This may belong in the PS forums, but I'll begin her – working on a book cover with a background EPS image of a marble texture which in the proof, is appearing too flesh-coloured or pinkish in hue. To simply shift the hue more towards a warm tone, absent pink undertones, how to begin? an I remain in ID, or must shift to PS?) Eps images, as a format, are not ideal, it's been said, however this is what the publisher supplied, opening originally in Illustrator. This may be very imprecise, without a callibrated monitor, but I'm content to first try getting in the ballpark of the correct hue, by simple methods.
Basic, but thank you.
The only thing that cat be done inside ID is to assign the image a different profile. You can try that, and check the output preview to see if the conversion to the correct color space fixes things. Otherwise, you need Photoshop (and I'd use an adjustment layer).
The book cover's background and photo image both need to be given a more sepia cast. For someone used to a simple sepia filter, my lack of understanding/command of PS, and a callibrated monitor, and the discrepencies of the printing process, are making this a bit of challenge.
I'm able to resave and open the background eps image in anotehr format (tif, psd, jpg) fine. Not sure how to reliably add a sublte sepia hugh from there.
The proof came back with great photo quality, just needs the slight sepia. The background as well. If one attempts to make colour choices based off the proof, does switching from eps to another format cause the colour information to look different once printed, even if nothing has been changed, just the format (no hue adjusting, etc)?
The format of the image should not affect the color values.
I've just done a little experiment, and maybe there is a way to "fake" what you need to do in ID. Make a shape that covers the area you want to shift and fill it with a sepia color, then set the object blending mode for the shape to Hue in the Effects panel. You can vary the intensity by adjusting the transparency slider. This is going to affect everything below the new shape, though, so may be more encompassing than you wanted. I also had some luck with an overall shift by giving the image frame a color fill, then setting the image itself to multiply (use the direct select tool to select the image inside the frame and change the mode in the Effects panel), but I found it much harder to control the color this way.
My choice would still be to use Photoshop where you have real control and can isolate the shifting to specific color ranges if necessary. Lack of a calibrated monitor is a hindrance, though.