I feel like there are tons of posts about how to print with rich blacks but I can't figure out how to solve this issue I'm having.
I'm formatting an art book (full page illustrations) that relies on having deep blacks -- all the CMYK tiffs the artist sent me show as the 100K regular black during the print preview and separations preview. I'm working in US Web Coated SWOP. Example below with a section of the original image vs print preview.
I have a lot of images, is there a way to adjust the images or the InDesign file settings to use a rich black? There has to be an easier way that going through each individual image in photoshop and editing the blacks. I feel like I'm missing something very simple with this.
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Either way its messed up, at least one is displaying wrong.
Hi @reproo2773183 ,This has come up an a few other threads. Any soft proof simulation would be a color managed conversion from the source color profile (US Web Coated SWOP in this case) into the System’s Monitor profile—the monitor profile is provided by the display manufacturer, or generated from a monitor calibration.
I think there is a clue to what’s going on in the custom proof simulation description:
When there is a conversion, the source and destination profile gamuts never match, so the preferred rendering intent affects how the colors are brought into the monitor’s RGB gamut, which would usually involve some kind of compromise, e.g. 100% cyan is typically well outside of a standard monitor’s RGB gamut.
When Simulate Paper Color/ Simulate Black Ink are checked, the description tells me the simulated conversion’s rendering intent is absolute colorimetric. It also tells me the option produces the most accurate proof, but I think that might mean the most accurate gamut mapping. In the real world if I compare a printed press sheet to my soft proof display, the absolute colorimetric soft proof rarely produces the best simulation relative to the print.
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