10 Replies Latest reply on Dec 6, 2012 2:51 AM by Gernot Hoffmann

    Blacklight pictures

    Judysurf Level 1

      Hello! I have a problem!

      I made pictures with blacklight and they have a nice surreal blue color. But when I import them into InDesign they totally lose their color and are almost grey...WHY?? Thanks a lot!

        • 1. Re: Blacklight pictures
          ryan.marchese Level 1

          I'm guessing the blacklight effect is somewhat neon or glowing? Is your Photoshop file in RGB? What file format are you placing into InDesign?


          In InDesign you can try toggling on/off the Proof Colors and Overprint Preview (from the View menu). You may have a bigger issue at-hand though. Is this going to be a file you eventually print? Certain effects (such as glows, neon/lights, anything with extremely vibrant colors) can be very hard to achieve in print. This is why things like Overprint Preview and Proof Colors will give you a muddy/flat look: it's the program's way of telling you your file may not translate past a digital format.


          Unfortunately it just comes down to the difference between digital and print media. Digital will always be able to do some things that print can't.

          • 2. Re: Blacklight pictures
            Judysurf Level 1

            okay, the file is in srgb and the file format in InDesign I can change but it always looks the same grey...yes I want to print it, so it's gonna be hard to see probably..and I already have the overprint preview clicked on but thanks for your reply..:)

            • 3. Re: Blacklight pictures
              c.pfaffenbichler Level 9

              Which is your target Color Space?

              Could you post screenshots of the image and its Indesign preview?


              Digital will always be able to do some things that print can't.

              »Digital« seems a terribly imprecise term here if the difference between additive and subtractive color reproduction should be what’s meant.

              And for completeness’ sake: Certain effects can be achieved in printing that are pretty much not possible on a computer screen at current.

              • 4. Re: Blacklight pictures
                Judysurf Level 1

                DSC_0140_klein.jpgso this is how it looks like on my camera and as a jpeg

                • 5. Re: Blacklight pictures
                  Judysurf Level 1

                  indesign_screenshot.JPGand this is how it looks ike in indesign..huge difference

                  • 6. Re: Blacklight pictures
                    Judysurf Level 1

                    and m target color space in indesign is cmyk Coated Fogra27..and the picture was taken in srgb..

                    • 7. Re: Blacklight pictures
                      Noel Carboni Level 8

                      That's not a difference in "digital" vs. "print" so much as a difference in color space gamut.


                      There are special ways to get extremely saturated colors in print.  I have a piece of junk mail on my desk right now that's almost exactly the deep electric blue color of the first image you posted above.


                      I'm not an expert at CMYK printing, however, but I'm sure there are experts here who can guide you through the use of "spot colors" or whatever it will take to get that color printed.



                      • 8. Re: Blacklight pictures
                        Judysurf Level 1

                        thanks , yhea i guess so...It's just that I don't know how to do it..so are there any ecperts here wanting to help me?:) thanks noel,

                        greetings Judith

                        • 9. Re: Blacklight pictures
                          c.pfaffenbichler Level 9

                          First off: Fogra 27? Has the printer specifically asked for this basically obsolete Color Space?

                          Based on the profile I assume you work in Europe, so you may want to check out the more current standards.



                          • When working on RGB images View > Gamut Warning can help identify colors that are out of gamut and View > Proof Setup (with the appropriate settings) can provide a preview for the specific target space (its significance naturally dependent on your screen and your calibrating discipline). Window > Arrange > New Window … can be used to view the same image with different Proof Setups.

                          • In some cases it pays off to try different Render Intents (under Edit > Convert to Profile, this can also be set in the Proof Setup), but usually only »Relative Colorimetric« and »Perceptual« make sense. In this case the difference seems not terribly prominent, though. If you find a better option than the one set in the Color Settings for Indesign you can either separate in Photoshop and place the profiled CMYK-file or change the setting for the individual placed RGB-image in the indd-file.

                          • Doing something like your image with spot colors seems not only a hassle but somewhere between hard and impossible to reliably proof so in this case I would recommend using a couple of Adjustment Layers (Hue/Saturation, Selective Color, Curves) in the RGB file to reduce magenta.


                          • 10. Re: Blacklight pictures
                            Gernot Hoffmann Level 3

                            In addition to c.pfaffenbichlers correct and useful advice:


                            These blues are extremely out of gamut for any CMYK space.

                            The automatic gamut compression (relcol or perceptual) leads always

                            to a magenta cast. This is a general and well known bug, which results

                            from a linear interpolation path in CIELab. A line of constant perceptual

                            hue (here blue) is not linear but curved.


                            In order to make the image printable by Offset, here defined by

                            ISOCoated v2 (eci)

                            it's necessary to modify hue, saturation and lightness. Very effective

                            (as well for blue skies) is a hue rotation towards cyan (which has

                            been applied by c.pf. as well, in my opinion). Of course it's not

                            compulsory to use layers.


                            Here comes a result. Modifications applied. Soft-Proof On. Gamut warning Off.




                            The next image shows that there are still areas out of gamut, as indicated by

                            vibrant magenta. In cases like here that's IMO tolerable.


                            Modifications applied. Soft-Proof On. Gamut warning On.




                            Best regards --Gernot Hoffmann