Color Space Issue?

This is probably a very simple issue which I'm hoping someone can easily figure out. I process my images to taste in LR4 and then export them as jpgs in the sRGB color space. When I open them in programs like "Windows Picture Viewer" they look just like they do in LR but when I upload it to my website or view it in a program like IrfanView the images look terribly over-saturated. I should also mention that it seems like I need to add quite a bit more saturation than normal to get them looking right in LR. I'm guessing that there is some setting that I have wrong. Can any one help me figure out what it might be?
Thanks! I really appreciate this great forum and all the helpful people on here!
Erik Stensland

Dorin Nicolaescu-Musteață wrote:
4) Chrome IS NOT color-managed. Use the "--enable-monitor-profile" command-line switch.
I believe that even with that switch, it ignores image profiles, assuming all images to be sRGB. In other words, it can be persuaded to respect monitor profiles but not image profiles. At best it does half the job!
It used to be that way, but I've not tested it recently.

Similar Messages

Color Space Issue: One Black On Screen But Two Blacks When Printed

I work at a print shop (using Windows 7 and Adobe Acrobat X) and often receive PDFs from customers that were created from PowerPoint. These PowerPoint PDFs often present a printing issue when there are black objects in the file.
On screen, there will be only one consistent shade of black but when the document is printed, it becomes evident that there are actually two different blacks in the file, one darker than the other.
I have done a lot of online research (including these forums) in an attempt to find a complete solution that will always work for these problem-files but have yet to find one.
I know that the issue stems from the fact that PowerPoint uses RGB colors and not CMYK like printers but trying to manually convert color spaces in Adobe Acrobat Pro to be uniform did not help. Whether I convert the entire document's color space to CMYK or just individual objects, I always get the two shades of black when printing. Can anyone explain why this isn't working for me?
I have used the Output Preview tool to determine that the two blacks in the documents are almost always C0-M0-Y0-K100 and C75-M68-Y67-K90. I have read that a custom Preflight fix can be created to seek out all instances of one black and convert it to the other but I did not have success when trying this method. I must be doing something wrong. After running my fix, I always get a message about how no issues are found. If someone can post a step-by-step guide on how to create a Preflight fix that will resolve this issue, I would really appreciate it.
I have uploaded three sample PDFs that I'm currently working with. Please feel free to review and troubleshoot them. My goal is to uncover a solution that I can apply to all three files to get them to print with one consistent black.
https://workspaces.acrobat.com/?w=j3nHuvLCo9XWHliKEpNX-A
Thank you all so much in advance for any insight you can offer.

So sorry about that. I have Published all three files now so they should be accessible to the public.
ColorSpace1.pdf
https://workspaces.acrobat.com/?d=W9QuI9UZSYRmGYnvoaS44w
ColorSpace2.pdf
https://workspaces.acrobat.com/?d=-AQHyT*HMSawAW-swQ9SVA
ColorSpace3.pdf
https://workspaces.acrobat.com/?d=DWuc0Dp-M8SKqnX6mTNnfw
Thank you for the reply!

Color Space Issue with Wide-Gamut monitor

Since getting my new (and carefully calibrated) LaCie 324 monitor, I have noticed that RAW (and maybe other) images exported from Lightroom as
sRGB jpegs look washed out and slightly green when viewed outside of Lightroom (IE8, Firefox, ACDSee, windows 7 viewer). It seems not to matter whether the external application horors embedded color space profiles or not, since the unmanaged ones assume sRGB.
When I bring one of these jpegs into PhotoShop it still looks bad, and not what I see in Lightroom. However, if I Assign the Adobe RGB profile to the image, it immediately looks like the Lightroom version. And if I then Convert that image to sRGB and save it, it looks fine everywhere, even on an uncalibrated standard Dell TN LCD display.
Any ideas what I might be seeing here. A friend with the same monitor has the same problem, which is what is leading me to suspect the monitor.
The first image here is converted from Lightroom with sRGB color space. The second was first assigned the Adobe RGB color profile and then converted and saved out again as a jpeg.
Converted Only

I downloaded and ran the program. My version number appears to be 2.1 if I read the numbers right.
I am still at a loss as to why my sRGB jpegs only look right if I assign the wrong profile to them.
Here are the settings in Windows 7 for color management. The highlighted profile is the one just created for my monitor. Display 2 is my main display. Note the "viewing conditions" setting on the advanced tab. Do you think the rendering intent might be at fault here? In Lightroom, should I use Perceptual over Relative or vice versa?

Linear Color Space Issue

I've run into an interesting issue using 16bit linear exrs in AE.
All of my 3D footage is rendered in 16 bit linear space, and I am rendering to sRGB IEC611966-2.1 in AE.
I have various color corrections in the comp. When I export a frame from the comp, and then reimport that frame into the same comp, it is brighter than the comp that it was exported from.
I've exported to both png and openEXR with the same result.
In PShop, I've confirmed that the exported png and exr are identical in color (after reducing the exr to 8bit). I also know that the color corrections have been applied in the saved frames, because I screen captured the AE screen and pasted it on top of the saved frames in PShop - no color shift.
My guess is that the re-imported frames are not in the correct colorspace, but I've tried a few using 'interpret footage' w/no luck.
Any ideas?

Never mind.
I had an exposure effect on the layer...

Color space, Windows Media 9

Hi,
I´m using AE CS3 and try to render a Windows Media 9 file. But I don´t get the colors right. The blacks are too light and the whites too dark (I´ve checked the file in both VLC and Media Player). I guess it could be a color space issue. In AE I use HDTV (Rec. 709) color space. But not sure if this is the right choice. Have also tried not to use any color space, but that doesn´t help either. Thankful for any advice.
Thanks

Rec 709 as a project setting should not affect output in any way, as it covers the full 0-255 8bit RGB value ranges. They should only get limited when using other profiles and working in other bit-depths.. The only other thing that in my experience might cause color shifts is odd combinations of older Windows Media components with the latest AE. In these cases, the ranges may be misinterpreted. As a last thing, also check hardware acceleration options in your players. Sometimes simply a color otpion introduced by your graphics card can make things go crazy. In any case, I would, as a minor, update Windows Media player to the latest and see, if it helps.
Mylenium

Color space question for photoshop cs on mac os10

I'm sure this has been beaten to death here before. I've been dealing with color space issues for months now, and I'm about at my wits end.
I realize that I should be saving in sRGB in order to get the same looking photo on the web that I get in photoshop. I go image-mode- convert to profile- destination space- profile: srgb profile. I've tried saving for web. I check "ICC" when I do that. When I just save an image as a jpeg (from a tiff), I check the box that says, "embed color profile." Still, my images look washed out on my website (which I made with iweb)- which I'm trying to put my images in a new web interface (flash palette) and my images STILL look washed out. The weird thing is, I NEVER have this issue when I upload images to photobucket or to the photography forum that I frequent.
What the heck am I doing wrong??
Thanks,
Hope

>> images are still a bit washed out with a warmish/ yellow cast to them, particularly, my black and white images
Here is a simple test to help evaluate if the monitor profile is reasonably good:
Open a RGB file in Photoshop (flatten if not already flattened).
Press M key> Drag a selection> Com+Shift+U (Desaturate).
Com+Z (to toggle back and forth).
If the unsaturated selection looks neutral you've got a reasonably fair monitor profile.
If selection has color casts (not neutral) -- you have a bad monitor profile
+++++
Here is a simple test to help evaluate if a bad monitor profile is whacking out your Photoshop color:
Monitors/Displays (control panel)> Color> highlight AppleRGB or sRGB (don't run Calibrate), quit and reboot.
If the Photoshop colors are back under control, then the problem was most surely a bad monitor profile go back into Monitors/Displays> Color and Calibrate a good profile highlight (load) sRGB, or preferably, the monitor's OEM profile as a starting point.
If you are using a puck, it is likely defective; or your monitor hardware is the culprit...search it on Google by model number

Color space export issues...

Well. This has been going on for a while. Sometimes it doesnt happen but most of the time when I export my images in srgb the view once uploaded is much depreciated. I proof in srgb 2.1 and embed upon export. The same thing happens with using the boarderfx export plugin. In addition, it seems to happen more after exporting to PS for edit and then exporting the tiffs to jpg later. But happens with normal jpg/raws as well. Thanks a lot for all the help and hopefully I can get this solved
Aaron

I don't mean "Quick Look" in Leopard. I mean Quick Preview in Aperture (a little button in the lower right corner that turns yellow when selected). I believe that, although not as seductive as the native screen display, Quick Preview is more accurate.
Here is what I mean by accurate:
• Quick Preview changes the display significantly and matches closely prints made from Aperture when printed on the paper for which I have selected the proof profile (in Aperture under View / Proofing Profile).
• Quick Preview displays an image that is nearly identical to that printed from Photoshop, InDesign, and Acrobat when the same paper and profile are used.
• Prints made from Aperture are nearly identical to those made from PS, ID, and Acrobat using the same parameters.
• Quick Preview displays an image that is nearly identical to that displayed in Photoshop, InDesign, and Acrobat when the same print profile is selected for soft proofing in these applications.
There is a wild card though: these days I print mostly using perceptual rendering intent. Aperture does not appear to provide any direct control over rendering intent or black point comp for softproofing. Native display in Aperture (with the correct profile selected for on screen proofing) is much closer to a PS soft proof of the same image using RelCol rendering intent in PS. In this case the difference seems to be perhaps in the implementation of black point comp.
It would sure be nice if we had full documentation of this stuff and didn't have to make suppositions about its functionality based on empirical data.
If you know of a way to soft proof in Aperture (that permits my workflow instead of imposing one) that allows for simultaneous editing I would be much obliged.
OK, I just did a little more poking around. Quick Preview appears to preview the image in the working color space, and what I was calling "native display mode" is using the selected soft proof profile. But on my system it is not accurate with my printer profiles. Not even close. Like I said this might be due to lack of control over rendering intent and black point compensation. (I also just noted that the soft proof display does not incorporate BPC. You can see this by creating a preview through the print dialog and comparing the result to the screen display.)
Though soft proofing seems to be broken, at least for me, I have answered my own question: My working space is close enough to (and obviously includes the full gamut of) my print profiles that I can select my working space profile for soft proofing (which it does use accurately since Aperture is also using the same profile to convert the RAW file to for export) which will allow me to edit while soft proofing in a valid color space with consistent rendering intent and application of BPC.
Flame off, over and out.

Multiprocessing color space render issue

After installing the newest update of After Effects CC 2014 I am having troubles with my renders while using multiprocessing.
The color space I'm working in is a linearized 32bpc sRGB IEC61966-2.1 When I render without multiprocessing turned on, the render turns out fine, but with it turned on the resulting render is way too bright, as though the gamma has been lifted way too high. I would really like to be able to use multi-processing, since it cuts my render times down to a fifth of what they would be otherwise. Any advice would be much appreciated.
Also, just for fun I took my file back into After Effects CC (12.2) and tried rendering it with multiprocessing without changing any settings and the render turned out just fine, making me think that this is specifically a CC 2014 problem.

This is a bug that was introduced in After Effects CC 2014.1 (13.1). My apologies about this.
First things first: to work around this bug you will need to disable multiprocessing in order to get a color-accurate render, via either RAM preview or via the Render Queue. Alternately, you can use multiprocessing but to get expected colors you must disable color management (set the project's working space to None), or if using Rec. 709 or sRGB you can leave the working space enabled and disable only the Linearize Working Space option.
If you choose to leave multiprocessing enabled and disable color management, you can create the same color transform by applying the Color Profile Converter effect. For example, before rendering via the render queue, pre-compose your final comp and apply the effect to the pre-comp.
We will evaluate a fix for this bug for a future update to After Effects CC 2014. An update is scheduled to release soon (this week or next), but a fix for this bug won't be included; this will have to wait for the next update.
Under the hood, here's what happened to cause this bug:
In After Effects CC 2014.1 (13.1), a color transform to Rec. 709 is automatically added to frames delivered via Dynamic Link when color management is enabled in the project. This is a new behavior in this version, which solved a problem with gamma and/or color shifts when sending frames to Premiere Pro or Adobe Media Encoder, which assume that all incoming Dynamic Link frames are Rec. 709.
When multiprocessing is enabled in After Effects, it uses Dynamic Link to communicate with the subprocesses. In this case, After Effects knows what color profile is being used; no additional color correction is necessary.
Combining these two behaviors we get this bug: an unnecessary color transform to Rec. 709 is being applied to frames rendered when multiprocessing is enabled. We failed to take the multiprocessing case into account when we added the new behavior.
If your project's working space is already Rec. 709 or sRGB (which are functionally the same), you wouldn't notice a difference, since the additional color transform results in no change. Using any other profile would cause a color shift. Enabling the Linearize Working Space option with any profile will introduce a gamma shift.
Again, my apologies about this bug.

Image in PDF error - Expected end of color space

Hi friends,
I am displaying a PDF file in an webdynpro application. The contents are coming from the output of a RFC. The pdf file contains an image. While I am running the Webdynpro application the image is not coming. An error popup <b>"Expected end of color space"</b> is generated. But the texts of pdf file is coming properly.
Please help.
With regards,
Sekhar

Hi Sekar
We are facing the same issue. Have you managed to resolve this issue ?
Please advise
Regards
Vivek

Asking the Bridge Team: Bridge "working color space" setting when one does not have the Suite?

Common sense tells me there is really no such thing as a
"working color space" in Bridge, because
Bridge is not an image editor, just a browser
Therefore, this may turn out to be a purely academic question; but that doesn't keep my curiosity from forcing me to ask it anyway. ;)
Is there a way to set the Bridge
"color settings" when one does not have the suite?
The only Adobe program I keep up to date is Photoshop, so I've never had the suite. My version of Photoshop is 11 (CS4) and I run updated
(not upgraded) versions of Adobe Acrobat 7.x, Illustrator 10.x and InDesign 2.x. Consequently, the Synchronize color settings command is not available to me.
It seems to me that Bridge is behaving like a proper color-managed browser (e.g. Firefox with color management enabled), in that it displays tagged image files correctly and assumes sRGB for untagged image files. This normally works fine.
But what if I wanted Bridge to assume my
Photoshop color working space for untagged images
so that it behaves the same as Photoshop? I'm just curious, as I deal with a minuscule, practically negligible amount of untagged files.
My reason for bringing it up now is that I don't recall this being explicitly mentioned in forum replies when users inquire about color settings in Bridge. A recent post regarding Version Cue in the Photoshop Macintosh forum got me thinking about this. Just wanting to make sure that I'm right in my assumption that
there is really no such thing as a
"working color space" in Bridge, because Bridge is not an image editor, just a browser.
Thanks in advance.

Hi Ramón,
Thanks for sharing the outcome of your tests. However, I may have found a bug/exception to Bridge's colour management policy!
It appears that CMYK EPS photoshop files are not colour managed in Adobe Bridge, even if they contain an embedded ICC profile.
I've tried every combination in the EPS 'Save As' dialogue box, so it doesn't seem to be an issue with file encoding. Also, Bridge doesn't rely on the low-res preview that is held within the EPS itself.
My guess is that Bridge is previewing the CMYK EPS with a Bridge-generated RGB image, but it's being displayed as monitor RGB (assigned) rather than colour managed (converted to monitor RGB). For most users the difference will be barely perceptible, but the problem became very noticeable when using Bridge to preview Newsprint CMYK images on a wide-gamut monitor (images that should have appeared muted really leapt off the screen!).
How do I report this to the Colour Police at Adobe?!?

Lightroom's 4 color "spaces"

I’m working on designing an advanced photography course. This course makes use of Lightroom and Photoshop in the photographic workflow.
I’m learning and researching myself as I go along, and I feel I have reached a ceiling on what I can work out from the sources at my disposal thus far.
So I am turning here for help.
I am trying to clarify how tones and colours are affected from the actual scene through to the printed page. This might seem like overkill to some. However, there is a lot of misunderstanding and confusion, not to mention heated discussions amongst photographers about these issues. I’m experimenting with metering and colour / tone targets and my calculations are only meaningful if I understand how tones and colours are affected at every stage of the workflow.
Here’s how I understand it:
There are 4 (sort of) Colour “spaces” in Develop where a real-time dynamic preview of an image is rendered
1.       The “viewing space” (ProPhotoRGB Chromaticity co-ordinates, sRGB gamma)
2.       The “computational space” (ProPhotoRGB chromaticity co-ordinates, linear gamma – “MelissaRGB”)
(Martin Evening’s Lightroom 3 book published by Adobe press - Appendix B, section on color space page 628-632)
Below that, things get a little fuzzy. According to Jeff Schewe (Real World Camera RAW for CS5, page 32) there is a sort of
3.            “Native Camera Space” and of course there is the
4.            RAW data in the file on disk.
So to generate the dynamically rendered preview, the image goes through the four “layers” as follows (from bottom to top). This is almost certainly flawed, but one has to start somewhere when trying to work things out :-)
1. The RAW file is read from disk. Colorimetric interpretation is performed using a camera profile (e.g. Adobe Standard for whatever camera it is you are using). This process puts the image data into “Native camera space” (“Plotted” onto CIE XYZ with D50 white point)
2. In “Native camera space, the scene white balance (as selected by user, guessed by Lightroom or reported by camera) as well as additional camera calibration panel matrix tweaks “informs” the colorimetric conversion into Lightroom’s “computational space” e.g. Melissa RGB. The colorimetric definition of camera RGB primaries and white is re-DEFINED. The demosaicing as well as chromatic aberration corrections are performed in “native camera space”
3. Almost all image processing calculations occur computationally in the “MelissaRGB Lightroom computational space”
4. What is displayed on the screen, however, has an sRGB tone curve applied. This represents the “viewing” space. The histogram is generated from this and the RGB colour percentage readouts are generated from this as well. In addition, some slider controls from user input are weighted back through the tone curve into the computational space below.
Could someone from Adobe kindly help me to clarify the steps? Eric are you reading this? :-)
Thanks in advance

Sandy - Thanks for the link. The spreadsheets you posted on your site is quite helpful.
Jao – I think what you said goes to the heart of what I am trying to achieve here: “Photograph a grey target at the exact same exposure with the exact same lighting but with different cameras and you'll end up with different values in the raw files” Which is why I encourage photographers to experiment with their cameras in order to understand exactly how the camera will respond in the heat of a real shoot. Set up a scene; take a picture, open in Lightroom. What is clipped and why? Use a reflective spot meter. Repeat. Use a hand held incident meter. Repeat. How much can you reliably recover? Are you happy with what your meter considers the mid-point (and what you set your exposure for on the camera) or do you need to compensate? Just how much latitude do you have between what your camera histogram shows as a blown out highlight and what Lightroom shows as a blown out highlight. This relates to tone. I could go on with more examples, but by now, I am (hopefully) making more sense.
I’m merely trying to clarify that which is already public in order to form a coherent mental picture. And by mental picture I do not mean an accurate representation of the minutiae and maths involved. Think of a subway map. It represents a bird’s eye view of a transportation system in a logical fashion, yet it bears almost no resemblance to the cartographical reality of the physical topography. I really don’t care where the tunnels go, how they were dug, how they are maintained or where they twist and turn. What I AM looking for is a logical (not physical) map. This map tells me where the different lines begin and end, and where I can change from one line to the other. The most important quality of the map as a whole is that it provides context. You can tell, at a glance, how different lines interact with each other and even how it links to other entities such as bus stations or public landmarks.
As many have rightfully pointed out, I should not have to care about the maths/secret sauce/internal calculations. And I don’t. In addition, I am a very happy Lightroom user and I am very comfortable using it. I know what a user needs to know to get his picture from A to B. There is no shortage of information on how to accomplish that.
It might help if I illustrate what I am trying to do below:
Please excuse the low resolution, the maximum height allowed for upload is 600 pixels. The picture below goes on the bottom left of the "layer" picture above.
Even though there are certainly many mistakes in my diagram, this is a helpful visualisation. I derived this diagram from publicly available information. As the subway map, this is a logical (not physical) representation that provides context in a visual form. With a little help from people like Eric I am sure I can correct and expand it. The net result is an enhanced understanding of Lightroom and ACR and where it fits into the photographic process, both in terms of tone and colour.
I am not posting the entire chart here since I am not even certain that a 4 “layered” representation is an appropriate logical representation. I posted the spine of the chart with the 4 “layers” and one part that elaborates on the colorimetric interpretation between the two bottom layers. Comments and corrections are welcomed. And I am convinced that this can be accomplished without divulging anything confidential.

Cannot view a PDF in IE on Windows XP - "Invalid Color Space"

I am trying to provide a link to a PDF for online viewing:
http://glencoe.com/sites/common_assets/mathematics/007891647x/LP/FL5MINC3_7_2c_892770_se.p df
Some users can see the PDF with no issue, other users with Acrobat reader 9 on Windows XP receive this error: "Invalid Color Space."
Does anyone know why I'm getting this error, or more importantly, how to fix it?
Thanks,
Rob Underwood

What's the word on this? I am still having the same issue. This is very problematic for many pdfs on many websites! Can someone from Adobe please answer this???

Export Color Space, etc?

I'm a couple of days into a trial of Fireworks and I got it
only for two reasons: First to be able to create navigation bars
with popup menus on some of the menu options and second, to more
easily create photo galleries for my web site. (I'm quite
comfortable with PhotoShop and creating web-optimized images.)
Anyway, I've run into a couple of things that have got me
stumped...
If I use FW CS3 to optimize a JPG image for the web (either
from directly within FW or via the Create Web Photo Album command
from within Dreamweaver CS3) the resulting images no longer have a
color space embedded. And I can't find out how to embed one. The
original JPG images were created in PS CS3 and had the sRBG color
space embedded and the colors displayed as expected in a web
browser. The resulting "optimized" images no
longer have a color space embedded and the colors appear quite off.
This might be acceptable with some vector graphics or logos but
it's not acceptable with photgraphs, especially for a photography
web site.
(It's quite well-known, at least in photography circles that
for proper display of the colors, images designed for the web
should be in sRGB with that space embedded, as that is what web
browsers are optimized for. Anything else, including not embedding
a color space results in colors that are "off".)
A related issue is that when using the Create Web Photo Album
from within DW CS3 the resulting files all have a new suffix of
"_jpg" added to the name. Meaning that my
original "name.jpg" gets named
"name_jpg.jpg". I really don't like that, and
can't find how to turn it off.
(I went to a large bookstore to buy a FW book today but they
didn't have any. And the only one they even listed on their
computer is due to be published at the end of February!)
Any help would be greatly appreciated. Thanks.
Eldor - Montreal

quote:
Originally posted by:
Newsgroup User
EldorG wrote:
> As I said, PEBCAK error. But that still leaves me
with the file name 'problem'
> I mentioned... that my images get named from
'name.jpg' to 'name_jpg.jpg'.
> This happens when I use the 'Create Web Photo Album'
from Dreamweaver CS3
> (which in turn calls FW to do the work). Should I
post that in the DW forum,
> or is it a FW thing? Thanks very much! Eldor
Don't name them in FW. Allow them to be exported with the
names they
already have.
Linda Rathgeber [PVII] *Adobe Community Expert-Fireworks*
http://www.projectseven.com
Fireworks Newsgroup:
news://forums.projectseven.com/fireworks/
CSS Newsgroup: news://forums.projectseven.com/css/
http://www.adobe.com/communities/experts/
Linda, I'm
not naming the images in FW. As a matter of fact, I never
even see a FW dialog. If I optimize an image directly from within
FW, there is no problem. But doing so from Dreamweaver (through the
Create Web Photo Album command which seems to call FW to automate
the work) causes the images to be reduntantly renamed. And I don't
see an option anywhere to change this.
As I said, I'm not sure if this is something I should be
asking in the FW forum or the DW forum. But since this option
doesn't even exist in DW until FW is installed and FW is called
from DW to do this, I really don't know where to ask.
How does that FW automation work? Is there a script file or
something somewhere that I might find and modify?
That option in DW not only optimizes a bunch of images, it
creates thumbnails as well, and writes all the stuff into HTML code
to produce a table of the images. So I can't just go to FW and
manually optimize an image.
Regards...
Eldor

Color Management issues with Illustrator

Can someone help me figure out the color management issues I'm getting when printing on an Epson 3880 from Illustrator?
The image comes out severely red as evident on the face. I'm not getting the same problem when printing from Photoshop, even though I set same paper profile in printing dialog box.
I attached two printed picture (one from Photoshop CC, and one from Illustrator CC) that I took with my iphone so that you can see the printed result. Even when I try to simulate same thing using illustrator soft proofing process, the soft proof does not show me anything close to how it gets printed out. And I tried all device simulations to see if any would match it. Im using CMYK SWOP v2 for Color space in both programs.

Dougfly,
Only an hour wasted? Lucky you. Color is an incredibly complex subject. First, forget matching anything to the small LCD on the back of your camera. That's there as a basic guide and is affected by the internal jpg algorithm of your camera.
2nd, you're not really takeing a color photo with your digital camera, but three separate B&W images in a mosaic pattern, exposed thru separate red, green and blue filters. Actual color doesn't happen until that matrix is demosaiced in either your raw converter, or the in-camera processor (which relies heavily on camera settings, saturation, contrast, mode, etc.)
Having said the above, you can still get very good, predictable results in your workflow. I have a few color management articles on my website that you might find very helpful. Check out the Introduction to Color Management and Monitor and Printer Profiling. In my opinion, a monitor calibration device is the minimum entry fee if you want decent color.
http://www.dinagraphics.com/color_management.php
Lou

PS CS with color space set to Prophoto RGB - will ACR change embedded profiles?

Probably a foolish question but my problem is that I have a mixture of files:
My own files (all initially RAW (NEF) which I import into ACR as 16 bit Prophoto RGB ).
Files from family members and from slide scanning performed elsewhere - they are in 2 groups:
The first of these from elsewhere acquired files were all JPEGs that I converted to Tiffs in Bridge before setting out to edit them-- all unfortunately 8bit and sRGB.
The scanned files were scanned as tiffs but also 8bit and sRGB.
My normal procedure is that I in ACR I have set the files to 16 bit and Prophoto RGB. In PS the same but also to preserve embedded profiles. I have the impression that working with the "foreign" files in 16 bit does give me more room for editing but that I should continue with the embedded profiles.
Is there a way to ensure that the color profiles are not changed in ACR even if the line in the middle below says 16 bit Prophoto RGB (I have PS CS5). I would hate to have to change this line each time I view a file in ACR. I would hate more to loose the editing facilities in ACR as these acquired files do need som special care before they are mixed with my own in our family albums. I prefer the 16 bit Prophoto RGB option for my own files as I like to play with them - i.e. apart from including them in Photo Albums.
I do see that a logical way is to process all the acquired files before going to my own files but it is so much more practical for me to work with a mixture of the files sorted chronologically - a year or month at the time.
I would even consider getting an upgrade to CS6 if this version could help me.
Can someone enligthen me?
Thanks, Git

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

Color Space Issue?

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