Are swatch files color managed?

I can use Adobe Swatch Exchange to save a set of swatches from my swatches panel and send them to someone else. Does anyone know if this is color managed? If I set up a swatch which is C27 M60 Y100 K11 when working on a project I'm intending to print using GRACol 2006, and then send that file someone else who is working a project that he is going to print using SWOPv2, is the swatch going to get changed to C29 M63 Y100 K17 (which is the recipe for that same color in SWOP)?

If you export swatches, the swatch numbers get exported unchanged and no profile is included—you can open an .ase file in a text app and see there's no evidence of a profile. So when you import the .ase into another document the original CMYK numbers are preserved no matter what your doc's color settings or assignments are. The preview of the swatches will depend on the destination document's profile assignment.
and then send that file someone else who is working a project that he is going to print using SWOPv2
If by file you mean an ID file with swatches (not an .ase swatch file), then the Color Settings Color Management Policy (when the doc was created) effect the document's swatches and colors when it is opened somewhere else.
If the policy is Off the Working CMYK space is always used—assigned profiles are ignored.
Preserve Embedded preserves the document's assigned profile and that profile, not the Working CMYK space, manages any CMYK color. Placed files also have their embedded profiles preserved.
Preserve Numbers (ignore Linked Profiles) preserves the document's embedded profile but ignores any placed file's profile—it effectively assigns the document's profile to all placed CMYK files.
Convert to Working Space converts native colors and swatches from the doc's assigned profile to the current Working CMYK space and assigns the working space to the document (the numbers change, appearance is preserved). Linked files have their profiles honored.

Similar Messages

Color Management and files for web

I'm doing a layout for a web page in AiCS(11). What are the correct color management policies I should use so the colors will display in Illustrator as they will on the web.
So far I cannot find a combination that works. Even if I (i think) have color management off.
Christo.

Here's the more complete, accurate approach to this.
In System preferences > Displays > Color run the calibration routine and set the gamma for your display profile to 2.2
That has nothing to do with Illustrator or Photoshop color settings but everything to do with how well your display is prepared to show you how your images will look on Windows displays.
In Illustrator, choose sRGB for your working RGB space.
For profile mismatch policies, for RGB, "Convert to Working Space" is often a good choice for beginners who only do Web work. After you have studied up and practiced some, or if you do more general art prep in Illustrator, you may want to instead use "Preserve Embedded Profiles."
I do a lot of Web and print work for a number of purposes. All in all, if you are preparing artwork for the Web, you will have best results if you profile your display with a colorimeter and work in sRGB. The only reason to preview in Monitor RGB is to preview how the image will look when the profile is stripped, or when it is displayed in an application ON YOUR CURRENT MONITOR ONLY that isn't color managed.

Help - Color Management Confusion!

I'm hoping someone can give me some clear guidance as to how to configure my software to integrate color management so that what I see on my monitor is comparable to what I print or post on the web. I've read all I can find on-line and looked through a number of books and magazines, but as my reading increases, so does my confusion - too many menus, options, links and connections. I'll describe what I have in terms of hardware and software in as much detail as possible. My hope is that someone can help me figure out how to coordinate color management across all platforms and outputs.
I run an HP desktop with an ASUS IPD monitor. I have ColorMunki and have reguarly conducted their diagnostic, which gives me an updated monitor profile every two weeks - when a new profile is created, it becomes my default under Windows 7 Control Panel Color Management. I print with an Epson Stylus Photo R1900 with Epson paper and ink. I use the printer and paper profiles supplied by Epson for the R1900 and specific papers.
On the other end, I have Nikon photo equipment. I set the color space on my cameras to ProPhoto and I shoot exclusively in Nikon raw format - .NEF. I shoot a D90 and a D7000 with 12M and 16M files respectively. I download directly from the SD card using Windows Explorer and then import into Lightroom 3.
I have Lightroom 3 and Photoshop CS5 Extended. I use Lightroom to import raw files into the catalog and to do basic editing. From there, I publish to Smugmug as .TIFF files - directly from Lightroom. I also export files from Lightroom to Photoshop CS5 Extended and save them as .PSD and .JPEG files. The files that I export to Smugmug look pretty good - similar to what I see on my screen. My real conundrum is with the Epson printer and Lightroom/Photoshop. What I see on my monitor is very different from what prints. From both platforms. As a rule, the shots are too dark and the colors are often very muted. This is especially true with images of people and skin tones. They often come out looking pale gray or blue.
Right now, my solution is to tweak and print until I get something close enough to print, while the image on my monitor looks horrible. Needless to say, this is not a viable solution for the long term - it is too expensive and time consuming. I've tried to read and then adjust adjust both programs, but I'm confused as to what to set where. I've taken to explorting Lightroom files into Photoshop to use the soft-proof capability. it works better but still not great and not consistent. When I do the Photoshop soft-proof, I see signficant portions of most images as "out of gamut>" I also notice that these areas are often the ones with odd colors.
My problem, (well, one of them) is the multitude of menus that have color management inputs - how do I make sure they are all working together and reinforcing each other instead of working at cross purposes? In Lightroom, I have Page Setup and Print Preferences, as well as Color Management options in the Print Module right hand panel. In Photoshop, I have Print and Page setups, as well as Color Management menus. There are also the Proof menus to consider.
In Photoshop, softproofing, I think I ned to select teh printer profile so that Photoshop is showing me how the printer will interpret the color space. I also think I need to be consistent in how I define the workspace - from Nikon to Lightroom to Photoshop to Epson. If I use ProPhoto with my camera do I need to use that in every circumstance? Should I switch to Adobe RGB? I have printer setting color space turned off in both LR and PS.
Can someone walk me through any or all of this? Right now, all of these moving parts is making me dizzy. It's said that a little knowledge is a dangerous thing. This proves the point. Three months ago, I had color management problems but had no idea what such a thing was. Now, I know a lot more about it, but my results are no better - worse in some respects. Anyone who can help will earn major Karma points and hae my undying gratitude for several months. Sorry - that's all the compensation I can offer!
Thanks in advance for any help.

Lundberg02 wrote:
is that the hand of God in the picture?
That was a nearly mature tornado forming in Nebraska, and it dissipated at the last moment because at that time the sun went down and the temperature dropped rapidly. I was glad, because I was camping in a travel trailer at the time, and everyone knows trailers attract tornados.
Lundberg02 wrote:
Please explain why and under what circumstances anyone would want to use a device independent profile as a monitor profile, which should be a device dependent profile.
Here's one example, to answer your specific question:
You have a monitor that provides sRGB performance (e.g., via a specific sRGB setting). You judge (and/or ensure via your own calibration) that it provides satisfactory sRGB color accuracy for your needs, so you set the monitor profile to sRGB, which is accurate in this case.
What does this do for you?
Images displayed in Internet Explorer, which assumes your monitor is sRGB regardless of your profile, are now properly color-managed because you have made IE's assumption valid. By the way, Microsoft does not appear to be going to change this behavior any time soon.
Untagged images, considering a majority of untagged images assume sRGB encoding, are displayed properly by apps that just pass them through to the display. Some browsers do this.
sRGB images (the majority) are displayed properly by non-color-managed apps. If you choose to set your preferred working space to sRGB, then your own processed images will display properly using your non-color-managed apps. Such apps include various viewers, the thumbnails in Windows Explorer, etc.
The sRGB IEC61966-2.1 profile is a clean, well-formed color profile and works well in virtually every color-managed application. It's the Windows default, so you can imagine most apps are very well tested with it.
Screen grabs are already in the sRGB color space, so if your working space is sRGB then you gain simplicity and don't have gotchas when mixing screen grabs back into your workflow.
Since the color-gamut is not wide, the distance between adjacent colors in a 24 bit color environment is smaller - the display of gradients looks smoother, and you might not crave 30 bit color quite so much.
There are other subtle advantages as well, simply because so much of software development throughout history has assumed the representation of color images on computers is sRGB. It's akin to "going with the flow".
In short, setting up a soup-to-nuts sRGB system means more images match more often across more applications with a system set up this way. If I'm not mistaken, that's about what the original poster is asking about, which is why RikRamsay's response is not unreasonable.
And there are, of course, some specific disadvantages to doing this.
For one thing, one does not have the direct ability to work with a wider gamut of colors. There are those who wish to work in wider gamut color spaces, have wide gamut monitors, and wide gamut printers. Brighter, better managed colors may well help such a person set his/her work off from the crowd. This is starting to become more and more important in this day and age of better and better wide gamut hardware.
It's not straightforward to set up a system so that its sRGB response is accurate, though it is doable. Can you trust the factory sRGB calibration of a monitor that advertises sRGB response characteristics?
-Noel

Color management for web and print.

Hi there. I would like to post my images and have them print ready for clients. When I read about both of these I find one thing for web and one thing for print. I don't want to edit them twice. What would you suggest for easiest workflow? I like to post the images in an online gallery for my clients and if I really like them maybe use on my homepage. Do I have to edit twice or what is the optimal setting for a photographer. I do mostly portraits --family, baby, couples, etc.
I am pretty well versed in actual editing processes but my understanding in this portion is still lacking. I am trying prophoto rgb on photos today, but will this compromise my online quality?

brwmmw wrote:
…I knew of this option but did not know if it was optimal quality…
You define the quality of the saved image in the Save for Web and Devices dialog box.
brwmmw wrote:
…I have just been… using same files for web and print. I wanted to increase quality across the board in print and web…
That is absurd! (Sorry.) By doing that you are generating unconscionably and unnecessarily large image files. You're clients won't like that.
Remember that you have no control over how anyone sees your images on the web. Something like 97% of Internet users are running non-color-managed web browsers and uncalibrated monitor.
You and you're clients are best served when you stick to the lowest common denominator, namely sRGB images, for web.
brwmmw wrote:
…What mode do you use for prints?…
Personally, I like to stay in 16-bit ProPhoto RGB when I print my images myself. If sending them to a pro lab, I discussed it with the lab techs. But I have gathered a lot of experience by now. One really has to know exactly what one's doing to edit in ProPhoto RGB and stay in that color space. If sending my images to a cheap lab like Costco, I stick to 8-bit tagged images that I soft-proof with the specific printer profile that will be used by the local store.
You should—and probably do—know that ProPhoto RGB has a very wide gamut that includes colors that cannot be printed by many printers, and it's up to you to compensate for that. If you run into problems with ProPhoto RGB consider converting to Adobe RGB for print. Make sure the printer drivers that will be used to print actually support 16-bit printing, otherwise convert to 8-bit.
Since you're a pro, I would warmly recommend you watch the video tutorials comprising the "From Camera to Print - Fine Art Printing" series by Jeff Schewe and Michael Reichmann, that are/were available for download from the Luminous Landscape. They're working on a new 2011 edition, but the 2008 edition was just superb. Best $35 or so I've spent in a long time.
http://www.luminous-landscape.com/videos/camera-print.shtml
Wo Tai Lao Le (no connection to Adobe or Schewe/Reichmnan/Luminous_Landscape.)
我太老了

Color Management problems

Hello to all!
I have bought a new monitor lately, a Dell Ultrasharp U2410 and my very pleased with it but I have encountered some problems, mostly with sRGB and AbobeRGB color spaces.
I have calibrated my monitor correctly with Spyder3Elite (5800 - 120 - 2.2) and I'm using Europe Prepress 3 color profile in Photoshop and Illustrator as I am a graphic designer and I mostly work in CMYK color spaces.
This means that I use AbodeRGB and Coated Fogra 39 in the programs.
I begun having problems with RGB color space when I realised differences in images I was trying to export from Photoshop and Illustrator for Internet use ("save for web" menu) both in Firefox Broswer which I have calibrated too ("about:config" menu).
And I will give you and example:
I am using the "Color Index 2" book very often for easily finding color tones both in RGB and CMYK. I have use it for finding and matching the colors for my id and website.
So I have selected a blue color tone #00adef which according to the book and my monitor is R:0 G:173 B:239. This is actually Cyan 100% accoriding to the book (my monitor reads 90% but no big deal there).
When I see the color tone though AdobeRGB color space in Photoshop and Illustrator, it looks very close to the book. When I see it though sRGB the difference is huge!
And let's say that this quite normal as AdobeRGB is a lot wider color space compairing to sRGB. And let's say that I have to get used to it as I use a wide gamut monitor now.
The real problem is this: No matter how I export my files for web ("save for web" menu) both in AdobeRGB, by checking Embeded ICC, and in sRGB, when I use "Print Screen" to take a color sample, the color values change!
So to sum up:
1. I know that it's different to have a wide gamut monitor but how "normal" is to see such huge difference in RGB color spaces?
2. If browser color management if OFF and I use AbobeRGB color space, everything looks the same. If browser color management is ON no matter if I USE AbobeRGB or sRGB I have problems (color differences + "print screen" inaccurate color tones).
Can anyone tell me what I do wrong here, if I should or should not do something to fix all this because guess what, if I can't fix the problem with my own color palletes for my site and id, I can't work correctly either. Help!
I have alredy read lots or forums, reviews etc about color management but I am still confused about where I am doing it wrong.
Thanks for reading this and I hope that someone will have an answer help...

when I use "Print Screen" to take a color sample, the color values change!
windows Print Screen (screenshot on Mac) I believe is based on the monitor profile, the Mac embeds the monitor profile in its screenshots
i may suggest that you get a handle on how colormanaged apps apply the source profile and Convert (or transform) the colors to the Monitor or Print profile
whereas unmanaged apps (for practical purposes) send the RGB numbers straight through to the monitor unaltered
moreover, some windows apps that claim to be color managed only transform (or Convert) the color to sRGB (they are not fully color managed like Photoshop, Photoshop converts to the monitor profile)
all this is pretty easy to observe (especially on a wide gamut monitor) if you apply the basic theory...

Color management, printing with InDesign CS3

RGB output devices (this includes essentially all inkjet printers from every manufacturer, when driven by the manufacturer print driver). Inkjet printers driven by a PostScript RIP are considered CMYK output devices, and thus this post does not apply to them.
When printing to RGB output devices from InDesign using the same ICC profiles and settings as in Photoshop, you still get crummy results, in terms of color, that differ from both IDCS2 and other Adobe applications including Photoshop CS3.
InDesign CS2 previously did all rasterizing and color space conversion in InDesign prior to submitting the print job to the OS. In CS3 this was changed to submit PostScript + colorspace information, which is then supposed to be normalized by the OS. Except that it doesn't work. Mac OS X drops the color space information.
The work around is to check "Print as Bitmap" in the advanced section of the IDCS3 print dialog. This causes IDCS3 to do the conversion and generate a bitmap prior to submitting to the OS, rather than depending on the OS to do color conversion or rasterizing, which is the default behavior with IDCS2. Thus you can use the same ICC profiles and print driver settings as with all other Adobe applications, if you choose this option.
Chris Murphy
co-author Real World Color Management 2e

Chris,
First, I am surprised that there has been no response to your post since there were more than a few complaints about the problem in this forum when IDCS3 first came out. So thank you for the solution to this vexing problem.
But I find some of the language in your post a bit problematic:
>InDesign CS2 previously did all rasterizing and color space conversion in InDesign prior to submitting the print job to the OS.
and
>... rather than depending on the OS to do color conversion or rasterizing, which is the default behavior with IDCS2.
The second quote seems incorrect on two counts:
1. It contradicts the first quoted statement.
2. In my mac IDCS2 (version 4.0.5 build 688) in the options area of the color management pane of the print dialog, the only available choice for the Color Handling pop up is "Let InDesign Determine Colors".
So the default behavior with IDCS2 seems to be "Let InDesign Determine Colors".
I am not at all taking issue with the main point of your post, which I welcome wholeheartedly. I just find the second quoted phrase from you post confusing. Can you please clarify.
Returning to your main point, are there any downsides of using the Print as Bitmap method?
Thanks,
Al

Print Color Management Problem w. Photoshop Elements and Tiger/Leopard

Has anyone tried printing with ICC profiles through Photoshop Elements 6 for Mac? Apparently, it does not work on Tiger nor Leopard? My prints look very dark and over-saturated.
The Datacolor folks, who make the Spyder3 calibrators I'm using, say my prints look like they are being "double color managed," possibly once by PSE and once by the printer driver (even though it's turned off).
Over at the Adobe Forums some say it's a problem with Leopard. I'm not so sure, because I found that printing color management works fine on a Mac with Photoshop Elements 4.01 and Tiger. Any comments? Thanks.

Aha! Got it. Adobe has confirmed that the problem is on their end. PSE 6 is double color managing the images. Here's what one user got in reply from Adobe on the subject. There are two separate answers:
Thank you for contacting Adobe Technical Support.
After consulting with my colleagues about the issue you raised, I can let you know the following:
The issue is both on our as well as the driver software side and the workaround we have given is the best available at this time. This issue is affecting all printers, not just Epson or Canon.
The soft proofing effect that you are seeing in the print preview is indeed an attempt at soft proofing. However since Photoshop Elements managed prints are incorrectly double colour managed it is not as useful as it was initially designed.
As to the exact details of why this occurred, we have no official information.
We believe that this will resolve the issues you are experiencing, however, should the reply not help solve the problem, please contact us again, quoting the case number given above, and we will re-open the case.
Answer # 2
We have had word back from our engineers regarding your issue.
The Photoshop Elements team are aware of the problem and are working with Apple and the printer manufacturers to get this to work correctly. In the meantime, the only workaround is to switch off colour management in Photoshop Elements and let the printer handle the colour management.
Unfortunately we can not make an estimation as to when a fix will be provided. We will close the case for the time being as there really is nothing more we can do about this issue besides offering the suggested workaround. Closing this case does not mean that the research will stop however and the engineers are working on a solution to this.
As the tech noted, let the printer handle the color instead. Tell PSE not to manage color so it is the step sending the data unaltered. When the print dialogue comes up, under the Color Correction heading, change the pull down menu to "ColorSync". In the menu below that, choose the correct profile for the paper you're using. If the Brightness menu is still active, look for any choice that allows you to turn it off. If none exists, leave it on Normal. If the options below that for Color Balance and Intensity are not grayed out, make sure they are at the center positions (no effect).
These steps are the same as before, except you're doing them in reverse. Photoshop is doing nothing and the print driver is handling the ColorSync chores rather than the other way around.

Color Management-Where is my error?

30" Apple Cinema Display recently calibrated with Eye-One Display 2. Photoshop CS3 color space is North America General Purpose 2. I open Digital Color Meter, take a color (#5e90ba) from a web page in Safari. I make a new Photoshop document, fill it with aforesaid color, save it and set it as my desktop. Digital Color Meter says my Desktop is displaying #5e8cb7, not #5e90ba, and visually, there is a very slight difference between the color on the web page & my desktop. I just can't wrap my mind around this. What is going on here?

I think it's the OS as Ann has stated. If I take an image, for example, and save converting the image from working Adobe RGB profile to sRGB while embedding the icc profile and use a web browser like Safari, the image will look exactly like it does in Photoshop. But that is because I assigned the profile to go with the sRGB image. But when I put the image as a wallpaper on the desktop, the image is all of a sudden less saturated. I can instantly see the colors shifted or toned down a tad. Now, add to that I do not think the monitor, no matter how well I have tried to calibrate using Monaco XR Pro with Color Eyes software - I cannot say the gamma available with my Apple Cinema Display of 23" is accurate even at this point. But the fact that the image will match in PS and Safari but not the desk top shows that yes, the desktop does not see the profile along with the image.
Have you tried to go to Photoshop and under Edit menu, use Monitor Space as your color space and see if that now matches the desktop? They should now match. Meaning there will always be a difference between the two even locally on one machine.
The fact that it wasn't a JPG doesn't mean anything. It is only the way the color (an arbitrary number in this case) is displayed to your eyes on the monitor. Again, your monitor space will not match your working space unless you change the two spaces to match in PS or what ever app you are using with color management because you created a working space using calibration.
The working space is created by the hardware/software calibrating tools as you know. And for me, coming from the PC side recently to the Mac side, I can say that Color Eyes makes more corrections to an Apple Cinema Display than any monitor of any price I used on the PC side. Granted, once calibrated, it looks incredible. The Macbook Pro laptop is the biggest disappointment due to the fact that it is not true 32 or 24 bit but some say really bad, like 6 bit.
Anyway, I think Ann has stated what you need to grasp and to show the extent of it, just go to PS and change your Color Profile to Monitor Space instead of a working space and see what happens.

Pleae Help me, I've tried it all, Color management broken? (Photoshop only)

Hey guys... I'm at the brink of despair....
whenever I open an Image in Photoshop its colors are completely corrupted (color management broken)
I've tried the following things so far....
Reset Photoshop setting vie holding ctrl + alt + **** while startup - didn't work
Synchronize color settings via Bridge - didn't work
Reinstall Photoshop - didn't work
Adjust my monitor - didn't work
Opened through bridge - didn't work
Does anybody know why its only Photoshop ?
All other software don't seem to have problems, I viewed them in Irfanview and the windows picture viewer and they are correct, but as soon as I open them in Photoshop they're broken..
The color Profiles are the same (Ps settings are sRGB, the image is also set to sRGB) yet broken colors.
Mostly the saturation/brightness and the the color spectrum seems to be incorrect...
Anyone with helpful advices ?
I am studying Communications-design and need to work with PS
Please help
Love
Oz

Ah got ya, with some images, the colors always doffer, sometimes I open an .jpg in Camera raw first to adjust some values and open it in ps afterwards and I dunno why some pics just won't be displayed correctly...
So My Monitor is not a really good one (Samsung Syncmaster p2470) its default ICC profile is: Samsung - Natural color pro 1.0 ICM
I realized that pressing alt + ctrl + shift doesnt affect the color settings... What's the default for that btw ?
So is my monitor even able to display the whole adobe rgb color spectrum or should I go for srgb instead ?
And after setting the color profile for the monitor, should I set my color settings in ps to "monitor" or to the color profile itself ?
But no matter what I should leave the "View" section right ?
Thx
Oz

I am having some huge problems with my colorspace settings. Every time I upload my raw files from my Canon 5D mark II or 6D the pics are perfect in color. That includes the back of my camera, the pic viewer on my macbook pro, and previews. They even look

I am having some huge problems with my colorspace settings. Every time I upload my raw files from my Canon 5D mark II or 6D the pics are perfect in color. That includes the back of my camera, the pic viewer on my macbook pro, and previews. They even look normal when I first open them in photoshop. I will edit, save, and then realize once i've sent it to myself to test the color is WAY off. This only happens in photoshop. I've read some forums and have tried different things, but it seems to be making it worse. PLEASE HELP! Even viewing the saved image on the mac's pic viewer is way off once i've edited in photoshop. I am having to adjust all my colors by emailing myself to test. Its just getting ridiculous.

Check the color space in camera raw, the options are in the link at the bottom of the dialog box. Then when saving make sure you save it to the srgb color space when sending to others. Not all programs understand color space and or will default to srgb. That won't necessarily mean it will be accurate, but it will put it in the ballpark. Using save for web will use the srgb color space.

I have two graphics workers on osx 8. They are both complaining that their files are changing label colors on it own. Any idea what could cause this?

I have two graphics workers on osx 8. They are both complaining that their files are changing label colors on it own. Any idea what could cause this?

and there were and have been problems with any two nvidia cards which was the main part of my question.
To provie details try pasting all but serial number from system profile. Sorry but Mac Pro tells me nothing, not model, year, or what graphic card it came with or updated with.

Exporting photos for UHDTV or Native 4K TV, what are the best settings ? (File: Quality File: Color Space, Image Sizing and resolution) Or in other words; How can I get the smallest files but keep good quality for display on new UHDTV

Exporting photos for UHDTV or Native 4K TV, what are the best settings ? (File: Quality File: Color Space, Image Sizing and resolution) Or in other words; How can I get the smallest files but keep good quality for display on new UHDTV

You're welcome, and thank you for the reply.
2) Yesterday I made the subclips with the In-Out Points and Command-U, the benefit is that I've seen the clip before naming it. Now I'm using markers, it's benefit is that I can write comment and (the later) clip name at once, the drawback is that I have to view to the next shot's beginning before knowing what the shot contains.
But now I found out that I can reconnect my clips independently to the format I converted the master clip to. I reconnected the media to the original AVI file and it worked, too! The more I work with, the more I'm sold on it... - although it doesn't seem to be able to read and use the date information within the DV AVI.
1) Ok, I tried something similar within FCE. Just worked, but the file size still remains. Which codec settings should I use? Is the export to DV in MOV with a quality of 75% acceptable for both file size and quality? Or would be encoding as H.264 with best quality an option for archiving, knowing that I have to convert it back to DV if I (maybe) wan't to use it for editing later? Or anything else?
Thank's in advance again,
André

Print and Softproof colors are bad for "Application managed color"

Hello... Not sure if my problem is a Mac OS X issue, or a Lightroom issue. Either way I hope it is just user error.
While printing, my prints look good using "printer managed color", both preview and printed output look good. I am used to using "application managed color" and am getting very poor colors, in both the preview and the printed output.
I am somewhat familiar with color management, and understand the basic concepts of profiles.
I have a new iMac 20" display, that is calibrated. I am printing on a HP 8450. It appears that both the printer and LR are trying to manage my color when I am trying to do a "application managed color" print. Not being familiar with OS X, I have not been able to determine how to disable the color management of my printer driver.
If anyone has any suggestions, please help... I have been fighting this off and on all day...
One other thing... off topic, but if anyone knows how to adjust a 20" iMac 20 RGB values, please let me know. I can't see how to manually adjust the individual channels.
Thanks, Mike

Well, it sounds like you are not getting all your ducks in a row on setting up LR for "application managed color". There aresome excellent step by steps in one or two other threads. A key point is using the individual icc profile for the specific paper not the generic.
To properly calibrate you Monitor you should use a Calibration device, like a Spyder not tweek the numbers by hand/eye.
It is just user error.
Don
Don Ricklin, MacBook 1.83Ghz Duo 2 Core running 10.4.9 & Win XP, Pentax *ist D
http://donricklin.blogspot.com/

Color swatch file has radically changed!

Hi,
About a month ago I created a color swatch file of our new company "colors." I put the swatch file (*.ase) into all the respective directories for InDesign, Illustrator, and Photoshop. Well, here it is a month later and I tried loading that file. And, everything's gone! When I load it, no changes at all take place in the swatches palette. One thing I had to do in the past month is to delete InDesign 5.5.1 because some of my plug-ins weren't working. So, during that time that I was on 5.5 I never tried to access this swatch file. But, when my plug-in vendor updated their software, then, I re-loaded InDesign 5.5.1. I don't think that has anything to do with this problem. But, anyway, this was a lot of work.
Thanks,
Peter

There's a lot here that's not clear.
First, version number would be 7.5.1 I presume? That's the latest patch for CS5.5.
Is the .ase file missing altogether, or is the color mode differnt, or is it just different in appearance? That last could be casued by differnces in color settings from document to document or version to version.

Color management in Illustrator CS6 and InDesign CS 6-settings & workflow questions.

I've read the color management posts and the Adobe help file regarding the Pantone + libraries and the new differences between CS5 & 6. However I'm still a bit confused as to just what my settings should be, and a few posts offer different pieces of advice, so I'm looking for clarification. I don't need to work with legacy CS files, so I don't want to swap out the old Pantone libraries for the Plus ones. However I still have my old Pantone Solid, Coated and Uncoated swatchbooks and until I can afford the new Plus swatchbooks, I'll depend on those. I'm hoping the difference between Pantone 321U and Pantone+ 321 is not great.
If I'm preparing a file for print and to be placed into an InDesign CS6 document for print, I know both document color modes should be CMYK—got that. In Illustrator CS6, I'm assuming I would use a Pantone+ Uncoated swatch (remember I'm using the old Pantone Uncoated swatch book as a visual guide and praying that the difference isn't too noticeable.)
1. In the Swatch settings pallette, should I set the Spot Color option to use the first choice—use LAB values specified by the book manufacturer, or use CMYK values from the manufacturer process books.
2. In the View menu, should I select Overprint Preview to get a (more or less-I know the drill) closer monitor color to what will be printed.
I don't want to fool around with trying to set the CMYK values as listed in Pantone Color Bridge CMYK EC (found on Scribed here: http://www.scribd.com/doc/33104/Pantoner-Color-BridgeTm-Cmyk-Ec ), and I'm not even sure of the point in doing so or what it would do for me.
What I want is to depend on a swatch book, select the named swatch from the Pantone library, have all my settings set properly, then place it in InDesign, then send the file to a digital printer and get as close an approximation to the swatch book selection as possible. I need monitor color settings to reflect the swatches as best possible.
When I can afford it, should I opt for the Pantone+ Coated and Uncoated swatchbooks, or the Color Bridge? I'm usure of the difference, and if there are any Illustrator or InDesign settings that would need to be changed depending.
As a corollary to this questions, once the settings are OK in Illustrator, what do they need to be in InDesign? There are settings for Ink Manager (all spots to process or use standard LAB values for spots, the Color palette has check options for LAB, CMYK, RGB.
I'm not sure what needs to be set in InDesign to make sure colors are consistent between what is set in Illustrator and then what InDesign does.

Let me try to help you further:
1. In Illustrator's Swatch settings pallette, should the Spot Color Mode option be set to use:
a. CMYK
b. LAB
c. Book Color (not sure if this refers to the pantone swatchbook)
- I would use "c" - Book Color. This is the file going to the printer which will use Spot Color on press. For a copy of the file to be output by your Canon, use "a" - CMYK.
2. In the View menu should Overprint Preview be checked, and why, and would it differ based on the settings for #1.
- Only if the color was transparent ( which it isn't ) would overprint preview be of any use or you use a tint value of the Spot color and a black, but even then you may not be able to detect any change in the screen view. I typically do not use any overprint preview and I do not rely on the monitor for any color deisions. You could be different and that is OK. Let me know if you are able to detect any deviates using overprint preview.
I'm sorry for being a little short. There is a lot of confusion about these issues and Adobe and Pantone are not making things any easier.
The key is your Canon will not be able to print accurate Spot color without a RIP for the necessary color tables and conversions for that particular printer. In your case, it will be necessary to build a CMYK file to print a somewhat approximate representation of that specific Spot color. Another frustrating part of this matrix is CMYK cannot match all Pantone Spot Colors.

Are swatch files color managed?

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