CS4 Colour Management question(s)

Ok, here goes...
My team of designers create adverts in InDesign that are to appear in either a newspaper OR a glossy magazine.
We employ an Ad Tracking system that provides a blank InDesign template for them to work from.
The Ad Tracking system knows if the advert is for newsprint or glossy and provides a template where the CMYK Working Space is either ISOnewspaper26v4 or ISO Coated v2 300% (ECI) respectively.
We only ever place CMYK images into these adverts. These images have been converted in Photoshop using the same ICC Profiles (depending on destination) as above. Profiles are not included in the images.
We then output a PDF with "No Colour Conversion" and "Don't Include Profiles" in the output settings.
We have been working this way for years but I would like to introduce an RGB workflow where we can place RGB images in InDesign and output a PDF that is not yet specifically for Newsprint or Glossy.
I don't want InDesign to convert to a profile but our Ad Tracking system can route this "generic" PDF through a system called Asura from One Vision that does the conversion to Newsprint or Glossy using the relevant output ICC Profile.
My questions...
1. Am I correct in thinking that the RGB and CMYK values of the placed images will not change in the PDF exported from InDesign?
2. How are placed images affected by the Working Space?
3. Does "Emulate Adobe InDesign 2.0 CMS Off" give a non-specific document?
I have watched both David Blatner's and Chris Murphy's titles on Colour Management on Lynda.com and thought I had a reasonable grasp of basic colour management until I came to think about changing workflow.
Any help would be greatly appeciated.
Thanks
Simon.

Thanks Rob, well explained.
Just a couple more questions if you don't mind...
How would you create an InDesign document with no profile assigned?
and
Does it matter if a document has a Glossy profile assigned and the exported PDF is then converted to Newsprint downstream? Is this just a case of the downstream conversion needing to know what profile was assigned to the document and the placed images?
Thanks again.
Simon.

Similar Messages

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

CS4 Colour management issues

I am having problems colour managing images from CS4 photoshop through Espon 2100 inkjet printer. The same images behave more consistantly through iPhoto or aperture. I have tried letting the application control the image, and then the printer controlling the image. The latter is a better result though still a long way off. I always use epson inks and epson paper, and the printer heads/nozzles are clean. I have exhausted all options with the printing company! Thanks!

Thanks twenty_one, I do always do this. The best solution I have so far is to ensure the image opens up in p'shop where the rgb pref is adobe rgb, I then have p'shop set up to notify me if the profile is different to this and if so for the profile to be amended to aRGB. I then let the printer rather then p'shop control the printing, selecting premium semi gloss photopaper, and ensuring that 'no colour adjustment' is not highlighted, but 'colour control/or colour sync' are. This gets me fairly close, and I have to admit the iMac is not colour calibrated. If i send images off to a good printer I always receive prints that match my monitor so I know the calibration is not far off. Thanks for your feedback.

Basic colour management questions

Hi,
I am a biology PhD student and I am reasonably proficient in using computers for everything except when it comes to colour management. I frequently encounter people at Uni who struggle when working on posters etc. because the colours do not print the way they looked on their monitors. I try to explain that most computer monitors are not calibrated correctly.
Anyway, I have my monitor calibrated, the area where I run into trouble is when assigning colour profiles. For example, I need to scan some photos using a flat bed scanner, and I don't know which colour profile to assign it. Should I assign it the calibrated profile that I created or will this only work on my computer. I need to be able to share these images and know that they will look the same on other computers.
I also don't understand what is meant by converting to a working space. I have an Apple PDF about Tiger colour management but it is a bit too technical for me.
Basically I was hoping someone could explain the basics to me or point me towards a good article.
One last question, the scanner I use is a very old UMAX Astra 2100U scanner that does not work in OS X. I have to boot up in Windows and scan there then go back to OS X. Am I likely to run into problems taking the picture between the two OSes?
Thank-you in advance,
Ben

Ben_ wrote:
What is the point of using profiles other than these two. For example, I know most digital cameras embed their own profile. Is there an advantage to using this over say Adobe RGB or should I always convert these images to Adobe RGB or sRGB?
Scanner & camera profiles have two main purposes AFAICT: in colour-managed environments where the original file is sent to a printer or displayed on a monitor, the profile will enable the output to be adjusted for the idiosyncracies of the imaging device; and when opening a file for editing, the device profile will (in theory at least) allow a more accurate conversion to the program’s working space.
If I was editing an image that I planned to print, why would I use Adobe RGB rather than convert the image to CMYK mode? Or is the colour mode (CMYK vs RGB) separate from the colorsync profile?
Yes, there are various CMYK profiles as well: some are for particular printers, while others (like SWOP, Standard Web Offset Printing) attempt to encapsulate typical commercial printing environments. I work in prepress, where CMYK is always the eventual destination—but a printer that uses six or more colours of ink can often represent a larger portion of the RGB gamut than a four-colour press can, for example producing more vivid blues than would be possible in CMYK.
Another issue is that CMYK images that have been optimized for prepress often look somewhat dull or ‘washed out’ on a monitor, especially one that has a high colour temperature (as is typical outside a prepress environment). If the image been tagged with an appropriate CMYK profile, the display may be able to compensate to some extent, but conversion from RGB to CMYK very frequently results in some ‘shoehorning’ of a wide range of colours into a narrower one.

Yet another colour management question

Hi folks,
I've read several of the very detailed colour management posts/threads here already but haven't found the answer(s) I'm looking for. So I'm hoping that some of the experts might be able to spare me some time and input...
I am running a Windows 7 (32bit) environment with a Dell u2711 Ultrasharp display attached. I let the monitor warm up for close on 30 minutes and ran an 'Easy' calibration with a Lacie eye-one device using the Gretag Macbeth 3.6 software. (I guess I could have used the 'Advanced' calibration option but thought I'd save myself some time and was always pleased with the results on my older Sony CRTs.)
I'm running LR3.2 and CS4. Viewing RAW images in LR the skin tones are way too saturated, but when I export the images as sRGB JPEGs the results look very pleasing when viewed in Windows Photo Viewer (far less saturated). If I open the same image in IE, it looks identical to the way it looks in LR. (I don't have Firefox installed so haven't compared that). If I open the image in CS4 by default it looks the same as it does in Windows, but if I change the Proof Setup to Monitor RGB it matches what I am seeing in LR and IE.
I'm guessing this is somehow related to the new wider gamut range that this monitor can display (compare to my previous CRTs). I read in one of Jao's posts that LR is always right and other non-managed apps will do weird things on high-end displays. IE is not colour managed so why would it display colours very similar to what I'm seeing in LR, when the standard Windows image viewer is displaying colour far less saturated (which seems to be the opposite to what others are experiencing)?
I generally always export as sRBG jpeg as the images usually go online, but this set is going to a client who will most likely be taking them for printing as well as viewing on a PC.
Looking forward to your input on this.
Kind regards,
Chris

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

Lightroom V2.3 & CS4 Colour Management Inconsistent

I am experiencing colour management inconsistencies between CS4, and Lightroom V2.3. All of my software is up top date, across all applications, including Leopard (10.5.6).
Lightroom V2.3 is not able to render subtle tonality/gradations in the shadows, various shadow areas are blocked-up (almost mild posterization) in comparison to CS4 and ACR V5.3.0.21. On a new Eizo CG241W, images look exceptional (good shadow gradation), and identical, in CS4, and ACR, but not Lightroom.
As an additional test I connected the CG241W to my Mac Book Pro to eliminate any possible hardware errors with my Mac Pro (Intel) - ATI Radeon HD 2600XT (firmware up to date). I suffer from the same Colour management errors via my Mac Book Pro with Lightroom V2.3.
Trashing Lightroom prefs has not resolved the issue. I attach a sample screen grab image crop to highlight the problem. The shadow analysis is best viewed in Photoshops full screen mode to observe the differences - there is barely any recorded to the right of the subject. Please ignore the colours (screen grabs) and examine the foliage in the background. This screen grab is from the same images open simultaneously in CS4 and Lightroom.
My monitor is new and I downloaded the latest drivers, no older drivers have ever been on my system. Lightroom preview settings have been tried on the highest quality setting, just in case...........

Nick-
Is not the thread, link below, the exact same thing you post about? If so, it might be wise to read that, and add to that one.
http://forums.adobe.com/message/1927165#1927165
Fast bowler? Nice shot.

Illustrator and Blending modes. Colour managing question.

Let's say i make 2 circles with 2 different fill colours. Then i intersect and blend them with multiply. Is there any way to save the colour resulting on the intersection?
Thank you!

Duplicate the 2 circles.
Object > Flatten Transparency.
Select the intersection colour and add it to your swatches.
Get rid of the duplicated objects.

How do I activate colour management in Flash CS4?

I am struggling to find clear guidance on how to switch on colour management in Flash CS4. My attempts to search online have tended to give me far too many irrelevent results and it is not even mentioned in the index of my 700 page Flash CS4 textbook.
Some guidance would be appreciated.
David

I've found what appears to be an answer to my own question at the following link,
http://www.adobe.com/devnet/flash/quickstart/color_correction_as3/
The only problem is that it is an Actionscript 3.0 solution. Unfortunately, this is of limited use to me as most of my current Flash apps are image galleries purchased from activeden.net, all of which are written in AS2.
Am I right in thinking that there is no way of mixing AS2 and AS3 code in the same FLA?
David

WARNING: Canon Pro Printers and CS4 – Serious Colour Management Issue

Over the last four days (and over fifty prints) I have undertaken extensive and meticulous tests to identify the cause of a problem; namely that targets for profiling a new printer (a Canon Pro9000), printed with ‘no colour management’, were printing far too dark and with what appeared to be a colour cast.
I have conclusively eliminated the printer, the printer drivers, the Mac OS, corrupted preference files, corrupted user accounts, incorrect Photoshop settings, incorrect printer driver settings, the ‘sticky settings' issue, and user error as possible causes of the problem.
I can say with 95% certainty that my tests, conducted using Mac OSX 10.4.11, have proved the following:
That, printing to a Canon Pro9000 or iP4500, Photoshop CS4 does not print accurate targets suitable for producing profiles. This applies to both the No Colour Management (NCM) and the Printer Manages Colour (PMC) settings.
Photoshop CS and CS2 are not effected.
I did not test CS3.
Furthermore, colour managed prints (using the same accurate profile made in CS2), printed in CS2 and CS4, show subtle differences. This may not be an issue except in the most critical applications.
It is likely that the problem will not be confined to the two Canon printers above since many other Canon printers share the same driver architecture.
Reading posts and discussions on other websites would seem to indicate that this problem is also manifest with some Epson printers and may also effect Mac OSX 10.5.
I have to conclude, therefore, that Photoshop CS4 cannot be replied upon to print targets of sufficient accuracy to produce reliable profiles for a colour managed workflow.
The fact that this is only just being reported can be attributed to four factors:
That many CS4 users are continuing to use profiles made under older versions of Photoshop and have yet to make new profiles using CS4.
Some users may not immediately notice a problem, or may ascribe it to other causes.
Some users may take the line of least resistance and use a previous version of Photoshop to work around the problem.
Some users are still using the older versions of Photoshop not effected.
Eric Chan (of Adobe) has stated on another website that CS4 implemented some new APIs for printing and that this has given rise to some "minor glitches". If Eric Chan is correct, and Adobe changed the APIs in Photoshop CS4, this begs question of whether Adobe sufficiently tested CS4 before release ? If Adobe did not test their software, and therefore failed to identify this critical problem, this would suggest negligence on Adobe’s part. If Adobe identified the problem but then did not inform users that a potentially serious colour management issue existed this would suggest wilful or gross negligence.
It is not good enough to say that Adobe simply followed the ‘conventional’ path and ‘followed the rules’ regarding API implementation. The experience of end users does not correspond to a “minor glitch” and, in my case, has been extremely costly in terms of time (over five days in all), lost revenues, and materials. Furthermore, why should Adobe's customers be forced to use their valuable time diagnosing problems clearly of Adobe's creation – and actually admitted.
In UK law providers of goods and services (and this includes software) have to supply them as “fit for purpose”. Clearly, in terms of colour management, CS4 is not fit for purpose. Neither can Adobe hide behind its labyrinthine licensing terms since any exclusions would be ruled unlawful under the UK’s ‘Unfair Contract Terms’ Act.
My strong and unequivocal recommendation is that representatives from Adobe, Apple, and the printer manufacturers meet together – with the utmost urgency – and provide a rapid and complete solution. It is simply not good enough to pass this ‘over the wall’ saying “it’s not our problem”. It is. Adobe's, Apple's, and the printer manufacturers'. Please solve it. And quickly.
Identify the problem clearly, make it and the solution/s public; and publicise it widely and thoroughly.

Dear DYP.
Thank you for your concern.
"What fixes have you tried?"
If I may quote from my post above:
"I have conclusively eliminated the printer, the printer drivers, the Mac OS, corrupted preference files, corrupted user accounts, incorrect Photoshop settings, incorrect printer driver settings, the ‘sticky settings' issue, and user error as possible causes of the problem.
I can say with 95% certainty that my tests, conducted using Mac OSX 10.4.11, have proved the following:
That, printing to a Canon Pro9000 or iP4500, Photoshop CS4 does not print accurate targets suitable for producing profiles. This applies to both the No Colour Management (NCM) and the Printer Manages Colour (PMC) settings.
Photoshop CS and CS2 are not effected.
I did not test CS3"
These tests took place over three weeks and involved over five days of work and the replacement of the printer on Canon's recommendation (although the printer is clearly not at fault).
Please note that I am using Mac OSX 10.4.11.
"What driver versions are you using?"
Pixma iP4500 6.9.3 (also 6.9.1, 6.9.2 and the driver supplied on the CD).
Pro 9000 4.8.7 (also 4.7.3, 4.8.4 and the driver supplied on the CD).
"Yes it is frustrating but in a lot of cases it is fixable as I and others have clear reported, on this and the LR forums."
I have not found any fix on any website referring to Canon printers, despite exhaustive searches (this includes Canon's European and US websites which are mute on the issue).
The ReadMe file supplied with the installation disc of CS4 refers to problems with "some Canon printers" when printing with the 'Printer Manages Color' but does not identify using 'No Color Management' nor Epson printers as having issues.
I hope this post answers your questions.
Clearly all users of CS4 need to be warned of this problem which is likely to effect other printers. I believe that I am assisting others by issuing this warning. It is done, not to cause mischief, but in the spirit of a public service. CS4 users can then treat their printing results from CS4 with caution, and then conduct their own tests. I have presented a workaround which is to use a prior version of CS4.

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.

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.

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?
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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.

Colour management of spot colour channels

Hello
I have some single layer images using cmyk (black only) + Pantone Process Blue U that will eventually be printed on a sheetfed offset press. A ballpark estimate would suffice for this low budget book, so I thought I'd give soft proofing a try. I'm therefore interested in understanding Photoshop's implementation of colour management for spot colour channels so as to have a less vague idea of the approximations this workflow involves.
Moreover, I'm stuck on exporting to pdf to let the client evaluate my conversions of the original rgb scans. Photoshop seems to layer an Euroscale Uncoated v2 overprinting image on top of a spot coloured image whose alternate colour space is "Calibrated RGB". What baffles me is that the pdfs display consistently in Acrobat 8 and 9 but rather differently from the Photoshop document.
Here come my questions:
1) Am I right in saying that these programs still don't support colour profiles involving spots? If so, are Adobe people willing to comment on the relevant intricacies?
2) Which colour profiles and colour conversions do Photoshop and Acrobat use to display such documents?
3) Which software tools will allow me to convert the Photoshop documents to an output profile for hard proofing?
4) Short of alternatives, when only K is needed and as long as each spot colour bears a decent resemblance to a cmy primary, how well will the profiling software deal with a cmyk target printed substituting the inks on press?
Thank you very much for your help.
Giordano

As far as I know …
1) Photoshop uses the Spot setting from your Color Settings (Edit – Color Settings) to display spot channels (and one can use gray-profiles or the K-channel of CMYK-profiles for that); the Solidity one can set manually, but one should bear in mind that even a 100% solid spot channel does not knock out the process channels.
As for the actual physical properties of the color and its mixing with the other colors I’m afraid Photoshop produces a pretty rough simulation – profiles for more than four colors are considerably more complicated and would, if I’m not mistaken, preclude much of Photoshop’s functionality.
2) If you pass unprofiled Files between programs they will be displayed using the programs’ respective Color Settings.
And your screen profile will be employed in the process naturally … but you might want to read up on color management if you want to know more about all that.
As to why the display differs between Acrobat and Photoshop it would appear that Acrobat use the RGB-setting for displaying spots and not an extra setting like Photoshop.
3) Photoshop is capable of separating files – but I may not understand what you’re driving at.
4) Epson-proofers using the latest generation of inks for example have a fairly wide gamut and should be able to simulate a lot of Pantone colors, so you might want to contact your provider to make sure if such a workaround is necessary at all.

CS4 Colour Management question(s)

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