Andrew Rodney is owner of The Digital Dog, a digital imaging training and consulting business located in Santa Fe New Mexico. Andrew, aka the Digital Dog, has provided services and training to photographers, designers, print shops, government agencies, as well as fortune 1000 companies since 1993. He has written for: PDN, Publish, Photoshop User, Digital Photo Pro, Electronic Publishing, Digital Output, MacWeek, and Professional Photographer. Andrew is the author of "Color Management for Photographers, Hands on Techniques for Photoshop Users" published by Focal Press. He lectures around the country on many aspects of digital imaging and color management. The Digital Dog is devoted to the understanding and adoption of color management. Andrew has been a Beta for Adobe Photoshop since version 2.5, and is currently an Alpha tester for Adobe Systems. Andrew is one of the principle partners of Pixel Genius LLC, creators of products such as PhotoKit and PhotoKit-Sharpener. Andrew was named a "Top 40 Photoshop Expert" by Wacom Technologies. In 2007, Andrew was inducted into the NAPP Photoshop Hall of Fame. Andrew's web site can be found at http://www.digitaldog.net

From Andrew:
"CMYK has been called the Devils colorspace. After all, God created RGB and man created CMYK, which would you rather use? For many, the options are not clear cut. Do we and should we send CMYK to our clients? What are the potential pitfalls? In this seminar, I'll cover what are best practices for making the best possible CMYK conversions and discuss what to do when you simply can't follow these procedures. Some areas covered will be:

• What's a contract proof, what to aim for in conversions, why you wouldn't necessarily profile the press.
• Black generation, TAC and CMYK target values. Learn the lingo, communicate with the printing house.
• What really is SWOP, GRACOL and other standard print conditions. Can they be the solution?
• When and when not to send RGB to the printer and why photographers might do their own Seps.
• Using a desktop printer (Epson) to make loose color proofs for a CMYK process.
• Using the the "Custom Proof Setup" dialog to preview CMYK press output
• Absolute versus Relative versus Perceptual rendering intents, when to use what
• better "proofs" from inkjet printers/using the print options box
• "how do I convert and prepare CMYK files for clients when they have virtually no specific press information"

This event will be another color geek fest but this one might save your bacon if you have clients expecting you to deal with CMYK reproduction!"