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Shadow Detail


Dan Margulis <76270.1033@...>
 

Chris writes,

A good separation is necessary as well, but an understanding that any
kind of profile may misjudge the ability of a press to hold detail. That
is, the profile is going to try to squish the image into the press's
dynamic range, which in theory solves the problem. In reality, the profile
can't know that so many CMYK dots in such close proximity will fill in and
shadow detail will be lost. Separation methods work with pixels, not
dots.>>

Right. This is a major limitation of machine-generated profiles. Whether
detail is being held in deep shadows is a highly subjective decision.

So a human is going to have to recognize that the image needs editing.
Either as an RGB image that needs to have these areas lightened before
separation, or separated and then lighten the CMY areas as you describe;
and in this case it's likely a CMYK editing process will yield much better
results because what needs to be reduced is the CMY portion - not just a
universal lightening of the image (which is what would happen in RGB.)>>

Yes. In images with critical shadow detail, CMYK has an enormous advantage
over either LAB or RGB correction because all the detail ends up in a
single channel that can be tweaked extensively without major damage to the
rest of the image. This is the only class of images that I would recommend
working on in CMYK even in an all-RGB workflow, that is, I'd go
RGB>CMYK>correction>RGB if necessary in preference to trying to fix the
problem either in RGB or LAB.

Dan Margulis