Colour management in CS6 for Internet

Hi, I am using CS6 but I am having trouble with my colour management for web pages. When I save the CS6 image for web and view it I always have to go back in and reduce hue by -20 to get colours on the web that I see originally in CS6.
Workflow: Windows 7, Capture camera RAW Adobe RGB, in CS6 color settings Adobe RGB (1998), work image in Adobe RGB but if target web I view proof colors internet standard RGB, finally i edit conver to profile sRGB, using Adobe color engine on perceptual intent. I then save for web. When I view the images on the web or microsoft office 2010 the colours are too vivid, I have to go back into CS6 and decrease hue (especially reds) by around -20, to get on the web what I originally saw on CS6.
Any help most welcome. Steve

Agreed.
With a wide-gamut monitor like the Eizo CX240, Firefox is definitely the best browser, with gfx.color_management.mode set to 1, as twenty-one describes. It's the only way of seeing correct colours of untagged photos or graphics (most of which will be sRGB, i.e. quite different from the Eizo's colour space).
But bear in mind that many Windows programs are not colour managed, including Microsoft Office and the Windows desktop. As you found, colours are going to be over-saturated on a wide-gamut monitor unless colour-managed - that is, the monitor has to be correctly profiled/calibrated (as yours is) AND the program displaying the colours has to use colour management.
PS - you didn't mention this, but check if your xrite software is creating "v2" or "v4" profiles. If the software doesn't give that as a choice, then it's almost certainly creating v2 profiles. Some software misbehaves with v4 profiles, and I recommend v2. However, if you are using v4 and get any problems, try v2 just to eliminate that.

Similar Messages

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.

Photoshop CS6 Colour Management Printing issue

Hi,
We use Photoshop and 2 x Epson 9800 printers to print our images, we used to use CS4 and have recently upgraded to CS6.
We are having a problem with the “Colour Management” settings in the Printer Settings window. We choose for Photoshop to Manage Colours and select our ICC profile and Rendering Intent and Black Point. Our problem is that these settings reset each time we switch between our 2 printers back to “Photoshop Manages Colours” so we have keep selecting the same settings over and over again. This never happened on CS4.
How do we save these settings so that they do not reset each time we switch between printers.
I don’t think it has any relevance but we have our printer’s settings set to “No Colour Management” as the warning states.
Kind Regards
Steven

You possibly need to add the profiles for your printer first.
In LR select 'other' in the profile dropdown for the color managment. In the list check all the profiles you need for your printer.
When you select a printer profile in LR and let LR manage the colors make sure to turn off the color management in your printer driver settings.
HTH
Franz

Colour management warning for dual display users

For those of you who require a colour managed workflow and have more than one display, be very careful in Mountain Lion. It appears to have a bizarre bug where images loaded and shown on the primary display (e.g. in Preview) are initially rendered with the colour profile from the secondary display, or something along those lines. Dragging the display window to the secondary display and back again sorts things out. I've filed a bug report.
If your two (or more) monitors have the same colour profile, you won't have a problem. The only workaround I can see is to set your least important display(s) to all have the same profile as your (probably calibrated, if these things matter to you) primary display, at least until (if?) the bug gets fixed.
If you want to see it for yourself, set your two displays to differing profiles - e.g. NTSC (1953) on the primary and Wide Gamut RGB on the secondary. Then load an image into Preview - something with lots of shades of red "works" well for the colour profiles mentioned. Take a screenshot of the Preview window as a reference. Move the window to the secondary display; note the colour shift as it gets re-rendered. Now drag it back to the primary display. It'll look quite different compared to the screenshot you took earlier, despite the fact it's the same image being shown by the same application on the same display in the same window... All you did was drag the window between two monitors and back again.
It doesn't seem to matter if the image in question has a colour profile embedded in it or not. When comparing with your screenshot, feel free to drag the screenshot between the monitors too - after all, it'll be suffering the same rendering bug! You'll still see a different result; in fact it may even be magnified by the accumulated rendering errors.
Preview isn't the only application affected; I've seen identical issues under harder to replicate circumstances in Safari, for example.
Given this fault and others I've seen with colour rendering in Lion, plus several new bugs found in Mountain Lion, I'm afraid that if a colour managed workflow is important to you - well - Snow Leopard or Windows...?! Ugh, what a mess

I've encountered many of the same woes with color management being a graphic designer, but here's my issue:
Have a 15" (Early 2011) Macbook Pro. It is turned on with me hooked up to my Dell U2410 and display open for a dual display configuration. The Dell is my primary monitor.
I then unplug my MBP to use it around the house. I go to plug it back into the Dell for my dual monitor. I notice that the color on the Dell looks good, but now the MBP has a very blue color temperature. Like moving from the preconfigured 'Color LCD' profile to 'sRGB' which definitely shifts to a blue color on the MBP.
I check the color profiles in System Settings and the Color profiles are correct. 'Dell U2410' for my Dell and 'Color LCD' for my MBP. But as I said, it's much bluer than standard. I try to change the color profiles around on the MBP and no matter which I select it's always the same color with no shifts I would expect to see.
Only solution I have found is to restart my computer. Upon restarting all is well again in the world.
It's pretty annoying having to restart my computer everytime I plug it back into my workstation with Dell and keyboard.
Related note: USB does not work when I plug things back and again have to restart to fix this.

How to mimic non colour managed environment in CS6

Can anyone tell me please if it is possible to see in Photoshop what an image will look like when it is out in the un-colour managed world?.I can see how you can do it if you are saving for web because you can preview it in a browser, but is it possible to do this with TIFs and PSDss please?
I have a wide colour gamut display and even with it set to sRGB colour mode emulation, sRGB tagged images that look correctly saturated in Photoshop look oversaturated once out of it and in an uncolour managed environment - particularly the reds. If I can replicate this environment in PS I can edit the colours to make them more neutral looking.
Thanks.

I think you are very wise t have x2 sRGB displays. If a large sRGB display had been available I would have bought it.
Could you bear to help me with another - display issue,please?
As part of the work I do I have to make screen recordings of images being produced for the magazine. I use Camtasia for this and they insist on a 1024x768 resolution. This has been no problem in the past with my standard sRGB display (NEC 2490/2) because the aspect ratio was right for it.
The aspect ratio was not right for the Spectraview display (2560x1440) so I used the original 2490 also attached to my graphics card to make the recordings at 1024x768.
Now, something has changed in the arrangements and when I set the 1920x1200 display to 1024x768 the image stretches as if it were in the wide display. I am defeated as to why the standard display can no longer show 1024x768 at the correct aspect ratio.
I am not aware of having changed any W7 settings - both displays are recognised. Though I do notice that under the "advanced settings for the W7 resolution window, and under the "Monitor" tab, the 2490 is not available - only the wider display (271) - here is an image that shows this:
When you open the "Colour Management" tab all the resolutions are available for the 2490/2 but as I said, when you select the 1024x768, it appears as it would (and does) on the wider display.
Can you suggest what I've done wrong and how I might fix this, please.
Thanks.

Support for Internet based client Management - SCCM 2012

Hi There,
My Company wants to go for Internet based client Management in SCCM 2012 SP1 R2 and here is the design I'm proposing. I'm getting a bit confused at one point and need suggestion....
Everything would work on HTTPS ( PKI Certificate based )... LAN and Internet.
1 Primary ( with non-client facing roles installed ) on LAN with two site systems.
- One Site System configured for INTRANET support only with MP, DP and SUP -> To support LAN users ( Allow
Intranet-only connections )
- One Site System configured for INTERNET support only with MP, DP and SUP -> To support Internet users ( Allow
Internet-only connections )
The INTERNET facing site system is in DMZ network connected to parent Primary via Firewall.
We want internet clients to talk to ONLY DMZ SCCM Site System and no connection to corporate LAN. We cannot open any ports for internet based clients to LAN.
If this is the supported scenario, then why we need to put the Internet FQDN in the Primary server Site System property. This server would not be available to internet. It should only be my DMZ SCCM server client should connect for MP, DP and SUP and only
this DMZ server should be accessible to client over internet.
Also, what least ports should be opened between :
- Parent Primary and its internet facing site system kept in DMZ
- DMZ Site system and internet clients.
Thanks in advance for your suggestions.
Sam

The FQDN has only to be specified on the Internet facing site system. You can leave this field blank on the primary site Server.
Ports to Open:
Internet --> DMZ Site Server:
TCP Port 443
TCP Port 80, if Fallback Status Point is installed
DMZ Site Server --> Primary Site:
TCP 135, 49152-65535
TCP 445
TCP 135, 24158 (fixed with
http://msdn.microsoft.com/en-us/library/bb219447(v=vs.85).aspx )
TCP 80, 443
If you have some other roles installed, please consult this page:
http://technet.microsoft.com/en-us/library/hh427328.aspx
Cheers,
Thomas Kurth
Netree AG, System Engineer
Blog:
http://netecm.netree.ch/blog | Twitter:
| LinkedIn:
| Xing:
Note: Posts are provided “AS IS” without warranty of any kind, either expressed or implied, including but not limited to the implied warranties of merchantability and/or fitness for a particular purpose.

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 profile for LaserJet 2200 printer?

I am reasonably familiar with the basics of colour management. My monitor is calibrated, I use Epson's standard colour profiles for my Epson 3800 inkjet printer and what I see on the screen is more or less what I get out of this printer. However, I am having less success in controlling the printing on my HP LaserJet 2200 of monochrome images contained within an InDesign CS4 document.
The obvious answer would appear to be to use a purpose-designed printer profile for the HP LaserJet 2200 but, so far, I have failed to find a source for such a profile. Can anyone help?
David

When you save a grayscale (if you save in grayscale mode and aren't just saving a completely desaturated or otherwise made to look like grayscale RGB or CMYK mode image) in Photoshop you should be saving with a grayscale profile like Dot Gain 30% of Gamma 2.2 or something else from the list. These profiles are designed to match printing conditions of various types or different types of monitors (and I'm not going to go into a lot of detail here).
Photoshop understands grayscale profiles, InDesign does not, so it looks at the numbers and says these are all black, so they belong in the black channel, and I'll put them in that channel in the current document CMYK working space. Different CMYK profiles behave a little differently when you print, but to be perfectly honest, I've never really investigated the consequences of choosing one over another for printing grayscale, because all the information is already black and I don't think assigning a new profile would change anything (though CONVERTING to a new profile might well take your grayscale and make it a 4-color image).
Dot gain is the amount of "spread" that happens to each halftone spot wne the ink is absorbed by the paper, and the number is usually defined as the amount of gain for a 50% dot. Dot gain causes images to print darker. For a classic illustration, think of using an eyedropper to drop a single drop of ink onto a sheet of tissue paper, and you'll get the idea. Coated papers usually have better ink "holdout" (they are less absorbent) than uncoated papers, and thus lower dot gain.
Laser printers don't use liquid ink, but they do have gain. The toner is melted and gets absorbed into the surface of the paper as it goes through the fuser which is what keeps it from falling off as a pile of dust.
So how do the prints look now, and what are the settings you are using in the print dialog?

Manage passwords for Internet Explorer 11 on Windows 7 ??

How does a person find the mange passwords feature for Internet Explorer 11 on a Windows 7 box? I saw a few webpages on this topic for IE 10, and also for IE11 on Windows 8, but nothing for IE11 on Windows 7. When I go to IE 11 / Internet Options
/ Content / Auto Complete / Settings, there is no option to manage passwords. I went to Credentials Manager and it says there are no windows credentials, and it doesn't show any web or Internet Explorer credentials. Thanks

Thanks for the reply.
That link to the eightforums.com was not helpful. It states:
This tutorial will show you how to view ...
stored passwords by Internet Explorer 11 (IE11)
in your account in Windows 7,
Windows 8.1, and Windows RT 8.1.
View and Remove Stored Passwords for Sites in Credential Manager
1. Open the Control Panel (icons view), and click/tap on the Credential Manager icon.
2. Click/tap on Web Credentials, and expand a listed website (ex: www.eightforums.com) under "Web Passwords" that you want to view or remove ...
However it is apparent that the author of the article did not verify that this method is applicable to Windows 7.
When I click on the Credential Manager in Windows 7, there are no web credentials. I looked on all 3 of my Windows 7 computers (one Windows 7 Professional and two Home Premium boxes) and none of them had a web credentials section.
Any other ideas?

Is IDM cc 7.2.8 the plugin/extension thats needed for Internet Download Manager for the Mozilla Browser family? Do i need it if i've removed IDM?

I had the Internet Download Manager and I also removed it today. I removed and reset a bunch of things cuz my system was hardly working and hardly letting me do anything. I am happy with the downloader i had to begin with but my question is: IDM cc 7.2.8 is an active addon for my sea monkey browser/probably firefox also, but... is IDM cc 7.2.8 the plugin/extension/addon for Internet Download Manager thats needed for Mozilla Browsers.?
Or is it the Internet Download Manager program itself, in full?
I would like to know so I can remove it if I dont need it because I already removed the IDM Program earlier today, and am staying with my old downloader.
I am running out of free space on my system and dont want any extras that arent needed taking up the space thats still available. If I dont need this add-on because I dont have IDM, Please let me know.

Hello,
As a user of Internet Download Manager, I can confirm that 'IDM cc 7.2.8' is connected with IDM.
Therefore, if you have uninstalled Internet Download Manager, you no longer need 'IDM cc 7.28'
Hope that helps.

Scanner calibration for colour-managed workflow

I would like to do a decent calibration of my Epson V750 Pro scanner to achieve a colour-managed workflow. I have the latest version X-Rite i1 Photo Pro 2 calibration kit, and although this enables me to calibrate my monitor and printer, it does not support scanner calibration. I do have Silverfast Ai Studio which includes a scanner calibration facility - is that the best available to me or are there any other options, possibly using the i1 spectrophotometer as I know that it used to be possible to carry out calibration with the older versions of that equipment? Other than that, I'm using an Espon 3880 printer, running Vista x64 and using Photoshop CS5.

Mike is probably right, the Epson profiles available in the Epson scanner sw are close enough. I;ve never seen any ******** about scanner output in this forum.

CS4 Color Management Settings - Confusing for Brother Laser Colour Printer

I am new to Brother's Color Laser Printer and setting up the Color Management with CS4 for a document. Contacted Brother and they do not have informaton for Adobe Products. Here's what occurs when on the Print Screen:
Under 'Options' — CS4 has instated 'Let InDesign determine Color Management'.
Under Printer Profile: 'RGB-SRGB 1EC6' is indicated. I can pull down the menu for other choices. Brother Printers are indicated but I have no idea which one to choose. What is difficult to ascertain is that in one project, I am using card stock. There is no choice available for other weights of paper as there is in MSW.
Inexperience prevails with using a color laser printer with CS4's settings. In other words, should I leave the choices provided by CS4 rather than choose the Brother Printer settings that cannot be explained by Brother?
HELP!

What is difficult to ascertain is that in one project, I am using card
stock. There is no choice available for other weights of paper as there
is in MSW.
With an RGB (no postscript) driver you would access paper and resolution profiles from the Printer... button of the Print dialog. So typically output color would be Composite RGB, Let InDesign Determine Color would be your only Color Handling choice, and you would leave the Printer Profile as Document RGB. Then you would click Print... and you would find paper and resolution settings under the Print Settings pop-up.

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

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.

Colour management - embedded profiles

Could anyone assist as I haven't had this problem in CS5 photoshop but when I upgraded to CS6 photoshop I followed the recommended settings like using ProPhoto RBG.
I edit in the working space colour management but not always have the same results on screen...have calibrated my monitor.
Then when it does look correct on screen and I re-import into Photoshop, my picture turns out bright red and I need to use Adobe RBG (1998). I am saving the pictures with the profile embedded, works better with Adobe RBG.
What should I be using as the settings as well as management policies - currently Preserve Embedded Profiles?
I don't want to have nice looking pictures in Photoshop and then have them print incorrectly or look terrible on another monitor.
Thanks

it would be more accurate to say that the Working RGB is "Assumed" not Assigned...assigning is an action of tagging the image.
Hi, Jeff, I concede your point.
If I recall correctly, Bruce and color.org also favor that terminology?
Though as a non-technical writer targeting beginners, I prefer to use "in essence," "for practical purposes" Photoshop is "Assigning" its default/working space under c.pfaffenbichler's scenario because it has the same end effect -- the proof is -- manually Edit> Assign Profile (working space) and the source RGB Converts to Monitor RGB and Print Space exactly the same as c.pfaffenbichler's approach (or is that not correct?).
But I do believe everyone here agrees that THE CORRECT SOURCE PROFILE MUST ALWAYS BE ASSUMED OR ASSIGNED BEFORE PHOTOSHOP CAN FAITHFULLY CONVERT/TRANSFORM SOURCE COLORS TO MONITOR RGB, DESTINATION PROFILES OR SPECIFIC PRINT SPACES.
For me, I think my loose "Assign" terminology is easier to visualize and demonstrate in a learning environment (at least it was for me to grasp or describe the concept in an active, visual sense).
On the other hand, I think "Assume" better suits OSX and Windows engineering assumptions the monitor is an sRGB-compliant device in an unmanaged viewing environment -- but that's just how I choose to present my theories.
As always, I prefer a shredding if I am wrong or unclear because my goal is to get it right and to the point...
G BALLARD

Colour management in CS6 for Internet

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