Muddy Color on Xerox 242 & 550

[ScottL]

I am having issues with plugged images and just a just generally muddy appearance in the highly saturated ares of photos. The process grays are neutral and all BUT everything looks way too dark in the dark areas. The light areas look good and the tech says the machine is "perfect". We calibrate daily and are in a very controlled environment. We use the bustled Fiery's. We are also looking into a higher end color management from either EFI of CGS-Oris and would appreciate any feedback on those as well.

Thanks!

 

[bluesndues]

Okay...I've had this problem before too.

Try this:

Photoshop: (I'm using 64 bit, but it doesn't matter, works in 32 as well)
Edit/Color Settings
Change the "Working Space" CMYK value to "CUSTOM"
Once the dialog opens, change it as follows:
Ink Colors: SWOP (Coated/Uncoated) - depends on use
Dot Gain: STANDARD
Select: GCR
Black Generation: Medium
Black Ink Limit: 100
Total Ink Limit: 280
UCA Amount: 0

Select OK
Once at the Main Color Settings Menu select MORE OPTIONS.
In Conversion Options:
Select the ADOBE ACE engine
Select RELATIVE COLORMETRIC
Make sure all three of the check boxes are selected: Black Point Compensation, Dither, and Scene Referred Profiles.

Select OK

Use...

Open a photo...any will work...even CMYK.
In order to "apply" this new setting to your photo's YOU HAVE TO CHANGE THE IMAGE MODE (Image/Mode). The best option is to select LAB first, then CMYK. Do this EVEN IF THE IMAGE IS ALREADY CMYK.

Once you have it in the CMYK spectrum, save it as a Version of the original.
Put them side by side and see the difference.

If you still have an issue, you can lower the Ink Limit to 250 (See above) in your new setting.

This should fix it for you.

Copiers, just like presses, have ink-limits. For most copiers this limit is 250 for accurate reproduction - and photo's is where we see the largest saturation values.

Best of luck to you!

 

[mac_man_luke]

Okay...I've had this problem before too.

Try this:

Photoshop: (I'm using 64 bit, but it doesn't matter, works in 32 as well)
Edit/Color Settings
Change the "Working Space" CMYK value to "CUSTOM"
Once the dialog opens, change it as follows:
Ink Colors: SWOP (Coated/Uncoated) - depends on use
Dot Gain: STANDARD
Select: GCR
Black Generation: Medium
Black Ink Limit: 100
Total Ink Limit: 280
UCA Amount: 0

Select OK
Once at the Main Color Settings Menu select MORE OPTIONS.
In Conversion Options:
Select the ADOBE ACE engine
Select RELATIVE COLORMETRIC
Make sure all three of the check boxes are selected: Black Point Compensation, Dither, and Scene Referred Profiles.

Select OK

Use...

Open a photo...any will work...even CMYK.
In order to "apply" this new setting to your photo's YOU HAVE TO CHANGE THE IMAGE MODE (Image/Mode). The best option is to select LAB first, then CMYK. Do this EVEN IF THE IMAGE IS ALREADY CMYK.

Once you have it in the CMYK spectrum, save it as a Version of the original.
Put them side by side and see the difference.

If you still have an issue, you can lower the Ink Limit to 250 (See above) in your new setting.

This should fix it for you.

Copiers, just like presses, have ink-limits. For most copiers this limit is 250 for accurate reproduction - and photo's is where we see the largest saturation values.

Best of luck to you!

You should be able to do such a change at the rip level using an appropriate profile and settings

 

[bluesndues]

Respectfully...

Rip-Level adjustments will apply whatever setting you choose to apply to the entire document, or specified area (based on printer/press model engine designation) and will most-likely only compound the issue described - especially if the document uses other elements of saturated color.

For this issue, I've found it's better to isolate the issue and solve it at design rather than "quick-fixing" at production. You wouldn't attempt to impose a bleeding document at Rip-Level, why would you adjust photo-element issues there?

Sorry, but I respectfully disagree with rip-level adjustments for photographic adjustments.

 

[mac_man_luke]

The way ICC profiles work is you can isolate photographic elements while ignoring native objects eg coloured text in a pdf would be left alone but all image files changed. (even better if you leave your images as RGB till final output, letting the rip do the conversion with the correct ICC to CMYK)

The whole point of ICC profiles is so you can have a document setup then print via different methods and have the ability to get similar results.

Photoshop hacks only are needed when you dont have a proper colour workflow.

 

[X33]

my recommendations are:

1. make sure you are calibrating properly based on paper type. Do not use the same calibration table for all the different papers you have.

2. make sure you are selecting the correct CMYK profiles in the Fiery (SWOP, ISO, NONE, etc).

3. You can try changing the RENDERING INTENT to PHOTOGRAPHIC. It makes a big difference.