DPI + color question

The online manual has some IPR-more info, but I am a user of rookie ID - CS4, so more guidance would be useful.

1 - How do I know if a photo that I imported from iPhoto is equal to or greater than 300 DPI?

2--What are the advantages/disadvantages of the marking of a photo with Vs placing CMYK profiles (unidentified) in a generic color space?

(I listed this marking with CMYK is also known as a color separation - Yes?)

3 - I also heard a RGB profile - who cares about the CMYK?

Thank you.

ID - CS4 6.0.3

Mac OS X 10.5.7

iPhoto ' 09 8.0.3 (40

First, when we talk about the resolution of the image, the accepted term today's PPI, Pixels per inch, instead of DPI (Dots Per Inch), which refers to the resolution of an output device, where each pixel of the image can be rendered using many points.

With placed images, there are two issues of the resolution to review: native, or real, corresponds to number of pixels wide or high divided by the physical width or in which the image has been avoided and Effective resolution, i.e. the number of pixels in both direction divided by the dimensions in which the image is placed on the page. When you place an image at 100% of it is recorded in size, the two resolutions are the same, but if you resize the image in InDesign, the effective resolution varies inversely as the scale.

Image editors like Photoshop report the resolution itself. If you change the size of the image without resampling you do not change the number of pixels, but you do not change the resolution. Think of this as a picture on a balloon. As you inflate or deflate the balloon, the number of pixels in the image is constant and they maintain their relative positions, but the physical size of each pixel grows and shrinks. InDesign is the ToolTip.

When printing, the number that matters is the actual resolution, and there are two ways to see the effective resolution of a placed image. The first is to check the image data in the links Panel. In CS4, you can customize the Panel to hide or show data available on a link, as well in the Panel and in the details. The second is to select the image and open the information panel.

Color profiles are related to the separation provided that they describe all the elements of primary color used to create the color of each pixel, but they are not synonymous, and we can't mark an image with any profile you choose - it should match the color palette of the image. Most of the images are initially captured in RGB, then begin with a RGB profile, which should describe the capture device.

This point is convenient for editing purpose to CONVERT the image of a space independent, different, like Adobe RGB device for further editing. When you work in an independent space of the device on a calibrated monitor, an application that supports the profile such as Photoshop will read the color number in the file and convert on the fly to be displayed correctly on the screen. Such an image should look identical on any calibrated monitor, but the profile of work must be known so that Photoshop to do the translation, it is advisable to include the profile in the image. InDesign can also read these inline tags. If the profile of the image is not incorporated, the application or you have to guess (ASSIGN a profile), and if you guess correctly the color display properly.

If you know the characteristics of the output device, you can CONVERT the image to the output profile. When you do this you are altering numbers in pixels - make permanent changes to the image - as well as the appearance on the output device will correspond to the original color, as much as possible (it is a simplified expalanation). Output profiles (and CMYK profiles are output profiles) are always dependent, that is, they describe how a particular press or printer reproduces colours with a particular set of inks on a special paper stock. As SWOP profiles are generalized to describe the common conditions that are generally present and achievable, but are not as accurate as a custom profile for a specific device. They qualify as "good enough" and are used as standards. Don't forget that there is a constant variability on any output device, even sheet to sheet on a press or in your printer when you run a single task, so the profiles describe an average.

If you leave your images in the 'source' space, which is almost certainly a RGB profile, when you place them, InDesign will convert to CMYK for output in the output of your choice space, when you send the data to your ink or laser jet, or when you export a PDF file for commercial printing. Depending on your color settings and profile of offset policies, if the incoming image profiles are missing or do not match the workspace defined in the document, InDesign will ask you whether to do, or automatically interpret the numbers as if they are in fact actually in the current workspace (and you will see probably color changes) , or you can convert numbers to preserve the appearance in the current workspace, which is usually not a problem for pixel-based images, but can cause trouble for art vector with black text solid or lines that will be interpreted as being composed of four colors.

If your head isn't already running, you are doing well. Color management is a complex technical subject, but I like to describe as the C3PO in the publishing industry - fluent more dialects and able to interpret between them that different devices can understand each other.

Peter

Tags: InDesign

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