Color Space Management in PS5

I have a photo that was taken as RAW with a color space of Adobe RGB.
I would like to submit this photo to a competition. The competition prefers the photo be a JPEG in sRGB.
I have edited the photo, so I don't want to start over. I believe I could change the color space when I brought the photo into PS.
Is there a way I can change the color space to sRGB and still use the editing I have aleady done?

You can change the profile anytime you want. You'll be looking to "convert" the file to the sRGB profile.
I would use the save for web feature to do the conversion, size the image for the web, and also strip out any metadata.
But you can also (working on a duplicate) use image > convert to profile.

Similar Messages

Color Space Management & Final Color Output-not WYSIWYG?

I have constantly had problems with getting final output color to match what i am seeing on my monitors when color correcting. This has been a continual problem mainly with R3d footage and going to Prores...but for the sake of this discussion here is my prime example:
Start a new project in PrPro and clor from PrPro adding effects, 3 way color, 3rd party effects like Finesse and Colorista...then output the project to Tiff for master then convert from Tiff sequence to Prorest; H264 or anything else....But, when i output a prores file, and then open the prores file on its own--not brining it back into Premier...i notice a shift in colors....completely desaturated etc...this happens whehter i choose for gamma as "auto" or "none" when choosing codec settings for prores. I've had this continual problem for many years and the ONLY way i have found it to work is by using Apple's Color and then going to Prores....seems apple hardware and software work well together...but this cannot be an isolated incident with me only...AND coloring a project on your desktop and putting all that work into it and seeing it DIFFERENT at the end of the day is more than a let down...
...so maybe a discussion on properly setting a project for color work is in order...I came across another forum members website reToolednet and he had some great info on setting up the sequence timeline and video preview area that is great info...but even when i do that i cannot get a perfect match at the end of the output....Exapmples below all done in PrPro and then output to Prores 4444.
I've found info on Adobe site that does not seem current about setting project settings and color space, but no place in PrPro do i find that setting...is this only AE? OR...can we even do a proper color job within PrPr? or should that be done elsewhere?
Id like to go through the proper steps of setting workspace and color schemes for say a Prores output since that is likely 75% to 90% of everyone's deliverables in the tv realm....
Snapsot of Tiff sequence WITHIN PrPro (colored)
Final Output from PrPro to Prores--snap from actual QT prores file--(Desaturated)
When i began this project i had my sequence settings to R3d 1080p @ 29.97 and video previews to Iframe....
**NOW, i think i would have been better off to change video preview to my final output of Prores 4444...BUT, i tried that and still see a color shift.
**Note, i oriingally colored this on 5.5 with Matrox out to my color corrected monitors....and results on those monitors DO and WILL be diffrent than what you see on your computer screen....my monitors were set to rec709 and RGB at end of the line for viewing....but i see nothing within PrPro on how to set this....however at end of the day i do not get what i see on my preview monitors....

Thanks Jim....yes, i'm covered on all cc monitors and quite used ot viewing output on color calibrated...as well viewing both on the same platform/monitor....The BIG question is PrPr being able to do color work---and my question is why would it have all the color effects if it did not? But i agree with you....first place to start is can you do proper color work on PrPr AT ALL? no problem to do a quick web video...but can you properly color a for television product---I seem to think NO....i could not get colors in end to match....i can view out on PrPr view my I/O box (Matrox MXO2) and see great colors that i colored the project on to my FSI color corrected monitor....but then when i view the ProRes file back (not on PrPro)...but on it's own with its own codec engine...this is where things go awry and stray from colors i originally put on the images...
But this is a PARAMOUNT subject as Pr is offering coloring....i hate to bring this in, but in FCP i can get accurate colors on my Matrox and same when rendered out to Prores file....Again, i think Apple plays well with apple.....but as you say, there are a great number of varialbes involved in the preferences etc...within PrPr...seems to me AE may be better just by reading about it...but why not both?

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?!?

Why does Lightroom (and Photoshop) use AdobeRGB and/or ProPhoto RGB as default color spaces, when most monitors are standard gamut (sRGB) and cannot display the benefits of those wider gamuts?

I've asked this in a couple other places online as I try to wrap my head around color management, but the answer continues to elude me. That, or I've had it explained and I just didn't comprehend. So I continue. My confusion is this: everywhere it seems, experts and gurus and teachers and generally good, kind people of knowledge claim the benefits (in most instances, though not all) of working in AdobeRGB and ProPhoto RGB. And yet nobody seems to mention that the majority of people - including presumably many of those championing the wider gamut color spaces - are working on standard gamut displays. And to my mind, this is a huge oversight. What it means is, at best, those working this way are seeing nothing different than photos edited/output in sRGB, because [fortunately] the photos they took didn't include colors that exceeded sRGB's real estate. But at worst, they're editing blind, and probably messing up their work. That landscape they shot with all those lush greens that sRGB can't handle? Well, if they're working in AdobeRGB on a standard gamut display, they can't see those greens either. So, as I understand it, the color managed software is going to algorithmically reign in that wild green and bring it down to sRGB's turf (and this I believe is where relative and perceptual rendering intents come into play), and give them the best approximation, within the display's gamut capabilities. But now this person is editing thinking they're in AdobeRGB, thinking that green is AdobeRGB's green, but it's not. So any changes they make to this image, they're making to an image that's displaying to their eyes as sRGB, even if the color space is, technically, AdobeRGB. So they save, output this image as an AdobeRGB file, unaware that [they] altered it seeing inaccurate color. The person who opens this file on a wide gamut monitor, in the appropriate (wide gamut) color space, is now going to see this image "accurately" for the first time. Only it was edited by someone who hadn't seen it accurately. So who know what it looks like. And if the person who edited it is there, they'd be like, "wait, that's not what I sent you!"
Am I wrong? I feel like I'm in the Twilight Zone. I shoot everything RAW, and I someday would love to see these photos opened up in a nice, big color space. And since they're RAW, I will, and probably not too far in the future. But right now I export everything to sRGB, because - internet standards aside - I don't know anybody who I'd share my photos with, who has a wide gamut monitor. I mean, as far as I know, most standard gamut monitors can't even display 100% sRGB! I just bought a really nice QHD display marketed toward design and photography professionals, and I don't think it's 100. I thought of getting the wide gamut version, but was advised to stay away because so much of my day-to-day usage would be with things that didn't utilize those gamuts, and generally speaking, my colors would be off. So I went with the standard gamut, like 99% of everybody else.
So what should I do? As it is, I have my Photoshop color space set to sRGB. I just read that Lightroom as its default uses ProPhoto in the Develop module, and AdobeRGB in the Library (for previews and such).
Thanks for any help!
Michael

Okay. Going bigger is better, do so when you can (in 16-bit). Darn, those TIFs are big though. So, ideally, one really doesn't want to take the picture to Photoshop until one has to, right? Because as long as it's in LR, it's going to be a comparatively small file (a dozen or two MBs vs say 150 as a TIF). And doesn't LR's develop module use the same 'engine' or something, as ACR plug-in? So if your adjustments are basic, able to be done in either LR Develop, or PS ACR, all things being equal, choose to stay in LR?
ssprengel Apr 28, 2015 9:40 PM
PS RGB Workspace: ProPhotoRGB and I convert any 8-bit documents to 16-bit before doing any adjustments.
Why does one convert 8-bit pics to 16-bit? Not sure if this is an apt comparison, but it seems to me that that's kind of like upscaling, in video. Which I've always taken to mean adding redundant information to a file so that it 'fits' the larger canvas, but to no material improvement. In the case of video, I think I'd rather watch a 1080p movie on an HD (1080) screen (here I go again with my pixel-to-pixel prejudice), than watch a 1080p movie on a 4K TV, upscaled. But I'm ready to be wrong here, too. Maybe there would be no discernible difference? Maybe even though the source material were 1080p, I could still sit closer to the 4K TV, because of the smaller and more densely packed array of pixels. Or maybe I only get that benefit when it's a 4K picture on a 4K screen? Anyway, this is probably a different can of worms. I'm assuming that in the case of photo editing, converting from 8 to 16-bit allows one more room to work before bad things start to happen?
I'm recent to Lightroom and still in the process of organizing from Aperture. Being forced to "this is your life" through all the years (I don't recommend!), I realize probably all of my pictures older than 7 years ago are jpeg, and probably low-fi at that. I'm wondering how I should handle them, if and when I do. I'm noting your settings, ssprengel.
ssprengel Apr 28, 2015 9:40 PM
I save my PS intermediate or final master copy of my work as a 16-bit TIF still in the ProPhotoRGB, and only when I'm ready to share the image do I convert to sRGB then 8-bits, in that order, then do File / Save As: Format=JPG.
Part of the same question, I guess - why convert back to 8-bits? Is it for the recipient? Do some machines not read 16-bit? Something else?
For those of you working in these larger color spaces and not working with a wide gamut display, I'd love to know if there are any reasons you choose not to. Because I guess my biggest concern in all of this has been tied to what we're potentially losing by not seeing the breadth of the color space we work in represented while making value adjustments to our images. Based on what several have said here, it seems that the instances when our displays are unable to represent something as intended are infrequent, and when they do arise, they're usually not extreme.
Simon G E Garrett Apr 29, 2015 4:57 AM
With 8 bits, there are 256 possible values. If you use those 8 bits to cover a wider range of colours, then the difference between two adjacent values - between 100 and 101, say - is a larger difference in colour. With ProPhoto RGB in 8-bits there is a chance that this is visible, so a smooth colour wedge might look like a staircase. Hence ProPhoto RGB files might need to be kept as 16-bit TIFs, which of course are much, much bigger than 8-bit jpegs.
Over the course of my 'studies' I came across a side-by-side comparison of either two color spaces and how they handled value gradations, or 8-bit vs 16-bit in the same color space. One was a very smooth gradient, and the other was more like a series of columns, or as you say, a staircase. Maybe it was comparing sRGB with AdobeRGB, both as 8-bit. And how they handled the same "section" of value change. They're both working with 256 choices, right? So there might be some instances where, in 8-bit, the (numerically) same segment of values is smoother in sRGB than in AdobeRGB, no? Because of the example Simon illustrated above?
Oh, also -- in my Lumix LX100 the options for color space are sRGB or AdobeRGB. Am I correct to say that when I'm shooting RAW, these are irrelevant or ignored? I know there are instances (certain camera effects) where the camera forces the shot as a jpeg, and usually in that instance I believe it will be forced sRGB.
Thanks again. I think it's time to change some settings..

I have a problem with color prints from photoshop elements 12. The pictures are too light and with strange colors. I have a Canon pixma mg615I0 printer and use mac os X yosemite. The pictures are taken with a coanon eos 550d in the color space sRGB. I hav

Hi
I have a problem with color prints from photoshop elements 12. The pictures are too light and with strange colors. I have a Canon pixma mg615I0 printer and use mac os X yosemite. The pictures are taken with a coanon eos 550d in the color space sRGB. I have followed adobes recommendations and have tried both letting the printer respektive photoshop manage the colors. But nothing works. I see that there are different opinions about which is best to do so I tried both. I have the latest printer driver installed. Can anyone help me with this?

Do the following:
Print a test page from the printer. Perhaps the print head needs cleaning via its maintenance facility.
Let the printer manage colors, not PSE
Calibrate the monitor

Problem of color spaces when i switch between photoshop cc 2014 and lightroom 5.7. where to ask

hallo,
where can we ask questions on photoshop cc 2014 tools ?
i have a prophoto nef in lightroom which is retouched.
i edit in photoshop cc to make a selection and come back to lightroom with a huge psd.
it says color space of photoshop is not correct and advises prophoto. i say yes.
first one day i lost the pen tool mask when i wanted to re-edit from lightroom. fortunately the version of psd on hard disk was ok. never understood what happened
second is i want to open a jpg background on my hard disk, perhaps srgb, in photoshop and add the selection.
how to manage color spaces because my colors of the selection or the background become ugly
not sure i still need to use lightroom for this step. bridge or photoshop itselfs can open files,...
best regards
marc

That's great, but what exactly did it - matrix (gamma) profiles instead of LUT? It would be good to know for future reference.
I have seen small problems with LUT profiles in Firefox, like black clipping up to value 6 or 7, but Lightroom seems to behave well with LUT profiles here. The problem with LUT profiles is that they are "heavier" and more complex, because they contain complete tables for all possible transformations - whereas matrix profiles do it by much simpler mathematical formulae. LUT is more accurate, but matrix simpler and more reliable.
Not that I think accuracy is a problem with Eizo CGs. Which is why it's a bit puzzling that ColorNavigator has LUT as default. I use mostly matrix targets these days, my feeling is that the simpler the profile, the better.

Is there a way to assign Color Spaces in AME (Adobe Media Encoder) CC?

I am trying to output h.264 video for a web project and cannot seem to get sRGB color match when rendering out from AE.
I see it in AE's native renderer, but not in AME.
Thanks.

AME (and Premiere Pro) does not support color management in the way that After Effects does. Via Dynamic Link, which is how AME reads After Effects comps, the color-space-adjusted pixels are not corrected for screen display.
To get the results you want, add an adjustment layer to the top of the layer stack in the comp and apply the Color Profile Converter effect. Set the Output Profile to Rec.709 (sRGB is practically identical and will also work, but Dynamic Link uses Rec.709 internally so is a better match). This forces After Effects to transform the adjusted pixels into a non-linearized color space that looks correct.
Note that while the CPC effect is active and View > Display Color Management is enabled (it is enabled by default), this extra layer of color transforms will make the comp appear incorrect in After Effects, at the same time the comp will now look correct in AME or Premiere Pro. Disable Display Color Management to make the appearance of the comp in After Effects match what you see in AME or Premiere Pro. While working on the comp, however, you probably want to work with Display Color Management enabled and the adjustment layer disabled.
Under the hood, when color management is enabled in After Effects, the pixels it writes into the cache include the appropriate color transforms for the settings you have chosen. When the comp is displayed in the Composition panel in After Effects, an additional transform is added to the screen buffer pixels (not the pixels in the cache) to make it look correct on your computer screen, or not if you have disabled Display Color Management. When the pixels are read through Dynamic Link, no display color management happens, nor does AME or Premiere Pro apply any, so you get the same appearance as having Display Color Management disabled in After Effects.
Make sense?

What Color Space to choose for viewing jpegs on a monitor

After reading many webpages and watching many tutorial videos about which color space to use, I get odd results. I understand that sRGB is more for web applications, and that Adobe RGB 1998 has a wider gamut, and that ProPhoto has the widest gamut of colors, particularly helpful with printing.
However, in LR 4, when I export to jpeg as sRGB, Adobe RGB, and ProPhoto, the differences are very noticeable. sRGB looks the most vibrant, Adobe RGB looks flat, and ProPhoto looks dark with a greenish cast. I expected ProPhoto to look best, or is that only for printing, and I have to process differently?
What am I misunderstanding here? TIA.

It depends on three factors:
1. The monitor - normal, which means with a gamut close to sRGB, or "wide gamut" with a gamut that approaches Adobe RGB (and today there are plenty of medium priced "wide gamut" monitors).
2. The viewing application and whether it is color managed. In a nutshell, color management translates the image color numbers to eqivalent color numbers in the monitor's color space.
3. Whether the monitor is calibrated and profiled. In order for color management to work properly the application must know what the image's color space is (embedded profile) and what the monitor's space is (monitor profile). Any display on the monitor is always in the monitor space, but in order for the display to be accurate the translation must be made.
If all three conditions are fulfilled, alll images, no matter what their spaces are, will be displayed more or less the same because they have all been translated to the same display space. I say "more or less" because if the image is in a wide space that needs to be compressed to fit in the monitor space, there may be slight differences in the way colors that are out-of-gamut for the monitor are rendered, but the differences are slight.
Without those three factors, only images in the space closest to your monitor's native space will be properly displayed. So if you have a "normal" monitor, choose sRGB and if you have a "wide gamut" monitor, go with Adobe RGB, but keep in mind that other people with "normal" monitors and without color managed browsers/viewers will not see it properly.

Color space when exporting from RAW

Hello,
I am a new user of Lightroom and I find color spaces topic a bit confusing so far. My main question is: when exporting a photo, does Lightroom convert to a profile or assign a profile? Because there is no way to choose. I tried to export a photo with 3 different color spaces (sRGB, AdobeRGB and ICC profile from laboratory where I print my photos). After exporting them to JPEG it turned out that all of them look differently on my monitor - does it mean that Lightroom assigns a profile? If it was converting, shouldn't they have the same colours? What is more, after printing them in laboratory, results were completely different than I expected - the photo which had closest colours to what I saw in Lightroom was that in sRGB, but that with ICC of Lab was very different (much colder colours).
Where is the problem, or what aspect do I seem to misunderstand? Do I have wrong settings, should I use DNG to work with photos, should I export to TIFF, or I just have too weak monitor or wrongly calibrated one? Should I calibrate when viewing a picture in Lightroom or with the use of a photo exported to the ICC profile of Lab?
I would like to have a little bit of control over what I'm working on, depending on whether I want to publish it on a website or print. I know that my monitor can be a problem (I have an iiyama with IPS), but surely there has to be any way to make results of my work a bit closer to my expectations.
Just for information, my workflow doesn't require Photoshop, as I rather prefer to use only tools from Lightroom. I hope that my problem doesn't require the use of Photoshop.
I will be really greateful for your help - the general knowledge about colour spaces seems to be unsufficient when it comes to the usage of applications such as Lightroom.
Many thanks,
Marcin

Marcin S wrote:
Thank you for you helpful replies. Now I know a little bit more about it. But still, this is not completely clear to me.
My main question is: when exporting a photo, does Lightroom convert to a profile or assign a profile?
Both.
What you mean by both? How should I interpret it? I cannot choose "convert" or "assign", so how they both work together? What does it mean for me wanting to process photo and print in Lab?
I can only add, that those 3 photos which I exported to JPEG with 3 different colour spaces, they look different when viewing outside of Lightroom, ie. IrfanView. But when importing those JPEGs into Lightroom, differences are extremly slight. Is that because Lightroom operates in ProPhoto, which covers all colour spaces which I used, and other programs work in sRGB and those photos differently?
And the last question for now: will the hardware calibrator help in monitor which is, let's say, medium cost and medium quality? I mainly use it for preparing photos to put them on the website gallery, but would be nice if I could print better ones with a bit of certainty about what I will get from Lab.
Many thanks!!
Marcin
When you export a photo from LR, it converts to the colour space you select (e.g. sRGB) and embeds the appropriate profile in the exported file.
If your monitor were calibrated and profiled, and you view with a colour-managed viewer then images should look pretty much identical no matter which colour space you export in. (W7 Photo viewer is colour managed, the XP equivalent isn't, Mac s/w generally is. IE and Chrome aren't properly colour managed, Firefox is for all images, Safari is for images with embedded profiles. Other viewers vary.) With colour-managed viewers, the only difference should be with very highly saturated colours outside sRGB colour space (and then only if your monitor can display those colours).
LR is colour managed. If the monitor isn't calibrated/profiled then I think LR assumes the monitor has a colour space equivalent to sRGB (which is generally roughly right but won't be accurate). Internally LR uses ProPhoto RGB colour space in develop module, but uses Adobe RGB in Library, and previews are stored in Adobe RGB. However, the colour space LR uses won't explain why other viewers show things differently. It's simply that LR is colour managed (which means it converts to/from the image colour space), and I guess the other viewers you're using aren't; they just throw RGB data at the screen without converting.
Is it worth calibrating and profiling your monitor? Quite possibly. Does the colour and brightness vary with viewing angle as you move your head from side to side? If so, it may be TN technology, and perhaps not worth profiling. If it looks reasonably stable with different viewing angle then probably yes.

Color space problem/confusion

I posted the following message to another thread, but at the recommendation of a member I am starting a new thread here. For a couple of answers see the thread below.
http://forums.adobe.com/message/3298911#3298911
I will provide much more information hoping an Adobe support person will chime in. This is extremely odd.
System: HP, AMD, Windows 7 64-Bit, Nvidia 9100, all updates to Windows, latest Nvidia 9100 driver
Display: Samsung 226CW, Windows settings 32-bit color, correct resolution,
Calibration: Done with ColorMunki, D65 target, done after monitor has been on for more than 30 minutes
Personal: (I am adding this information with some hesitation, please excuse it if it sounds like I'm bragging; I am not). I have multiple posts on my blog, have made many presentations on color managed workflow and am very comfortable with the settings in Photoshop and Lightroom. Please take this only as a baseline information, I am not bragging. In fact, I am begging for information!
Problem:
Any, I mean ANY, original JPEG image in sRGB space coming out of the camera with no adjustments, any PSD file in sRGB space, any TIFF file in sRGB space look significantly paler in Lightroom and in Photoshop CS5 than they look in other Windows based image viewers like FastStone or XnView. This should not need these applications to be color space aware, but the situation is the same with or without their color managment turned on or off. I have done the following:
1. Totally uninstalled Lightroom 3 and reinstalled it
2. Recreated a brand new Lightroom catalog/library and reimported all the images, converting all the RAW files to DNG (just in case!)
3. Recalibrated the display
When I view a file, any file and I will use for the sake of simplicity a JPEG file in sRGB color space, in Lightroom it looks pale. Since the file is in sRGB color space, I have verified this, the rendering in Lightroom should be the same as rendering in anything else. But it is not. I took my monitor and connected it to this system with the same odd behavior of rendering in Lightroom being much paler than outside. It appears as if I am viewing an image in Adobe RGB in a windows viewer that is not color managed.
I further tried the following:
1. I copied various versions of one file, all in sRGB color space. One PSD and two JPEG files from the folders of the above system and copied them to my system, Intel, Windows 7 64-bit, display calibrated and profiled with ColorMunki to the same standards as the problem system above.
2. Imported them to Lightroom on my system
3. The rendering in Lightroom is identical to rendering outside Lightroom for all the files and all are same as the rendering in FastStone on the problem system. Outside rendering was done using FastStone as on the problem system.
My deduction is that something on the problem system outlined in the opening of the message is interfering with the Adobe rendering engine and I have no idea what it could be. I WILL GREATLY APPRECIATE if an Adobe engineer could chime in and steer me in the right direction. I am willing to try other things but I have run out of ideas despite the fact that I have reduced much of the problem to the lowest common denominator of sRGB and JPEG against a PSD in sRGB.
Waiting anxiously of your help.
Cemal

Also, I know enough to calibrate a monitor when it is connected to a new computer. That said, even without calibration the behavior should have changed to display all the images in question the same but perhaps with somewhat off colors. Am I right? I am not arguing the point, I am rhetorically raising the question. If the 226CW is wide gamut and 244T is not, when I connect 244T on the same computer the wide gamut issue should be eliminated, should it not? I am not talking at this point about the "correct" color, but the same color in or out of Lightroom.
Unfortunately when you connect another monitor to a computer and don't calibrate or manually change it, Windows will not change the monitor profile. Macs will autodetect and change the profile but this innovation has not reached windows yet. The behavior you observe is caused by managed apps using the monitor profile and unmanaged apps not. If the monitor profile is not changed, the behavior doesn't change.
BTW, for a "cheap" software to be color space aware it does not need a quantum leap in technology I believe. It simply needs to know how to read the ICC profile and the LUT, is that correct?
It's extremely simple to program color management into apps. Standard API libraries have been available in Windows for over a decade. The reason why this hasn't happened is related to the fact that Microsoft hasn't made IE color managed and the software makers do not want to confuse folks when images look different in their program vs IE. Considering that this still is the biggest issue people wrongly complain about in every color managed application (just check Photoshop fora) that is maybe not that strange.

Match color space when opening image in photoshop

hi, i have new macbook air and when i export image from lightroom as TIFF (pro photo RGB) and import to photoshop, it asks what to do that embedded color space does not match with settings, therefore i changed that in photoshop (edit/color settings to pro photo rGB ), however my question is: if there is any problem because my notebook display is set (system preferences) to "color LCD"
when i set my display as pro photo RGB, it base blue tone, i must use Apple's preset called "colour LCD"

Good day!
if there is any problem because my notebook display is set (system preferences) to "color LCD"
Your screen profile should generally not be set to your RGB Working Space as this would kind of negate Color Management.
And in the absence of a proper custom profile the maker’s default profile seems to be a valid choice.
Regards,
Pfaffenbichler

Color Space....of Lightroom...and Web Creation Page

Lightroom 2 on XP
Is there a place to set the working color space of lightroom?
I usually use sRGB because I produce for the web...but recently got images created in the Adobe RGB Color Space.
When I create Thumbnails and Enlarged Images in the HTML web gallery...are the images in the sRGB color Space by default possibly...Is there a way to manage this some way?
Thanks.
Suzzie

Forgot about this question:
>but recently got images created in the Adobe RGB Color Space.
Lightroom correctly understands attached profiles. Just take it in and export to sRGB jpegs, or use the web tool, which brings me to:
>When I create Thumbnails and Enlarged Images in the HTML web gallery...are the images in the sRGB color Space by default possibly...Is there a way to manage this some way?
Lightroom does the right thing and always uses sRGB in the web galleries.

Force RGB Color Space over HDMI?

Does anyone know how to force RGB over HDMI on a Macbook Pro with Retina Display. This is driving me nuts, as I have two U2410's. One is connected via DVI (using the DVI thunerbolt adapter), whilst the other is connected via HDMI. The monitor connected via HDMI negotiates the YpBPr color space, whilst the DVI monitor uses RGB. This makes it impossible to get the two monitors to produce the same colour. I can set the monitor to RGB within the OSD, but that just produces a mismatch of green and purple colours - in other words, the signal coming from the mac is still YpBPr so obviously setting the monitor to RGB ruins the colours completely.
There must be some driver setting or something to force HDMI to output RGB instead of YpBPr. Through Googling, it seems this applies to pretty much any Mac with a HDMI port, hence it's got to be a software issue, that's why I chose this forum. I'm about to duck home (I'm at work) and grab one of my HDMI -> DVI cables to see if that provides a work-around.
What happened to Mac's being a professional device. Surely they can't claim superior colour management if something as fundamental as the monitor's color space can't be controlled.

I have given up trying to use a Mac with a Dell or Samsung or Viewsonic monitor. Just ordered and received a StarTech.com DP to miniDP cable and was disappointed to see only YpbPR being output to my 22" Dell monitor. This is on top of the general fuziness and inaccurate colors. I've tried all sorts of other cables and adapters, both Apple and 3rd party, and the plain sad fact is that none of them work properly.
I plug in an old Cinema Display or a new Apple LED display and it works perfectly, colors look great, type isn't fuzzy.
I boot into Windows 7 on the same Mac using Bootcamp and my Dell monitor works perfectly.
It's OSX's display drivers that just don't play nice with Dell or Samsung or Viewsonic monitors. There's no other explanation because every other combination has problems with OSX and non-Apple monitors.
I can get into the long description of every possible adapter and cable I've tried (as well as the terminal command to adjust font smoothing). If I want the type to look right and the colors to look right, I just have to use an Apple monitor, which is aggravating as I have plenty of larger monitors here at work that I'd rather use.
Brief summary:
Three different MBPs, one a Retina display. Four different monitors from 3 different manufacturers, each with various connection options (HDMI, VGA, DVI, DP). DP to miniDP cable, DVI cable with Apple DVI to mDP adapter, HDMI to DVI with mDP adapter, couple of other similiar combinations of cables and adapters.
Bottom line is that all the screwing around produces a low quality, poor color accurate picture when the MBPs connect to 3rd party monitors. Plugging in the MBP to an Apple monitor (as old as a 2006 era Cinema Display) using any combination of adapter or cable looks great. Plugging in Windows 7 machines, either a dedicated Dell laptop or the MBPs in Bootcamp mode, all monitors look great. Also note that in OSX, the signal recevied by the monitors is YpbPr, but the same laptop in Bootcamp Windows 7 outputs RGB.
Hence, my guess that OSX display drivers are wonky except when plugged into an Apple branded monitor.

Color space

Hi there,
I made a CD booklet and submitted it to an internet print service as a pdf. I was told the document had to be changed from RGB to CMYK 8for ten bucks). Ok.
The printout turned out to be very different from the proof print I had made at a local print shop.
Later I was told that this was due to my not doing the color management myself. I would need to work in a specific color space that is attached to the pdf.
Does anyone know how I could solve this problem WITHOUT changing my profession (I will stay a musician and not become anything else, nor will I spend thousands of bucks on software).
I work with OS X 5.5 and pages. Any ideas or hints that could help?
Thanks, Chris

Does anyone know how I could solve this problem WITHOUT changing my profession (I will stay a musician and not become anything else, nor will I spend thousands of bucks on software).
As you are in Germany, you are in luck. You see, there are ISO 12647 standard printing conditions; there are International Color Consortium colour characterisations for those ISO 12647 printing conditions at www.color.org; there are prebuilt ICC format printing profiles for those printing conditions available at www.eci.org; and last but not least, Bundesverband Druck and Medien with FOGRA Forschungsgesellschaft Druck und Medien in München as arbiter backs these printing conditions.
Now, your Internet print shop should either provide an ICC format printing profile for the printing condition it sells or it should be able to calibrate its printing condition to ISO 12647 says if it has a direct imaging press for short runs such as yours. Your print shop should also have information on the raster resolution you should set to flatten transparency. Rather than ask on this list, which is Anglo-American, try asking on the German PDF/X-3 list.
Henrik
Reference:
http://www.pdfx3.org/

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