GT72-2QE Display/Monitor output and colour profile

I recently got the GT72-2QE which has a CMN1735 display panel. My problem is that this is listed as a Generic PnP Device, and when attaching my TV (via HDMI), it's also listed as a Generic PnP device.
I'm using colour profiles (using windows colour management), but both devices are listed as Generic PnP Monitor and the profile is sometimes switched between the two devices. Does anyone else have a similar problem/solution?
I don't really use extended/duplicate displays, only switching, so I thought I'd write a script to enable/disable my HDMI out as and when needed, but when I disable the TV (also listed as a Generic PnP Monitor), both monitors disappear from windows colour profiling.
It's really frustrating, as the panel is so badly calibrated, it needs the colour profile. I've also uploaded it here: <filedropper.com/spydercal> for anyone else if they want it. It was using a Spyder3 with a target of 2.2/6500 (backlight set to 60%). It won't be perfect on everyone's screen, but I'm pretty sure it will get a lot closer.

Quote from: thscbz on 04-December-14, 15:42:50
It's really frustrating, as the panel is so badly calibrated, it needs the colour profile. I've also uploaded it here: <filedropper.com/spydercal> for anyone else if they want it. It was using a Spyder3 with a target of 2.2/6500 (backlight set to 60%). It won't be perfect on everyone's screen, but I'm pretty sure it will get a lot closer.
Thanks for your profile upload but I cannot access the file through the link you provided. Can you put the proper url please ?

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I have been having this problem for a few weeks now. I think that it may have started with 10.5.6. I am STILL having the problem with 10.5.7.
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Message was edited by: dr_ml

Problems with print and colour profiles etc in CS4

This is driving me round the twist. until recently all was fine, but lately everything seems to have got screwed up. I am trying to print images produced in Corel painter, which have been placed etc into an .ai artboard. (CS4)
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I'm using a Canon MP640 inkjet printer by the way.
The same is true with printing from PS and any other application.
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willspring,
Just to make sure: As I understand it, things worked in CS4, not only in earlier versions.
To reset settings in Illy, you may Move the folder, but it may not solve the issue (the simpler but less thorough resetting being to Ctrl+Alt+Shift/Cmd+Option+Shift during startup).
Have you made any changes, such as printer driver or whatever, between success and failure?

Help Photoshop/Monitor Calibration and ICC Profiles.

I don't know if this is the right place to ask this, I am completely new here, if I am not, can you help show me where I can get answers to this?
If you can help me, then please. (:
So I'm helping my dad with a photography studio over the summer to make money for a car and I will be doing the editing and such.
I have CS4 on a laptop, that is connected to a NEC monitor with Multisync P221W with the Spectraview II calibration software.
We have done a few pictures before but it has always taken us a few prints from the costco photo center to get the colors and lighting right because
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Thanks for your time.

Apparently photoshop is applying additional color correction on top of
what the monitor calibration software has already done. Is this
necessary? If this step is necessary, then why doesn't the monitor
calibration software do that, so that photoshop doesn't have to,
Photoshop doesn't apply any color correction to the images per se, it just operates in a selected color space, and takes into account your monitor profile.
The monitor calibration tells your video card - or the monitor itself for some high end monitors, how it should be set to meet chosen targets, and generates a profile for the monitor.
1. Caibrate your monitor and generate a profile
2. Tell your OS that that it your monitor profile
3. Set Photoshop to work in the space of your choice - sRGB, Adobe RGB, or ProPhoto 99% of the time
That takes you to a state where everything is in order more or less. If at this point your images look out of whack, it's almost certainly because they are, perhaps because they were previously corrected on a non-calibrated setup.
Photoshop and other color managed application should display them all more or less exactly the same, provided the files themselves have a color profile .

Colour profiles in Photoshop CS4

I'm confused about colour profiles in CS4. I have set colour settings to sRGB and view-proof set up to sRGB as that's what my printing service work with. My Nikon D90 shoots RAW and I've set imported images to keep the sRGB colour profile from the camera. Yet in metadata I'm seeing colour mode RGB and colour profile untagged. What's wrong and how do I fix it?

Thankyou Noel. I can now save as individual photos in sRGB, but I still don't understand why they are coming through as RGB or how to bulk change that. Also, colour mode is still in RGB and I confess I don't know how that affects images or how to change it. Any advice please?
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Help with colour profiles and wide gamut monitor

Hi there,
I know this issue must crop up a lot due to its confusing nature but I would really appreciate it if someone could explain what settings I should be using in Photoshop to get accurate colours. I had a look around and couldn't find any other discussions that answered this exactly.
My set up is a Dell 2408WFP monitor which is wide-gamut. I have calibrated this using a huey Pro calibrator (therefore have an accurate system colour profile). My photos are in Canon sRGB space, set by Digital Photo Professional (obviously easily changed if need be).
What I would like is to be able to preview what my photos will look like on a standard sRGB display. When I open a photo in Photoshop with all the settings on their default it looks extremely washed out, very low contrast and saturation. This is nothing like what the photos look like outside of Photoshop, and also not what the photos look like on other (normal gamut) displays. I have tried using the "proof colours" settings. When I have "proof setup" set to Internet Standard sRGB the colours look dreadful, oranges become blood-red, definitely not what I am getting when I view the image on a standard monitor. If I have it set to Monitor RGB then I get colours that look like my monitor outside of Photoshop -- this is the closest out of the three to the result I am actually getting on standard gamut displays. However I know it is not accurate because I know my monitor is wide gamut and therefore more has more contrast (and this is the case).
So what combination of photo colour space, proof colour space, and proof colours settings should I be using? My main priority is just the Joe Average using his TN panel monitor on facebook, I accept that on my monitor they will look slightly different. Settings for print don't concern me at the moment.
Thanks for the help. To anyone who will suggest that I read up on colour profiles... I have, and I understand them to an extent, but there are so many variables here that I am getting lost (monitor profile, photo profile, photoshop settings, DPP settings, faststone viewer's settings, browser's lack of awareness...)
Andrew

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thekrimsonchin wrote:
I know this issue must crop up a lot due to its confusing nature
You have no idea.
What I'm reading is that you want Photoshop, with its color management enabled, to display your sRGB photos as they would be seen on a true sRGB monitor - i.e., accurately.
Something to always keep in mind, when everything's set right and working properly: Your sRGB image displayed on your wide gamut monitor without color management (e.g., by Internet Explorer) will look bolder and brighter (more color-saturated) than the same image displayed in Photoshop with color-management. There is no getting around this, because the sRGB profile is not equivalent to the monitor profile. Do not expect them to look the same.
It's hard, without being there and seeing what you're seeing, to judge whether your sRGB images are undersaturated compared to what's seen on other monitors. I do know, as one with sRGB monitors myself, that images can look quite vibrant and alive in the sRGB color space.
What we can't know is whether your judgment that your color-managed sRGB images are undersaturated is correct in an absolute sense, or whether you're just feeling the difference between seeing them on your monitor in non-color-managed apps and Photoshop.
Photoshop normally does its color management like this: It combines the information from the color profile in your document with the color profile of the monitor, which it retrieves from a standard place in Windows, and creates a transform used to display the colors.
To have it do this you would NOT want the Proof Colors setting enabled. It is the default behavior.
-Noel
P.S., I don't recall whether DPP is color-managed, but you might consider using Photoshop's raw converter, which definitely shows color-managed output, per the settings I described above.
P.P.S., Your calibrator/profiler should have put the monitor profile in the proper place and set all the proper stuff up in Windows. Is it specifically listed as compatible with the version of Windows you're running?

IMac Dual-display colour profiling on second LG monitor

Hey guys,
I just purchased a second screen for my imac to use dual display, im a graphic designer and really need the space. What is the easiest and best way of mirroring the colour setting of the iMac to my second screen without the use of 3rd party colour calibrating software?

Hi macboydesign
Welcome to Apple Discussions
Lots of practice!
Not included in the current lists there were a dozen other DYI profiles between the iMac and LG that were so bad, I had to delete them.
The following article is dated, but has some great tips and info:
http://www.computer-darkroom.com/colorsync-display/colorsync_1.htm
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Dennis

I have a macbook pro 17" 2012 and the display colours are all too hard and the profile will not change it is stuck toLED Cinema display.

I have a macbook pro 17" 2012 and the display colours are all too hard and the profile will not change it is stuck toLED Cinema display.

Hello hbothner,
Thanks for using Apple Support Communities.
If you'd like to change the colors on your Mac's display, then you can calibrate your display by following the steps in the article below.
OS X Yosemite: Calibrate your display
Take care,
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Colour colour profiles and JPEG compression mismatch

In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
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I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
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Giles Hudson

Although you say there is no concept of a colour profile in iOS, the problem is that iBooks Author does recognize profiles, and appears to take them into consideration when downloading images to books on the iPad. For example, an image tagged with an sRGB profile placed in iBooks Author will appear differently from an identical image tagged with an Adobe RGB profile. The problem is, it is not at all clear what conversion is going on, especially when using a monitor with a different colour profile appears to cause radically different behaviour in the conversion. Is it being converted to "Device RGB" that the colour picker apepars to use? What is this Device RGB? The monitor RGB or the iPad RGB?
I understand that iOS supports RGB and CMYK. However, the important question is, which working space does iBooks Author use? sRGB, GenericRGB, Device RGB (whatever that is), Apple RGB, Adobe RGB, the monitor RGB? Without knowing this it is difficult to match solid colours to colours in images (and even arguably impossible due to the JPEG encoding problem I mentioned above).
All this vagueness in colour handling with OSX and iOS makes life very difficult, especially, as you suggest, when things have the potential to change at any minute, potentially wrecking months of painstaking work that has been put into designing books in iBooks Author.

Photoshop colour profiles and Aperture

The local lab only has Photoshop colour profiles, nothing for Aperture. Any way to utilize these in Aperture?
They recommend their PS RGB profile. If I can't utilize it, I can get an image that is closer to my screen display, if I onscreen proofed using Aperture's generic RGB or sRGB modes. My last print job did not utilize any onscreen proofing beforehand and it shows -- way too blue in the print. Onscreen proofing using either of these RGB modes gets me closer in colour balance to the last print job, but contrast and brightness is still an issue (print is darker and flatter).
Any way to work with these profiles to produce my own custom one, based on a series of test prints?

A colour profile is a colour profile. Photoshop is just an app that uses them - there's no such thing as a PS-specific colour profile.
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Ian

Colour profiles within PS are off for one monitor only?

Hi guys,
I'm having a very strange issue with colour management in Photoshop CS2 currently.
Photoshop seems to be calibrating all documents in a strange way on only *one* monitor. If I drag the file across to the other monitor the colour is completely different.
Of course it sounds like my monitors being off, however when dragging the file across monitors Photoshop slowly updates the colours for the next monitor. You can see it display the wrong colour at first, then correct it (hopefully that makes sense).
Another symptom of it is when I go to 'save for web'. Here, the colours revert to what I believe are correct.
b It's worth noting that this has only started to happen since some Windows updates. One being an option update from Dell for my monitor - I can't seem to find any information about it though!
My tester that I've been using is a plain white to black gradient. What I'm seeing is a lot of cyan in the middle of the gradient. I've saved off an example:
http://2dforever.com/photoshop.png
As you can see, all the greys are very green, but if you look at the gradient tool in the toolbar itself, the grey appears fine.
I'm unsure how I can adjust the colour profile from Photoshop for one monitor - am I missing something really obvious here?
Just to note: I'm on Win Xp SP2, Photoshop CS2, and I've cleared the preferences.

Since you only mention Photoshop as having a problem, this is almost
certainly, as you suspect, a monitor profile config problem.
Color profiles for individual monitors are configured in
Start>Settings>Control Panel>Display>Settings>(Advanced Button)>Color
Management.
In Settings, click on the monitor whose profile you want to verify before
clicking on the "Advanced..." button. I would start by adding and
defaulting the profile for the monitor that is causing problems.
The Microsoft XP color control panel applet makes setup easier, though it
is not really necessary. If the link below fails, google for keywords
Microsoft XP color control panel applet.
http://www.microsoft.com/downloads/details.aspx?FamilyID=1e33dca0-7721-43ca-9174-7f8d429fb b9e&displaylang=en

Colour profiles in Lion and windows 7 with fusion 3

Hello - I am a new iMac user and I also have windows 7x64 installed with fusion 3.
I am a keen photographer and use an external colour monitor calibrator - eye-one display 2 - not the latest version I know but it worked fine on my old PC running XP.    I have found out that Lion doesnt support this software as it needed rosetta(?) to run on a MAC but I have updated the windows driver for it to windows 7 and installed it on my windows 7 running with Fusion 3.
I have sucessfuly run the software on the windows on my mac and as always at the end it says the colour profile of my monitor has been changed to the new one.   My question therefore is:   Does this new profile only kick in when I am using windows or is the colour profile of the monitor the same in windows and Mac?   - if it is separate, is there a way I can either convert it to a MAC compatible version or transfer it to the MAC in any way as I work in Photoshop on the MAC and dont want to install it on Windows!
Thanks
Joy

well ive used both of the newest versions of vmware fusion and parallels and let me tell you, in my personal opinion i prefer parallels.
im using a 13" MBP 2.26 Ghz with 4 GB RAM, i chose to give parallels the "automatic" amount of RAM for windows 7 and it works like a charm, have no problems with it what so ever.
plus crystal viewing mode rocks!
give it a try with the demo version you might like it!

Monitor is not displaying any output

Hi all,
I have sun ultra 25 workstation with solaris 10 OS with SUN XVR-300 graphics card. my problem is that monitor is not displaying any output however monitor is fine with another workstation.
when I powered on workstation, front panel shows green light.but monitor is not showing any output. however VGA cable and monitor is OK.
I am in trouble PLZ help me ASAP.
T&R
gaurav

I have also display problem, i use ibm desktop, more quite days the colour of monitor goes red. then i put some piece of paper between display jack & cpu body, then colour is ok, but when when i inserted new VGA card in mother board, when machine reboot it shows good colour of windows logos and ten the monitor display blank, i remove the VGA card, ram, cell, processor, all the cables & then restart but again no display, when i remove vga card, the monitor display no cable also blink light of monitor goes green but when i insert the wire the blink light goes yellow & one more there is no light in keyboard, when i inserted the keyboard slightly light blinks then it goes off, whereas the cpu starts smoothly.

CCP colour profiles and different lenses

Hi,
I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
M

First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate. From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image. For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look. You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
The two questions you seem to have, are: does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder. By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles.
If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise. I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop. In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference.
Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario. In my mind the works out to be "make the colors of the object look like it was photographed in sunlight". The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done. For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced. A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight. This might be an argument for NOT WBing skin in incandescent lighting. In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each:
Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)? Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers. You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting. The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different. One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast. So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
This first question dealt with the photos taken with each of the two lenses. The remaining questions are about testing with just one lens.
Is the profiling process repeatable? Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles. An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results.
Does the exposure make any difference? You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered.
If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still. I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at. Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch. An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting. You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
http://www.pbase.com/ssprengel/image/101322979
If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth. Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

Colour profiles and my sanity!

I hope there's someone here who can help this Photoshop newbie!
I am a keen but very amateur photographer, and I'm experiencing a frustrating problem in Photoshop and though I've read a few articles on Colour Profiles, I must be missing something obvious.
I've set my Photoshop (CS6) colour settings (edit/color settings) to ProPhotoRGB. I import my images from my camera and edit them so they look exactly the way I want. The problem is, after I save the final images and view them in other image viewing software, such as FastStone InfanView, ACDsee etc. the colours look a little washed out. I must be missing something obviously but I just don't know what. I know for web uploading, it's usual practice to set your color profile to sRGB, and that seems to work fine for the web, but my images are being saved primarily for viewing offline and for possible printing.
Can someone explain to me in layman's terms what it is I'm doing wrong here?
Thanks.
Simon.

Good day!
Could you please post screenshots to illustrate the issue?
And set the Status Bar in Photoshop to display the profile.
Do you "Embed Color Profile" when you save the images?
Regards,
Pfaffenbichler

GT72-2QE Display/Monitor output and colour profile

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