Dear Bob

This is exactly what I am finding with my dealings with book printers. 
Improvements in paper coatings, inks, platemaking and a host of other factors 
have pushed the workable CMYK gamut range quite a bit since the Euroscale and 
other gamuts were extablished. (To be clear this does apply to magazine 
printing but for obvious reasons getting hundreds of pages of ads to match is 
a much bigger problem and even achieving a lower common denominator is 
difficult). 

However what I am finding is that many printers would rather keep the true 
optimum press profile close to their chests. There is a very good reason for 
this, they can keep clients happy by doing very good matches to proofs even 
if the proofs are not near the centre of the CMYK profile. 

One advantage for photographers working in a closed environment like book 
printing is that any proof printer which can achieve quality to the desired 
standard is as good as expensive bureau proofs.  

The savings on printing proofs for just one book can buy an Epson or HP proof 
printer and leave change. 

Regards

Bob Croxford
 






In a message dated 12/20/02 9:46:01 AM, bob photo  writes:
 
Which brings us back to the proof/press/proof conundrum.

Some would argue (including pre press and press houses ) that many 
industry wide accepted proofing colour spaces/devices are flawed in that 
they don't match the true capabilities of the press.

But the bottom line is , that as long as the major part of our industry 
believes that the press has to match the existing proofing methods , then 
we have to find an acceptable method of providing files within tthat 
framework .

And one of the main reasons they accept the existing standards is that 
even if they may be (slightly?) flawed , at least they  are consistent in 
their output (which also enables remote proofing). And of course that 
they represent (albeit sometimes a lower common denominator target) a 
standard to which all parties can agree......a contract proof. >>

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