DLColglazier wrote:
At the very start of this thread it was stated....I've been recruited by several artists to photograph their paintings where said photos will be used to enter competitions or used to publicize their work. The problem: color accuracy.....
Color accuracy will be a problem all the way to the end because it will only be as good as the final output device or medium.
At least the use of a color checker may allow the final output to be judged and/or adjusted if somebody is educated in what the standard may look like and how to adjust the output.
At the very start of this thread it was stated....... (
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From one of my responses to today's parallel thread on the matter:
This is precisely why better service bureaus serving the artist community handle the ENTIRE process, end to end.
> Copy Photography
> Color management and adjustment
> Limited edition pigmented "giclee" inkjet printing and export file creation
> Working with framers to ensure archival print preservation methods are observed
> Working with lithographers or engravers to ensure accurate reproduction
Printing is typically done from a direct raw conversion through Lightroom to a 16-bit printer driver, with the appropriate ICC profile for the paper/ink/printer used. This, and soft proofing, maximizes the use of available colors in the file, and achieves the most honest color conversion the printer is capable of achieving.
Image and print evaluation is in direct comparison with the original artwork under standardized lighting conditions. Alternate "gallery" lighting comparisons and soft proofing for that are also available. A small, color-corrected proof print is supplied for each piece of art, printed on the same stock that the artist wants for larger prints.
Files are supplied as 16-bit TIFFs in a wide gamut color space (at least Adobe RGB) and sRGB JPEGs.
Client approval of proofs is generally required before any large prints are made.
Clients are encouraged to examine the process to see the care and concern taken.
Image files in different formats are compared on a calibrated monitor, so clients can see the limitations of each file type, and compare it with a print. (This is particularly important with sRGB JPEGs for web viewing and home printing!)
Most importantly, the color management concept and limitations are explained simply, up front, so clients have an appreciation that the work is taken very seriously and know what they can expect.
All images are photographed with at least one color target (usually several), placed just out of the way of the art, so there is a visible reference. Clients are encouraged to purchase a target of their own for comparison on their devices.
That's a simplified version of how the pros do it! It is a disciplined process, with lots of finesse.