Colour management in Bridge

There is an enable colour management feature in Bridge, I was wondering what it does? When enabled I was hoping that my images might look somewhere in the neighbour hood of what they look like in Photoshop? Am I missing something or is it part of the clash with Leopard?

You must have an obsolete version of Bridge.
That option is not in the current version, Bridge 2.1.1.9 because now color management is
always on, enabled by default.

Similar Messages

Deleted Colour Setting in Bridge, but Photoshop wants to Colour Manage every time I open a file.

I installed a Colour Setting in Bridge as per a printer's instructions. After I did this, every time I open something in Ps, It asks if it can colour manage the file and gives a few options. I deleted a Creative Suite Colour Setting from finder Bridge, but Photoshop still generates the popup every time. This interferes with Scripts in Ps and it's very annoying.

Deleting something in Bridge certainly won't help.
Change the color settings in Photoshop...

Pls help - colour management suite does not activate

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

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

Perennial colour management question (browser srgb)

Howdy folks,
I wish I knew why my photos get banding and crushed blacks in the colour managed browsers, but the exact same image looks fine in the color managed applications - bridge and photoshop.
Chrome and firefox do this:
Eeek! Green in my skies!
Photoshop does this:
and IE displays the colours incorrectly but without banding!
I've wondered about this for year. I thought at one point it might be a monitor profile setup issue, but it happens on both my monitors, I've changed systems and graphics cards.
Heres the whole image:
Here in chrome that sky has bands of purple and green (or at least turquoise). Anyone else seeing that?

Hi again all,
I've finally found some time yesterday to investigate this further and re-calibrate my monitor.
I nuked the previously created ICC monitor profile (so that there was none applied) and set to work with my Lacie Blue Eye device and the Lacie Blue Eye Pro software package. I set my preferred settings to 6500K, Gamma 2.2, 120cd/m2 and put the monitor into 'Standard' colour preset. I ran a test on those settings and while the colour and gamma levels were close-ish, the Lum was in the mid-high 200s...way too bright. (No wonder I felt like I was getting a tan sitting in front of the monitor. LOL!) DeltaE scores were okay but not great... Time for the manual calibration.
Set the monitor into 'Custom' colour preset and fired up the Lacie calibration software for the full calibration. Can't remember exactly how far the brightness and contrast controls had to come down, but from memory it was about 30 and 50 respectively. The RGB levels ended up in the high 80s each from memory. Ran the calibration, applied the newly created profile (double checked it was applied in Control Panel | Colour Management). Ran another test report with the Lacie software and got colour, gamma and lum results 0-1% from target, and average dE scores of 0.4, max dE of 0.7.
RAW files in LR and PS CS4 appear the same, sRGB jpeg exports viewed in Windows Photo Viewer and Firefox appear the same, IE is still a bit out, but that's expected/known.
I took the (exported jpeg) images to another computer with a cheapy (uncalibrated) LCD monitor and the results were perfectly fine when viewed in Windows Photo Viewer.
Having greatly reduced the brightness of my monitor I should hopefully reduce the likelihood of having issues with prints coming back too dark. Of course I know I can get hold of the printer profiles from my lab and softproof the images in CS4 when it comes to that anyway.
Thank you all for your input and feedback on this matter. Everything seems to be resolved now.
Chris

Colour management for dummies please

I have seen many discusions about ink limits and colour profiles but can anyone offer a dummies' guide?!
I use CS5 and in Bridge it is set to Europe Prepress 3. My understanding is that this should take care of things but when I make a PDF of my job and preflight it in Acrobat I get an ink limit warning. The profile of the placed Photoshop file (which is CMYK) is FOGRA39, as is the InDesign file (obviously, as this is defined by Prepress 3). So if I make a PDF X-1a shouldn't all that control the ink limit?
I have found that if I switch the Photoshop file to RGB then it works fine - I can see in InDesign separations preview that ink is OK, and the PDF preflights OK in Acrobat. So that tells me that the ink control happens when a conversion is required. The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage), so how do I limit the ink if the file is CMYK? Should my Photoshop file not be colour managed perhaps? I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
I called Adobe and their best shot was that I should switch CS5 to North America Prepress, and use the 'High Quality Print' PDF preset. Well maybe I'm taking it too literally, but I'm In England and have a job which is about to be printed in Hungary! And also, this yields a US Web Coated (SWOP) v2 profile which doesn't seem right as I will be printing sheetfed.
I would appreciate it if someone could straighten me out.
* I tested this by switching the Photoshop file to Web Coated FOGRA28 and the colour values did change to allow for a lower ink limit, so maybe there's something in that. So why doesn't FOGRA39 do it? With the colour set to FOGRA39 Photoshop happily accepts a nice black blob coloured as 100% each of C,M,Y and K.
Sorry if this is a bit long but it seems like a useful discussion for Colour management newbies.

I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
Total Ink limit is a parameter of a CMYK profile—so the limit won't be exceeded when you make a color conversion from any other color space into that profile's color space, i.e AdobeRGB>FOGRA39, or US Sheetfed Coated>FOGRA39. However, once the file is converted to CMYK there's nothing stopping me from exceeding the limit via a color correction. For example, I could convert a PS file filled with 0|0|0 RGB to FOGRA39 CMYK and the ink limit would not exceed the 330% defined in the FOGRA39 profile, but as you noted I could also fill the resulting CMYK file with 100|100|100|100 and exceed the 330% limit.
Also, there's nothing stopping me from assigning the FOGRA39 profile to any CMYK file. In that case there's no color conversion—I could make a new SWOP Coated CMYK file, fill it with 100|100|100|100, assign FOGRA39, and the fill would still have 400% total ink.
Total ink is only limited via a color conversion
The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage)
The general wisdom is actually old conventional wisdom, there's nothing wrong with making the conversion from RGB to CMYK when you export—the resulting CMYK values will be no different than the ones you would get out of PS assuming the source and destination profiles, and rendering intents are the same. The no RGB rule is a hangover from when you couldn't make color managed color conversions inside a page layout program.

Colour management between creative suite and iPad/iOS

Does anyone have any insight into colour management for imagery between creative suite and iPad/iOS. ? i.e using the appropriate Proof set up across indesign/photoshop/bridge to as close as you can mimic what you will see on the iPad?
We're seeing quite radical differences from what we shoot in our studio (which is consistent on all our screens across the studio) to what we see on uploading to iPad. How can we best mimic the iPad colour space?

This post in the Ideas forum might be of some use.

Dng colour shift from bridge to jpg's....cs2

Hello everyone. I am very new at this so I really hope that someone can help me.
I have a new eos 5 mark 11.
I use cs2 which doesn't recognise the RAW images. I have downloaded dng and started colour correction in bridge.
I have saved the files as jpg's but........ there is a huge colour shift. They look terrible.
What am I doing wrong?? please help.

I'm trying to figure out the same thing. As far i discovered that Photoshop as default display images without any proofing. Fax viewer in windows is color managed (at least in theory). That's why adobe created sRGB (for viewing on screen).
Try to turn on proof colors (ctrl + y) and set it to monitor RGB. This will show you your terrible jpg's in PS.
Saved jpg's in PS looks brighter, but less vivid.
RAW (converted or not) files saved as jpg's look far worse (terrible, as you said) in windows fax viewer, but I don't know why. Try to compare it, shooting RAW + jpg. Jpg's looks ok (better in bridge), RAWs looks ok in PS, but after saveing them as jpgs... (without proofing) they are so bad! RAW are great, but sometimes it's pointless to shoot in RAWs, becaouse you will have a lot of work to develop good settings. This drives me crazy , when jpg from camera looks better than RAW file (no correction).
You can show bad jpgs as good jpgs in web using photoshop express gallery (I gues it uses same engine as PS and Bridge)

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

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

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

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

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

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

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

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

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

How do I fix colour picker to work across different colour-managed monitors?

Hey everyone!
I'm assuming this problem I'm having stems from having colour-calibrated monitors, but let me know if I'm wrong!
To preface, this is the setup I have:
Windows 7
3 monitors as follows, all have individual colour profiles calibrated using the Spyder 3
Cintiq 12WX
Dell U2410
Dell 2409WFP
Photoshop CS6 - Proofed with Monitor RGB, and tested with colour-managed and non-colour-managed documents
I usually do most of my work on the Cintiq 12WX, but pull the photoshop window to my main monitor to do large previews and some corrections. I noticed that the colour picker wouldn't pick colours consistently depending on the monitor the Photoshop window is on.
Here are some video examples:
This is how the colour picker works on my Dell U2410: http://screencast.com/t/lVevxk5Ihk
This is how it works on my Cintiq 12WX: http://screencast.com/t/tdREx4Xyhw9
Main Question
I know the Cintiq's video capture makes the picture look more saturated than the Dell's, but it actually looks fine physically, which is okay. But notice how the Cintiq's colour picker doesn't pick a matching colour. It was actually happening the opposite way for a while (Dell was off, Cintiq was fine), but it magically swapped while I was trying to figure out what was going on. Anyone know what's going on, and how I might fix it?
Thanks for *any* help!
Semi-related Question regarding Colour Management
Colour management has always been the elephant-in-the-room for me when I first tried to calibrate my monitors with a Spyder colourimeter years ago. My monitors looked great, but Photoshop's colours became unpredictable and I decided to abandon the idea of calibrating my monitors for years until recently. I decided to give it another chance and follow some tutorials and articles in an attempt to keep my colours consistent across Photoshop and web browsers, at least. I've been proofing against monitor colour and exporting for web without an attached profile to keep pictures looking good on web browsers. However, pictures exported as such will look horrible when uploaded to Facebook. Uploading pictures with an attached colour profile makes it look good on Facebook. This has forced me to export 2 versions of a picture, one with an attached colour profile and one without, each time I want to share it across different platform. Is there no way to fix this issue?
Pictures viewed in Windows Photo Viewer are also off-colour, but I think that's because it's not colour managed... but that's a lesser concern.

I think I've figured out the colour management stuff in the secondary question, but the weird eyedropper issue is still happening. Could just be a quirk from working on things across multiple monitors, but I'm hoping someone might know if this is a bug/artifact.
Going to lay out what I inferred from my experiments regarding colour management in case other noobs like me run into the same frustrations as I did. Feel free to correct me if I'm wrong - the following are all based on observation.
General Explanation
A major source of my problems stem from my erroneous assumption that all browsers will use sRGB when rendering images. Apparently, most popular browsers today are colour-managed, and will use an image's embedded colour profile if it exists, and the monitor's colour profile if it doesn't. This was all well and good before I calibrated my monitors, because the profile attached to them by default were either sRGB or a monitor default that's close to it. While you can never guarantee consistency on other people's monitors, you can catch most cases by embedding a colour profile - even if it is sRGB. This forces colour-managed browsers to use sRGB to render your image, while non-colour-managed browsers will simply default to sRGB. sRGB seems to be the profile used by Windows Photo Viewer too, so images saved in other wider gamut colour spaces will look relatively drab when viewed in WPV versus a colour-managed browser.
Another key to figuring all this out was understanding how Profile Assignment and Conversion work, and the somewhat-related soft-proofing feature. Under Edit, you are given the option to either assign a colour profile to the image, or convert the image to another colour profile. Converting an image to a colour profile will replace the colour profile and perform colour compensations so that the image will look as physically close to the original as possible. Assigning a profile only replaces the colour profile but performs no compensations. The latter is simulated when soft-proofing (View > Proof Colors or ctrl/cmd-Y). I had followed bad advice and made the mistake of setting up my proofing to Monitor Color because this made images edited in Photoshop look identical when the same image is viewed in the browser, which was rendering my images with the Monitor's colour profile, which in turn stemmed from yet another bad advice I got against embedding profiles . This should formally answer Lundberg's bewilderment over my mention of soft-proofing against Monitor Colour.
Conclusion and Typical Workflow (aka TL;DR)
To begin, these are the settings I use:
Color Settings: I leave it default at North American General Purpose 2, but probably switch from sRGB to AdobeRGB or ProPhoto RGB so I can play in a wider gamut.
Proof Setup: I don't really care about this anymore because I do not soft-proof (ctrl/cmd-Y) in this new workflow.
Let's assume that I have a bunch of photographs I want to post online. RAWs usually come down in the AdobeRGB colour space - a nice, wide gamut that I'll keep while editing. Once I've made my edits, I save the source PSD to prep for export for web.
To export to web, I first Convert to the sRGB profile by going to Edit > Convert to Profile. I select sRGB as the destination space, and change the Intent to either Perceptual or Relative Colorimetric, depending on what looks best to me. This will convert the image to the sRGB colour space while trying to keep the colours as close to the original as possible, although some shift may occur to compensate for the narrower gamut. Next, go to Save for Web. The settings you'll use:
Embed Color Profile CHECKED
Convert to sRGB UNCHECKED (really doesn't matter since you're already in the sRGB colour space)
and Preview set to Internet Standard RGB (this is of no consequence - but it will give a preview of what the image will look like in the sRGB space)
That's it! While there might be a slight shift in colour when you converted from AdobeRGB to sRGB, everything from then on should stay consistent from Photoshop to the browser
Edit: Of course, if you'd like people to view your photos in glorious wide gamut in their colour-managed browsers, you can skip the conversion to sRGB and keep them in AdobeRGB. When Saving for Web, simply remember to Embed the Color Profile, DO NOT convert to sRGB, and set Preview to "Use Document Profile" to see what the image would look like when drawn with the embedded color profile

How do i turn off colour management in photoshop cc

i cannot make any sense of the 'help' on being able to see any display which allows me to turn off colour management in photoshop cc or in lightroom 5 when using my Mac 10.9.3

Good day!
What exactly do you mean?
Regards,
Pfaffenbichler

A Colour Management tutorial from an amateur

Archiving at the end of a long project I came across a document I assembled at the start when I wanted to teach myself about colour management. I spent several weeks reading, experimenting and putting together these notes, but it all came to nought. To quote from the notes:
…I chose not to use colour management when printing my books on a Xerox iGen3. I converted the InDesign files to PDF with all colour management turned off, and asked the printer to print ‘direct’. The iGen RIP converted RGB images to CMYK, and CMYK images were printed as per the colour numbers. Using certain colour settings for my monitor, and for Photoshop and InDesign, I was able to obtain a very close match between what was on screen and what was on paper without the need for profiles…
I've asked a fair few questions here over the years, and this forum has been a great help, but I rarely offer anything in return. Well, here's a little something that some people might find useful. A mob of information about colour management, collated from various sources with my tuppence worth here and there to make it flow. It was put together before my InDesign days when I used Pages, so forgive the mediocre layout.
Colour Management (450k) can be downloaded here: http://www.mediafire.com/?86edp6742ac6zlv (If Peter Spier is reading this: Peter, that's a hot link now; I've upgraded my Mediafire account so there are no more banners).
If anyone visits here in the future and that link doesn't work (which will happen if I upload a new version), try this one, a link to the folder: http://www.mediafire.com/?an9n0o36nymwv
Please let me know if there are any gross errors in the PDF and I'll fire up Pages and correct them.

geoffseeley, Welcome to the discussion area!
1) amber light keeps flashing but internet works - is this a problem?
I believe that indicates that you do not have wireless encryption enabled. If you enabled wireless encryption, the light should turn green.
3) how does iTunes work through the extreme box? am i supposed to plug my home cinema into the extreme box somehow?
The AirPort Extreme base station (AEBS) has no special features to support video/audio directly. iTunes has nothing to do with the AEBS.
The AirPort Express (AX) has an audio out port for streaming music from iTunes.

How to turn off printer colour management in LR 5.7?

Using an EPSON R3000 with bespoke profiles and getting a magenta colour cast. It seems there is some double profiling/ conflict at work. I don't seem to have an option to turn off colour management - like this:
For my system, the colour matching is greyed out and I can't change anything. When it's greyed out, does it mean it's automatically turned off?
Does anyone else have this issue? Everything works wonderfully in CS6, no issues printing with ICC profiles from there. Using MacOSX 10.8.
Thanks!

The behavior in screen capture two with the two radio buttons grayed out is correct. You cannot turn off color management anyway. The magenta cast is another problem.

When I try disabling colour management in the printer driver, it keeps turning back on

I'm using Lightroom v2.4 and a Canon Pixma Pro 9500 printer with the latest driver. I've just tried to print from Lightroom for the first time since moving to this latest version of Lightroom and when I go into print setup and turn off colour management, the driver doesn't keep the setting. Nor does it allow me to do borderless printing. My choice of print quality is also lost - this never used to be a problem.
This is very frustrating and means I must use Photoshop to print which takes longer when there is much to do. Please can someone offer some advice. I can print from Photoshop without this happening.
Thanks
Joanne

Have you tried creating Print templates in LR? Available from the left panel
in Print module. That's what I do to make sure the printer driver settings
stay the same.
Are you quite sure you have the latest 9500 driver?
Eric
I'm using Windows XP SP3, and I have just one button at the bottom left of the
Lightroom print diaglogue window called 'Page settings', when you click this,
you can select the printer and go into properties, which is where I normally
disable colour management. It is also refusing to print at standard quality,
but it defaulting to high quality (which takes a lot longer).
Thing is that I can print from Photoshop without problems and it's from
Photoshop where I do much of my printing, but printing from Lightroom is good
if I have a big load of prints to do as it's so much quicker to set up and it
has the picture package facility.

Colour management in Bridge

Similar Messages

Maybe you are looking for