Adobe Bridge colour management problems

It appears that jpeg images, converted from Neffs, are not being displayed correctly in Bridge, V2.1.1.9. They display overexposed and open from Bridge into Photoshop CS3 overexposed (faithfully overexposed to Adobe Bridge's representation) and yet shift clicking, or opening in Photoshop CS3 directly from the file the images display correctly. I have tried purging the cache for one of the offending folders but this has not resolved the issue.
I have also Optioned clicked, on launch, and cleared all prefs - this rectifies the problem but once Adobe Bridge is relaunched the files initially preview correctly but then Bridge decides to amend (I can see this happening) and display overexposed thumbnails once again.
It appears that all Canon jpegs saved from RAW (.CR2) files are okay. All Nikon NEFF files display correctly, as do Tiffs saved from the NEFFS, the error appears to be restricted to jpeg images saved from NEF files.
I am using Leopard MacPro 2.8 quad - all Adobe and Apple software up to date, freshly installed and monitor calibrated - correct monitor profile being used, not hosed, as CS3 is good. I am not running the CS3 suite just Bridge, ACR and CS3.
I didn't suffer from this problem on my previous PowerMac G5 (it recently died hence new MacPro), with the same images, using Tiger, Adobe Bridge and CS3 - could this be one of Leopard's many teething problems?
I have some low res screen grabs to demonstrate the problem but I am not sure if, and how, I can upload them to this forum?

PROBLEM SOLVED, sort of any way.
I figured out my problem and it really has nothing to do with Bridge.
Basically my D300 along with other digital cameras is adding additional information into the RAW format that Bridge and other programs like Apeture and Lightroom ignore. Stuff like D-Lighting, Color settings and other information that can make the picture look a specific way is simply dropped at import when opening in bridge because those certain settings are specific to Nikons RAW NEF files. Canon does the same thing on their RAW files as well.
The reason people see the graphics change is because Bridge and other programs usually use the camera's JPG preview with all tweaks to first pull up the thumbnail image in Bridge. When the user clicks on a thumbnail to view the RAW file info or import it into Photoshop, Bridge interprets the RAW info as it can and opens the file. The extra information that helps the photos look a specific way are simply dropped because Bridge does not know how to apply that information.
So unfortunately for now, I guess I am stuck with Capture NX from Nikon if I really want to see the image as it was taken originally without having to do extra work inside of ACR. And before anyone says it, I know you can build profiles that will import the RAW files the same way every time, but so far I have not been able to tweak the settings where the images look exactly the same to this point. It also looks like Nikons software does a much better job of importing the RAWs with less color noise. Too bad their program is slow and completely crappy to use. Kinda sucks, but I guess that is the name of the game right now.
Laters,
Joel

Similar Messages

When I start the program I instantly see this message: "Adobe Bridge encountered a problem and is unable to read the cache, please try purging the central cache in cache preferences to correct the situation". I have tried this and it only results in a s

When I start the program I instantly see this message: "Adobe Bridge encountered a problem and is unable to read the cache, please try purging the central cache in cache preferences to correct the situation". I have tried this and it only results in a stalled/locked program. I have tried restarting my machine multiple times and tried reconfiguring how the cache is managed. Do you have anyone who could walk me through each step to correct this problem which just started two days ago. I have owned this program for at least a year now...

BOILERPLATE TEXT:
Note that this is boilerplate text.
If you give complete and detailed information about your setup and the issue at hand,
such as your platform (Mac or Win),
exact versions of your OS, of Photoshop (not just "CS6", but something like CS6v.13.0.6) and of Bridge,
your settings in Photoshop > Preference > Performance
the type of file you were working on,
machine specs, such as total installed RAM, scratch file HDs, total available HD space, video card specs, including total VRAM installed,
what troubleshooting steps you have taken so far,
what error message(s) you receive,
if having issues opening raw files also the exact camera make and model that generated them,
if you're having printing issues, indicate the exact make and model of your printer, paper size, image dimensions in pixels (so many pixels wide by so many pixels high). if going through a RIP, specify that too.
etc.,
someone may be able to help you (not necessarily this poster, who is not a Windows user).
a screen shot of your settings or of the image could be very helpful too.
Please read this FAQ for advice on how to ask your questions correctly for quicker and better answers:
http://forums.adobe.com/thread/419981?tstart=0
Thanks!

Hidden network drives "home" and "net" shown in folder view Adobe Bridge CS5 / Lion Problem

Updated to Mac OS X 10.7.2 Lion and got this "problem":
The hidden network drives "home" and "net" shown in folder view Adobe Bridge CS5 (unlike in 10.6 Snow Leopard).
Normally these network drives are hidden (in Finder and other Apps) - but Adobe Bridge CS5 is showing them, despite "show hidden files" is unchecked in Adobe Bridge.
Not a dramatic "bug", but it also shouldn't be a big problem for Adobe Bridge engineers to solve this. My first question to the Adobe Support was answered like: "we don't know what Apple did change, so we cannot do anything". Hmmm, are you serious?
I tried to resolve that problem by myself but failed. So, if an Adobe engineer is reading this post: perhaps Adobe Bridge is ignoring the automounter master map (that was my approach to resolve it):
# Automounter master map
+auto_master                    # Use directory service
/net           -hosts                 -nobrowse,hidefromfinder,nosuid
/home                                        auto_home       -nobrowse,hidefromfinder
/Network/Servers               -fstab
/-                              -static
You cannot do anything to these folders, so it is not a serious issue, but, I mean, did someone at Adobe check compatibiliy with 10.7 and ignored this issue? If so, are there an other issues ignored?
But I guess, the compatibilty update for Bridge CS5 for Lion is Bridge CS6 - to be fair: I also have to say, that in general Bridge is running okay on Mac OS X 10.7.2 (but could be better, as always;)

Hi Curt Y,
thanks for your answer! Yes you' re right, I forgot to mention that ... before I posted here, I sent a bug report via the Apple Bug Report webpage about the issue ... of course, here are 2 parties involved.
I had a similiar problem once and I got a meesage back from Apple: "that it is a 3rd party problem, sorry" (it was about color management).
I am just a user and I often feel very strange about Apple's (topsecret) communication behaviour ... Whatever, what do I know about software engineering? - Right.
Maybe someone on this forum has an idea, because I'm afraid, thus it is not a serious bug, no one would take care about it in the next time (during my research I found an older post here on the forum about the same problem ...).
thanks for help in advance,
jobumac

Feature Request (again); Adobe Bridge Cache Manager

In Adobe Bridge, the Cache is still a problem and a huge memory hog. I asked for a good Cache Manager over 3 years ago when it was needed CS4.
Now in CS6, I am disappointed that the cache system in Bridge has not changed. Why do you have a section in the Adobe Forums that asks for 'Feature Request' and then ignore them?
http://forums.adobe.com/message/2652688#2652688
"I would personally like a tool within Bridge that allows me to manage and control the Cache in a more personal and effective way. I would like a toggle that would keep '100% previews' in one folder for a selected period of time (1 day to 1 month) before the folder's cache is automatically purged. And another toggle that would give me the option to keep a selected folder's cache permanently intact (such as an Important Portfolio Folder or an Edited Images Folder).
As a photographer, I take and edit a lot of photos. When I import a photoshoot with 1,500 photos (not uncommom at all) I enjoy having the Bridge Previews at 100%, but for only a limited time. Unfortunately, I forget to purge the individual cache of that folder and the cache builds to a point that makes Adobe Bridge CS4 very slow. I then have to Purge the whole Bridge Cache in order to make Bridge run smooth again.

gumbogood wrote:
A Cache Manager tool that lets me either schedule a cache cleaning on a folder, or keep it permanent, would be a huge help. And I don't think that it is unreasonable for me to ask this of Adobe.
If you submit a feedback poll where Yammer pointed you, and it gets a couple of hundred (thousand?) users agree you might get Adobe's attention.
I agree with Yammer that Bridge is a low priority project with Adobe. Think their target audience is the casual user with a few hundred photos added each year. Your use pattern is more specialized and you either have to adapt with scripts or move to another product IMO.
The size of cache takes a lot of people by surprise. It can grow humongous if you use HQ thumbs and save 100% previews. One can dump the cache in preferences, but many are reluctant to to this as they think it will delete all their keywords and edits. In addition, to do a search you have to re-index all your files, which can take a long time.
If you have "export cache to folders" checked, dumping the cache in preferences only dumps the central cache. To dump the folder cache you have to visit each folder and click on Tools/cache/purge cache for xxx folder. Again, most people do not recognize this. This technique purges both the central and folder cache for this folder only.
It the 100% previews are the problem for you it would seem like a simple task for the script people to write one that would delete it after xx days as the 100% previews are held in a specific folder.
Bridge is not a good digital asset manager. You are probably in that arena dealing with several hundred thousand images. Omke uses a DAM as it does some functions better than Bridge, but Bridge is still his main program. Can't remember the name, but if you read these posts you might have seen it.

Photoshop 7 Colour Management Problem (WinXP)

Hi,
I just a problem studio while swapping over 2 Windows XP machines, having swapped over the 1st PC Photoshop 7 lost it's colour management settings.
All images viewed now appeared hazey to the user. So we swapped the PCs back to the original monitor however the colour settings we are prompted for
when opening Photoshop 7 have now been lost..
We tried alll the colour management templates listed but these are not right.
Is there away we can restore the original settings? Could these settings be saved in a file somewhere on the PCs hard disk?
Thanks in advanced.

The color settings should be in C:\Documents and Settings\Anita\Application Data\Adobe\Photoshop 7\ somewhere or they are in Photoshop's program directory under a Presets\Color folder
Mylenium

Help diagnosing colour management problem - windows 7, CS3, Eye-one display 2

Hi,
I had my colour management all set up and working on my old laptop then I foolishly got a new laptop and am completely failing to get things straight.
The new laptop (Asus N56VM with Nvidia GT 630M) is running Windows 7.. I've calibrated the screen using my Pantone (X-Rite) eye-one display-two and straight away it looks much better to the eye. I calibrate to native white point which I always do with laptops.
I've used the following procedure to make Windows 7 load the profile at startup and removed the GretagMacbeth tool which attempts to do the same:
http://www.laszlopusztai.net/2009/08/23/stop-losing-display-calibration-with-windows-7/
Everything looks great except when I attempt to use anything with colour management.
Eg. All my old photos looked great in Adobe Bridge until I activated Color Management via it's settings and suddenly they look awful - sky blues turn turquoise.
If I open an sRGB tagged file in photoshop it looks the same - awful (using Preserve Embedded Profile and with a working space of Adobe 1998 in Color Settings)
Only way I can get images to look normal in Photoshop is to open them then ASSIGN the monitor profile to the image (I know this makes no sense to do and is in no way a workaround)... and it looks great.
Something's not right somewhere but not sure where to start looking since there are so many variables. Can anyone suggest a route to investigate based on what I've said so far? This is driving me nuts!

Ok, I use the same tool and software to calibrate my monitor. I disagree with Lazlo p about resetting Color Management. What you should have is under Devices>Display, click "Use my settings for this device". (You will have to go to the place you checked Windows display calibration and uncheck it first.)
When I first started using Win 7, I did not have either checked, (I didn't know about Windows Display Cal) and had fits. Then I checked "Use my settings..." and it ran fine.
The reason the Gregg MacBeth Calibration Loader tool is needed has to do with their reluctance in updating the software completely to run in 64 bit. The Calibration Loader has always been a part of their software and for at least, XP, has run seamlessly. I now have the icon for Cal Loader in my tray, and after reboot, I'll click it to be sure the profile has loaded. Most of the time it has.
I verified it with the support group who verified the need to use that tool in 64 bit. The workaround? An entirely new software package at a considerable sum!
So I did what Lazlo suggested, and when I had completed the changes, I clicked the cal loader icon in the Tray.
The display changed!
I trust the Cal Loader.
I do not grasp what MS implies in their discussion of WCS vs ICC, especially with respect that WCS is better.
Finally, I am doubtful that you should be using native white point. It's not simply a choice available to laptops, but to all LCD screens (AFAIK!). There is a huge difference between 6500K and native white point on the Dell u2412,so much so I dismissed it out of hand and tweak the colors in RGB during calibration. Your laptop may not offer that path.

ADOBE BRIDGE SAYS HAVE PROBLEM WITH CACHE. WILL NOT WORK AND I TRIED TO GO TO

DownLoaded yetserday 2200 new pictures into my mac book por.
now adobe bridge freezes up and says error in cache settings.
but when i attempt to open preferences, and clear out cache, it does not work.@

hnz5758 wrote:
i attempt to open preferences, and clear out cache, it does not work.@
Supply pertinent information for quicker answers
The more information you supply about your situation, the better equipped other community members will be to answer. Consider including the following in your question:
Adobe product and version number
Operating system and version number
The full text of any error message(s)
What you were doing when the problem occurred
Screenshots of the problem
Computer hardware, such as CPU; GPU; amount of RAM; etc.

Colour Management problems - media AE to Encoder

I have noticed that Adobe Media Encoder Doesn't seem to cater for colour management. Or make mention of how applies gamma adjustments to the content it encodes. Flash in particular.
1. I'm working in colour managed environment in AE (eg. Adobe 1998),
2. I export my final master animation with an associated Output profile suitable for the media - like sRGB (web & Flash), or Rec 709 for HD TV.
3. So, If I use Media encoder to export Flash FLV, the final output is grossly over-saturated, because (I think) MEcoder has applied a second 2.2 gamma curve to the file.
That would be ok, if a little annoying - but worse still, if I use Media Encoder to create a mpeg DVD encode - it does respect the colour intergrity of the Master AE render.
Anyone else notice this?
So it appears that if you use colour managed workflow - rendering a master out of AE with you working profile attached to it is necessary, because ME is going to gamma correct it to sRGB it when it encodes - like it or not!

Hi blabber,
Can you give me more info about step 2? I would like to repro exactly what you are seeing here at Adobe. How are you exporting your final animation? What format, codec, etc... Also small sample projects with single frames etc would be very useful.
Thanks
David McGavran
Engineering Manager

Adobe Bridge CC -- ongoing problems with Photo Downloader (scrolling, crashing, etc)

Hello Community,
Thanks in advance for any suggestions to improve my Bridge CC experience! I have recurring problems, esp. when using the Photo Downloader (in other words, daily problems) -- scrolling either up or down to select photos is a nightmare, as the scrolling either jumps or stops without rhyme or reason, making the photo selection process tedious and maddening. Additionally, if I spend more than a few minutes selecting which photos to load to my computer (i.e., from iPhone), Bridge crashes.
I have been using Bridge for about a decade, and never EVER had a single problem with it until CC. I have a 2013 MacBook Pro, all software updated, etc. No fancy bells or whistles, no peripherals, etc... Just trying to get my pictures from phone and tablet to the computer.
Many thanks.

Moving discussion to Bridge forum.

Colour Management Problem - Please Help!

I am using Photoshop CS3
I have edited a portrait image in Camera Raw.
From Bridge I have used Tools -> Photoshop -> Web Photo Gallery
I have taken one of the resulting JPEGS out and it displays absolutely fine in Microsoft applications, and skin tones are perfect.
I have opened the same edited image in Photoshop to do some minor localised editing.
I then saved it as a JPEG
It is now extremely red when viewed in Microsoft applications.
From Bridge I have used Tools -> Photoshop -> Image Processor
I then converted it to a JPEG
It is now again extremely red when viewed in Microsoft applications.
Please can anyone explain why the JPEG created from the Web Photo Gallery is absolutely fine, but when created through Photoshop of the image processor the image is extremely red and not usable. Any ideas will be greatly and gratefully appreciated.
Thank you

Web Photo Gallery might make a conversion to sRGB?

Pls help - colour management suite does not activate

Have the following problem with the bridge colour management properties opening:-
am in Bridge CS4-
inside dropdown menu "creative suite-colour management"
photoshop and illustrator are installed and in use
I cannot open this menu section as I get the following error code:-
This is my translation of the german as I have a german system - suite only possible when one of these programs have been started and in use.
So I cannot start this programm section, pls let me know what I can do. Both my programs ahve been started and have been used more than once.
Thks for the help, the adobe people cannot help me

Hi Omke,
Tryed both, start up scripts for AI and PS are activated and I also tryed to
refresh teh preferences as explained below....
Seams to be a bigger probleme.
Thanks Charles
Am 19.05.2009 18:49 Uhr schrieb "Omke Oudeman" unter <[email protected]>:
do you have both the start up scripts checked for AI and PS in the Bridge
preferences.
And have you already tried to restart Bridge holding down option key to
refresh the preferences?
>

Colour Management - who does what - Some thoughts now the smoke is clearing

First up, thanks very much to everyone who contributed their ideas and expertise to my recent query here, when I was seeking help for a problem with colour management issues when printing a magazine I edit. I have a ton of suggestions to work through and study but the smoke is slowly clearing and it raises some interesting points which I think are worth recounting.
First of all, I have been editing short run magazines now for 25 years, at first part time and later on a professional contract basis. I am not a trained graphic designer nor a trained printer. I did start out training as a graphic designer, many years ago but gave it up for a career in IT (as a networking specialist). That was full time until 10 years ago, although I did some freelance writing and editing in my spare time.
And yes, I did start originally with scissors and cut and paste, and moved on through black and white with spot colour and Pagemaker software to full colour and InDesign today. One thing which may be different about my experience to most of yours is that I am a PC user and always have been. All my editing and graphics work has always been done on a PC - Pagemaker was our DTP package of choice for a long time and we supplemented this with Corel-Draw (which has a range of graphics handling options). All my software is legal and I always register it and keep it up to date. I have used the same graphic designer for quite a few years now and whenever we upgrade our software he goes and gets trained on the latest release.
Around 10 years ago I was offered the chance to edit a specialist short run magazine (not the current one). This was a chance I took and gave up the day job and became a full time freelance. Editing is not my main or only source of income. I am also a freelance writer and photographer and heritage consultant and I have a specialist image library.   I sell my own sell my work - articles and pictures - to the national and local press. I also write books (non fiction) on commission. The magazine editing is really an extension of my interest in historic landscapes. I have never had any complaints, or problems, with the freelance work, photos and archived images I sell. Clients include national newspapers here in the UK, national magazine groups and my books are available in national bookstore chains. I supply my work digitally, naturally, and it includes photos I have taken myself and items which I have scanned into my library of historical images and store on line. No reported colour management issues there.
I have always enjoyed a good relationship with my publishers and printers because I seek to be as professional as possible, which means delivering my stuff on time, to the required standard so that minimum intervention is required from them. This does assume that I have a clear brief from them on what they need from me.
Recently this approach has not been enough to avoid colour management issues with the short run magazine I currently edit. I have been wondering when and where things went astray and date it back to the upgrade to InDesign two years ago. However it may have its roots in my earlier decision to use PCs not Macs for my work.
Until 4 years ago I had used the same printers for magazine editing for many years. They were a well respected firm specialising in short run magazines. They were not far from where I live and work and if there was a problem I would go over and discuss it with them. They were happy, and competent, to handle Pagemaker files generated on a PC and convert my rgb images to cmyk if there was any concern about the colour balance. On a few occasions I paid them to scan a photo for me. However 4 years ago the owner decided to retire and shut up shop. I needed to find a new printers and it had to be someone who specialised in short run magazines and could meet the budget of the charity I edit for. Also someone who could handle copy generated using Pagemaker running on a PC. I chose a printers I had used briefly in the past where I knew some of the staff and was promised PC based Pagemaker would not be a problem. I even got this in writing. I started to send them proofs generated using Pagemaker v7 on my PC.
I soon found that although they had agreed they could handle Pagemaker on a PC in fact they had only a few PC based clients and were using a single ageing PC running Pagemaker to proof their work. In fact nearly all their jobs were Quark based. I was also told we had to supply CMYK images although not given any further requirement so I now did the conversions from rgb to CMYK using my PhotoPaint software. (There are quite a few settings in Corel for the conversion but there was no guidance by the printer on which to use so to be honest it did not occur to me that it might be a problem).
Now of course I understand that the drive to get customers to supply CMYK images was a Quark driven requirement back in the late 1990s. I did not and do not use Quark so knew nothing for this. I did have some early colour problems and font incompatibilities with the new printers and was pressured by their senior Graphic Designer (who designed for their own contract clients) to upgrade to InDesign and provide them with a .pdf, which I was assured would solve all my problems. The .pdf would be the same as the final printed magazine because "it would not require any further intervention by the printers".
I expect you are collectively throwing up your hands in horror at this point, but I think he was speaking genuinely. The creation of a .pdf using InDesign, is widely promoted as the ultimate answer to all printing issues.   I have encountered it recently with a lot of printers' salesmen and my friend, who edits a learned journal, has just been told the same thing by her printers, to get her to upgrade to ID. Incidentally she also uses a PC.
So we upgraded our design process in house to InDesign and our graphic designer went on a course, two courses in fact. When we came to produce our first .pdf using ID, the printers' Senior Graphic designer came on the phone and talked our designer through the ID Export function. I think he may at that time have told him to create a preset profile with MPC and the defaults, but to be honest I don't recall. We were never sent anything in writing about what settings we needed to match theirs. I continued to have intermittant colour management problems but put this down to my photos. Things came to head with the most recent issue where the colours were badly out on the cover, supplied by a press agency and taken by a professional photographer. The printers seemed to have little or no idea about possible causes.
Initially I thought that part of the underlying cause must lie in some mismatch between what I was sending the printers and what they expected to receive so I asked them to specify what I should send. All they said was use Profile preset as MPC setting and accept the defaults which accompany it.
So I came on here looking for a solution. A lot of people were keen to offer their own experience which I really appreciate. However the messages could be conflicting. Some of you suggested it was the underlying cover photo which was at fault, some that it was my monitor which needed better calibration.
Many of you here said that part of the problem, if not the whole problem, was the way I was generating my CMYKs for the printer and I should use Photoshop to do this. You also mentioned a number of possible colour management settings which I should try.
At times the advice seemed to change tack. There were suggestions that the colour management issues I had were nothing to do with the printers, that it was up to me not them. Quite a lot of you said I needed to be better informed about Colour Management issues. I agree, but I had never had any previously (maybe good luck, maybe good support from my previous printer) so I was not even aware that I needed to be better informed. Some of you mildly chastised me for not finding out more and doing more to manage my own colour management with the switch to ID. To which I can only say if I had needed to train up, I would have done. I did not realise I needed to. Nor was my designer aware of the issues as colour management was not really covered on his ID courses which were about typesetting and design.
Some of you even seemed to hint that unless I was prepared to use an expensive high end printer or effectively retrain as a print specialist or get my graphic designer to do so, then I probably shouldn't be in the magazine editing game at all. OK maybe that is a bit harsh but you get the drift.
The fact is that printing is much more accessible these days to all sorts of people and in particular to people with PCs. My brother lives in a large village in an isolated area and produces a village magazine which has been a great success. It is in black and white with spot colour but he would like to move to an all colour issue. He is a bit nervous of the colour management issues as he has no experience of graphic design and is his own designer using a low end entry level design package. He too uses a PC. The printers reps all tell him the same thing they tell me, that all he needs to supply is a .pdf using InDesign.
Somewhere I feel a black hole has developed, maybe back in the 1990s with Quark 4.11. A lot of printers standardised on that, and set up a work flow and prepress dependent on CMYK images as provided by the clients. They assumed the the clients would doing their own colour management. This approach also assumes everyone is using Quark on a Mac with the full range of Adobe software. When it became possible to generate .pdfs using InDesign, this was held out to users as the Holy Grail of magazine printing, even though their workflows and prepress were still based on Quark 4.11 principles. Any underlying colour management issues the clients now have to tackle themselves.
So now we have the situation in which I find myself, having to learn from scratch a good deal about colour management issues so that I can tell the printers what is needed for my magazine. Meanwhile all the printing salesmen, the ones I encounter anyway, are still busy pushing the InDesign to .pdf as the "be all and end all" solution. Some re-education is needed for all parties I think.

I am glad to see that the sun is peeping through the clouds.
I apologise for my Aussie-style straight talk earlier, but as I said before it was not directed personally at you but in the direction of others whom you epitomize, repeating a conversation I have had many times over the last 10 years or so where respectable, well-meaning photographers, designers and other contributors refuse to accept that colour management is being thrust upon them.
It is a simple fact of life, there is this 'new' thing that has butted into the very root of our trades and changed the most basic principles of printing and photography. We expect that this kind of thing does not happen but the industry we now work in is not the same one we trained in twenty years ago.
Many printers are still struggling with the same conflict, so many tradespeople cannot accept this change.
This is exacerbated by the fact that colour management is so complicated to learn and implement and confounded by the fact that the default settings and a clumsy workflow often yield acceptable results with incorrect, generic settings, hence the old 'use InDesign and make a PDF and it will be ok' route.
When the chain of colour management includes the photographer, the photographer's client, the designer, the other designer maybe, the prepress person, and the platemaker, and a single incorrect click by any one of those can kill the CM it is not surprising that in the end when someone is looking back to see where it fell over they usually never find out.....   They will meet someone who says ' I never touched it, I simply opened the file and scaled it and closed it'. And that person will be a reputable photographer or designer (and CLIENT) who has no idea they just broke it. So what do we do? We go with the generic setting that seems to yield adequate results therefore avoiding the confrontation.
You need to understand the situation of the printer who took his business through the 'early' days of colour management, we had all kinds of very reputable sources supplying incorrect files, we did not have the expertise yet to be able to address the entire workflow, it would have meant training photographers and designers all through the best design houses and national institutions, because they blamed the printer. Only in the last few years have I seen these people coming around to the fact that they bear responsibility for implementing their own cm and maintaining it through their own work.
Sadly, many high end sources are still not there, and I mean HIGH end! Probably the ones that don't even visit this forum because they want to keep blaming the printer... They tend to live with the poor quality reproductions and just pull up the worst ones and fiddle with those and try to avoid the 'elephant in the room'.
I am sorry to say that it was not practical for a printer to reject mismanaged files for fear of losing clients who would happily accept less than perfect results in order to avoid the painful truth that was being told to them. The best thing we could do was to gently make those clients aware that their workflow was imperfect and hope to show them how we could help... Many print shops do not have someone knowledgeable enough or patient enough to do this, or the boss does not understand the issue either and tries to work around it to keep his jobs flowing in the expectation that all those experts in the chain will eventually tame the thing.
The many experts on this holy forum are waaaaayyyy ahead of the printing industry in general and photographers and designers in general in their understanding of colour management workflow. I have seen first hand how reputable local industry people and trainers alike are spreading misinformation and bad techniques, when I discovered these forums back in about 2002 I found that they opened up a whole new galaxy of knowledge and facts that actually worked and made sense, unlike what I had been told locally.... This forum taught me what the Adobe text books did not, the Tech' teachers did not, local 'experts' did not!
I tell all interested people to join these forums and learn to discriminate between the good and bad information.

My RAW images are becoming corrupt when opening with Adobe Bridge, showing very bright colours.

Windows Vista, Canon 20d, Dell PC.
Happens to older images not new ones.
Have a raw thumbnail codex installed.
Any help much apreciated
Example attached.
It isn't happening to all images though:

The raw codec doesn't affect Bridge/ACR, only Windows Explorer and applications which use the codec, like Photo Gallery.
The corruption you show is pretty extreme. It's usually the sort of thing you get with a corrupt display profile (Bridge is fully colour-managed), but if that was the case, I would expect it to happen with all of your photos, not just some.
You show the Preview panel is corrupted, but what about full-screen and Camera Raw previews?
What happens if you reset an image to camera raw defaults, with bog-standard settings and an Adobe Camera Profile?
The only other obvious problem I can think of is graphics drivers.
Which versions of Bridge and Camera Raw are you using?

My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management

I have recently purchased a Mac computer (updated to Maverick) to go with my Epson Stylus Photo RX500 printer which has given excellent service with my old Windows computer. However, when trying to print pictures or photos via Photoshop Elements 11, the best results I can get are using the Colour Management and Epson Colour controls in the printing options box.
My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management, The only way I can reset the controls is to shut down the printer and computer and restart.
Could there may be a setting somewhere that I need to adjust please? I have been in touch with Epson and they say that the Epson Colour controls are part of the Photoshop Elements software but a post on the Adobe forum brought no results and I am unable to contact Adobe.
<Edited by Host>

Hello Garry. Thanks for the reply. I guess I should have used a different title from "How do I post a question?" That should come after trying to resolved the colour settings first. However, to answer your question, after experimenting with all the different settings in Photoshop Elements and Epson software, I now start with PSE11 Colour settings then click "no colour management" then after clicking Print, I choose "More Options/Colour Management/Colour Handling/Printer Manages Colour" then I choose "Page Setup/Layout/Colour Matching" which then shows Epson Colour Controls but I also choose "Layout/Colour Management" which then shows "Colour Controls/Mode" I then of course choose an Epson printer profile depending on the paper I am using. I get good results but as I said, the Colour Matching and Colour Controls are then greyed out. Hope that makes sense.

How do I stop NEF images changing colour when I click on them in adobe bridge

Windows 7
Photoshop CS3
Nikon DX40
Photos shot as NEF files
I am experiencing a problem when I look at my NEF images in Adobe Bridge. When I load them in and look at the thumb nails without clicking on them or opening them, the images look fine. As soon as I click on the images (just to select it not to actually open it) the colours change quite dramatically and i can't get back to the original images. It looks as if a greenish tone is put onto them and some of the detail is lost.
I have tried the obvious things like resetting to default settings etc. Does anyone have any suggestions? thanks

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I am experiencing a problem when I look at my NEF images in Adobe Bridge. When I load them in and look at the thumb nails without clicking on them or opening them, the images look fine. As soon as I click on the images (just to select it not to actually open it) the colours change quite dramatically and i can't get back to the original images. It looks as if a greenish tone is put onto them and some of the detail is lost.
Can you upload such a NEF? Use yousendit.com if you don't have web space (and post the URL for downloading here).
Gabor

Adobe Bridge colour management problems

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