What you see is what you get (WYSIWYG) – A controlled workflow with consistently executed color management from monitor calibration, to the correct handling of the softproof up to the correct profile for the printer is the basis for a color-true work.
Larger printing color space means more inks – When it comes to printers, much has changed from the past. The days of printers with 4-6 inks are long gone. Today, printers such as the imagePROGRAF series from Canon, Pro-1000, Pro-2000, Pro-4000, etc. have a 12-color ink range based on LUCIA PRO, which not only delivers more intense colors or deeper blacks than its predecessors, but can also display a larger color space than AdobeRGB in some areas.
Already during the paper selection, for example with ColorSync on the Mac, one can get an overview how the respective possible color space of the printer and paper combination is suitable for the desired results.
Thus, even with the right or “wrong” rendering priority, new options become available with the new printer models.
While printer color calibration was an arduous rendering priority for photography for a long time, today it allows for a shortened softproof editing process, provided that the motif and color spaces allow for it.
If you’d like to learn more about “Rendering Intents”, I recommend the ebook “So einfach geht Farbmanagement” by Datacolor, which I helped to develop.
If an image that has already been printed on a high-quality FineArt paper, such as the Ilford Gallery Gold Fibre Gloss, is printed again on a cheaper paper, it’s often necessary to deal with differences in paper properties in the softproof.
Due to the optical brighteners, capturing correct skin tones can be challenging, which then becomes part of a protracted softproofing process to correct the color.
With consistent color calibration throughout the entire workflow process, the image on this paper now remains true to the color rendition of the original print.
Just as you would deal with various compensation options for depth, depending on your aesthetic priorities, you have similar flexibility with color controls.
To ensure that softproof and print deliver the same results, it’s important to view these images in daylight, that the image processing control is carried out on a calibrated monitor and that a suitable ICC profile for the respective printer/paper/ink combination is created. This can be done with Datacolor’s Spyder Print. I have found that if colors still seem “off,” it is most likely due to using the wrong rendering priority or checking the wrong box for depth compensation. Don’t hesitate to experiment with an image on different types of paper.
Why I recommend SpyderX Studio:
As you can see from my blog post, 100% color control is extremely important to me. Without a calibrated color workflow, I would have no reliable basis for my comments noted above. Devices for color calibration in photography are a “must.” For this reason, I highly recommend SpyderX Studio. It comes with Datacolor’s new SpyderX Elite monitor calibrator, which is both highly accurate and fast, and with Spyder Print, the right tool for precise printer profiling. The SpyderX Studio tool suite is a convenient and cost-effective way to have everything you need for precision color control throughout your workflow.