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Re: filmscanners: which space?



Hi, Paul--

Although I've read the manual and "Real World Adobe Photoshop," my monitor
will not/does not adjust to the Adobe color spaces--or else I'm not
dedicated enough to follow it out the window, as it were. Since I record to
CD and don't do printouts regularly, sRGB works fine--until I *want* a
printout, of course.

> (I will be doing high bit m/f scans and outputting to inkjets. RGB only,
no CMYK repro interest)

I might be misinterpreting here, but I think that outputting to inkjets, or
any printing medium, *is* CMYK. RGB and/or the various color spaces are
translated and then given to the printer according to the ink colors and
abilities available, in that machine's color space--I think. This is what
confuses me--CMYK is meant for commercial printing, which is Adobe's strong
suit, and the various color spaces are meant for device-coordination as it
were (at least, as I read it). But the inks available are still Cyan,
Magenta, Yellow, and Black (K, since some would mistake it for "blue" and on
some 6-color presses, B *is* blue, and V is varnish). A few processes are
only CMY, assuming that the three colors will make black, which in Real
Life, they don't--any more than poster-paints can be mixed to produce a
reliable brown.

What I'm wondering is "Why isn't CMYK adjustment more usable for prints than
any RGB color-space?" given that it has to be translated by an algorithm to
be applied. The guys at Adobe try to explain, but the guys over at Corel
make the CMYK stuff look better on the screen. OTOH, making what's on the
screen look like what's on the *print* (or vice versa) is all that's
important at the end of the day.

I wish that Bruce Fraser would come in here and comment, because I think he
knows the answer. Pretty sharp guy, IMO.

Best regards--LRA


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