Display profiles and soft proofing Windows RGB / Monitor RGB

This might have asked before, but I did not find any definite answer for this. Sorry this gets a bit long.
Short question:
What's the difference between softproofing with Windows RGB and Monitor RGB targets? I see differences in my image between these targets.
Long question(s):
Here's some reasoning.. let me know when I go wrong.
I have hardware calibrated my display Spyder 3 elite to sRGB standard. I have understood that the generated display profile contains a LUT table that affects gamma values for each RGB component, so that affects both gamma and color temperature. That table is loaded into video card when Windows starts. In addition to the LUT table, the display profile contains what? Probably information on what color space the display has been calibrated to. Does that matches directly with the LUT table information, but may deviate from sRGB in the case my monitor cannot reproduce sRGB 100%?
Now if I have image that that is in sRGB, but the embedded sRGB profile has been stripped away, should any non color management aware image viewer show the colors properly, if it is assumed that 1) my monitor can handle full sRGB space and 2) my monitor was succesfully calibrated to sRGB and the LUT table has been loaded into video card?
Or does it still require a color management aware program to show the image, which implies that the LUT table information alone is not enough and the display profile contains some extra information that is needed to show the image correctly? I would think this is true, as I needed to turn on color management in Canon Zoom Browser to see images in it the same way as in Photoshop.
Now to the original question, what's the difference in Photoshop when soft proofing with Windows RGB and Monitor RGB targets
I read from www.gballard.net that
Photoshop can effectively "SoftProof" our web browser color:
Photoshop: View> Proof SetUp> Windows RGB
Photoshop's Soft Proof screen preview here simulates how unmanaged applications, web browsers, will display the file on 2.2 gamma monitors, based on the sRGB profile. If the file is based on sRGB and our monitor gamma is 2.2 and D/65 6500 degrees Kelvin, we should see very little shift here, which is the goal.
Photoshop: View> Proof SetUp> Monitor RGB
THIS IS WHERE the color-brightness-saturation problem will repeat consistantly.
Soft Proofing Monitor RGB here strips-ignores the embedded ICC profile and Assigns-Assumes-Applies the Monitor profile or color space.
The color and density changes seen here show the difference between the monitor profile and the source profile sRGB.
I'm not sure how to read that. Assume here that my monitor has been calibrated to sRGB and the PS working space sRGB. Do in both cases photoshop strip away color profile from the image at first? What happens after that? Does in Windows RGB case Photoshop pass the color values as they are to display? What does it do in "Monitor RGB" case then? Does it assign my monitor profile to the image? If it does, does there also happen conversion from one color space to another? In either one conversion there must happen as the soft proofing results are different. Does either one cause "double profiling" to the image as the monitor is already calibrated?
Thanks

Windows defaults to sRGB if you don't calibrate your monitor so untagged sRGB files should display (more or less) correctly in applications that don't know about color management on systems with uncalibrated monitors.
When proofing against Windows RGB you're proofing against sRGB, it will show you how applications that don't know about color management on an uncalibrated monitor will show the image. This is what you proof against if you want to see how the image will display in web browsers.
When you proof against Monitor RGB, Photoshop will assign your monitor's icc profile to the image which tends to be utterly useless most of the time.

Similar Messages

How to use ICC profiles and soft proofing profiles?

Hi,
I got an Epson Stylus Pro 3880 and Epson Hot Press paper which, upon investigation, received great profeesional reviews and, having never printed digitally before, I don't know how to use profiles for soft proofing or printing.
I don't know where to go in Aperture or what to do. My driver is up to date and I downloaded the paper profile - not sure where it ended up. What's next?
So far as I know, soft proofing is about calibrating the monitor to the paper - am I correct?
Thanks guys,
Raphael

Raphael,
A good reply is going to require a full-size keyboard, which I don't have access to just now. Here are some starter pages:
http://www.cambridgeincolour.com/tutorials/soft-proofing.htm
http://www.luminous-landscape.com/tutorials/soft-proofing.shtml (a bit grumpy and out-dated)
Fwiw, I print to Epson Hot Press using a 3880. Imho, it's a _great_ printer, and that combination of printer and paper produced state-of-the-art results. (Not suitable in all cases, but if that is a look you like, the only thing that I've seen that surpasses it is the Epson 9900, and without looking at prints side by side you can not tell them apart.)
Your profile ended up wherever you have told your browser to save downloaded files. The Epson site should provide instructions on where to move the file. Once it is in the right Finder folder, when you next Aperture it should show in your list of profiles.
Keep in mind, though, that soft-proofing is useless without a well (read: hardware-calibrated) calibrated display.
HTH,
--Kirby.
(Sent from my magic glass.)

Rendering intent when displaying, exporting or soft proofing?

I am trying to make use of soft proofing to adjust my images for a given output device for which I have ICC profiles. The two profiles I am playing with are for a Lambda and a Fuji Frontier. The Lambda working space almost fits within Adobe RGB, it exceeds it in only a few places but is noticeably smaller for a number of other colors. The Frontier working space is for most colors a bit smaller than the Lambda and about equal for only a small number of colors. The Frontier working space would also almost fit into sRGB (to give you an impression of its size).
When soft proofing with Aperture, dark greens desaturate more with the larger Lambda working space than with Frontier one. If the rendering intent were relative colorimetric, colors should be clipped more and limited by the smaller working space of the Frontier. If perceptual is used then colors would in general be somewhat more compressed (ie, desaturated) with the smaller Frontier working space. But I see rather the opposite. In short, neither explanation makes sense.
So I tried exporting from Aperture into Adobe RGB and ProPhoto RGB hoping that both would be big enough to contain most of the internal gamut of Aperture in order not to require much compression or clipping when converting from the internal color space of Aperture (I saw no difference between Adobe RGB and ProPhoto RGB in the exported files, so I guess both are large enough for my purposes). And I then converted/soft proofed these files from Photoshop into my two output profiles. More options (different rendering intents, black point compensation) but none seemed to really match what Aperture was soft proofing. I still have a lot of ideas what to try out but if anybody could shed some light on rendering intents and soft proofing with Aperture, it would be very much appreciated.
(A related question, what rendering intent is used when converting colors, let's say defined in the Lab space in Photoshop, to the screen? I guess this is defined in the monitor profile, which in turn is created by the monitor calibration software, and therefore might depend on the latter. I would guess some kind of perceptual, but how the colors are really fitted and converted from the larger Lab color space into the smaller monitor one might very noticeably been different calibration software and will be different again for the monitor profile supplied by Apple.)

I went on about this a little more scientific by creating an image with three rectangles: red, blue and green.
All of them are 100%, e.g. (255, 0, 0). Colorspace: ProPhoto RGB.
Results when exporting the images to AdobeRGB and sRGB, concentrating on the reds:
- sRGB looks very washed out
- AdobeRGB looks a bit washed out
- Original ProPhoto has so much red that it almost drives me nuts
Now, I would really expect similar results when activiating soft proofing.
But when selecting either AdobeRGB or sRGB, the reds always drive me nuts.
There is just no difference at all to the original ProPhoto image!
Conclusion 1: Dorin, you were right, previews are in AdobeRGB. What I saw in the reds was the difference between ProPhoto and AdobeRGB. Somehow my screen seems to have extreme reds (calibrated recently with an X-Rite ColorMunki Display).
Conclusion 2: Soft proofing with AdobeRGB and sRGB really DOES NOT WORK!

Trying to configure Windows default Monitor RGB

Hi, I am trying to figure out the Windows color management interface to set up and confirm Monitor RGB.
Also how to set up and confirm that Windows is Defaulting to sRGB in untagged/unmanaged apps.
Thanks in advance for any help...
First DEVICES tab:
In this screen shot, I see Device is set to "Display: Generic PnP Monitor-ATI"
This doesn't look like a monitor profile (what is it)?
I see "Use my settings for this device" is checked
What behavior does that turn off/on?
In ICC Profiles, I see "Starbucks.icm (default)"
This looks like the Default monitor profile, but how/where was it selected?

Okay, I plugged my Vista hard drive into my Mac Pro and booted into Windows Vista and took a deeper look.
Control Panel> Color Management> Device tab:
"Display: Generic PnP Monitor - NVIDIA GeForce 7300 GT" appears to selecting the monitor attached to that card.
To see the actual monitor, go to Device Manager> Monitors (expand): right+click on Generic PnP Monitor> Properties> Details tab> click/expand Property drop menu and scroll to Hardware Ids ("Value" should list monitor). I am not sure what PnP means (plug & play?).
Checking "Use my settings for this device" probably lets me add and select profiles and behaviors to use with this monitor.
Unchecking "Use my settings for this device" probably tells Windows to make these decisions for me behind the mystery curtain (not desired if you like to know what's happening).
To select/change Windows Default Monitor RGB:
For example, if I wanted to switch my Monitor RGB to sRGB, I would click on "Add..." and choose the sRGB profile from the list of profiles installed on the system. Same routine if I had a custom monitor profile....
Once I have the desired monitor profile appearing in Devices> Name — to set it as my Monitor RGB — I would click on it to highlight it, then click on "Set as Default Profile" (and reboot for safe measure and to be sure the change sticks after rebooting).
+++++++
To confirm Windows Default Monitor RGB:
Go to Control Panel> Color Management> Device tab (and note profile "(default)".
This "(default)" designation probably identifies the current Windows default monitor profile, and it is probably where Photoshop picks up its Monitor RGB profile.
In other words, in the above example, Windows is using the "Starbucks.icm" custom monitor profile.
+++++++
To confirm Photoshop's Monitor RGB:
In Photoshop, go to Edit> Color Settings.
See Working Spaces> RGB and click to expand the drop menu.
Photoshop's Monitor RGB is the profile listed to the right of "Monitor RGB - (profile name)".
Note: Never set Working RGB to Monitor RGB (I am only pointing this out so you know where to confirm what profile Photoshop is using for Monitor RGB)...

LR 4.2 - how to compare master and soft proof copy?

Hello Everyone,
I'd like to use the soft proofing function in LR 4.2 to preview the print output and I'd like to use it to apply some corrections to the pictures before printing them, in order they look like I originally meant them to look like, but I'm experiencing some troubles, possibly caused by the used workflow (I'm not a pro, but my environment is calibrated properly).
My workflow is:
1. I import all fotos and apply some changes so that the fotos look like I want them to be (this is the master)
2. As I want to print them I use the soft proofing function and load the target icc profile with which I create a soft proof copy. Sometimes I notice that the differences between master and soft proof copy are quite drammatic, especially with regards to contrast, vibrance of colors and sometimes also regarding the brightness.
3. My target is now to adapt the soft proof copy so that it looks like the master (as I wanted the foto to look like), but I can't find any proper way to do so, because:
- I can't find a (semi-)automated way to adapt the soft proof copy so that it "looks" like the master copy
- in the Develop module I can't find a way to display both the master foto and the soft proof copy besides each other to compare them, in order to apply changes to the soft proof copy only so that it "looks" like the master.
The only way I found so far is to switch back and forth bewteen master and soft proof copy to compare them (to be able to apply the needed changes to the soft proof copy), but this is pretty painful, as the fotos don't load immediately, but it always takes some seconds and I have to 'remember' how the master looks like.
I'm not sure whether I'm doing something terribly wrong, but unfotunately I didn't find any answers to this specific issue so far, that's why I'm writing here.
Hope you can point me to a solution,
Regards,
Plasma2k

Activate softproofing with your choice of output profile (this can include proofing a web output colourspace such as sRGB).
Press Y to show a split before/after view (if your Toolbar is not open, press T to open that - this gives different kinds of split view options).
You will now see a comparison of the un-proofed and proofed appearances of this current image.
If you then make any develop adjustment from this mode, e.g. to make these two appearances more similar, you are then prompted to create a new proofing (virtual) copy as necessary - which can store these corrective adjustments independently of the main adjustments.
The before/after view then switches to show a comparison between your starting image (shown without softproofing) against your print-adjusted proof version (shown with softproofing).

Does Photoshop support N-Color ICC profiles for soft proofing?

Hi All,
Does Photoshop support N-Color ICC Profiles for soft proofing? If yes, then can anyone guide me?
Thanks!

No, it does not.

Last computer i was able to make 3 profiles and run 3 windows. each time it asked for the profile when i wanted to start each window. how can i set that up again

ast computer i was able to make 3 profiles and run 3 windows. each time it asked for the profile when i wanted to start each window. how can i set that up again

last time some1 set it up for me. i would only have 1 shortcut on my desktop. everytime i clicked on it, it would ask me which profile i wanted. even if i had 1 or 2 of the others open it would still ask me which profile i wanted to open. i want to be able to do it that way again.
yes i already set up the 3 profiles. but once i open up the one profile, and click on the short cut to open another, it just opens a brwser window with the profile in use. so i could open 10 windows, its only 1 profile, the first profile i used.
and yes i have the box not checked

Costco and soft proofing show dull washed out image

OK, so I am trying to utilize my nearest costco to print some images from lightroom 5. I am getting back dull washed out prints.
Facts:
I shoot in RAW in manual mode
I am using sRGB when I do my post processing
I export to jpg for printing
I used the costco LR5 plugin from Alloyphoto to upload to Costco
I have installed the printer profiles from drycreek for the specific location/printer and have chosen the correct profile as I export
I made sure that I chose to have Costco NOT autocorrect the color
Even when I use LR5's soft proofing, I get the same result on my monitor
I checked the print I got back and it says that they did NOT autocorrect (taken with a grain of salt)
The machine they are using is a Noritsu QSS-A, so I know my profile is correct
I have attached a screen shot of what I am seeing.
Why am I seeing this on my soft proofing as well as my prints?
How can I solve this and get vibrant prints?
Any advice would be helpful.
Message was edited by: moviebuffking

moviebuffking wrote:
I have calibrated my monitor as good as I can get without specific hardware. I have 18 years experience calibrating monitors (via optical media and my eyes), so I know that mine is very close.
It is virtually impossible to "accurately" set the Luminance, Gamma, and Color temperature "by eye." This is most likely the cause of your prints not matching the screen image you see in LR. That being the monitor's Luminance (i.e. Brightness) level is too set to high.
http://www.northlight-images.co.uk/article_pages/colour_management/prints_too_dark.html
To see if this could be your problem I downloaded the posted screen shot and cropped out the 'Copy' image, which has your adjustments applied to it. Here are my results:
Click on image to see full-size
I needed to apply a full F stop (+1.0 EV) of Exposure correction to achieve a good midtone brightness level for the print image. You'll notice I also added -50 Highlights and +50 Shadows along with +25 Vibrance. I bet the image with my adjustments added looks way too bright on your uncalibrated monitor.
You have two (2) issues–Monitor Calibration and LR Basic Panel Control Adjustments
Monitior Calibration
I would highly recommend investing in a hardware monitor calibrator such as the X-Rite i1 Display and ColorMunki, or Datacolor Spyder models. If you tell me what make and model monitor you are using I can recommend specific calibrators.
Temporarily you can try adjusting the monitor "by eye" to get it closer to the desired 120cd/m2 Luminance, 2.2 Gamma, and 6500K Color Temperature using the test patterns at this site:
http://www.lagom.nl/lcd-test/
When the monitors Brightness and Contrast controls have been correctly set the screen image should look much closer to the prints you have recently made with the LR Soft Proof adjustments. So in fact you will be adjusting the monitor to make it look bad with the LR adjustments you applied. The proper monitor settings will make the Lagom test patterns look correct AND should make your bad Costco prints now match the screen image using you original LR settings.
After changing the monitor's Brightness and Contrast settings try readjusting a few of the image files you had printed and send them to Costco as check prints. Compare them again to your monitor's screen image. They should be much better!
LR Basic Panel Tone Control Adjustment
LR's PV2012 Tone controls can provide much improvement to your raw image Highlight and Shadow detail. Start with all of the Tone controls at their '0' default settings and adjust them from the top-down in the order shown below.
1. Set Exposure for the midtone brightness ignoring the highlight and shadow areas for now. Setting Exposure about +.5 EV higher than what looks correct for the midtones seems to work best with most images.
2. Leave Contrast at 0 for now. You’ll adjust this after the first pass.
3. Adjust Highlights so that blown out areas are recovered and “fine tonal detail” is revealed.
4. Adjust Shadows to reveal fine detail in dark areas. For most normal images simply setting -Shadows = +Highlights (Example -50 and +50) works very well.
5. The Whites control sets the white clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping just appear with the ALT key.
6. The Blacks control sets the black clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping just appear with the ALT key.
7. Now go back and adjust the Contrast control to establish the best midtone contrast.
8. Lastly touchup the Exposure control for the best midtone brightness.
9. If necessary “touch-up” the controls using the same top-down workflow.
moviebuffking wrote:
Am I correct in assuming that the soft proof (with a certain profile) is a "preview" of what that print will look like?
Soft Proof does two things. It shows you what the image's colors will look like in the target color space (i.e. printer profile). You can see what (if any) colors are "out of gamut" by clicking on the small icon in the upper-righthand corner of the Histogram. You can also see if any of the colors fall out of your monitor's gamut by clicking on the small icon in the upper-lefthand corner of the Histogram.
When you check 'Simulate Paper & Ink' the Soft Proof image's contrast and color saturation are changed to make it look closer to what the "reflective" print image will look like when held next to the monitor for comparison. Many people have difficulty using 'Simulate Paper & Ink' since it requires using precise light levels for viewing the print and a well calibrated monitor.
In summary my best suggestion is to purchase and use a good hardware monitor calibrator on a scheduled basis to insure you have an "accurate" screen image inside LR and other color managed applications like PS.

Custom Profile to soft proof 10% Clip?

Thanks in advance!
I'm trying to set up an image to be used on a piece of packaging, which is supposed to be 'light and airy', and therefore uses pretty light colours thoughout. But I've been told that the image will clip any ink below 10% on the final output.
I've been supplied a generic ISO Coated FOGRA39 profile but that's it. So I'm trying to find a way of soft proofing to see where the clipping will occur.
I'd prefer to work in Adobe RGB for as long as possible rather that convert to the FOGRA309 profile and tweak the channels individually.
So can anyone give me some pointers on setting up a custom soft proofing profile?
Cheers! (I hope)
PS. CS3 10.0.1, OSX 10.5.8, 2x2.8 Quad

Thanks Buko.
But I think the FOGRA 39 profile was just sent as a general catch-all profile, and as such will not help me see the clipping below 10%.
The image has several areas of smooth gradient, hypothetically going from 100% of a channel to 0% of of a channel. This displays and prints smoothly (with the FOGRA 39 profile or without).
However I have been told that the final print will have worse tolerances, and areas below 10% af any particular colour will simply burn out, leaving a hard edge at the lighter end of the gradient.
It's these hard edges I'm trying to see, so that I can try and minimise the damage. I thought I may be able to create a profile to do this for me?

Display profile and scaled display

I have a 13 inch mid 2014 macbook pro retina. Anyway, Im curious about the display profiles (i.e. color lcd, adobe, generic, and sRGB). Which is the default one? Will using one or the other help to keep my battery usage low? Same thing with the scaled resolution options. Will these help to lengthen battery life by a couple hours?
Id like to find a way to make my macbook last longer on battery. Apple says they last about 9 hours but Ive been noticing its about 6 or 7 really, and thats with the brightness pretty low and with only safari open and watching a movie.
Thanks for your help

Color LCD is the correct choice. That is the profile made for the display at the factory.
The only time you want to choose something else is if you have generated a customized profile using calibration hardware. Using a calibrator is usually important to photographers and designers doing color-critical work, but not necessary for users in general. The sRGB and Adobe RGB profiles are there for other uses (like photo editing) and must never be chosen for the monitor.
The color profile has zero effect on battery life. Scaled resolution might, but I doubt it.
The Apple Store page describes their battery rating: "The wireless web test measures battery life by wirelessly browsing 25 popular websites with display brightness set to 12 clicks from bottom or 75%. The HD movie playback test measures battery life by playing back HD 720p content with display brightness set to 12 clicks from bottom or 75%...Battery life varies by use and configuration. "
It is plausible to get less than 9 hours if certain factors are affecting the load on the computer. For example, if you've installed background processes that might use a little CPU all the time, like monitoring utilities, system customizers, or sometimes drivers for peripherals. Also, I am not sure whether the Apple test has Bluetooth on or off. In the Apple test, the movie is being watched in iTunes (using QuickTime), but if you are watching your movie through a different player like YouTube (which uses Flash) or Netflix (which uses Silverlight), the Flash and Silverlight technologies may drain the battery at a different rate than iTunes Quicktime.
I think 6 or 7 hours is OK if you are using other applications like PowerPoint or Photoshop. Anything involving graphics is going to drain the battery faster than office apps or music.
I have gotten very long battery life on trains and airplanes where there's no wifi, because I shut off wifi and Bluetooth and turn the brightness down when the cabin is dark. Under those conditions you might get at least 10 hours of battery if the CPU isn't under a significant load.

Firefox V33.0 can't find user profile and cant view window content

Hello
I have used Firefox since the old days, wayyy back. Never an issue, always worked, always performed.
My Firefox (v32 I believe), automatically downloaded and applied the v33 browser and immediately, everything went wrong...
First, the browser loaded but the screen was either sheet black or sheet white, then reloading (after closing the window) was informed (only via the window title as all else was block black) that Firefox couldn't see a user profile.
I loaded FF with safe mode and disabled everything (list of addons at the bottom of this post), and the browser loads now and I can see content, but then after only a minute in "safe mode" firefox persistently returned with either a fatal crash or a sudden inability to find the user profile (causing exit).
Reading up about possible workarounds, I eventually managed to export the Profile data (to desktop), to clear the profile data and replace data with desktop copy. Clearing the data took several attempts due to firefox display only showing black or white as stated above, but firefox then couldn't "import" profile as I can't see whats going on in the window.
Eventually manually installed profile data (from desktop automatic copy) to firefox but FF still persisted in crashing to desktop and not displaying correctly if not in Safe mode. I eventually uninstalled firefox and reinstalled from scratch. The reinstall persisted with all the above mentioned issues, I did manually reinstate the FF user profile and crashing to desktop is now rare but does still happen, now it usually happens when Firefox is not the current active window.
Firefox still does not display correctly unless in the "Safe Mode".
Any clues or help or suggestion about why this would happen? Any way I can revert to version 32?
My Addons :
No Services.
Appearance, default only
PLUGINS:
VLC plugin 2.1.3.0
Silverlight plugin 5.1.3
shockwave flash 15.0.0
Quicktime plugin 7.7.5
Java platform SE7 U67 10.
Google Update (disabled)
Adobe Acrobat 11.0.9
EXTENSIONS:
British Dictionary (not compatible with v33!!, disabled)
Colorzilla 2.8.1
cssUpdater 0.5.2 (disabled)
Dust-Me Selector [for CSS] 4.1
Firebug 2.0.3 (and associated FireDiff, FirePHP, EventBug)
enabling / disabling all/any of these does not (so far) change the graphical fault loading Firefox outside of Safe Mode.
Any ideas?
cheers
P.S>As additional info: I have tried the "reset firefox" but this caused numerous little bugs with saving the profile user data. Also reseting did not fix any of the issues.
Everything else on my computer works fine. No virus, no malware (Eset / MWBytes) all other programs fine, and FF was fine until V33!!

Hi for the crashes that are continuing, we're sorry to hear that Firefox is crashing. In order to assist you better, please follow the steps below to provide us crash IDs to help us learn more about your crash.
#Enter ''about:crashes'' in the Firefox address bar and press Enter. A Submitted Crash Reports list will appear, similar to the one shown below.
#Copy the '''5''' most recent Report IDs that start with '''bp-''' and then go back to your forum question and paste that into the "Post a Reply" box. (Please don't take a screenshot of your crashes, just copy and paste the ID's. The below image is just an example of what your Firefox screen should look like)
[[Image:aboutcrashesFx29|width=520]]
<br><br>
Thank you for your help!
More information and further troubleshooting steps can be found in the [[Firefox crashes - Troubleshoot, prevent and get help fixing crashes]] article.

Printer Profiles and Onscreen proofing

Is there a way to adjust the options for Onscreen Proofing with ICC profiles in Aperture?
I downloaded and installed the Premium ICC printer profiles for the Epson Stylus Photo R2400 printer and have noticed an issue when I use Onscreen Proofing with these profiles, especially the matte ones. The screen display is muted as if the contrast is lowered and the colors compressed. I viewed the same image in Photoshop with Proof Colors and did not see this problem until I turned Simulate Paper Color on in the Customize Proof Condition dialog. Then the image took on the same appearance. Interestingly, the problem does not occur when I use the Epson profiles that are installed by default with the software that comes with the printer. The images print fine in Aperture (better than from Photoshop) using either the premium or default profile. I just can't use the premium profiles for onscreen proofing.
The bottom line is that the Epson Premium ICC printer profiles appear to be incorrectly built and do not simulate paper color accurately. In addition, Aperture appears to simulate paper color by default and I can't find a way to turn it off. This is unfortunate since the default Epson profiles, which are less accurate for printing, provide more accurate onscreen proofing.
Dual 2.3 GHz PowerPC G5 Mac OS X (10.4.6) 2.5 GB DDR2 SDRAM, NVIDIA 7800GT

I'm having the same issue and would love here a solution.
Tim

LR CMYK Soft Proofing: CMYK ICC to RGB ICC Conversion workaround?

Okay, here's a long shot:
So, CMYK isn't supported in LR. Got it. Annoying, but whatever.
Here's my longshot question: Is there a method to mimic the CMYK colourspace available in my CMYK ICC profile by creating a limited RGB space similar to it? For example, a method of converting a CMYK ICC profile to an RGB one? It doesn't have to be exact down to the letter but I need a general idea.
As background: I'm looking to quickly softproof the images in the limited space - I work for a daily newspaper and don't want to run through photoshop to proof them as it's not essential, though it's definately worthwhile to get a general idea for frontpages and the like to avoid major mishaps on important shots, and to ensure the images are as punchy as they can be.
Any ideas would be greatly appriciated!
Cheers,
L

Luka_k wrote:
Here's my longshot question: Is there a method to mimic the CMYK colourspace available in my CMYK ICC profile by creating a limited RGB space similar to it?
Actually yes, you'll need to fork over money for ColorThink Pro. The optional ColorCast module can "embed" the proofing effect of any ICC profile (RGB, CMYK, or more channels) INTO an existing RGB profile like sRGB which is what gets sent to Blurb. The big issue is, you don't really have an actual CMYK profile that defines Blurb's output conditions. Oh sure, they provide some generic CMYK profile they would like you to think is used for output but it's not (how can it? They have multiple papers and maybe even differing press technologies, one profile can't define all those output conditions). IF you could actually get a true output profile that is used for the printing, in theory one could build an RGB profile with ColorThink Pro that could produce the simulation. Maybe Blurb needs to contact CHROMIX and license this.
Now IF you have actual output profiles for your presses, you could do this.

Convert to Profile & Soft Proofing.

Hello,
Apologies if this has been asked and answered. Some answers on soft proofing searched on the forums helped, but didn't hit the nail on the head.
I'm grateful for ideas, instruction, pointers.
I. Per the instructions of the printer who's printing my work, I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen; and b) give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no? Do I have this wrong?
II. I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible, with allowances, of course being made for paper, ink, etc. The match has to be close. Is there a standard for softproofing that will allow me to see what's likely to appear on a given screen. A tall order, I know. Wondering if I should just inform the viewers to view the jpegs with their monitors set to a certain color profile--or if I should send them a monitor profile along with the jpegs.
Again, I'm grateful for ideas.
Best-
Gear: iMac 27"; Native Gamma 2.2; CS6.

I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen
if YOUR monitor profile is proper, Photoshop is 'accurately' displaying your image
to see your image the same, SHE (or anyone) will need to apply your source profile and also have a proper monitor profile
give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no? Do I have this wrong?
Gernot offers a good approach (what I would recommend):
"Leave images in sRGB (Working Space sRGB)
Modify by PhS until the appearance is nice
In Soft Proof choose your PP"
in other words, "Soft Proofing" (View> Proof Setup> Custom: Device to Simulate: the specific Epson profile) -- it doesn't make much sense to Soft Proof source DotGain20% to device DotGain20%
my question to her would be: is Dot Gain 20% the actual Epson Print Space (or does she use a specific printer-paper-ink profile that you can Soft Proof on your 'calibrated' monitor)
if she doesn't do any conversions to your DotGain20 file (it is the Print Space), then Photoshop is showing you the contract proof on your monitor when you open it (is my opinion)
I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible
here, i would Convert to sRGB and embed the sRGB profile -- short answer here -- that is the best you can do

Soft proof blurb profile

I want to soft proof with the Blurb ICC profile. In LR4.0 beta I can only select from attached printers or display profiles.
OS10.6.8, I have stored the Blurb profile in root/Library?ColorSync/Profiles.
In Photoshop the Blurb profile is an option, so that location works for Photoshop (version 12.1)

Austerberry wrote:
That does answr the question, but what I wanted to do was to soft proof the output of the Blurb printers.
You can’t for several reasons. One, LR only handles an RGB path and the output device here (an Indigo) is a CMYK device. You could soft proof in Photoshop which of course supports RGB and CMYK.
But the other issue is, the ICC profile Blurb provides is a generic one that does not describe all the print conditions (all possible paper and print behaviors) so even if LR could use the profile, the soft proof would be inaccurate and of little use.
Third, if any print provider demands output in say sRGB (which is what LR feeds to Blurb), then a user has no control over the actual conversion process (control of Rendering intent, pretty darn important, Black Point Compensation etc). So in such workflows, having a profile you can’t use, being forced to send sRGB is kind of pointless.
What can you do? Well until Blurb in this specific case provides CMYK profiles you can actually use for conversions for all their possible print processes, nothing. If they did, you could soft proof and convert in Photoshop. But until LR provides a CMYK path (don’t hold your breath), you can’t use the CMYK specific profiles even if they were available (which thay aren’t).

Display profiles and soft proofing Windows RGB / Monitor RGB

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