Digital BW, The Print

Thanks Tyler.  What I'm trying to do is get people a visual example 
of print tones as well as the graphs I publish.  It appears many 
don't understand the graphs and are surprised by the print tones 
they're getting.  It may be that the soft proofing, then a screen 
grab, and finally fine-tuning to match the PS info palette readouts 
to the actual spectro values may be what I'll have to do.  (There's 
got to be a better way.)  Even when I do that, my calibrated monitor 
still doesn't really look like what is on my walls.  I think at the 
low Lab A & B values I'm dealing with the print lighting and display 
may have too much impact on the final display look to have any 
computer monitor be a very good predictor.  Oh well...

Paul
www.PaulRoark.com 

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" 
<tyler@...> wrote:
>
> Paul, not in the conversion preview or normal Photoshop viewing. But
> in soft proof, yes. You'll see the paper white check box there...
> Tyler
> http://www.custom-digital.com/
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark"
> <pr_roark@> wrote:
> >
> > Is there a way to have Photoshop show the actual tones that are 
> > recorded in the ICC? In this case the ICC is one made with Create 
ICC 
> > RGB. 
> > 
> > That is, when I use "convert to profile" and that profile is of, 
for 
> > example, a cold paper the tones that seem to be previewed on the 
> > monitor always set the white point to R,G,B = 255, 255, 255 (Lab 
100, 
> > 0,0) even though the ICC clearly contains the paper cold paper 
tone.  
> > Likewise, where the range of, for example, Lab B is -2 to +2, it 
> > appears what shows up in the PS Information palette is a range 
from 0 
> > to 4.
> > 
> > It looks like the system always adjusts the white point to 
neutral and 
> > then shows the relative tones.  Is there a way to avoid this?
> > 
> > Thanks,
> > 
> > Paul
> > www.PaulRoark.com
> >
>