Image Swop
HI,
Trying to Set text of Layer Behaviour using a small image.
When I preview
the layer box appears but has no image.
Any help appreciated.
Thank you
Good luck!
Murray --- ICQ 71997575
Adobe Community Expert
(If you *MUST* email me, don't LAUGH when you do so!)
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"Nad" <[email protected]> wrote in message
news:eephdf$9pr$[email protected]..
> Thanks Murray
>
>
>
>
> "Murray *ACE*" <[email protected]>
wrote in message
> news:eep7bi$qj6$[email protected]..
>> The path you have entered for the image is
incorrect.
>>
>> --
>> Murray --- ICQ 71997575
>> Adobe Community Expert
>> (If you *MUST* email me, don't LAUGH when you do
so!)
>> ==================
>>
http://www.dreamweavermx-templates.com
- Template Triage!
>>
http://www.projectseven.com/go
- DW FAQs, Tutorials & Resources
>>
http://www.dwfaq.com - DW FAQs,
Tutorials & Resources
>>
http://www.macromedia.com/support/search/
- Macromedia (MM) Technotes
>> ==================
>>
>>
>> "Nad" <[email protected]> wrote in message
>> news:eep2bv$k1p$[email protected]..
>>> HI,
>>> Trying to Set text of Layer Behaviour using a
small image. When I
>>> preview the layer box appears but has no image.
>>> Any help appreciated.
>>> Thank you
>>>
>>
>>
>
>
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Spry Menu Bar - Different Background Image Wanted for menu items
Hi, I've looked everywhere for help with this and just haven't found any answers yet ...
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~~~~~~
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So near yet so far ! I'm hapy with the verdana font, the image size and spacing, but the background images I just can't set them right.
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<!DOCTYPE HTML>
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Gramps -
Hello all,
I've recently discovered that the hard drive on my EliteBook 8730w tends to overheat & crash when I save large amounts of data.The HP service contractors are totally willing to replace my HD, but only if I take it with a fresh installation. Since I usually spend about two days installing all my CAD software and simulation tools, this is not an option for me.
Back when I was still a student I remember cloning a hard drive for an old desk top upgrade, it wasn't that difficult, and I can't understand why HP won't do an image swop or cloning or ghosting as some people call it? Are they worried about piracy issues or are they just lazy and ill equiped? Either way they iether think I'm a thief or they just don't want to give me a professional service.
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It depends. If you know positively that's the profile that will be used, you can do that (a lot of people use it just because it happens to be the Photoshop default).
Pro: you'll be working within Web Coated SWOP's limited gamut from the start, so you won't be disappointed when some colors are clipped in the final conversion. And they would be, because US Web Coated SWOP v2 is a very small color space. Don't expect deep saturated blues, for instance, because you won't get it.
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In answer to your questions,
we sometimes when making a low res pdf for client viewing do an export
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713 867 3192
[email protected]
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Al -
Images look less saturated in Photoshop CC 2014
I import my RAW images into Lightroom 5 and make some basic adjustments. Then I edit the image in Photoshop with the Lightroom adjustments. I clean up the images and crop to the size I like and then I use the Perfect Effects 9 plugin to do some more edits. I finish my edits in Perfect Effects 9 and save them which brings me back into Photoshop CC as a new layer. In Photoshop the image looks less saturated than it did in Perfect Effects 9. I then save the Photoshop file and exit. When I look at the PSD file in Lightroom 5 browse window, it looks the same as it does in Perfect Effects 9. Why does it look less saturated in Photoshop CC 2014?
Here are my colour settings:
Lightroom 5:
External Editing:
Edit in Adobe Photoshop CC 2014:
File Format = TIFF
Color Space = AdobeRGB(1998)
Bit Depth = 16
Resolution = 240
Compression = zip
Additional External Editor:
Preset = Perfect Effects 9 Suite
File Format = PSD
Color Space = AdobeRGB(1998)
Bit Depth = 16
Resolution = 300
Perfect Effects 9:
General:
Working Color Space = sRGB IEC61966-2.1
Files:
Copy Options:
File Format = PSD
Color Space = sRGB IEC61966-2.1
Plug-ins:
Lightroom:
File Type = PSD
Color Space = Adobe RGB 1998
Photoshop CC 2014:
Color Settings: Custom
Working Spaces:
RGB = sRGB IEC61966-2.1
CMYK = U.S. Web Coated (SWOP) v2
Gray = Dot Gain 20%
Spot = Dot Gain 20%
What color settings do I need to use so that the images have the same saturation look in all three programs? How do you know which image in which program is showing as the correct saturation?No, just keep it at sRGB. As long as you have the "preserve" policy, the working space actually isn't all that important. The embedded document profile will always override it (as it should).
I had to read this a couple of times to follow the trail properly. Leaving Perfect Effects (which I don't know at all) out of it - does the very same file iteration, with the same edits, look different between Photoshop and Lightroom? Did I get that right?
In that case you have a bad monitor profile. This can sometimes throw off one application but not the other. Recalibrate, or if you don't have a calibrator go into Windows color management and set sRGB IEC61966-2.1 as default display profile. When done relaunch all applications so that they can pick up the new profile at startup. -
Embedded Color Profile is Lost When Content is Published to Web or Dragging Image Window on Desktop
Hello, Everyone. I have a question that I have struggled to crack on my own to no avail. I hope someone here can help.
I am trying to publish some images to the web using color corrected monitors, RAW format, and a color checker passport to create a perfeect color profile. Here are the technical details and my workflow.
Camera: Canon Rebel EOS Xsi
Format: RAW + L
Color Space: sRGB
Color Checker: X-Rite ColorChecker Passport
Monitor Calibrator: Spyder4 Pro, fully updated software
Computer: Lenovo T420 ThinkPad
Second monitor: Samsung LED SyncMaster SA350 (NVIDIA)
Photoshop: v12.1 x64 (CS5.5)
Photoshop Color Settings: Custom North America Web/Internet
RGB: sRGB IEC61966-2.1
CMYK: U.S. Web Coated (SWOP) v2
Gray: Gray GAmma 2.2
Spot: Dot Grain 20%
Policies
RGB: Preserve Embedded Profiles
CMYK: Preserve Embedded Profiles
Gray: Preserve Embedded Profiles
After importing the image into Photoshop, I make sure the RAW space is set to sRGB IEC6 1966-2.1
Use the eyedropper to select a neutral color one step away from pure white on the RAW image of the color checker, create and set the custom white balance.
set the white balance
Export the image as a DNG
Load the DNG into the X-Rite ColorChecker Passport software to create a color profile
Back to Photoshop
Open the RAW file
Set the white balance to the custom profile created above
Set the color profile created with X-Rite
Open the color-corrected image in Photoshop (see color setting above)
Save as JPEG
Publish
First, everything seems to go great throughout this entire process, until I see the image on the Web: LINK. Once published, the image has a very noticible golden-yellow tint to it. The color-corrected image looks great on both color-calibrated monitors, in RAW and JPEG. Absolutely perfect. After noticing the ugly yellow tint in the image I posted to the Web, however, I became aware of a couple more weird things.
1) When the JPEG was open in Photoshop and I moved the window that contained the image around on my second monitor, the image immediately took on that golden-yellow tint: you can see a screen shot of the color corrected image on my Samsung (bottom) and the yellow version of the same image created when I drag the window around on the Samsung (top) HERE.
2) When opening the X-Rite software, I got a warning saying that the laptop monitor had been calibrated, but that the Samsung had not. I got this error even if I calibrated the Samsung monitor right before using X-Rite. Also, the monitor is definitely calibrated, because the images look great, and the colors match what I see on the laptop.
3) Recently, I noticed that when waking my computer from sleep, the Samsung monitor no longer holds its Datacolor (Spyder4) calibration.
I thought the problem I was having might be due to the monitor, for the reasons stated above. However, I later noticed that when I open the color-corrected JPEG with the default Windows image viewer, it retains the color correction settings. The image looks fantastic, and doesn't lose it's color profile when I drag the window around. Also, there seems to be less color loss in the Word documents and PDFs I included this image in: LINK.
I checked this with several more images, and the results are the exact same. I scoured the Web as best I could, but my problem seems to be pretty unique. Does anyone have an idea what might be causing this?
Thank you!Thank you, twenty_one, for taking the time to read my post and put up a reply. I am going to rebuild my question and post it again here. But first, to answer some of your points:
1. A raw file has no color space, until it's opened into one in the raw converter. So this is controlled in ACR, not the camera.
I just wanted to be as thorough as possible. One of the steps I took was to set the Color Space setting in my camera to sRGB:
2. White balance has no bearing whatsoever on camera profiles. A profile is not for white balancing, it's to account for the spectral distribution of the light, which is something else. You make the profile and assign it in ACR, then you white balance for processing.
I know. I wasn't talking about white balance in my camera. I set the white balance here:
I grabbed the color for setting the WB here:
3. If you get a message about monitor calibration upon opening the camera calibration software, something is seriously confused. The two have nothing to do with each other. No relation whatsoever.
Camera calibration software?
4. A corrupted monitor profile will only show up in Photoshop and other color managed software. Other applications that are not color managed will not use the profile and are not affected. So find out which apps are and which aren't before drawing any conclusions.
Agreed. That's partly what I am trying to get help with.
5. Your links don't work, and in any case clicking on links is something most people including myself dislike. It's much better to insert screenshots in the post, by using the camera icon in the reply box.
I'm new to this forum, so this is helpful to know. This image shows the color-corrected image (bottom) on my Samsung. It looks exactly the same in the same window on my laptop monitor. When I move that window around on my Samsung screen, it turns gold (top). The image, when posted to the web, looks *similar* to that gold color.
So let's say I only use Photoshop on my laptop, which is not displaying any colors. Do you think the golden hue problem will go away? -
Hey people,
I have the following problem: I have a RGB image from photoshop (its an image from a microscope, basically black background with red and blue contours of a cell) and I copy/pasted this image to a RGB document in Illustrator. The image itself is rectangular, but I want to have it square. So, I created a square black box (black in this case was RGB black: R=0 G=0 B=0) and placed it behind my image.
On my screen it always looks as it should be, no differences in the the black colors of the microscopy image and the black object of Illustrator. Both in the Illustrator file and after exporting it as a .pdf-file, there's no difference.
However, when I print the file with a color laser printer (it's a HP printer, can't specify it more, sorry for that), my image is like "real black" and the square box behind is more "greyish"...Changing the color profiles in the Illustrator file (from RGB to CMYK in Data-->Document color mode --> CMYK) or in the options when I export the pdf file didn't help, the files still look good on the screen, not on the printed paper. If there's any other way to solve it, I would be pleased to have the image not in the CMYK mode, because the contrast and general appearance of the images is worse in the CMYK profile.
I hope some of you guys can help me! It's incredibly important to solve that problem, because my images finally gonna get published, so I would really appreciate any help!
Best,
The_Bacillus_GuyWow, thank you for the incredibly fast responses!!!
@CHMprepress: I cannot adjust the image, it's for a scientific publication and the images itself have to be shown with as less modifications as possible!
@steve fairbairn: I've just measured the different shades of black and in both Photoshop and Illustrator. Both say it's: R=0 G=0 B=0. I also checked the color of the pasted image in Illustrator. It's all the same...
@badchess: The color settings are the same in both files. I basically used the pre-setting "North America General Purpose 2"
RGB: sRGB IEC61966-2.1
CMYK: U.S. Web Coated (SWOP) v2
Or do you think I have to change any of the other options?
Changing the appearance of black in the preferences doesn't help either...
Could it also be a problem of the printer? -
Vectors printing jagged when placed over raster images
I am fixing a previously designed flyer for a reprint. On the last print, any vector object placed on top of the raster image was very noticeably jagged. This included both white text, which simply had jagged edges, to colored text, which had white jaggies as well. Drawn vector objects and clipping paths in jpgs were also jagged.
I used InDesign CS3 to create it, but I outlined the type, embedded all the images and exported as a .pdf (my project manager insists on this; so maybe it's not even an ID issue).
It looks fine when I print it on my hp LaserJet 2550n or the office's Canon iR 2800i - but that's never been a good way to tell how it's going to turn out at the end.
I know just making it all in Photoshop is probably the safest option, but I would really like to keep the sharpness of the vectors, and I've got Character/Paragraph styles etc going that would be a pain to redo in Photoshop. Plus, copy+pasting it into Photoship creates pdf/vector object that looks just as horrid (on screen - it looks the same when I print it on the above-mentioned printers, but I'm still paranoid).
Thanks for taking the time to read this and for any help you are able to offer!
LisaPeter, thank you for your reply. I really appreciate the help.
Generally, I use the default settings for [Press Quality], since I don't have a complete understanding of all the settings. I have appended the .txt pdf setting summary at the bottom of this post.
I'm aware that outlining type is supposed to be unnecessary but 1) my project manager insists on it because he doesn't want to deal with any kind of font problems (maybe if this is at the root of the problem it will push him to accept it), 2) I'm using Fontin & Fontin Sans by Jos Buivenga (a high quality free font) and the ligatures/alternate characters
sometimes don't show correctly when printed (replaced by a ?) or viewed on another computer without the font.
Yes, I embed the images into the ID document (Links - embed images). This is only because my project manager insists on this as well. It is unnecessary to do this when saving to a .pdf, correct?
Here are the settings I generally use when exporting a pdf to send to the printer (who do not specify any kind of settings):
Description
Use these settings to create Adobe PDF documents best suited for high-quality prepress printing. Created PDF documents can be opened with Acrobat and Adobe Reader 5.0 and later.
PDF Preset: [Press Quality]
Compatibility: Acrobat 5 (PDF 1.4)
Standards Compliance: None
General
Pages: All
Spreads: Off
Generate Thumbnails: Off
Optimize PDF: On
Create Acrobat Layers: N/A
Export Layers: Visible and Printable Layers
Include Bookmarks: Off
Include Hyperlinks: Off
Export Nonprinting Objects: Off
Export Visible Guides and Baseline Grids: Off
Create Tagged PDF: Off
Include Interactive Elements: Off
Multimedia: N/A
Compression
Color Images
Bicubic Downsample at: 300 ppi
for images above: 450 ppi
Compression: Automatic
Tile Size: N/A
Quality: Maximum
Grayscale Images
Bicubic Downsample at: 300 ppi
for images above: 450 ppi
Compression: Automatic
Tile Size: N/A
Quality: Maximum
Monochrome Images
Bicubic Downsample at: 1200 ppi
for images above: 1800 ppi
Compression: CCITT Group 4
Compress Text and Line Art: On
Crop Image Data to Frames: On
Marks and Bleeds
Crop Marks: Off
Bleed Marks: Off
Registration Marks: Off
Color Bars: Off
Page Information: Off
Page Mark Type: Default
Weight: 0.25 pt
Offset: 6 pt
Use Document Bleed Settings: Off
Bleed Top: 0 pt
Bleed Bottom: 0 pt
Bleed Left: 0 pt
Bleed Right: 0 pt
Include Slug Area: Off
Output
Color Conversion: Convert to Destination (Preserve Numbers)
Destination: Document CMYK - U.S. Web Coated (SWOP) v2
Profile Inclusion Policy: Don't Include Profiles
Simulate Overprint: N/A
Output Intent Profile Name: N/A
Output Condition: N/A
Output Condition Identifier: N/A
Registry Name: N/A
Advanced
Subset Fonts Below: 100%
Omit PDF: Off
Omit EPS: Off
Omit Bitmap Images: Off
Transparency Flattener Preset: N/A
Ignore Spread Overrides: N/A
Security
N/A
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I tried the way Pages 2 handles CMYK images today and found out some strange things.
My problem: monitor display
CMYK .jpg files are displayed inverted on screen like a negative - black is white and white is black. Layouting basicly rendered useless. Is there a work arround ?
Solved: Printing
For printing there are at least two ways to get a decent result. Here my findings:
- Any color printers
"Print - ColorSync - Color Conversion" set to "Standard" => CMYK images get converted to RGB
"Print - ColorSync - Color Conversion" set to "Printer specific" => CMYK images stay in CMYK if printer is able to print CMYK
- use "Save to PDF" within printing dialog
Same as above, profiles tagged to images stay correct
- Adobe Acrobat Distiller
Same as above, but PDF looses recognizeable profile information. PDF workflow software does not recognize "SWOP" or "ISOcoated" by name but has "Embedded Adobe Postscript CRD Profile" instead which will create problems in workflow processing.
- Exporting "File - Export - PDF"
Profiles stay intact and are handled correctly.
Cube, PB 17" Mac OS X (10.4.7)Thanks Noel for the reply. Hopefully this will help.
This is how the file should look like.
This is how the file usually displays.
Any help would be greatly appreciated.
Regards,
Ron Cecil -
Best Way to Export PDF for Press w/ Grayscale Images
Hi, we've been trying to move to a PDF based workflow for sending files to printers if possible so that all color conversion can take place at the final step of creating the PDF. This way, all images can remain RGB in their native color space.
But I just had to create a PDF that had a mix of images in it. Some were typical RGB, some had already been converted to CMYK (probably US SWOP), and some were true grayscale images.
When I created the PDF, I set it to convert all colors to the destination profile, which in this case was just US SWOP because the printer didn't have a more specific profile to suggest (most don't). It appears that the images converted properly, but the the grayscale images are using just the K channel (which I suppose is to be expected).
A while back we printed a fully grayscale piece where all images were converted to a specially created SWOP profile that had modified GCR curves to have most of the data still represented by the black channel, but with some nice CMY thrown in as the tones deepened. The result was amazing. The images had no color cast, but were a nice rich grayscale. The printer was very impressed as well.
A) So what would be the best workflow to incorporate mixed color images, and still have the grayscale images turn out nice & rich? Do I have to convert all images manually first (trying to avoid having to do this)?
B) If the printer doesn't offer a profile, and probably doesn't fully understand or utilize color management, are we best to supply the PDF file converted to US Web Coated SWOP because that is what THEY would be most used to getting? This job, however, will be sheet-fed on a matte paper with a satin AQ.
THANKS! Any tips would be greatly appreciated. Trying to refine our workflow here.jethrodesign wrote:
I would love to learn more about how to choose an InDesign working color space when you don't know the end printer (or if the end printer is clueless); how to deal with Illustrator native files that will be placed in InDesign (RGB? CMYK? Embedded profile?); how to deal with pre-existing elements that may be in the wrong CMYK color space; and possibly the option of taking color management into your own hands if the printers aren't knowledgeable; etc.
If the printer cannot provide an ICC, maybe they can state what print standard they use (GRACoL, SWOP). If you know that and the paper type, use your best judgement in selecting an ICC. Look to the IDEAlliance website, there are 2 SWOP profiles and one GRACoL profile that are good to use for coated stocks.
As far as mixing existing CMYK with RGB, opinions may be varied. Let's say you have a job, moving to Coated GRACoL 2006. You place RGB images, US Web Coated SWOP v2 CMYK images, US Web Coated SWOP v2 Illustrator, and custom GCR CMYK rich black images.
When these are placed into the GRACoL InDesign document, the default behavior is to preserve CMYK numbers. The GRACoL CMYK is assigned to all of the placed CMYK content.
Now you output a PDF with the settings you described earlier. PDF/X-4, Convert to Destination, Document CMYK (GRACoL). Even though you had US Web and GCR originally, in the PDF it is all Device CMYK (when output from ID CS4). Furthermore any user must assume that all CMYK is GRACoL, because that is the Output Intent. Also, if the GRACoL is a decent representation of the print condition, you can soft proof everything accurately in Acrobat (and InDesign for that matter).
If this PDF gets handed off to the printer, his duty is to RIP the CMYK and preserve numbers. The only number shifts will occur at the plating stage via plate calibration curves, which is not an ICC conversion.
If a CMYK - CMYK conversion is necessary, the printer must get you on the phone and let you know that he is re-converting all your CMYK content. For him to do that without informing you is, well, nuts. You've already done the conversion yourself. Every conversion is (technically) damaging,
Now assume that you output PDF/X-4 with no conversion. In that case, you have RGB and CMYK coexisting in the PDF output. Again, all CMYK should pass through the print RIP with numbers preserved. All RGB would be converted to the Output Intent already present in your PDF. If there is something wrong with that Output Intent, it's the printer's duty to get you on the phone and let you know. I say that because you, as a designer, have already soft proofed everything in the job in the GRACoL color space. If the printer wants to switch horses mid stream, he's got to let you know. (Side note – a printer taking a ownership of a special CMYK - CMYK conversion is highly unlikely. If they had a shop CMYK, they would have given it to you in the first place).
In summary – it is the print industry standard to preserve incoming CMYK numbers. If a client gives me a job full of US Web Coated SWOP v2, I can't very well treat that the same as incoming RGB and start converting to a different CMYK. CMYK is already cooked. If you re-cook it it stands to get burned. The only time CMYK-CMYK is warranted is (a) when Total Ink Limit is a factor (uncoated) or (b) the color is so far off on the proof that re-cooking only stands to help it.
What I WILL do is tell the client that they may get a better print result if they either supply RGB with no predetermined CMYK destination (I convert to press CMYK), or they use a different CMYK that more accurately describes the print condition.
Message was edited by: Printer_Rick -
Hello:
I really hope someone can help me with this. I am using photoshop to create a banner and am having an issue. When I open a new document in photoshop, then use the "place" feature in File to insert a photo from my computer, it distorts the color properties of the photo upon insertion. It doesn't seem to matter where the photo came from or whether it's a .png file or a .jpg file, it does the same thing everytime. Does anyone have any ideas as to why this keeps happening? Could it be my settings?
Thanks in advance.As far as the image being profiled or unprofiled...I'm clueless, sorry. Regarding the Color Settings, I hope this is what you're looking for. I went into the Edit menu and chose 'color settings'. This is what it gave me:
Working Spaces:
Color Settings: Custom
RGB Custom RGB
CMYK: U.S. Web Coated (SWOP) v2
Gray: Dot Gain 20%
Spot: Dot Gain 20%
Color Management Properties:
RGB: Preserve Embedded Profiles
CMYK: Preserve Embedded Profiles
Gray: Preserve Embedded Profiles
Conversion Options:
Engine: Adobe (ACE)
Intent: Relative Colorimetric
Use black point compensation (this box is checked)
Use Dither 8 byte channel images (this box is checked)
Advanced Controls:
Desaturate monitor color by 20% (this box is not checked)
Blend RGB colors using Gamma 1.00 (this box is not checked)
Thank you so much for helping. -
I placed a jpg image into my InDesign document that is supposed to be white snow, but after I place it the images becomes yellow. In fact, after I choose the image to place and before I click in my document a frame to put it in, it's actually the correct color. But as soon as I place it, it turns yellow. When I create a pdf, it's back to white. But when I try to use the Blurb book creator to upload the book, it's back to yellow. Why? If I try to use any other non-Adobe product, like Publisher, it's the correct color. This same thing happens when I open it in PhotoShop.
How do I get rid of the yellow tint on my images? What should my color settings and profiles be? I am using Adobe InDesign CS6 for Windows. My current setup is:
Settings-Custom
Working Spaces:
RGB - sRGB IEC61966-2.1
CMYK - U.S. Web Coated SWOP v2
Color Management Polices:
RGB - Preserve embedded profile
CMYK - Preserve numbers (ignore linked profile)
Conversion options:
Engine - Adobe (ACE)
Intent - Relative Colormetric
Use black point compensation-checked
Thanks for your help,
GinaYou can't turn of color management—even with the Emulate ID 2 preset the colors are being managed you just don't know how.
When you save the istockphoto make sure to include its profile:
Then in Indesign select the image and double-check that its profile is assigned. With the image selected choose Object>Image Color Settings: -
Best Workflow for Rich Grayscale Images on Press
Hi, we're preparing a piece that uses mostly grayscale images and we want them to look as nice and rich as possible. So wondering about proper workflow to convert the images to CMYK using best percentages for nice, rich shadows, etc.
What I've done so far is:
1) Got a photo looking pretty decent as a grayscale image.
2) Convert the image to CMYK using a custom profile I created similar to 'SWOP, 20%, GCR, Heavy' - except that I manually adjusted the Black Generation curve to remove most of the CMY from the highlight areas.
3) Do any final levels adjustments to get the photo just right.
4) Save the file embedding the profile.
Now the photo looks good in Photoshop, and is very neutral (what we want). The darkest shadow areas are 95%-99% black, but with a good 40, 30, 30 mix of CMY. The highlight areas are black only up to about 16%, then color starts creeping in at proper ratios.
NOW I'M A BIT FUZZY.
- When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
- We may not know the printer of the job ahead of time, and even if we do I've found many who don't fully understand color management and don't have a custom profile for their printer. What is safest in this case?
- If we do get lucky and find out who the printer is, and they have a printer profile, how would we implement this?
- Any other tips???
THANKS!This may not be the most appropriate forum for your question. The separation you are using is done using the Custom CMYK engine, which is a legacy (pre-CM) mechanism in Photoshop that has no direct relationship to ICC color-managed workflows. Legacy questions may be better addressed to other forums.
On the other hand, if, rather than use the Custom CMYK engine, you wish to separate your grayscale image to a CMYK ICC profile appropriate to your output conditions, the procedures are clearly outlined in "Real World Color Management", by Bruce Fraser, Chris Murphy and Fred Bunting. (Look for it on the Amazon site.)
When the output conditions are not known, make sure to speak to the printers once they have been picked, and clearly communicate to them your concerns. You can provide a CMYK image file separated for US Web Coated (SWOP) v2, and ask them to reseparate it appropriately for their own press conditions. You could also provide the grayscale file, if they would rather have that one. In any case, make sure to tell them that you are looking for a high GCR.
It's also a good idea to send them a properly color-managed proof (aimed at US Web Coated (SWOP) v2), and tell them to make sure to match it. Other than that, and in the absence of any information that is more detailed and specific, there's not much else you can do.
>When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
InDesign is
i not
converting the image. The North America Prepress 2 color presets use the "Preserve Numbers (Ignore Linked Profiles)" policy for CMYK. This policy
i ignores
the CMYK profile embedded in the image and
i assigns
the default CMYK profile instead. The image numbers are left untouched, but the appearance changes because the default profile (U.S. Web Coated (SWOP) v2) describes print conditions that differ from those established in your Custom CMYK profile.
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