Colour profiling

is it possible to use colour profiling on Elements 10?  if so, how.

TILLYFRAN wrote:
Hello R Kelly,
       Thank you for your interest in my dilemma.
  Apparently “soft proofing” is an option, I simply want to  edit-convert profile. I have been advised by my Photo printers that Elements does not support this facility and have suggested I try edit- export, but this is not highlighted under the edit column and hence is not supported either. I,m beginning to think that Elements 10 is the worst piece of software I,v ever purchased!.   Again thank you for your interest, any help would be most welcome.
Let's be clear : you have been miguided.
CMYK is used in commercial offset printing. In my professional life, I have dealt with photographers, publishing agencies and printers (not only offset). The point is that to get good offset prints in CMYK, you have to know in detail the profiles needed for the process (paper...) We considered the conversion was the responsability (and the art) of the printer. (Anyway, the conversion to CMYK from pictures made in RGB is often a lossy one).  I don't know of serious commercial printers who does not have the full Photoshop or similar.
For amateurs today, even for printing, RGB is becoming the required color space. Advanced home or professional printing process (photo books) is often made on hardware with 6 or more inks. If you provide CMYK, the pictures will be first converted back to RGB !

Similar Messages

  • Do I need to set AI colour profiles for use in ID?

    My previous set up:
    Mac
    CS2 (Illustrator, Photoshop, Bridge)
    Quark XPress 7
    My new set up:
    PC (Win 7)
    CS5 (Illustrator, Photoshop, Bridge, InDesign)
    My problem:
    I work for a company that prints newspapers, but my dept also does work for glossy sheetfed printers (magazines leaflets etc)
    All my work is exclusively CMYK.
    With my previous set up - I didn’t want to have to switch my colour profiles via Bridge as I was constantly juggling two types of jobs:
    Our tabloid press - Profile - ISOnewspaper26v4 (CMYK)
    Sheetfed Printers - Profile - ISO Coated V2 (Fogra 39) (CMYK)
    So I set my CS2 Suite colour settings to  ISO Coated V2 (Fogra 39) and set an action in Photoshop to convert jpegs / eps photos to ISOnewspaper26v4.
    So my CS2 working space was set for Sheetfed glossy publications and if I wanted to set a picture to the correct profile for newsprint I just had to open the picture and hit the action that applied the ISOnewspaper26v4 profile.
    Regarding Quark – I set up separate templates for each type of job:
    One for Profile - ISO Coated V2 (Fogra 39) and one for - Profile - ISOnewspaper26v4.
    Regarding Illustrator - I found that Quark 7 didn’t differentiate between Illustrator colour profiles, or if it did, it didn’t show up in ‘Usage’.
    If I went to Quark Usage and went to ‘Profiles’ it only listed the Quark profile and any Photoshop profiles, not any Illustrator profiles.
    So in Illustrator I just set colour profiles to ‘do not colour manage this document’. So that I only had to worry about changing profiles for Photoshop jpegs / eps’s.
    So I had a good little system going that served me well and now my company decided to move us to PC’s and CS5; and I still have the same problem – juggling newsprint jobs and glossy magazine jobs and not wanting to have to synchronise my CS suite colour settings every time I switch between jobs...
    So I was hoping to stick with my little system on PC / CS5.
    So basically my question is, do I need to worry about Illustrator colour profiles if I am bringing Illustrator files into InDesign? (To clarify, my Illustrator files are always pure vector, so there is no chance of some rogue RGB jpeg sneaking through on a Illustrator file)
    Im open to suggestions regarding my set up, but really would prefer not to have to keep switching my colour profiles.
    Any help would be greatly appreciated.

    First, I wasn't suggesting that your PDFs be exported to RGB, but it is a common workflow these days to keep photos in RGB until you convert them to the correct profile during the export process. This maximizes the potential for re-purposing your documents and allows you to use the same RGB photos for different output purposes without having to do separate CMYK conversions for each destination, so long as you don't need to do any tweaking after the conversion.
    And to answer your question, if the .ai files have no embedded color profile they will ALWAYS be considered to use whatever the CMYK working space is in your ID file, so the numbers will be preserved. This means that there will be slight differences in color on output on different devices (the whole point of color management, after all, is to preserve the appearance of colors by altering the numbers for the output device).
    Does the vector work you get from Thinstock come with an embedded profile? Is there any color that is critical for matching, such as a corporate color (which should be spot, but that's a different discussion), or do you use the same art in both the newspaper and magazine, and does the client expect a match (which we know isn't going to happen anyway)?
    If there's no embedded profile when you start, there's no way to know what the color was supposed to look like, so color management is not possible, really. You can assign a profile, but you'd be guessing. Since the correct appearance at that point is unknown continuing with out color management shouldn't present a problem. The only case where you would need to manage the vector art would be if the color APPEARANCE is critical or you need it to match across different outputs, and in that case you would need to assign a profile and allow ID to preserve the profile on import and remap the numbers, which means you would likely get rich blacks someplace. Since it's unlikely that you can get a good match going from glossy to newsprint, I probably wouldn't even try -- you wouldn't want, for example, to tag the art as newsprint, and have it print subdued on the gloss if it would look better or more correct with the other profile. Color management would be much more useful if you were going from sheetfed to web on the same stock.

  • Can you use a photo lab's colour profile in Elements?

    Using PSE 6,  I want to use a printer profile from a digital photo processing lab, so as to get accurately printed images. (Additonally my monitor is calibrated by a Heuy Pro)
    The profile is  'FUJI 570 Supreme Lustre' which I have downloaded from the lab and installed on my Windows Vista PC.  Following PSE Help instructions, if I go to the print option then from the drop down Printer Profile list, I can see, choose and select the Fuji 570 profile.
    The problem is that this process only seems aimed at then allowing me to click on cancel or print (there is no save option etc).  PSE seems to assume that I am connected to the Fuji printer and want to print the image myself, which, of course, I don't but rather want to save this image with the correct profile for the lab's printer and paper-type, so as to send the file(s) for my colour managed image(s) to be printed.
    Is there any way that you can save a PSE image file with a colour profile like this in it?
    If yes, how is this done?
    The lab provides instructions as to how to do this with Photoshop but they are unfamiliar with PSE.  In the lab's instructions it refers to View/Proof Set up/custom and unchecking Preserve Colour Numbers, Paper White and Ink Black. Is any of this possible/necessary with PSE 6 (or any later version?)
    I have tried to resolve this myself but come to a dead end. If anyone can advise me how to achieve what I want to do, that would be really great or if it can't be done using PSE, to know that would be a great help.
    (I have used this lab before without the profiles and whilst the results were good in several respects, some colours, not surprisingly,  were not very accuate with my calibrated monitor)
    Thanks for reading and considering my posting on the forum.

    Thanks for this further advice- much appreciated.
    I don't think the Edit>>Colour Settings is going to work as this means that the monitor set up becomes the profile. In my case the Huey profile (which is confirmed as it shows in the print set up preference/settings boxes). Although the Huey profile is important for accurate editing, it will not fulfil the lab'sFuji printer/papers settings.
    It looks like PSE does not have any way to save to file with the printer profile (unlike Photoshop). This is a real shame.
    It's an interesting issue, as I can't believe that I am the only user ever wanting to use a lab's profile to get better colour management and to use a photographic lab rather than an attached printer.
    Anyway, thanks again for engaging in this issue and for your thoughts and advice - much appreciated.
    Should I find a way to resolve this, I will post it on the forum.

  • How do I Fix Messed up Colour Profiles

    I've somehow managed to completely mess up my colour profiles in Photoshop CS5. What a total Gormlops I am. Can anyone help me with these 2 related problems?
    1 - ACR displays colours from RAW files as lifeless and dull compared to JPEG. I've searched countless forums and I'm lead to understand that RAW files don't include the 'in-camera' processing that we see on the JPEGS. What I don't understand is that ACR used to display the colours on my RAW files exactly like it did with JPEG files so although I understand the difference in the way ACR handles RAW vs JPEG why has this only become noticable in the last few months? I've had this installation of CS5 for almost 2 years and the problem crept in only recently. How do I fix this?
    2 - Proof Colours Confusion
    I mostly work on the web and rarely need to print. Round about the same time the above problem reared it's ugly head I also started having issues with how many graphics colours looked in CS5. I realized that half of the time I was working with 'Proof Colours' switched off which made my colours really intense (something to do with gamma).
    I checked my 'Proof Setup' and switched it to Internet sRGB seeing as I mostly work with web graphics and photos. I then hit Ctrl+Y to switch on Proof Colours and now I see the colours as they really are.
    My question for this is twofold - Am I correct to be working in sRGB and is there ar way to have 'Proof Colours' always switched on so that I only EVER see the 'actual' colours that others will see when I publish my files to the web?
    I can't help thinking that these two issues arose at the same time and are linked. I tried installing a demo of CS6 in the hopes it would set me back to where I used to be but alas nothing changed.
    Thanks in advance.

    Try posting in the Adobe Camera Raw forum:
    http://forums.adobe.com/community/cameraraw?view=discussions
    You might want to do a forum search there before posting, though.  This comes up repeatedly and has been discussed ad nauseam there.
    In a nutshell ACR is not designed to emulate the in-camera JPEGs at all.

  • Using colour profiles with Windows XP Pro SP2

    Hi,
    Freshly-installed WIndows XP Pro SP2 on the Unibody MBP.
    I note that in the advanced display settings there is a tab for colour management. It offers the opportunity to add a .icc or .icx (I think) colour profile. I copied across my .icc-prefixed colour profile from my Leopard install, added it, and Windows reports it as invalid.
    Can anyone tell me how (or whether it's possible) to make a Leopard-created .icc profile work with XP Pro SP2? If it's not possible, can someone suggest some free software for XP Pro SP2 that I can use to achieve a similar result?
    Thanks.
    SiR. G.

    Got the error message 3256 after downloaded latest itunes version 8.xx.
    After days of reading logs and bullentin boards, uninstalling, hard resets,firewalls experiments, etc, I found solution for me. Following firmware upgrade to airport express solved. When you go to Apple download center and search for airport revisions only the MAc version pops up. However they do have this one for windows. Give it a try. Good luck.
    http://www.apple.com/downloads/macosx/apple/firmware_hardware/airportexpressfirm wareupdate63forwindows.html

  • Need some help with the colour profile please. Urgent! Thanks

    Dear all, I need help with the colour profile of my photoshop CS6. 
    I've taken a photo with my Canon DSLR. When I opened the raw with ACDSee, the colour looks perfectly ok.
    So I go ahead and open in photoshop. I did nothing to the photo. It still looks ok
    Then I'm prompt the Embedded Profile Mismatch error. I go ahead and choose Discard the embedded profile option
    And the colour started to get messed up.
    And the output is a total diasater
    Put the above photo side by side with the raw, the red has became crimson!!
    So I tried the other option, Use the embedded profile
    The whole picture turns yellowish in Photoshop's interface
    And the output is just the same as the third option.
    Could someone please guide me how to fix this? Thank you.

    I'm prompt the Embedded Profile Mismatch error. I go ahead and choose Discard the embedded profile option
    always use the embedded profile when opening tagged images in Photoshop - at that point Photoshop will convert the source colors over to your monitor space correctly
    if your colors are wrong at that point either your monitor profile is off, or your source colors are not what you think they are - if other apps are displaying correctly you most likely have either a defective monitor profile or source profile issues
    windows calibrate link:
    http://windows.microsoft.com/en-US/windows7/Calibrate-your-display
    for Photoshop to work properly, i recall you want to have "use my settings for this device" checked in Color Management> Device tab
    you may want to download the PDI reference image to check your monitor and print workflows
    and complete five easy steps to profile enlightenment in Photoshop
    with your settings, monitor profile and source profiles sorted out it should be pretty easy to pinpoint the problem...

  • Colour colour profiles and JPEG compression mismatch

    In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
    For example, if a JPEG image all one colour is placed in a gallery widget over a text box, and then the background colour of the textbox is set to the colour of the image by sampling the colour in the image using the colour picker, when downloaded to the iPad the colours will not match (although they appear to in iBooks Author). I presume this must be a bug with the encoding of the JPEG? Or is it a conversion issue between different colour profiles used for the solid colours in iBooks and the sRGB colours that Apple advises using for images?
    I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
    In short, does anyone have a clue what is going on with the colour profiles and colour matching in iBooks Author and iBooks on the iPad? They certainly display the most perplexing behaviour I have ever come across.
    Giles Hudson

    Although you say there is no concept of a colour profile in iOS, the problem is that iBooks Author does recognize profiles, and appears to take them into consideration when downloading images to books on the iPad. For example, an image tagged with an sRGB profile placed in iBooks Author will appear differently from an identical image tagged with an Adobe RGB profile. The problem is, it is not at all clear what conversion is going on, especially when using a monitor with a different colour profile appears to cause radically different behaviour in the conversion. Is it being converted to "Device RGB" that the colour picker apepars to use? What is this Device RGB? The monitor RGB or the iPad RGB?
    I understand that iOS supports RGB and CMYK. However, the important question is, which working space does iBooks Author use? sRGB, GenericRGB, Device RGB (whatever that is), Apple RGB, Adobe RGB, the monitor RGB? Without knowing this it is difficult to match solid colours to colours in images (and even arguably impossible due to the JPEG encoding problem I mentioned above).
    All this vagueness in colour handling with OSX and iOS makes life very difficult, especially, as you suggest, when things have the potential to change at any minute, potentially wrecking months of painstaking work that has been put into designing books in iBooks Author.

  • Change colour profile on export of jpeg for using files on windows pc

    My father, who is 80, has a mac and aperture.
    He is reasonable proficient using it, but as a windows user myself I'm unsure of the in's and out's of things and it always falls on me to help him when he has a problem.
    He also has a windows computer, which he has a programme on for making calenders.
    The problem we have is that when he saves his photo's after editing in aperture to a dvd, he puts this dvd into his windows pc and he cannot see any of the previews.
    On opening up any picture in photoshop on the pc, it asks if he wants to use the embedded colour profile or change it.
    I'm wondering if Aperture is exporting using a certain profile which windows cannot read? Thus doesn't show the preview.
    He needs the preview to pick which pictures he wants to use on the calender.
    He then stores all his pictures on the dvd.
    I'm pretty sure he shoots as jpegs, not raw. Though I need to ask him.
    He has several different cameras, and I think he has trouble with all of them. I'm pretty sure one is a nikon d5300 (I just googled red body nikon)
    Is there a colour profile for aperture when saving as a jpeg that is compatible with windows?
    It's a hundred mile round trip to visit and to then sit down and try to work it out by trial and error would take some time. 
    So if I can find an answer and call on the phone to tell him what to do, it'd save me a lot of time
    I'm not sure what Mac he has, what OS he's using or which version of Aperture, he only recently bought it, so guess at the latest one.......... I know I'm a great help !!!!!
    I can find out if needed, but thought there might be an easy fix....... I know, whenever is there an easy fix for anything!!!
    Cheers,
    Graham

    There is no standard for a 'Preview'. It's a feature of the software that is opening a file as to how it shows those files to the user for selection. Some software will look in the file header for a thumbnail, some will use the files associated icon (if it has one) and some will just present a list of file names. I seriously doubt changing the colour profile output by Aperture will have any impact on this.
    Although Aperture doesn't have a calendar feature, iPhoto does and as of the last year or so, Aperture has an option to open it's library in iPhoto. So if he has a current enough version of Aperture and iPhoto, he could avoid the issue altogether if he is happy to switch into iPhoto to make the Calendar.
    If he wasn't using DVD (say a USB thumbdrive instead) he could run a utility on the PC to create icons for the files where the icon is a thumbnail of the picture, which the calendar software might then use when prompting for images to load. But the use of DVD complicates this, as it depends on the DVD drivers and file systems in use on the DVD.
    Chances of resolving this remotely, remote
    Andy

  • How do you add a icc colour profile to a mac

    I need to add the icc colour profile of the printers that print my photographs onto my computer so when i do the little post production I know what im getting from them. Any ideas how this can be done.

    There are two library folders where you could install them:
    To install for all users install in
    Macintosh HD > Library >ColorSync>Profiles
    To install only for yourself install in
    Your Home Folder > Library >ColorSync>Profiles
    Regards
    Léonie

  • Help! How do I create a document with an imported PDF in 300dpi using a FOGRA27 colour profile?

    I am a new Indesign user and I have been working with GIMP for the last year creating single colour print-ready PDFs. But now I need to create a document with a FOGRA27 CMYK colour profile and a resolution of at least
    How do I create a document with an imported PDF in 300dpi using a FOGRA27 colour profile?
    I can import the PDF by creating a new document and finding the PDF in places, but it's bad quality.
    The only colour profile I can find under View - Proof Setup is FOGRA39, but I need FOGRA27!
    Help help help, I need to get these files printed in two days!
    Thanks so much..
    xx

    Proof Colors doesn't change the file's color management, it just lets you see what the color values would look like if they are printed unchanged on different output devices. If you want to actually convert the color from one CMYK space to another, it's probably better to do that in Acrobat—Tools>Print Production>Convert Colors.
    There's very little difference between Fogra27 and Fogra39—Fogra27 allows more total ink 350 vs. 330.
    There's nothing you can do to improve the quality of low res images

  • Help with colour profiles and wide gamut monitor

    Hi there,
    I know this issue must crop up a lot due to its confusing nature but I would really appreciate it if someone could explain what settings I should be using in Photoshop to get accurate colours. I had a look around and couldn't find any other discussions that answered this exactly.
    My set up is a Dell 2408WFP monitor which is wide-gamut. I have calibrated this using a huey Pro calibrator (therefore have an accurate system colour profile). My photos are in Canon sRGB space, set by Digital Photo Professional (obviously easily changed if need be).
    What I would like is to be able to preview what my photos will look like on a standard sRGB display. When I open a photo in Photoshop with all the settings on their default it looks extremely washed out, very low contrast and saturation. This is nothing like what the photos look like outside of Photoshop, and also not what the photos look like on other (normal gamut) displays. I have tried using the "proof colours" settings. When I have "proof setup" set to Internet Standard sRGB the colours look dreadful, oranges become blood-red, definitely not what I am getting when I view the image on a standard monitor. If I have it set to Monitor RGB then I get colours that look like my monitor outside of Photoshop -- this is the closest out of the three to the result I am actually getting on standard gamut displays. However I know it is not accurate because I know my monitor is wide gamut and therefore more has more contrast (and this is the case).
    So what combination of photo colour space, proof colour space, and proof colours settings should I be using? My main priority is just the Joe Average using his TN panel monitor on facebook, I accept that on my monitor they will look slightly different. Settings for print don't concern me at the moment.
    Thanks for the help. To anyone who will suggest that I read up on colour profiles... I have, and I understand them to an extent, but there are so many variables here that I am getting lost (monitor profile, photo profile, photoshop settings, DPP settings, faststone viewer's settings, browser's lack of awareness...)
    Andrew

    function(){return A.apply(null,[this].concat($A(arguments)))}
    thekrimsonchin wrote:
    I know this issue must crop up a lot due to its confusing nature
    You have no idea. 
    What I'm reading is that you want Photoshop, with its color management enabled, to display your sRGB photos as they would be seen on a true sRGB monitor - i.e., accurately.
    Something to always keep in mind, when everything's set right and working properly:  Your sRGB image displayed on your wide gamut monitor without color management (e.g., by Internet Explorer) will look bolder and brighter (more color-saturated) than the same image displayed in Photoshop with color-management.  There is no getting around this, because the sRGB profile is not equivalent to the monitor profile.  Do not expect them to look the same.
    It's hard, without being there and seeing what you're seeing, to judge whether your sRGB images are undersaturated compared to what's seen on other monitors.  I do know, as one with sRGB monitors myself, that images can look quite vibrant and alive in the sRGB color space.
    What we can't know is whether your judgment that your color-managed sRGB images are undersaturated is correct in an absolute sense, or whether you're just feeling the difference between seeing them on your monitor in non-color-managed apps and Photoshop.
    Photoshop normally does its color management like this:  It combines the information from the color profile in your document with the color profile of the monitor, which it retrieves from a standard place in Windows, and creates a transform used to display the colors.
    To have it do this you would NOT want the Proof Colors setting enabled.  It is the default behavior.
    -Noel
    P.S., I don't recall whether DPP is color-managed, but you might consider using Photoshop's raw converter, which definitely shows color-managed output, per the settings I described above.
    P.P.S.,  Your calibrator/profiler should have put the monitor profile in the proper place and set all the proper stuff up in Windows.  Is it specifically listed as compatible with the version of Windows you're running?

  • PNG colour profiles - and this format for print

    I know it's taboo to talk about PNG for printing.
    But I can't find and I've searched the forums - there was a post made about embedding colour profiles a while ago.
    I know PNG is a RGB only format, but I'm 36.8% sure I read something about embedding either RGB or ... wait for it CMYK profiles into PNG files.
    If anyone can shed any light on this - and how about PNG for print - I've been against it for a long time - but it is a lossless format, it can carry 64 bit data.
    I know I know - but I thought I'd ask anyway - see what people think.

    You can't save a PNG with a profile out of Photoshop, but it looks like you can embed one via the image events scripts that ship with OSX (/Library/Scripts/ColorSync/embed). Unfortunately ID ignores the embedded profile and uses the document's assigned profile instead. PNGs do respond to ID's RGB profile and the RGB profile will have an effect on the CMYK separation when it happens.
    Here's ProPhoto and sRGB:
    From your ID document you can also assign a profile, which conflicts with the doc's profile, by selecting the png and choosing Image Color Settings.... So, you could assign AdobeRGB as your doc's profile and assign sRGB to all your pngs.

  • Photoshop colour profiles and Aperture

    The local lab only has Photoshop colour profiles, nothing for Aperture. Any way to utilize these in Aperture?
    They recommend their PS RGB profile. If I can't utilize it, I can get an image that is closer to my screen display, if I onscreen proofed using Aperture's generic RGB or sRGB modes. My last print job did not utilize any onscreen proofing beforehand and it shows -- way too blue in the print. Onscreen proofing using either of these RGB modes gets me closer in colour balance to the last print job, but contrast and brightness is still an issue (print is darker and flatter).
    Any way to work with these profiles to produce my own custom one, based on a series of test prints?

    A colour profile is a colour profile. Photoshop is just an app that uses them - there's no such thing as a PS-specific colour profile.
    Copy the profile into either ~/Library/ColorSync/Profiles (specific to that user) or /Library/ColorSync/Profiles (all users) and it should appear in the lists for screen proofing and output profiles in Aperture.
    Ian

  • CCP colour profiles and different lenses

    Hi,
    I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
    Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
    I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
    Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
    I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
    M

    First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate.  From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image.  For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
    Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look.  You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
    The two questions you seem to have, are:  does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
    For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder.  By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles. 
    If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise.  I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop.  In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference. 
    Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario.  In my mind the works out to be "make the colors of the object look like it was photographed in sunlight".  The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done.  For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced.  A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight.  This might be an argument for NOT WBing skin in incandescent lighting.  In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
    To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each: 
    Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)?  Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers.  You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting.  The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different.  One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast.  So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
    This first question dealt with the photos taken with each of the two lenses.  The remaining questions are about testing with just one lens. 
    Is the profiling process repeatable?  Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles.  An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results. 
    Does the exposure make any difference?  You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered. 
    If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still.  I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
    I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at.  Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
    Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch.  An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting.  You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
    http://www.pbase.com/ssprengel/image/101322979
    If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth.  Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

  • Colour profiles and my sanity!

    I hope there's someone here who can help this Photoshop newbie!
    I am a keen but very amateur photographer, and  I'm experiencing a frustrating problem in Photoshop and though I've read a few articles on Colour Profiles, I must be missing something obvious.
    I've set my Photoshop (CS6) colour settings (edit/color settings) to ProPhotoRGB. I import my images from my camera and edit them so they look exactly the way I want. The problem is, after I save the final images and view them in other image viewing software, such as FastStone InfanView, ACDsee etc. the colours look a little washed out. I must be missing something obviously but I just don't know what. I know for web uploading, it's usual practice to set your color profile to sRGB, and that seems to work fine for the web, but my images are being saved primarily for viewing offline and for possible printing.
    Can someone explain to me in layman's terms what it is I'm doing wrong here?
    Thanks.
    Simon.

    Good day!
    Could you please post screenshots to illustrate the issue?
    And set the Status Bar in Photoshop to display the profile.
    Do you "Embed Color Profile" when you save the images?
    Regards,
    Pfaffenbichler

  • Colour Profile issues between North America and Europe

    I have a corporate colour, C80M80Y0K0 which creates a very attractive shade of purple. Within North America all printouts demonstrate very similar variations of that purple colour. We have an office in UK that uses the same collateral pieces. While they preview correctly on screen, they are unable to reproduce that purple in their office or with their professional suppliers (all digital processes). The resultant colour is blue (approx C92M68Y18K0).
    The files are created in Indesign, using a process colour within Indesign, and then exported to a PDF and shared with the UK office.
    My guess is that it is a colour profile issue - has anyone else had this same issue, and if it is indeed a colour profile issue, what profile would you recommend using? I've tried using some of the other default profiles within Indesign but with no luck.
    Any assistance would be really appreciated.

    The resultant colour is blue (approx C92M68Y18K0).
    What preset are you using for the Export, or what are the Output settings? Have you tried PDF/X?
    PDF/X-4 will leave color unchanged and profile everything, so a color change like you are describing most likely means the wrong output profile is being used in the UK.
    PDF/X-1a forces everything into your doc's CMYK space and makes conversions at output less likely—with X-1a your 80|80|0|0 mix will probably be output unchanged.

Maybe you are looking for

  • Recordable space on DVD-R vs. Dual-Layer DVD+R

    I have the PB 17" 1.67GHz Nov 2005 model with the DVD dual-layer burning drive. I bought a 15 pack Memorex DVD+R DL recordable 2.4x, 8.5GB, 240min video to experiment some with this media. On many of my DVD-R Single-Layer discs I can record data up t

  • How many Hash Partitions do I need?

    Is there a general rule, guideline or best practice that I can follow to derive the optimum number of hash partitions I should create for a table to be hash partitioned? I see that oracle recommends to consider partitioning if the table exceeds 2GB,

  • Outbound Messages on ECC using WS runtime, where to check

    Hi guys, I'm wondering if there is a tx on ECC where to check all outgoing and incoming messages using abap proxies on WS runtime. When using proxy runtime, they are visible at sxmb moni (on ecc). Where are they when WS runtime is used? thank you, Ol

  • Identifying instance on windows machine

    Hi all, We can identify all the instance by firing the command *"ps -ef|grep pmon*" in unix machines. But, can anyone please help me find which "oracle.exe" process is running for which instance??..i.e, equivalent command in windows to identify vario

  • How do i upgrade my Ipad original version

    I am having a difficult time connecting to WI-Fi and was told that i need to upgrade the IPAD original. What should i do and who can help me upgrade?