Nevada Press Bulletin
It’s not working right? Kevin has answers
By Kevin Slimp
It seems like I’m receiving more questions than usual. Maybe it’s the end of the year rush. Some have been real “head scratchers.”
Let me share a few with you:
From Shirley in Minnesota
Hi Kevin,
Just one question. I upgraded to Snow Leopard. I know ... bad decision. I can’t get my computer to communicate with my scanner. It’s a fairly new HP all-in-one printer and works great. I reloaded the software with no luck. Any suggestions?
Shirley,
From Rita in New York
Dear Kevin,
We are still using Freehand, along with QuarkXpress. We know Freehand will not be available when we upgrade to new computers in the near future. We have installed a copy of Adobe Creative Suite which includes InDesign CS3 to see if we can open these files. We are not able to copy and paste or import our Freehand files into InDesign to make changes to them. Is there a way to open these Freehand files when we get our new computers?
Rita,
Fortunately, Adobe Illustrator can open Freehand files up to version 9. If you’re using a newer version of Freehand, export your files back to version 8 or 9. This should allow you to open and edit your ads and other artwork created in Freehand.
From Darren in Tennessee
I know we’ve talked about this before, Kevin.
I still have problems with ads that have lines through them after they’re converted to PDF. The ads are designed in InDesign. It doesn’t seem to matter whether I use the Distiller or export the files. I still get the lines. Any ideas?
Darren,
These lines occur when non-transparent objects (usually text) are placed near transparent objects (such as drop shadows) in InDesign. There are a couple of things you can try to keep these lines from popping up in PDF files. One sure-fire way to prevent this is to: 1) Design the ad in InDesign; 2) Select everything in the ad (using Edit>Select All); 3) Copy the selection; 4) Create a new document in Photoshop (it will automatically be the same size as whatever you copied); 5) Paste the copied information onto the Photoshop document (Edit>Paste).
This creates what is called a “Smart Object” in Photoshop. It will look exactly like what you designed in InDesign, with an “X” through it. Simply double-click on the X and the ad becomes a layer in Photoshop. Now, simply save the file as an EPS file. Once you have the EPS file, you can place it in your InDesign document or convert it to PDF using Acrobat Distiller.
This sounds like a lot of work, but it is easy to master once you’ve done it a couple of times. I ofent use this technique when creating more elaborate designs in InDesign.
From Chris in Saskatchewan
Hi Kevin,
After hearing you speak in Regina over the weekend I came back eager try some of the things I learned in your seminar. While working with the Ink Manager in Acrobat 7.0, I found that every time I converted spot colors to CMYK, it appeared that it worked. However, when I would Preflight the file, a warning appeared saying spot colors were still present. Any ideas? I really enjoyed your classes.
Thanks for the kind words, Chris.
Yes, I have an idea. You forgot a step I taught in Regina. After converting the spot colors to process using Ink Manager, save the file as an EPS file. If you need a PDF file, then open your EPS file in Acrobat Distiller and it will be converted. And, yes, the spots will be gone.
From Joyce in West Virginia
Good Morning Mr. Slimp,
I need assistance with some problems we’re having with PDF files. Our biggest issue is with black text being set in process colors. We get these from advertisers and others and I need to convert them back to a true black to go on the press. Can you help me with this?
Glad to help, Joyce.
There’s a Photoshop fix that has been used with this problem since PDFs were in the early stages. However, a much easier option for you would be to upgrade to Adobe Acrobat Pro 9. This latest version of Acrobat has a wonderful Color Conversion tool that does just what you’ve described, converting text that is on several plates to the black plate only.
A checklist for evaluating issues
How many editors have faced reporting bad news – or, put another way – making an uncomfortable news decision? Pressed by a reader for the rationale, you’ve replied, “That’s our policy,” or “It doesn’t meet our guidelines.” Yet, in the calm and privacy of your office, you reflect, “We could have done a better job.”
The examples of tough issues are numerous, especially in community newspapers. Stories can range from following teacher negotiations or publishing salaries of public officials to reporting business layoffs or interviewing families of homicide victims.
Consider three of the most sensitive issues:
•A high school hockey team, picked by many to win the state title, opens its season without its starting goalie who is serving a suspension for a state high school league violation. The team still wins, thanks in part to a stellar performance by a backup goalie with no varsity experience. What do you report?
•A city dump truck collides with a motorcyclist, killing the cyclist. A clearly distraught truck driver crouches at the scene, consoled by a passer-by. Your photographer happens to pass the scene minutes after the collision, capturing the full emotions in a photo. Do you publish the photo?
•An elementary-school boy commits suicide, apparently the result of excessive ribbing by classmates. The aftermath of this suicide, more so than others we have witnessed in the community, lingers in the school. How do you handle the story?
All of these incidents are being talked about in the community. They have an impact on people. They are sensitive issues. And they are news. They should be reported if newspapers are to represent themselves as a living history of their home towns. Reporting these stories in a responsible fashion is a requisite for community newspapers to remain relevant, especially during these rapidly changing times.
It’s natural, and healthy, for newsrooms to pause and consider whether readers are served by the reporting of certain news. Here is one checklist, and accompanying rationale, that advocates the publication of challenging stories.
Is it true? Newspapers routinely report why athletes are “missing in action” – whether due to an injury, a family emergency or a college recruiting trip. Sitting on a bench for violating school or high school league rules is equally newsworthy.
What is the impact of an event? It’s standard procedure at most schools to call in counselors in the wake of an untimely death of a classmate, whether the death is due to natural causes or a suicide. The death automatically becomes conversation in homes. Can newspapers ignore the story?
Is the report fair? Teacher salary negotiations often are emotional and acrimonious. At the same time, the salaries can represent 75 percent of a school district’s budget. Newspapers are performing a vital service by keeping a community abreast of contract talks, giving equal attention to all sides of all issues.
Is it a public or strictly private issue? A closure of a major employer has a tremendous economic impact on a community. The news begs for explanation and interpretation.
Will the story make a difference? A newspaper’s attention to a fatal accident, including a photo, can become a springboard for action to install traffic signals at a dangerous intersection.
Will the truth quell rumors? A newspaper receives word from an elementary school student that a high school teacher lost all his fingers in a lab experiment – the “news” clearly spreading quickly. An investigation reveals that the teacher lost a finger tip, and a story sets the record straight.
How would you justify your decision to readers? Certain stories are expected to generate reader reaction, and editors should be prepared to answer questions. The circumstances might provide excellent fodder for a column to readers.
How would you treat the story if you were the subject? This question is not intended to prompt rejection of a story. Rather, it’s a reminder to treat the story with sensitivity.
In the end, fairness and consistency should be guiding principles for any story, and they are especially important when dealing with sensitive subjects.
Another element – discussion – is common to all of these questions in deciding whether and what to publish. All decisions are stronger if the options are talked about with as many individuals as possible – people within and outside of the newsroom. Discussion doesn’t mean consensus will be developed, but it assures that editors will get many perspectives before making a final call.
Jim Pumarlo writes, speaks and provides training on Community Newsroom Success Strategies. He is author of “Votes and Quotes: A Guide to Outstanding Election Coverage” and “Bad News and Good Judgment: A Guide to Reporting on Sensitive Issues in a Small-Town Newspaper.” He can be contacted at www.pumarlo.com.
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