Interpreting ST03 Tasktype profile

Dear Gurus,
I am looking at causes of performance deterioration in SAP. I look at ST03 tasktype profile but there are some terms I do not quite understand the meaning. Pls can you throw some light.
1. DB Requests. what does this numner indicate? What is considered a DB request?
2. Buffer Calls. What buffer is it refering to? DB buffer? Which DB buffer then?
3. Physical DB Calls. What does this mean?
Thank you in advance.
Regards,
Mirella Russo

1. A request to the database to access data - maybe read write, update
2. The database finds the requested data in the SAP buffers. This is quick and so good. See ST02 Tables, Generic key and Single record.
Also ST10
3. Oh dear, the data is not in the buffers so the database goes and reads the physical disks. This is slow and so bad.
So 1. is made up of 2. and 3.

Similar Messages

Photoshop interpreting monitor colors incorrectly

My issue is with my second monitor and the colors of Photoshop files. I am using a two monitor setup with my macbook laptop.
I process a Raw file using Lightroom 2. I export a Jpeg and it looks perfect when I open it in Preview, matching the Lightroom, when viewed on the second monitor screen. But, when I open that file in Photoshop it looks about 15% desaturated, when viewed on the same 2nd monitor.
The really wierd kicker is that as I drag the photo from the Macbook screen to the second monitor screen, while in photoshop, it looks fine. It only desaturates as I ungrab it (or unclick it if you prefer). I am speculating that photoshop is interpreting the monitor profile incorrectly or something..... any help out there?

So, I figured out a work around with the help of my friend. He stated that Photoshop can only work with one monitor profile. So I moved the arrangement of my displays so that the external display is the main one. Now PHotoshop looks just like Lightroom.
My new question is... Is there a way to have photoshop read my external display without having it be the main display in the systems preferences?
Thanks

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

ICC Profile vs Photoshop vs Image

Hi guys,
First of all, please forgive my poor english.
I have as usual been through all the forum-reading, answer-searching stuff.
I've been having a problem with Photoshop color management since my last Windows upgrade to 7.
Colors just won't display the same in Photoshop and outside Photoshop.
I understand this has something to do with ICC profiles and applications being color managed or not.
I just downloaded an ICC profile supposedly corresponding to my monitor (there : mine is the Dell E228WFPc, but their icc is for the E228WFP http://www.focus-numerique.com/test-42/-telecharger-un-profil-calibre-pour-son-ecran-dell- 24.html I decided to try it anyway, and the colors look good...).
I don't know what makes photos not look the same inside of Photoshop. It's the case for all photographs, including those that I postworked before my reinstallation of Windows.
What would you suggest ?
Thanks in advance for your answers.

Color-management is simply the process of interpreting the colors in an image per a given document color profile, then preparing them for proper display on a device using a given device color profile. Profiles describe how color values are interpreted into real colors that we see.
Some of the first things to keep in mind with color-management are these:
Not all applications are color-managed. Many do not look at your monitor profile, and almost as many don't even look at your document profile.
Given the above, colors can be expected to look different in images displayed by applications that ARE color-managed vs. those that ARE NOT.
So in your case Photoshop, which is fully color-managed, is using both your image profile and your monitor-specific profile (and assuming they're accurate) to determine how to display colors on your monitor. This is NOT being done AT ALL in some apps, and only HALF being done in others (e.g., IE9 interprets the document profile but assumes your monitor is sRGB IEC61966-2.1).
You're seeing the differences.
Now, what's not a given is that your color profiles are accurately representing the color spaces of your document or display monitor. You may have prepared your document properly using a particular color profile, but what steps have you taken to ensure your monitor color profile accurately matches your monitor? That it's "the one" provided by the manufacturer may seem to be enough, but you don't really know what on-monitor settings or video card or cabling the manufaturer used to profile it, nor did they profile your particular copy. In short, factory monitor profiles are notoriously inaccurate.
You can choose to go in one of three directions:
1. Assume your factory monitor profile is accurate enough and just keep everything as it is.
2. Purchase a profiling device, follow their process for calibrating / profiling your display, and be sure your profile is accurate.
3. Assume your factory monitor profile is INACCURATE, replace it with the standard default sRGB IEC61966-2.1 profile, and work to set your monitor controls and video card curves manually to make colors displayed with the sRGB profile and this monitor as accurate as possible.
The 3rd scenario actually has some advantages if you can accomplish it.
-Noel

High GUI time in ST03

I found high GUI time in ST03.
Example: In last minute's load --> workload overview -->
Start of interval 27.10.2008 07:43:00
End of interval    27.10.2008 07:58:00
Time period        0   Day(s) 00:15:01
I found 1280ms Roll wait time and 1280 GUI time. It seems too high. How can I find what cause it? how can I locate the root case?
Please advise. Thanks so much.
James

Hi,
Here are the few things to check when the GUI time is high.
1. Check in ST03--> Transaction Profile the Tx SESSION_MANAGER may be on top id yes, the load caused by the transaction SESSION_MANAGER, combined with the high roll in + wait time could indicate that the SAP Easy Access menu might not be configured correctly and should be tuned to improve overall response times. It is also possible that your users have been assigned disproportionately large user menus. We advise you to ensure there are a reasonable number of entries (nodes) in the User Menu.
Generally, its recommended that users should have no more than 1000 and as an absolute maximum 2000 menu nodes configured, (for comparison, the complete SAP menu contains 70,000 entries). A high number of entries may lead to high memory consumption on the server and to long response times for the menu. Refer to SAP Notes 203617 and 203994 for details
2. ST06 --> Detail Analysis Menu --> Lan check by Ping with more than 10 Presentation
servers.
See the Average and Loss coloumn and check wether is there any problem exits.
However, review the following recommendations to identify any network issues. Given below are the response times which are thresholds for a good network performance.
Recommendation: Characteristic response times are:
- In a local area network (LAN) : <20 milliseconds
- In a "fast" Wide Area Network (WAN) (for example, 256 or 384 KBit/sec):   < 50 milliseconds
- In a "slow" wide area network (WAN) (For example, 128 KBit/sec or less): < 250 milliseconds
- Losses of data packets ("Loss") should not occur at all.
Review SAP Notes 203924 (under subheading 'General Performance Analysisu2019), 8963 and 578118 for further information on SAP GUI and response time components.
In case of long response times due to performance problems in the network (in particular when using SAPGUI in WAN), you should use configuration "Low Speed Connection" in SAPLOGON. As a result, menus are only transferred on request, and the quantity of the transferred data is reduced correspondingly. This measure reduces the network load significantly. You can find this setting option under: SAPLOGON -> PROPERTIES -> ADVANCED.
Option for a low speed connection:
On a low speed connection (LSC) to the network, the benefits of the improved interaction design may be outweighed by increased response times due to the heavier network traffic. To counterbalance this effect, SAP has introduced the option for a low speed connection to the network in Release 4.6. A flag can be set in the options of an SAP logon connection item or on the SAP GUI command line. This action has the following effects:
- Menus are loaded only on demand as before
- Background Bitmaps are not transferred (depending on the application)
- The list control transfers only the lines that are visible on the screen
- The application can query the flag to react to the network condition individually.
Examine the following SAP Notes and verify that the SAP recommendations contained are fully implemented:
- SAP Note Number 161053   Low Speed Connection is in use
- SAP Note Number 164102   Network load between application servers +camera front end
- SAP Note Number   62418   Network Load of SAPGUI Frontend Communication (Required Bandwidth).
Please let me know if the performance improves.
Thank you,
Tilak

In Camera Custom Profiles + LR4

Hi Folks
I'm wondering if Lightroom 4 is capable of interpreting the custom profiles that I have set in my camera. For example, I have created some settings in my cameras, a Nikon D700 and D3, related to the adjustments of density and tone that can be done in-camera, which I would love if Lightroom would be able to load them.
By default, LR4 converts all the pictures to what it seems, the original state of the picture or, the factory defaults from camera onto the pictures.
I have not digged too much into this because I mostly shoot in Neutral Mode (factory default ofNikon) and, in RAW, but I have seen a noticeable difference between how the pictures look in-camera, and how they look in LR (since the first beta, by the way).
I have also seen that some people have uploaded to the web, different types of "camera calibration" pressets for different models of cameras and brands, but I have also noticed that those settings don't actualy work as they are supposed to.
Somehow, I'm assuming that LR4 is not able to match the in-camera configurations due my long experience since the first beta of LR, but I'm also asking if there is a way to make LR4 matching the same in-camera confiuguration.
So another thing that LR4 should come with, is a way to match adjustments between pictures, for example, with the User's Pressets or, between the "copy/paste adjustments" from a pic to another.
So... Well... Anyway... I have moved a "little bit" out off topic myself.
¡There you have it!
Ø3

Second comment:
"As far as match adjustments, uh, you know you can Sync image adjustments accross multiple images, right? And that you can apply a preset at import or later in the Library, right?
I think you need to learn a bit more how to use Lightroom...watch some of the free video tutorials availabe at Adobe TV."
Third comment (yours):
"...or learn how to use all of LR's tools".
And I have said:
"Yes, I'm pretty much concerned about Lightroom and the Sync Feature; it does exists since the first version of Lightroom that came out (even before, when it was just Camera Raw inside PS)".
"I do that, but pressets never gives the same style to different pictures, even if they're a little bit different and that's why I said that LR should have a function similar to the Match Color found in Adobe Photoshop."
"I have never shot in JPEG."
"I'm very concerned about Digital Imaging".
My question is:
"I'm wondering if Lightroom 4 is capable of interpreting the custom profiles that I have set in my camera."
And none of the answers have addressed to my question. So I put some images done just in LR (which have taken me 8 hours at least) in order to establish that yes, I use Lightroom a lot and every aspect of it since the day that LR wasn't created but Camera RAW.
To be perfectly honest I have no idea what you mean by "creating a few great custom in-camera settings," since you say "I have never shot in JPEG."
In-camera Custom Pressets are useful for certain situations, so for example, I have confgured the camera for certain landscape/waterscape photography, for fashion and for black & white, even if I shot in RAW, I like having a fast feedback in the LCD camera display about how will come the shot with the custom settings I did and, enhance the picture from my settings and not from zero (like when importing the pictures into Lightroom). There are amazing ways to create fantastic custom pressets in-camera, which are applied to every single picture without any kind of change in the process. I can use the same presset in every single situation without getting unmatched results from picture to picture (like it happens in LR when applying X presset to other pics).
The Camera Calibration Panel and pressets are not able to match the color/density interpreted by the camera itself, even if I pass moving the sliders for hours (from every panel). LR does its own demosaicing. Even the WB is changed (slight, but noticieable). Yes, I know that each RAW Editor demosaices the image in its own way, which shouldn't be that way, at least, not LR.
For example, Aperture is very, very accurate when demosaicing RAW Files (specially in color interpretation and edition), but I preffer LR for certain things, like for B&W editing. For color, I usually go more into Aperture because it is more accurate and with less gaps between values, but I use both programs, therefore, I edit each picture in both programs and select the pic with the best look.
The only other way these custom settings can be applied to the raw image file is using Nikon's raw converter software.
That was the first RAW Editor I used when I got the Nikon D700 (my First Nikon), but's quite sloppy and obsolete. Even the Nikon Capture doesn't demoisaic the pictures accurately. It's better than any other editor for NEF Files, of course, it's the Nikon's Editor, but not perfct in this matter.
Are these examples of LR's inability to duplicate your in-camera presets?
No, these examples were taken with the Neutral Factory Default Presset from the Nikon to show that I actually use Lightroom a lot, with a deep knowledge about how it works in order to avoid the "¿do you know how to sync, create pressets and use the Camera Calibration Panel?" kind of questions.
If so please post the images with your in-camera presets applied for comparison and explain why they are better.
It's not a matter of quality, but a matter of an accurate interpretation from Camera to Computer thing. I want to enhance what I already have with my in-camera pressets instead of starting from zero. Just in case: yes, I have all my devices perfectly calibrated.
Thanks anyway... I will keep trying,
Ø3

Is there a serious flaw in LRs Print Module?

I have been having no end of difficulty getting a decent print from LR. The more I search for answers the more I find that others have the same issue. It seems to be related mostly to Canon and HP printers. Most Epson users indicate they are getting great prints.
Multiple combinations of settings have been suggested (all from very helpful folks, thks!) but all attempts have not produced anything remotely close to whats on the screen. PSE3 prints perfectly for me, and other comments indicate that CS2&3 and PSE4&5 also deliver superior results to LR.
It seems that there a serious problem with LRs Print Module whereby it cannot interpret and convert profiles properly? Has this been officially addressed by Adobe? If so, please direct to where I can find that information, please.
Dont misunderstand me, LR is a fantastic program and a very powerful RAW workflow tool. Even the Print Module has some really cool stuff, but not so cool when the colours dont come out close to the original.
Where does one go from here to find a solution to this problem?

Hi Dave
I posted this earlier in this thread about CS3 printing problems that Adobe has addressed and I just reviewed it again and noticed some common problems under the "Issues Fixed in this Release" as follows:
"Color matching is now correct on BPE printers (notably the Epson 3800) when Photoshop is set to handle color management."
"BPE Printers expect a Profile to be passed when Photoshop manages color. Photoshop now passes the Profile."
"Epson 2400 driver no longer does double color profiling when PS is handling the color management and we explicitly turn off Epson color management in the Print dialog."
"Color management will now produce identical results on Intel and PowerPC-based Macs."
"Correct Page Setup now comes up in the Print dialog when you change printers to print different documents."
"Page Setup would sometimes show the preferences for a previously selected printer."
"RGB to CMYK conversion with a specific ICC profile and Adobe(ACE) engine is fixed."
"Specific types of ICC profiles were being incorrectly converted. Converted images would appear close to black, if not entirely black."
These appear to be the same issues that are happening in LR that require a similar fix that CS3 required.
Here's the link again:
http://www.adobe.com/support/photoshop/ts/documents/kb402846/PhotoshopPrintingNotes.pdf

Why photos look warmer in Safari??

Hi everyone,
I am using CS3 on my 2006 white iMac to edit my photos. I adjust the colour temperature of my photos so that they look natural in CS3. However, after posting them on Flickr, they looks much warmer on Safari. If I use FireFox (instead of Safari) to view my photos on Flickr, the colours look natural again, similar to what I see in CS3.
The warmer tone is definitely caused by Safari. Can I adjust Safari to correct this issue?
Here is an example. Try to view this photo using Safari, and then view it using another browser like FireFox or Internet Explorer.
http://farm2.static.flickr.com/1055/1343765615_f8ac7b4488.jpg
Thanks.

Thanks for the reply, TD.
If Safari respects and interprets the colour profile attached to the image, then the photos in Safari should look the same as in CS3. Unless I am mistaken, CS3 always uses the attached color profile.
So why do other browsers display my photos similar to what I see in CS3?

Colors not saving correctly when image is saved, how can I fix this?

Hi! I've been a photoshop user for my newish photography business since this past summer. I honestly still have a lot to learn, but thankful my images have always been spot on, until now...you see, I recently discovered that when I open my png or jpeg files (these images were saved in ps cc), the photos appear to be dull and muted. It ls like the vibrance/saturation has been shifted down and yellow tones removed or muted greatly. I even saved some fo these files on a disk and reopened them onto my computer and they still look awful. I did not change any of my settings and to be honest, I don't know which ones are the best to work with since every photog I've asked has told me something different....buuuuut beside the point...nothing has changed. My profile settings are the same and I am confused and rather frustrated. If you know how to fix this issue, please share with me because I am at a loss.
How I edit photos:
Import into lightroom
Edit with preset
Export with preset into PS CC
Do finishing touched
Save as jpeg
Here is a screen shot from my computer. The photo on the right is the saved photo and the left is the photoshop photo. If you can tell, the photo on the left is dull and appears to be very flat. It also does not have the golden undertones that the ps cc photo has, which is what I want...
Thanks again for your help!!!
Stephanie

What color space are you working the images in? The Info panel and the little status box at the lower-left of the editing canvas can be set to show you your current color profile. I set the Info panel to show me the profile myself.
When you do File - Save As to save the JPEG, are you saving the color profile with the JPEG?
Lastly, when you say "the photos appear to be dull and muted", how are you comparing them (specifically)? Are you sure the application you're using to compare them with what you see in Photoshop is color-managed?
I suspect what may be happening is that you're editing your photos using a wide gamut color space, then either saving the JPEG work product without a color profile or viewing it in an application that does not support color-management.
Regarding someone telling you the best settings to use... The thing is, it's not really possible to suggest specific settings without knowing a lot more about your particular working environment. We don't know, for example, whether the printing process you're using will properly interpret the color profile. You should regard with suspicion any advice that suggests "set it and forget it" settings without trying to understand your color-management needs.
-Noel

IE10 Consumer Preview Still Only Does Half Color-Management

The Internet Explorer version 10 Consumer Preview does not do full color-management - it ignores the monitor profile.
This is not a real surprise, as I have had it confirmed to me by someone inside Microsoft, but I thought I'd just pass along that in my Windows 8 CP testing I've verified this to actually be the case.
IE9 and IE10 do not manage the color of web page elements at all, and both interpret image color profiles in images if they're present, but they only convert the colors to sRGB, no matter what monitor profile you're actually using. For calibrated and profiled systems, this yields inaccuracy; for example, with wide gamut monitors the colors of images carrying a profile will always be oversaturated.
Sigh. Progress marches on EVER so slowly.
-Noel

Let me try to help you further:
1. In Illustrator's Swatch settings pallette, should the Spot Color Mode option be set to use:
a. CMYK
b. LAB
c. Book Color (not sure if this refers to the pantone swatchbook)
- I would use "c" - Book Color. This is the file going to the printer which will use Spot Color on press. For a copy of the file to be output by your Canon, use "a" - CMYK.
2. In the View menu should Overprint Preview be checked, and why, and would it differ based on the settings for #1.
- Only if the color was transparent ( which it isn't ) would overprint preview be of any use or you use a tint value of the Spot color and a black, but even then you may not be able to detect any change in the screen view. I typically do not use any overprint preview and I do not rely on the monitor for any color deisions. You could be different and that is OK. Let me know if you are able to detect any deviates using overprint preview.
I'm sorry for being a little short. There is a lot of confusion about these issues and Adobe and Pantone are not making things any easier.
The key is your Canon will not be able to print accurate Spot color without a RIP for the necessary color tables and conversions for that particular printer. In your case, it will be necessary to build a CMYK file to print a somewhat approximate representation of that specific Spot color. Another frustrating part of this matrix is CMYK cannot match all Pantone Spot Colors.

After saving as jpeg images sometimes look different in other programs or online.

Any ideas how to get more consistent results would be appreciated.

If every application and system were properly color-managed it would be possible to get consistent color everywhere.
As it is, that's simply not the case.
Many folks feel that publishing an image in the sRGB IEC61966-2.1 profile is the best approach. There is debate about whether to publish a profile in the image to identify to systems/browsers that have proper color-management that it is using that profile - my opinion is that you should do so.
If you have a wide-gamut monitor that doesn't closely emulate the sRGB profile, and assuming you have it calibrated and profiled, you will see different things when you display an sRGB image using a fully color-managed application (e.g., Photoshop), a partially color-managed application (e.g., Internet Explorer), or a non-color-managed applications (e.g., an older viewer application). That is to be expected.
The various browsers implement different levels of color-management. I mentioned that IE only does half the job - it interprets image color profiles, but it assumes every monitor is sRGB regardless of its profile. Firefox can do a full job of color-management, even including non-image web page element color-management, but it takes reconfiguration to do so. Safari only does image color-management, not web page elements. Last I looked Chrome ignored color-management entirely.
Create your image in the sRGB color-space, trust what you see on your calibrated and profiled system when the image is displayed in Photoshop - i.e., make the colors look right there - and make your own choice about whether to publish with the sRGB profile embedded. That's about the best you can do.
-Noel

Why use "Don't Color Manage This Document"?

Hello,
I work on photos, mostly black and white, that will be either digitally or offset printed. I have been told that I should not assign any color profile to these photos in PhotoShop. I should instead choose the option in Assign Profile to "Don't Color Manage This Document."
I think the reason is that we do not want the RIP to interpret any color profile that may be in the RIP and apply it to the photos. But I really don't know why I should use this opiton.
Can anyone educate me on this question?
Thanks,
Tom

Tom,
You've left a few potentially important details out of your scenario, but I will give you my thoughts. Are your B&W images 4/C CMYK, grayscale, or RGB? It can make a difference.
When editing images for my own fine art printing, I always tag it with a profile. In fact, I do this whether my image is grayscale, CMYK or RGB. Of course, I am doing the printing myself, so I have full control over the project. I use a Canon 6100 and custom RGB profiles (which I build myself), so most of my B&W or toned monochrome prints are RGB. Without a source profile, Photoshop will have to assume or assign a profile in order to make the final conversion.
I have used B&W RIPs before, such as QTR, and they don't speak ICC. They simply take the raw umbers in the file and output them to the printer, passing them through specific inking recipes (which they tend to call profiles, but this is very confusing to users, because they can be confused with ICC profiles, which they definitely are NOT). In this case, the RIP simply ignores any embedded ICC profile and just outputs the numbers.
More traditional RIPs (Poster print, Studio Print, ColorBurst, etc) can properly interpret incoming CMYK data with an ICC profile and make whatever conversions are necessary to give you an accurate print. Of course, accuracy depends on having accurate profiles for monitor, printer, paper, ink, etc.
So, if we are talking photos destined for fine art printing on an inkjet, I normally would tag my files with an ICC profile.
I recently designed a job for a client using InDesign. It included a lot of photographs, illustrations, and native components created using Photoshop, Illustrator, and InDesign. The problem was that the customer had not selected a commercial printer, so I had no idea where the job would be printed, on what type of press, ink limits, paper stock, etc. What to do? I chose a middle of the road profile (IDEAlliance SWOP2006_Coated3v2) which has an ink limit of 300 and assumes a #3 coated sheet. I left this profile active in InDesign. I edited my files in Photoshop and Illustrator and tagged all images with the same profile, and placed them into InDesign. So, all components had the same "generic" CMYK profile based on a middle of the road industry standard (I use the term standard loosely). Having all components tagged enabled me to generate an accurate, high quality color proof on my inkjet (assuming the final press will adhere the the above SWOP standard).
Before submitting the file, I converted it to PDF/X1-a using Acrobat Pro. This strips all profiles from the file, but names the intended color profile in the PDF file. So, I was supplying an untagged file, but if they wanted to, they could see what the intended profile was. I stripped the profile because I did NOT want the unknown commercial printer to convert my carefully generated files. One concern was that all items on the black plate (black text, lines, vector art, etc) might somehow be converted through Lab to a new CMYK profile, thus giving me CMYK separation of my blacks, potential registration problems, etc. To cover my butt, I supplied my color proofs with the file and told the client the final job should look very close to my proofs if the printer did his job right. It also gave the printer a guide print to help them get it right. So, to me, that is the major reason to supply an untagged file.
Sorry for the long diatribe.
Lou

Missing red color in adobe RGB

I shoot raw with Nikon Camera. I am having a problem with getting red color in photoshop. . For nef files, I open them in Capture NX2 and then save as jpg in Photoshop. The jpg image was opened in Photoshop CS5 with a color setting of sRGB, beatiful red color is seen on the screen. When the same.file was opened in in Photoshop CS5 with a color setting of AdobeRGB ("aRBG"). the red color turned into orange color.
As shown here, the only difference in color is red hue between sRBG and aRGB. This is not an isolated case. All of my pictures look like that. When printed on Canon i9900 inkjet printer under "Photosbhop Manages Colors setting, red color comes out in orange color. But printing under Printer Manges Colors" setting, they came to be close to red color. I do not understand why aRBG does not produce red color. Could someone explain to me why?
PS: I could not upload two pictures (sRBG and aRBG). It seems that inserting image was disabled.

hummer777 wrote:
The jpg image was opened in Photoshop CS5 with a color setting of sRGB...
When printed on Canon i9900 inkjet printer under "Photosbhop Manages Colors setting...
These statements are vague or functionally incomplete. For example, are you saving your JPEGs with a color profile embedded? When you choose "Photoshop Manages Colors", what profile is set for the printer?
Do you have a basic understanding of color-management?
The kinds of color shifts you're describing can occur if you are assigning a profile different than the one the RGB values are encoded in, or viewing an image encoded in Adobe RGB with a non-color-managed application.
The document color profile needs to match the profile used to encode the RGB values, and the application needs to interpret the color profiles of both the document and the output device for the color to be displayed or printed properly.
May I recommend going out and seeking some primers on basic color management online. Keep in mind a lot of what's published is sometimes misleading or downright inaccurate, because a lot of people have trouble understanding color management at first. Try to avoid advice that says "set it like this", but seek the information that describes how color management actually works, so that you can get your mind around it and make your own informed decisions how to set things up.
-Noel

"Save For Web" Problems After Calibrating Display

hi,
before i further elaborate on my problem, let me try to sum it up for easier understanding:
monitor using sRGB profile, photoshop everything on sRGB -> all good
monitor using sRGB profile, photoshop everything on sRGB, after file is saved switch to calibrated profile on monitor -> all good
monitor using calibrated profile, photoshop everything on sRGB -> color shifts in image, hex color codes do not match
i recently got rid of my external monitor (moving around a lot) which i had set to sRGB. colors were very close to what it would have been calibrated, which is why i never bothered to change color profiles. now that i am using only a notebook (mbp), however, it quickly became apparent that the sRGB color profile made look everything quite blue-ish. after calibrating the display, all was well, however...
... until i started working in photoshop. there are color shifts apparent and the hex color codes do not match up; i have never had this problem before.
is there any setting in photoshop i might have overseen? as described above, it's not a problem as long as everything is set to sRGB and i use the calibrated profile afterwards; it only occurs when working with it.
thanks in advanc

Gator soup, I'm not sure what you're asking for...
All the images are published with the profiles listed (and the one is untagged, meaning it has no profile).
If the leaves in the tagged images look like one another then that means the browser is interpreting image color profiles.
The red box at the top of each image uses the hex code exactly as listed to define the color in that space, which of course is interpreted differently because each different image is in a different color space.
Assuming your browser IS in fact interpreting the image color profiles, then these things are interesting:
1. Whether the leaves in the untagged image match any / all of the other images. If they do match, say, the sRGB tagged image this implies the browser is interpreting the color values as though an untagged image is in the sRGB color space.
2. What red blocks at the tops of which images exactly match the surrounding HTML background of the same code (which is what interests the Macchiato here in this thread). If, for example, the red block at the top of the sRGB image matches the background, then the browser is color-managing each to the same goal.
On my system...
Firefox 10.0, when set to color management mode "1", shows the following:
A. All the leaves match in color in all 4 images, and the colors are accurate, because Firefox (set this way) outputs everything in the monitor's color space. Firefox assumes untagged images are in the sRGB color space.
B. The red blocks atop both the untagged image and the sRGB-tagged image match the background red color, because it assumes untagged images and HTML hex codes are in the sRGB color space. The red blocks atop the Adobe RGB and ProPhoto RGB tagged images do NOT match the background, as expected, because they're expressed in something other than the sRGB color space.
Internet Explorer 9, which always assumes the monitor is sRGB, displays the following:
A,. All the leaves match in color in all 4 images, but the colors may not be accurate (depending on how different actual monitor performance is from sRGB) because IE outputs everything in the sRGB color space.
B. The red blocks atop both the untagged image and the sRGB-tagged image match the background red color, because untagged images and HTML hex codes are all assumed to be in the sRGB color space. The red blocks atop the Adobe RGB and ProPhoto RGB tagged images do NOT match the background, as expected, because they're expressed in something other than the sRGB color space.
Safari shows the following:
A. All the leaves match in color in the 3 tagged images, but do not match the untagged image, since Safari passes the untagged image through to the monitor with no color management.
B. The red block atop the untagged image matches the background, but none of the other three do, because Safari passes the HTML colors through to the display without any color management. Whether it's better to put untagged imagery out to the monitor without transformation is a judgment call. It may be literally the right thing to do, but Firefox's strategy may be better.
At first blush Firefox seems to have it closest to right in the general case, but it has its problems as well. For example, it ONLY uses the color profile of the primary monitor, no matter what monitor it's opened on if you have a multiple monitor system. In my mind this makes it lose its edge over Internet Explorer because it's sometimes right and sometimes wrong, where IE's consistent transform to sRGB on any monitor is expected.
Conclusion:
ONLY IF one configures ALL of one's monitors to produce their output in the actual sRGB color space and associates the sRGB profile with each of them, do all browsers do a proper job of color-management.
-Noel

Transaction code usage report

Dear All,
Can you please guide us how to take the below details from the SAP system..
1. List of Person who has used the SAP system
2. The transaction code used of each of those above person ..
and vis vers
regards
Vimal pathak

Hi,
You can use st03 transaction profile option to get the details of all the users to get the details. There is no specific detail which gives you this but you can get all the info here and organize.
There are many posts in the forum regarding your query, please make a search before posting.
Regards,
Vamshi.

Interpreting ST03 Tasktype profile

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