After your image is sized and sharpened, it’s ready for you to make a print. To this point, you’ve been working with a backlit display with vivid RGB colors that exceed the saturation and brightness of anything you can put on paper. Now the moment of truth arrives, and you need to translate what you see on the monitor to a print that can convey the same feeling. The problem is much the same as it was when photographers shot transparency film: There’s still a huge discrepancy between the dynamic range and color gamut that can be represented with a glowing backlit monitor image and what can be printed on paper, where the brightest thing is the white paper. Another major issue is the way images are constructed in the two different media. RGB images on the monitor exist in an additive color space: Red, green and blue light is added together to make white. CMYK images, which form the bulk of paper-based output, use cyan, magenta, yellow and black to subtract from paper white to make a color image ….