Adobe RGB Monitor Problem

I own a dell 2408wfp monitor that works with adobe rgb. photoshop seems to realize that and automatically adjusts the preview colors of srgb images so that it "matches" the srgb color settings. when exporting the image and previewing them in a browser the colors are - of course - way more intense, i guess that's because the browser dosn't render them for an adobe rgb monitor. the problem: the preview in photoshop on my adobe rgb monitor dosn't look nearly like the result on a normal srgb display. colors are just wrong. i get the best (=best matching) results when lowering the color intensity in the monitor settings and look at the result in my browser.
is there any way to disable the "monitor profile" in photoshop, so that it just displays the colors "wrong"/too intense?
thx for your help!

Thanks Dag and others. I apologize if I seemed frustrated, above, especially to Lundberg02 if he has taken any offense. None was meant!
Please permit me a bit of philosphizing for a moment...
You may take all this with a grain of salt, or as the ravings of a madman. It is in NO WAY intended to accuse or label anyone. Instead I simply request you keep an open mind...
I think the one thing that seems to apply stronger to the color-management realm than most others, for some reason, is that people who have found their footing initially believe that their way is the "best" (or sometimes "only") way to actually make color-management work, because it works for them, and because it was pretty difficult to reach this level initially. Out of the goodness of their hearts they want to try to bring others to their level of understanding. They simply have not realized yet that there are still higher levels of understanding.
I only offer this, to those who think this way, because I have been there: Your next level of understanding (and there always seem to be more levels) brings the realization that there is no "one" or "best" way to work - it depends on needs. It is at this stage that you finally realize that all those settings and features represent either the minimum set (or possibly even still a subset) of all the controls REALLY needed to get things right, and that quite possibly others will want to choose different ones - and even different workflows - than you have chosen. It is at this level where one begins to see why what seemed like poor terminology at first was actually chosen.
The next level beyond the above is a maturing of the understanding, over time, where one learns to sometimes change settings to meet changing needs, and one begins to actually exercise all the features and controls in daily operations to better meet his/her goals. It is at this level that one finds oneself revisiting ideas tossed out early on as "invalid" or "wrong", such as setting up a system to use a standard profile instead of a custom one. This is the level where one starts to understand how half-baked the whole system of color-management is, taking into account the OSs, browser and the web, and things beyond just the color-managed apps you use, because of its history.
The next evolutionary step - what has been referred-to above as the "Fraser" level - finds one developing one's own custom profiles, such as linear (gamma 1.0) working spaces or those with special gamuts, to suit particular needs not covered by what's already available. It is at this level that one can develop properly color-managed software, and innovate in the color-management realm (e.g., marry color-management into OpenGL, which has none).
Is there a next level? I haven't reached it, but I believe there must be one. I've not stopped learning.
At all levels, people at lower levels will tend to think any advice you may give is suspect, or outright wrong. Just try to be tolerant - one day they'll understand too.
My best advice:
Color-management is no more important than, say, Angry Birds. It's just stuff that happens on a computer. So don't take it too seriously and try not to get upset over it. And keep climbing the steps!
-Noel

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RAW output to an adobe rgb and srgb look identical in bridge but different in PS on wide gamut monitor.

Photoshop CS6. Wide gamut HP LP2475w monitor. Spider 3 Elite calibrated. Working space adobe rgb. When outputting a raw to Adobe RGB jpg it looks a bit whacked with color blotches/jumps in PS. The sRGB of it does not. BUT......in bridge they look identical. The adobe rgb jpg almost acts like viewing an image in a non-color aware browser on a wide gamut monitor. Like bridge shows it right but photoshop is showing it whacked out. I can't tell what is lying to me and if there is even a problem with the image. Here is a half second 2 frame gif alternating between the two from a screen cap. http://www.extremeinstability.com/hmm.gif Abrupt blotchy color changes with the adobe rgb when viewed in photoshop. And again, when you look at the two images in bridge they don't show that, they look identical.
Thanks,
Mike

I guess I now learned that Bridge only generates srgb previews. So I see them the same in there I guess. Looks like it comes down to the adobe space and jpg. Oddly enough an 8 bit adobe tiff covers it fine without breaking up. Can see the 3 on this gif. http://www.extremeinstability.com/3.gif

Soft Proofing with Adobe RGB

I am experimenting with soft proofing various sunset images. The problem I'm seeing when I soft proof the images in Photoshop using the Adobe RGB profile is that the oranges and magentas in the sunset turn yellowish. Can someone please explain why this is happening. I admit that some of these images are coming from the internet and have no embedded profile. I have always thought that the Adobe RGB profile had a larger color space so I'm not sure why I'm getting the obvious changes in the sunset colors when switching between sRGB and Adobe RGB.

With a standard monitor everything you see on screen is already soft proofed to sRGB. That's all it can reproduce. So soft proofing to Adobe RGB makes no sense. It's beyond the monitor's capabilities.
Even if you have a wide gamut monitor soft proofing to Adobe RGB makes no sense. You'd need a monitor that reproduced considerably more than Adobe RGB (which doesn't exist), and a file in an even larger space such as ProPhoto.
If you see a difference, you have "Preserve RGB numbers" checked in Proof Setup (which you normally shouldn't). This is the proof equivalent of Assign Profile - IOW how it will look if you assign Adobe RGB as opposed to Convert to Profile, which is what you normally do and which will preserve color appearance.
The other possible explanation is a rather evasive bug in Photoshop, reported from time to time. Sometimes people see a color shift when converting to the very same profile as the file already is. I can't reproduce that, so I can't give any more details.

DNG converter converts RAW Adobe RGB color profile to ProPhoto ??

I have a Canon 5D2. there is an internal switch to shoot RAW files using the Adobe RGB profile. when I open a RAW image in CS4, there is no problem. yet when I open the DNG converted image in CS4, CS4 tells me the image has the ProPhoto color profile. I can convert back to Adobe RGB, but it adds an extra step and (I think probably) loses information. I looked for a switch in the DNG converter to speciy the color profile of the converted image, but could not find it. Any suggestions ?

Hi, Tom.
The real issue here is getting accurate color. You can't get accurate color by setting your monitor profile to sRGB. sRGB is a virtual color space that doesn't describe the exact color gamut of any physical device. But, in order to display sRGB or any color space accurately, you need to get a characterization of your monitor.
Here is an AWESOME way to get access to a colorimeter: http://www.lensrentals.com/rent/pantone-huey-colorimeter Looks like for $32 you can rent this for a week. Go in on this with a friend and profile both of your monitors and hardly pay a thing. If you have a reasonably good quality LCD monitor, this custom profile you make will be fairly accurate for many months. At the very least, this is way more accurate than having no regular calibration at all.
Hope this helps!
Bret

Adobe RGB vs. sRGB

In iPhoto 5, when importing photos from my Canon 20D with the color space set to Adobe RBG, JPEGS look washed out. Raw images (.cr2) look fine. If I set the camera to sRGB, both the JPEGS and Raw images look OK - the JPEGS are not washed out. Has this issue been fixed in iPhoto 6? I want to use the Adobe RGB to get the larger color space, as the camera supports it, but do I have to always use raw images to import in iPhoto? (Photoshop Elements handles this fine....)

The »s« in srgb supposedly stands for »standard« (though »small« or »s..t« have also been mentioned) and this color-space is so small as to be representable without clipping on most monitors, so it’s recommended to be used for internet-work.
AdobeRGB on the other hand is much larger and intended for professional image-editing.
If You wonder what small and large mean in this context just create an rgb-document with a Spectrum-gradient and assign (not convert) different profiles to it and see how the appearance of pixels of any given rgb-value change.
Or compare the two profiles in ColorSync Utility (in the Utilities-folder).
Of course working in the larger space can cause problems when an image has to be output in a smaller space (as many/most offset printing spaces are), but soft-proofing can help recognize them in time.
Anyway reading up on color management should do You no harm.
It would seem advisable to shoot RAW-images if Your camera offers that option.

SRGB vs Adobe RGB

What the heck is the difference between sRGB vs Adobe RGB?
Do I have to reset this in my camera too?
I have a Canon 5D Mark 11
Thanks, Penni

The »s« in srgb supposedly stands for »standard« (though »small« or »s..t« have also been mentioned) and this color-space is so small as to be representable without clipping on most monitors, so it’s recommended to be used for internet-work.
AdobeRGB on the other hand is much larger and intended for professional image-editing.
If You wonder what small and large mean in this context just create an rgb-document with a Spectrum-gradient and assign (not convert) different profiles to it and see how the appearance of pixels of any given rgb-value change.
Or compare the two profiles in ColorSync Utility (in the Utilities-folder).
Of course working in the larger space can cause problems when an image has to be output in a smaller space (as many/most offset printing spaces are), but soft-proofing can help recognize them in time.
Anyway reading up on color management should do You no harm.
It would seem advisable to shoot RAW-images if Your camera offers that option.

Edit with Photoshop - Output to PS CS3 always Adobe RGB???

I'm having trouble understanding why every photo I export from Aperture 2.1 to edit in Photoshop CS3 is exported to Photoshop in the Adobe RGB color space.
My Nikon D3 is setup to record as sRGB, which I understand does not matter (e.g. Aperture sees only RAW data, and setting the camera to record aRGB vs sRGB RAW (NEF) makes no difference to Aperture.
Is there any way to set A2 to only export to Photoshop in the sRGB colorspace?
I have tried setting it to export files in PSD and PSD 16 bit mode, but not TIFF.
Any hints on this? It's really confounding.

Barry Fisher wrote:
Not sure that is correct. If your monitor is properly set, you will see a slight difference between different color profiles.
Which is why I made a point of typing 'pretty much' identical and not 'totally' identical...
Sarge_ wrote:
Yes, but PS only seems to manage one screen, the one that is being used to host the menu bar at the top of the screen.
In my case, that means that the photo doesn't look the same across the two screens, as it does in aperture. (and even that isn't perfect, but I use an HP 30" and a Wacom 20" Cintiq so there's only so much my eyeOne can seem to manage.)
So your actual problem is with PS/eyeOne, and not much to do with Aperture? I know I'm putting words in your mouth, but it sounds like you're asking for options in Aperture because of bugs in other apps, not for the sake of the feature itself. That said, enough people ask for the ability to set the working space for external editors that I think it should be added anyway.
Have you filled in a feature request on the feedback page?
Ian

Percentage Adobe RGB

Im looking for a new monitor - I have a 17in MacBook Pro and an 8way Mac pro. I do color critical work (photography)
This all looks really nice, but does anyone know anything about the % of the Adobe RGB colorspace that this supports? Anything about calibration/self calibration options?
I am looking at this vs the NEC2490 or even the Eizo. Like the price, but not if it is not competitive in Adobe RGB support...

Actually the price here on a NEC MultiSnc 2690 is 1199.99 from the NEC website. So I would absolutely expect the RGB coverage to at least be close. Within a percentage point or two of the claimed 97.8%. This compares to a claimed 76% on the NEC 2490 at 1099.99.
So I don't consider pricing to be an accurate guide here at all.
The other problem is that you are giving me RGB output values which although helpful don't necessarily relate to the data available from other brands, that express this parameter in %colourspace coverage terms.
I really like Apple stuff (I have 3 computers), and I really like the way this unit is designed, but I dont want to buy it if the coverage is way off.
I can accept not AS accurate if we are talking 95% vs 97.8%, but not if that difference is 75% to 97.8%
Thanks for the input
Chris

Can you show slideshow within Lightroom 4.4 in Adobe RGB color space?

Can you show slideshow within Lightroom 4.4 (not export out from LR) in Adobe RGB color space provided that you are using a wide gamut monitor which is capable and hardware calibrated & profiled to show such color space?
If this is possible, what is required to do so in Windows 8 and i7-4770 & HD Graphics 4600 platform or does LR take care of it automatically?
This is very basic question, however, I could not find a clear answer/info from LR documentation, so wish that someone can advice.

Those settings are probably stored in a plist somewhere in ~/Library/Preferences. If you can locate the appropriate file, you should be able to copy it to all the network user folders.

Color management: Adobe RGB 1998 issues in print module

When printing to a JPEG file from the Print Module, I've noticed that the "Adobe RGB" profile differs substantially from the "Adobe RGB (1998)" profile supplied with Windows.
When viewed with Photoshop, the "Adobe RGB" images are much more saturated than the image previews from the Lightroom window. Photoshop displays the same "Adobe RGB (1998)" profile for both files.
I have tried to reinstall Lightroom, but this has not solved the problem.
It seems that when selecting "Adobe RGB", Lightroom is in fact converting the image to sRGB, but embeds the "Adobe RGB (1998)" profile.
ICC profile selection: http://julianchoquette.com/fichiers/forum/lightroom-color-a.png
This will output files that look like the previews in Lightroom: http://julianchoquette.com/fichiers/forum/lightroom-color-b.png
Profile selection pop-up: http://julianchoquette.com/fichiers/forum/lightroom-color-c.png

Yeah that is completely different. My guess is that this is the bug I mentioned before. It should not happen but clearly does. It works normally on my system (I just tried again).
>Note that both dialogs do not display exactly the same name for the Lightroom provided Adobe RGB profile. http://julianchoquette.com/fichiers/forum/lightroom-export-dialog.png
That's normal and doesn't mean anything. On my computer it actually says "AdobeRGB" without the (1998) that yours shows but I believe that's simply a difference between the Mac and PC version. You can try whether it does the same thing if you select prophoto. But somebody with Vista x64 and LR 2.3 should try the same thing to see if this is a bug specific to the PC version of LR.

15-inch have the same high adobe rgb gamut as 17-inch?

Just wondering if the 15-inch has the same high adobe RGB color gamut as the 17-inch (think it is like 90% of the gamut or something like for the 17-inch). Thanks in advance! This is the Only thing keeping me from purchasing the 15-inch right now.

Actually, it all depends upon your needs, as you see them. While it’s true that ‘many, many’ professional photographers use the 15” UMBP, a great many do not. And, of those that <do>, many cannot afford the investment, don’t wish to acknowledge there’s even a possibility that a difference exists (I’ve seen this in studios many times- it’s known to some of the staff and creative heads for whom I’ve consulted as ‘17” envy’.)... Then there’s the flat-out ignorance of the difference, and, lastly, the least-common reason- “... I know the difference, need the difference, but I’m going to settle for ‘adequate’...”. Not common if the Pro’s needs are more than average. The ‘ballpark’ is sometimes not good enough- if it often needs to be a certain part of the outfield, then the 17” UMBP’s screen, the best laptop solution is the next step up from the 15” UMBP. The realistic expectations of a pro photographer, who needs more than the display accuracy of the 15”UMBP, there IS an alternative. And if it raises productivity, and/or the quality of your final product, the 17” display’s broader color gamut is immediately worth it as an investment going forward; after a certain period, the 17” becomes cheaper, not more expensive to use, by saving editing time on the 23”, for example, when the workflow can be more ‘localized’ to left field, rather than Wrigley Field ;^). I use the 15” UMBPs all the time- but for color-critical work, where time is money and my 30” ACDs are far away for the day, I need MORE than the 17” UMBP can provide, so all the hardware ability I can get is a requirement, not an alternative. An example: I had to batch-process over 600 NEFs from my D3X several weeks back... I had both a 15” and a 17” at my disposal, the 15” calibrated to its color space limit, a just-barely Adobe RGB 1998, w/ 500GB 7200 rpm drive, 6GB RAM, Capture One Pro, NX2, LR2, Aperture, Bibble, RAW Developer, CS4, etc..., same software on my 17”, but 8GB RAM, a calibrated ProPhoto color space, bigger screen, 2.93 Ghz processor, and no power to either for the afternoon. Both batteries were fully charged, and I had an extra battery for my 15”, also fully charged. I knew I could batch-process all 600 NEFs on the 17”, and still have about 35-45 minutes of surf/e-mail time after batch-processing. I also knew that, if I grabbed the 15” for the job, I’d have to batch-process WAY differently, since I’d have to ‘strip’ each NEF of its ICC tag (for Adobe RGB 1998), because, if I batched into CS4 or Aperture or Capture One Pro, for example, with any of those programs on the 15”’s ‘maxed’ ICC calibrated color space of Adobe RGB 1998, I’d never regain the lost gamut from any of the 15”’s batched files, because, well.. it’d be gone. With the 17”, calibrated to ProPhoto RGB, I’d be able to bring ALL the gamut from ALL my batched files into CS4 one of my office office Mac Pros (32GB, 8-core, 12 TB RAID, yada yada), and have a leg up on the next day, when some of these batched files would be fed the output ICC tag of ProPhoto RGB to print on an Epson 9800 for proofs that could hang on a gallery wall, which is exactly where my client wanted to be able to hang HER NEF files, after the full process she wanted to implement at her studio, beginning with a Nikon + laptop, next stop, ProPhotoRGB files being fully massaged on a pair of 24” ACDs (LED), then some of these being incorporated into very high-end HD video loops edited in FCP. ProPhoto RGB is the ONLY color space that photo files have a chance in that kind of application, as with so many other pro applications/scenarios; Adobe RGB 1998 may be NTSC-safe, but would be dwarfed by the video gamut, given the type of output monitors being used...
all right, so many, many scenarios are far more mundane, but obviously still ‘professional’ in nature.. I’m illustrating my point with a high-end flashlight so that the spectrum is clear- in so many professional photo, video, layout and graphical, even architectural applications/situations, the 8GB, broadest-gamut capable, big-real-estate, 133 dpi screen rez (AMAZINGLY helpful when editing/viewing fine detail/tonal gradations), and even the 2.93 Ghz chip (I save about 20 minutes a day, by my estimation, with the difference in clock speed alone, for some of the transcoding and Shake-related projects I do), amount to a significant increase in both utility and ‘easy-breathing’ performance- it’s easier to hit the bulleye when your equipment’s not breathing too hard, straining at its limits!
OTOH, if the above sounds like WAY further out to sea than you normally venture, get the smaller, more maneuverable craft. But if you need a rig that gets you between islands as fast and as accurately as possible, the big dog’s your rig. To strain the metaphor a <little> further, it sounds as if you might need the bigger boat, eventually, and RAW files in CS3 go WAY more accurately and speedily on the 17” UMBP- I’d get the blue-water rig, because you never know when you’ll get a job that changes your needs for good- to the bigger! ;^)
Best,
Charlie

RAW Images using Adobe RGB

This appears to not just be an issue with iPhoto but more of the RAW image support in OS X itself.
All RAW images that are opened in preview have the color profile Adobe RGB attached to them - this goes for all RAW images that I export to JPEGs from iPhoto. While this isn't really a problem if I am to keep/view/print images from my MacBook alone - but the colors of my images get messed up when I export some images for my wife to view on her PC - or when I use the Facebook feature of iPhoto to upload images to my Facebook account. The conversion to sRGB makes them look all washed out.
Is there some way to have OS X use a different color profile when processing RAW images... so I know that what it will look like after I make adjustments and export them? Like I say - this isn't an iPhoto issue - but a OS X RAW Image issue... so forgive me if this is not the correct forum.
Cheers!

Thanks TD,
I think that applies to JPEGs that are brought into iPhoto as opposed to RAW images that OS X processes.
I am sure Facebook does process the file somewhat... mostly resizing the image to meet its specs. But as for the color I am sure it is to do with the color profile used. As I a say, the images look the same (washed out) when opened on my wife's PC (or my two PCs for that matter).
I tested this by exporting a RAW image to JPEG in iPhoto... open it in Preview - the color profile used is Adobe RGB (as this is what OS X RAW Processing is using). I apply (convert) to sRGB and the colors become washed out (just as when uploading to Facebook). So it's apparent that it's a Color Profile issue. I just wanted to know if the OS X RAW processing be set to use another Color Profile.... Adobe RGB looks good... but not so great if the file is to be viewed with or exported to sRGB.
Cheers!
Chris
Message was edited by: streamworksaudio

Missing red color in adobe RGB

I shoot raw with Nikon Camera. I am having a problem with getting red color in photoshop. . For nef files, I open them in Capture NX2 and then save as jpg in Photoshop. The jpg image was opened in Photoshop CS5 with a color setting of sRGB, beatiful red color is seen on the screen. When the same.file was opened in in Photoshop CS5 with a color setting of AdobeRGB ("aRBG"). the red color turned into orange color.
As shown here, the only difference in color is red hue between sRBG and aRGB. This is not an isolated case. All of my pictures look like that. When printed on Canon i9900 inkjet printer under "Photosbhop Manages Colors setting, red color comes out in orange color. But printing under Printer Manges Colors" setting, they came to be close to red color. I do not understand why aRBG does not produce red color. Could someone explain to me why?
PS: I could not upload two pictures (sRBG and aRBG). It seems that inserting image was disabled.

hummer777 wrote:
The jpg image was opened in Photoshop CS5 with a color setting of sRGB...
When printed on Canon i9900 inkjet printer under "Photosbhop Manages Colors setting...
These statements are vague or functionally incomplete. For example, are you saving your JPEGs with a color profile embedded? When you choose "Photoshop Manages Colors", what profile is set for the printer?
Do you have a basic understanding of color-management?
The kinds of color shifts you're describing can occur if you are assigning a profile different than the one the RGB values are encoded in, or viewing an image encoded in Adobe RGB with a non-color-managed application.
The document color profile needs to match the profile used to encode the RGB values, and the application needs to interpret the color profiles of both the document and the output device for the color to be displayed or printed properly.
May I recommend going out and seeking some primers on basic color management online. Keep in mind a lot of what's published is sometimes misleading or downright inaccurate, because a lot of people have trouble understanding color management at first. Try to avoid advice that says "set it like this", but seek the information that describes how color management actually works, so that you can get your mind around it and make your own informed decisions how to set things up.
-Noel

Colours wrong when RAW file with Adobe RGB profile printed from iPhoto '08

I've taken some photos on my Nikon D300 with the colourspace set to Adobe RGB. These import and display fine in iPhoto '08 but when printed it looks like the printer (Epson R2400 with the Epson 6.12 driver) is using the sRGB colourspace. The only option I can find relating to colour, is the Color matching dialogue which gives the option of Colorsync or Epson Color Controls. I've tried both with the same results. Preview shows the profile of the .nef file to be Adobe RGB (1998).
Has anyone any ideas of what I need to change?

AndyMn:
Welcome to the Apple Discussions. Most inkjet printers are geared for the sRGB profile. The Adobe profile is used by professional printers. Apple's services also recommend the sRGB profile. You need to reassign the sRGB or sRGBIEC1966-2.1 profile. I'm not sure about the raw file but you can use the ColorSync Utility to assign that profile to the file.
I have an Applescript that will apply the profile to files or folder of files dropped on it. I'm not sure if it will work on RAW files but it does on jpgs and tiffs. You can download it from Toad's Cellar. It takes about 6 seconds per file but does not apply any additional jpeg compression to jpg files.
Assigning the profile is considered better than the Applescript way but can only be done one at a time. You can test each method and see what gives you the best results.
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto (iPhoto.Library for iPhoto 5 and earlier) database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger or later), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 6 and 7 libraries and Tiger and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.≤br>
Note: There now an Automator backup application for iPhoto 5 that will work with Tiger or Leopard.

Colormanagment between Photoshop CS5 and Lightroom 5, Adobe RGB

Hello,
In Photoshop CS5 are the Colours, Brightness diffrent to Lightroom 5 as you can see in this picture:
https://dl.dropboxusercontent.com/u/33568224/Bildschirmfoto%202014-10-21%20um%2023.45.16.p ng
My settings in the colormanagment in PS is Adobe RGB and Europa pre-press 3. But even when i switch to other options the picture isn't changing. I guess there is the Problem, it seems that it don't react on my adjustments:
here are my settings
https://dl.dropboxusercontent.com/u/33568224/Bildschirmfoto%202014-10-21%20um%2023.54.40.p ng
and here the same picture with complitly wild settings ;-) (the preview is activated)
https://dl.dropboxusercontent.com/u/33568224/Bildschirmfoto%202014-10-21%20um%2023.55.17.p ng
can anybody help me out with that?
Thank you very much
Stefan

And to directly answer your question, you don’t inform Adobe, you merely deactivate PS, reimage, then reinstall and reactivate PS with the serial number(s), and relicense LR with the serial number(s).
If this computer isn’t yours and you don’t have the serial numbers, yourself, then that could be a problem, although there may be software that can find the serial numbers. On a PC platform, download and run the Belarc Security Advisor and see if it finds the serial numbers you need. It’ll only find the current product serial numbers, not the prior versions that an upgrade might be based on, so then you’ll be stuck.

Adobe RGB Monitor Problem

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