I'm eating breakfast looking at Jon Cone's Quadtone Workshop syllabus, preparing myself for the day's projects. Inside, the workshop space is open and airy. Digital printers, computers, scanners, cutting tables, and office equipment fill the barn from one end to the other - Iris and Epson 3000 printers humming like a quiet symphony. This marks the opening of three days of exhausting work in Photoshop, scanning, and printing your own pictures, and applying the techniques taught by Cone, Bill Bergh, and Larry Danque. The workshop is thorough.
Cone begins with a discussion of imaging environment.
He argues the importance of using the publishing industry standard, D50, or 5000k, as the viewing conditions and suggests a darkened room for working. All monitors and lights are at 5000k. With the separate screen calibrator he neutralizes the RGB guns and the computer's video card to read correctly. Following this Photoshop's RGB, Grayscale, CMYK, and Profile Setups are configured for the quadtone process. Cone feels that establishing the Dynamic Range of the paper is the first step after calibration.