Greyscale images convert to CMYK

I have created an Illustrator file containing a spot color and a grayscale placed image. When saving as a pdf, the Grayscale image separates (or converts) to CMYK. Am on deadline and appreciate any help.

What is your Document Color Mode (File menu)? Make sure that's RGB. Also make sure the image is grayscale in Photoshop, not CMYK or RGB.

Similar Messages

Converting greyscale images to single spot colour

Hi there.
I’m trying to convert a greyscale image into a single spot colour image. The spot colour is PMS425C, a grey version but as I’m only printing 2 colours I need to convert these images into one spot colour.
Can somebody please assist?
Thanks

Did you see the monotone separated into cmyk? If so, you may not be making the PDF correctly and the spot is being converted. It can still have cmyk channels but they are empty and will not end up as plates. Check your output to PDF settings and make sure in the ink manager that spots are retained. Also, there is more than one way to view in output preview which can be confusing at first.
You should be exporting as PDF X/1a and if your settings are correct, when you view in output preview (separations) in Acrobat, you should see the spot as spot.
Try saving your monotone as .psd too many other formats will not support the monotone. If you view separations in ID, you will be able to see if your file actually supports spot colour.

After Preflighting a PDF, using Convert to CMYK, Flatten Transparency and Prepress Profile Convert to CMYK only the resultant PDF has a grubby halo along the edge of some white type sitting on an image. The type is part of the image.

I am using a 27" iMac 3.2 GHz Intel Core 5, 8 GB Memory, running Yosemite 10.10.1.
The version of Acrobat that I am using is: Acrobat XI Version 11.0.10
After Preflighting a PDF, using Convert to CMYK, Flatten Transparency (high resolution) and Prepress Profile "Convert to CMYK only" the resultant PDF has a grubby halo along the edge of some white type sitting on an image. The type is part of the image which is 300 dpi.
It is like the image isn't really 300 dpi but has been artificially boosted to that to avoid being tagged by Preflighting, but when Preflighting the file it knows the original resolution.
I have screen grabs which illustrate the problem perfectly but do not know how to post them, if indeed they can be.
Any help or comments gratefully received.

Without the files and possibly screen prints, it is virtually impossible to assist you.
- Dov

How to convert a CMYK image to pantone in Illustrator

Is it possible to convert the CMYK raster image to pantone in illustrator.

On Mon, 12 May 2008 22:37:41 -0700, [email protected] wrote:
> Is it possible to convert the CMYK raster image to pantone in illustrator.
I think you meant to post this to the illy group.
Mike Russell - [advertising link deleted]

How do I keep Grayscale images from converting to CMYK

I created my file in Framemaker 7.2 and imported Black and White grayscale images, when I wrote the postscript to create a PDF everything was fine until I did the preflight only to learn that my images have converted to CMYK...These graphics need to print grayscale not CMYK. I am working from the PC and this is a very large document.

What format were the images in?
Unless they were EPS or PDF formats, then FM7.2 would have converted
everything to RGB on output, not CMYK.
To get true postscript greys from equal RGB values, you must
configure your PDF printer instance to output postscript grey.
In the Printer control panel, select the Adobe PDF, then right-click
and select Properties.
Then on the Device Settings tab, set the following:
Convert Gray Text to PostScript Gray: YES
Convert Gray Graphics to PostScript Gray: YES
Click OK to set.

Working with greyscale images in InDesign

I am designing a photobook in InDesign with several B&W images in it. InDesign in currently in PhoPhoto RGB working space. I am having the book printed by LuLu, and they require that any monochrome images in the PDF be in greyscale with a gamma between 2.2 and 2.4.
So I opened all the image files in Photoshop and converted them to "grey gamma 2.2", and then saved as JPGs and made sure to check the "embed grey gamma 2.2 profile" box.
However, when I place those images in InDesign, they look completely different! I went to "Color Settings" and then saw that InDesign doesn't have a greyscale working space. Now I understand why they look so different, but my question is - when I export the PDF from InDesign, will the images look like they did in Photoshop or will they have the "washed out" appearance they have in InDesign?
What's the best way to do this?

>I just want to make sure I'm getting all of this. I did also notice that LuLu recommends not converting from RGB to CMYK or vice versa. Since I shoot all of my images RAW and import them into Lightroom, which is in ProPhoto RGB, then I guess that means all of my color images should be exported from Photoshop in ProPhoto RGB and my working profile in ID should also be ProPhoto RGB. Since the working space and profiles are the same in each application, the images should look the same in both. Correct?
That's right, but again if you want to see the a preview of ProPhotoRGB converted to CMYK, you'll need to set your Proof Setup to a CMYK space. In Photoshop I edit color in RGB with Proof Colors turned on and the Proof Setup set to the destination CMYK space.
>You were suggesting converting them to CMYK in Photoshop
No! I was suggesting that you use a CMYK profile as your grayscale profile, which Photoshop allows. So, instead of Edit>Convert to Profile>Greyscale Gamma 2.2; you could set your Gray Working space to US Sheetfed via Color Settings>More Options>Gray>Load..., and then simply convert the RGB image to Grayscale via Mode>Grayscale. In this case your grayscale is profiled as if it were on the black plate of a CMYK file, so if you also use US Sheetfed in ID you'll get a similar preview.
Using a CMYK profile for grayscale in PS is a nice trick, but it isn't going to make or break the jobthere will always be variation depending on how much ink density the press operator is running. If this is the first job you are sending Lulu I would follow their instructions and use 2.2 as the grayscale space, then if there's an issue you can honestly say you followed their instructions.

Export greyscale images

Even though I have have converted a color image to greyscale with great ease and control in Lightroom (that's why I chose LR over Aperture) I cant find a way to EXPORT the image as a greyscale image!
It is really annoying to have to run another programme to be able to make it a greyscale imagefile.
It should be a "Greyscale" choice in the exports menu for color space. Am I missing something or why is this not possible with Lightroom???
Please tell me how I can do it - and if it is not possible - get it into Lightroom 2, please!!!
FinnK

Like printing services and such. Basically every commercial lab will have an issue with greyscale jpegs as the machines cannot read them. Photoshop of course reads them fine and if they go to professionals that do their own CMYK separations or other color management, there is no issue. On the other hand, if you would put them on the web, many web browsers (except safari and firefox 3 with color management turned on) usually get them wrong. I think it would be good to have the option to write greyscale files, but the default should be RGB jpegs even for black and white conversions. In jpeg, you should not get any size advantage, but you will certainly get it in tiff. If you go tiff, then all this about web and labs does not apply anyway.

Specifying a percentage of black in a greyscale image

Hi, I can't figure this out even though it seems like a fairly simple task to want to achieve.
I have a greyscale image and I want to create a colour fill layer that has a particular percentage of black in it (let's say 72%)
If I type C0 M0 Y0 K72 in the solid colour dialog box, when I hover over the image with my eyedropper tool the info palette tells me there is 67% ink down. If I hit okay and go back into the adjustment layer, the fill colour has been converted to C60 M51 Y47 K17. I thought trying to choose a HSB value of H0 S0 B72 might work but the same kind of conversion still occurs.
I've tried changing my document colour space from dot gain 20% to something else but I still can't choose a K value without it converting it to something else. I created a custom dot gain profile with no curve and it still converts it.
Any ideas?
I know I could setup a CMYK profile and specify a black value easily but I want my file to be greyscale so I can assign it various colours in Illustrator. I also want to create grey gradients in the file rather than just a flat fill colour, I'm just using a flat colour in this example because it's easier to explain.
Cheers.

To reproduce the problem, all you need to do is:
Create a new file where the colour mode is greyscale and the colour profile is generic grey profile.
Go to fill under the edit menu, under contents choose "colour...". Enter C 0%, Y 0%, M 0%, K 72%. Hit OK.
Checking the colour that has been put down, the info palette will tell you that there is 65%K ink down, not 72% like I want it to be.
So it does it even if it's not an adjustment layer.
Cheers, Darren

Do duotones have to be converted to CMYK prior to PDF for publication?

Hi, we have a series of duotone images for publication, created in Photoshop CS4.
The duotones are saved as EPS files, imported into InDesign and exported as PDF files.
We thought that would have been fine, but sight-unseen the printer is telling us he doesn't even know what duotones are (!) and that those duotones will have to be converted to CMYK and then exported again as PDF files.
Does this sound right? Do we have to do convert every image, or else it won't print?
It seemed to us that the duotone "mode" was designed for publication of b&w images, to increase tonality in the print. We figured that if they were saved as duotones and exported to PDF, that the PDF file would be sufficient. So, what then is the point of converting duotones if the printer is then going to turn around and say, nope, can't do it that way?
I checked instructional tutorials and Adobe "help," but can't find the answer.
Help would be greatly appreciated.
Thank you, Kelli & Dave
(*cross-posted at the PhotoShop forum.)

If you make use of spot colors n your duotones and your printer only accepts CMYK files some action may be needed somewhere.
Easiest approach: convert to CMYK using Acrobat Pro (Convert colors feature) or specialized Acrobat plug-ins/tools like pdfToolbox 4 from callas software.
Olaf
callas software

Greyscale images

I am trying to create medical wall posters. I have converted the X-ray images to Greyscale using Photoshop, then inserted them into my Indesign poster. After exporting to pdf then printing, the images are no longer greyscale but are coming out in various tones of purple-blue grey. How can I keep my greyscale images "grey: without losing my coloured images? I have tried converting in Acrobat Pro, but this converts all my images to greyscale - I cannot select just the x-ray images. Thanks to anyone who can help.

I copied your screen. I have now also tried withthe following which seems to work quite well. Thanks for your help - I would never have got this sorted without it!!
Sarah.

Convert to CMYK or Export PDF?

I am putting together a big catalog project. In previous projects I converted all images to cmyk before ripping the pdf for final press print. Since the pdf export can convert to cmyk can I leave everything as is (RGB) and do the convert on export or can this cause prepress issues?
rob

There shouldn't be any prepress issues, but there are potential quality considerations.
Converting to CMYK first allows you to tweak the color and do the sharpening after conversion. Doing the conversion during export means you have to sharpen first and accept the default color. In many cases this is not a big deal, but some folks, like me, are real control freaks. :)
The big downside to doing the conversion first is you are stuck with a single output destination. Leaving things as RGB allows you to convert to to a variety of press conditions on the fly from the same file.
Peter

Why do 16 bit greyscale images look significantly worse than 32 bit?

Howdy,
I am trying to display a greyscale image from a camera. Parts of the program are written by someone else, and the image comes in as a U16 array. I am using IMAQ create and IMAQ arraytoimage. The image displays perfectly if I use the 'float' inputs on the above to sub vi's, but if I use 16 bit or 8 bit, the image quality is terrible. I would like to be able to display the image as 16bit.
If I save the 16 bit image, and reopen it with another program, it's still just as bad. I have also tried converting the array to I16, and U8, but it makes no difference to the image quality.
From what I understand, there should be very little visible difference between 8, 16 and 32 bit greyscale images. Does anyone have any ideas where the problem might be? my next guess is the camera settings, but I'd love it to be something in my code..
Cheers,
Andy

Andy,
Thank you for contacting National Instruments. The key thing to note is that the image data type that LabVIEW uses is a signed interpretation so you need to do some more conversion to get an Unsigned 16-bit array to display properly as an NI-IMAQ image. Refer to the Knowledge Base: 16-bit Images in NI-Vision for more information on how to do this. Thanks and have a great day.
Regards,
Mark T
Applications Engineering | National Instruments

Curves adjustment layer for greyscale images

If you are editing a greyscale image, the curves adjustment layer is shown in "reverse" style (as you would expect to work with a CMYK image) that that is awkward to work with. If you use Image->Adjustment->Curves, you have the option to invoke the curve display in Light (0-255) or Pigment/Ink % in which the LIGHT does what is appropriate.. It would be nice to have the ability to toggle the Light/Pigment in the Curves Adjustment layer.
I think I remember that, in the good old days of CS/CS2, you could alt-click on the gradient to alter the tonal direction of the curve.

Woops... I just found that the Curves Adjustment layer flyout has a Curves Display Options that allows the setting - and it is sticky. Sorry for the waste bandwidth.

I am trying to softproof an image using a CMYK .icc file. I sent an image from LR 5 to PS CC 2014, opened the Camera Raw FIlter, but the hyperlink to access workflow is not showing up in the CR dialogue box... Any ideas why this might be?

I am trying to softproof an image using a CMYK .icc file. I sent an image from LR 5 to PS CC 2014, opened the Camera Raw FIlter, but the hyperlink to access workflow is not showing up in the CR dialogue box... Any ideas why this might be?

I am trying to softproof an image using a CMYK .icc file. I sent an image from LR 5 to PS CC 2014, opened the Camera Raw FIlter, but the hyperlink to access workflow is not showing up in the CR dialogue box... Any ideas why this might be?

How do I paint accurate grey levels between 0-254 in an alpha or a greyscale image? Seems impossible ... Works in 5.5 .. not in CC. Bug?

So here's the thing . I need to be able to assign accurate shades of grey in an alpha channel as our code takes the value (between 0-244) and uses it to do its thing. I assumed this would be easy .. just choose your colour and paint .. but not so.
In an alpha channel, or even in a greyscale image, make a selection and fill it with RGB 6,6,6. Since there doesn't seem to be a way to get a greyscale pallette or input the value for Alpha this is th eonly way I can see to do it.
Now, using the info panel, check that it is indeed RGB 6,6,6. It is.
Now, make another selection and fill it with RGB 7,7,7. Check this with the info panel and ... its 6,6,6.
OK so now use levels or brightness to try to shift that 6,6,6 upto 7,7,7 ... check it with the eyedropper color sampler tool .
What you'll find is that the RGB value will go from 6,6,6 .. to 8,8,8 to 10,10,10 it's impossible to make it 7,7,7 or 9,9,9. Theres a whole bunch of other values that are also impossible.
If you do the above in any of the RGB channels themselves it will work fine .. its just the Alpha and in a greyscale image.
On a similar vein, on a regular layer, fill an area with you RGB 7,7,7, copy it and paste it into your alpha. Looks fine .. until you use levels to increase the contrast and you'll find that what was 7,7,7 is now a noise filled mixture of, I assume, 6,6,6 and 8,8,8.
( NB. As a note the above also happened in CS5 but in an old version of Photoshop 5.5 it works perfectly .. I can give the RGB 7,7,7 and the value thats painted is 7,7,7. Bring it into CC and its fine. So its just the creation of tones in CC that is wrong.
Also, it works fine if you edit the individual RGB channels .. you can get 6,6,6 AND 7,7,7 .. but as soon as you copy and paste it into the alpha . .the 7,7,7 reverts to 6,6,6 )
So
Q1 .. what am I doing wrong?
Q2 .. if 8bit alphas and greyscale images can have values ranging from 0-254 .. then how do I define the value I actually want? I can't use the K value as that's only a percentage so has fewer increments and there isn't a separate input for alpha value.
Q3 .. or put it more simply .. how do I set the grey value to a particular number, eg. 7
Thanks.
Pat
Message was edited by: Patrick Ward

Thanks Herbert. I'll have a good look at Photoline.
I don't know if these have anything to do with it but
the first is the color settings from CS5,
the second is the default from a demo install of CC14. I see the gamma tickbox but it doesn't refer to the alpha.
the thrid are the colour settings of PS 5.5. Note this is the one that gives the correct ( with respect to my expectations ) result

Greyscale images convert to CMYK

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