusion a little more clearly. Instead of considering the output of the monitor I’ll try and explain in terms of the output of the press. When profiling a press printing in a single spot colour, I use an untagged...

Is an L* compensation gamma applied to files before they are displayed on a monitor? Our brains, assuming we are all standard observers, effectively apply an L* profile to the light entering our eyes. So if you profile a monitor with linear gamma (native gamma) and send a file to the monitor...

As a test I used the monitor in the office (not colour managed) When I checked the profile (in widows xp) it didn’t seem to have one (!) so I just selected sRGB as its default monitor profile. As you have pointed out sGRB is a device independent space. Could this be what I am doing wrong?

Thanks Please bear with me a little longer. When saving the Photoshop file as a PDF, in the output options I am selecting ‘Convert to Destination’ (the destination chosen is sRGB), and I am selecting include Destination Profile. When I then view this file on a different PC with a monitor that...

Hi I work with two monitors, only one is calibrated to D55 as this more closely matches the finished textile product we are printing. On the non calibrated monitor (using a generic profile at D65) an image will look a lot brighter and if a layout is emailed to a client for their approval this...

Thank to everyone for your replies. Much appreciated. Your help has been invaluable!