[Note that this article originally appeared in InDesign Magazine, Issue 37. For a free sample issue of InDesign Magazine, or for subscription information, see ] If you are going to use CMYK images from Photoshop in your InDesign documents, there are some things you need to know. Flash Yum Install. Unless you understand the pitfalls, they’ll cause you untold grief sooner or later. The genesis of this article was a problem posed to me by a production editor at a major book publisher (let’s call her Liz) who couldn’t figure out a mystery involving a book she was preparing for print: While some CMYK images from Photoshop were showing up in the final PDF files correctly, others–the majority, in fact–were changing. The numbers inside the CMYK image were changing dramatically–for example, a 80-percent black would change into 50-percent black with a bunch of cyan, yellow, and magenta thrown in. Like an airplane disaster, there is virtually never just one problem in these prepress mysteries–it’s almost always a combination of factors, of misunderstandings, of hidden settings and incorrect assumptions.

But by slowly unraveling the issues, we gain a better understanding of InDesign and Photoshop, and we can learn how attack the next unique situation more efficiently. So here are some lessons learned, and advice I can offer. CMYK Is Not Bad Often, creative professionals fall into either a CMYK or RGB camp, each arguing with the other than their color model is the One True Answer. But I’m here to tell you that both models have their pros and cons, and there is no “right answer.” I love RGB workflows as much as anyone–the ability to place an RGB image into InDesign and have it perform the high-quality conversion to CMYK (exactly the same as Photoshop!) when I print or export is miraculous and a huge time-saver.

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I recommend RGB workflows to almost everyone, but they do have their limitations. For example, in Liz’s book project (the one that was causing problems), most of the images were computer screen captures. Screen captures tend to work best when converted to CMYK in Photoshop using a “max-K” generation–that is, a custom GCR curve with GCR set to Maximum, which replaces as much cyan, magenta, and yellow with black ink as possible.