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That's nice. That assumes the client can attend the press run, or that the client can be available to sign off on a run when it is about to be printed, that there aren't several clients involved (original artist, layout person, art director, publisher's rep, etc, who have different requirements) that the press is a full 4 color (this is probably less of an issue now, but I attended press runs years ago which used two runs of a two color press to create a 4 color offset), and so on. It also involves not allowing yourself to be pressured by the pressmen or salesman when you reject the pull and the plates need to be redone, or inks levels or distribution adjusted, etc, since time is really money in printing. Also, with large presses, it isn't like all changes shows up on the very print after the change is made, etc. Yeah, its nice to be at the press run, but this can't always be arranged. And even with that, I've been at press runs where ultimately due to time constraints it was a matter of coming up with a compromise to get the run done. The more the printing company provides instruction during pre-press, the less excuses they have for the run not coming out correctly. Art dickbo wrote: > If the client passes a press pull then all other issues are irrelevent. > > ----- Original Message ----- > From: "Arthur Entlich" <email@example.com> > To: <firstname.lastname@example.org> > Sent: Tuesday, May 07, 2002 1:13 PM > Subject: Re: Image sharpening vs. plate sharpening -- Was: Scanning old > postcard for use on book cover > > > >>Fair enough. Your explanation goes into some detail that I was not >>fully aware of, and it is quite interesting. >> >> I guess I would still suggest people who are scanning work for >>publication speak to their pre-press or press people prior to submitting >>files, to make sure that there won't be too many surprises. There are >>so many printing methods in use now, that file treatment prior to >>submission may alter the results in unexpected ways. >> >>Printers don't have an easy job interpreting files when they are >>submitted from often uncalibrated systems, and various programs. And, >>quite honestly, even under the best of circumstances, so much >>translation is done during the offset or other printing process that >>some of it seems like good fortune and alchemy. >> >>Art >> >> >>Preston Earle wrote: >> >> >>>I don't mean to quibble about semantics and would let this subject go, >>>except for the impression that you have left that printers can "sharpen" >>>images in the platemaking process. >>> >>>I believe you are confusing two different concepts which use the same >>>word. Image sharpening (aka USM) is the enhancement of apparent image >>>sharpness by increasing edge contrast within the image. Plate >>>sharpening, OTOH, refers to dots on one plate being "sharper" than dots >>>on another plate and thus (usually) printing lighter. Typically, plates >>>made by CTP processes are "sharper" than "conventional" plates made from >>>imaged film. In order for the CTP plates to match the conventional >>>plates, the mid-tone dot sizes are adjusted in the CTP plate-imaging RIP >>>to give the same print densities as the film-based dots. This has >>>nothing to do with image sharpening. >>> >>>Printers generally endeavor to duplicate the files they are given. If a >>>printer has a long-standing relationship with a particular customer, the >>>printer may "improve" furnished files by color-correcting or enhancing >>>sharpness. Absent other instructions, the printer is generally going to >>>give the customer just what is in the files. The files should be >>>properly sharpened before submission to the printer. >>> >>>I'm not a pressman (and despise the nickname "Press"<G>). I have owned a >>>very nice printing company, including an Indigo press, but that is >>>another story. >>> >>>Preston Earle >>>PEarle@triad.rr.com >>> - Turn off HTML mail features. Keep quoted material short. Use accurate subject lines. http://www.leben.com/lists for list instructions.