Stephan Bourgeois wrote:
Hello everybody, sorry if this may be slightly off-topic. I am shifting the topic from home prints of digital photographs to proofing of CMYK separations on inkjet. 1. Beyond the number of patches used for profiling the printer, I read the commercial blurb of a proofing system called Oris Color Tuner that drives Epson hexachrome inkjets. They are saying that profiling is half of the job, and that a clever choice of medium is important to make the proof look closer to the final print. They offer media *without* whitening agents as they say that offset stock rarely uses those, and that FWA can confuse instruments when profiling the printer. What do you think of
Choosing stock is vitally important. If the stock isn't as white as the target, adding ink isn't going to make it whiter !
As for using FWA free stock, well no, it's not quite that simple. Ideally you want the same level of FWA as is in the stock you are using, that way it will track, and the match should remain good with varying levels of UV in the illuminant. The instrument shouldn't get "confused" either with this situation.
FWA can "confuse" instruments if their illuminant doesn't match the intended viewing conditions, and the two stocks have different levels of FWA. (To bring this slightly back on topic) The FWA compensation in Argyll is intended to overcome such problems.
2. Has anybody read "Real World Color Management" by Bruce Fraser ?
I haven't, but I've had a bit of a flick through it. It seems to be a worthwhile text.