WORKING WITH
PHOTOGRAPHS continued
Scan black and white line art (i.e. a logo), at 1200dpi for best
remember tob
results. Any lower, and the logo may look blurry. Pay careful attention to
convert all
the CMYK makeup of any ‘black’ in your logo. The automatically-created
Photoshop black, for example, is made up of varying percentages of
colours to
CMY (see page 27). You may need to adjust the colour settings in your
CMYK
application to get a sharper black that is made from 100% black ink.
Make sure that any alpha channels are removed and all layers are
fl attened before fi nally saving your image. You shouldn’t compress
your image either, or it will cause problems. So LZW, JPEG and ASCII
encoding are all no-nos. And don’t use DCS fi les, LAB colour, Duo-tones
or Tri-tones either – convert them all to CMYK. Please don’t embed any
colour profi ling, as this may accidentally overwrite your colour settings.
Images to be used on the black & white reverse of a job should be saved
as greyscale as any C,M,Y information may be discarded when the job is
processed through our RIPs.
DIGITAL CAMERAS
There are a huge range of digital cameras available, ranging from
mobile phone cameras to high end digital SLR cameras. Images taken
with lower end cameras may not be suitable for printing
aass t these may have been compressed by the camera during
thehe download process, whereas a digital SLR can output
a ha igh resolution un-adjusted raw fi le. Even if an image
lloooks okay on screen, it’s no guarantee that it’ll look okay
when it’s been printed. As with design, we would suggest
that you leave photography to the professionals. Poorly
taken images can do more harm than good to
a company’s image, or the promotion of it’s
products / services. Professional photography can
signifi cantly enhance a design.
29
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