More Color management

I am using PSE 8. Have a brand new Dell computer with an LCD monitor. Calibrated the monitor using the Eye One Display 2. I'm getting darker than desired prints with less vibrant colors because of the general "dulling". I'm letting PSE do the color management and I'm turning off the printer driver. I'm using the printer profile for my printer and paper. I'm using a Canon iP4500....not the greatest printer....but I got much better results before changing computers than I'm getting now. Using Canon Photo Paper II paper. Not sure how to get better results. Any suggestions?

You can change the settings present in the options of the printer driver. There you can specify the quality of the Print out.

Similar Messages

Color Management - Training DVD wanted - Recommendations?

Following my recent problems with colour management at my printers, I need to get my designer and myself up to date with the latest principles of colour management and in particular as they apply to ID CS3.
I have found the following on the internet - Colour Management Essential Training at www.lynda.com A DVD course would be most useful as the designer and I could watch it together. Anyone care to recommend this or another one?

I hope you are making progress with your color management issues.
I know you have gotten a lot of information in the forum from various perspectives. Much of the focus has been on the monitor accuracy. It is important to have a good monitor.
But a good monitor will not guarantee a proper conversion to CMYK. It is my belief that the color being off on your last print job is more the result of a faulty conversion than anything else.
I don't want to jump to conclusions and blame Photo Paint. Try the following:
1. In InDesign, right click on the image. Go to Graphics: Image Color Settings. The profile will be "Use Document Default". If you click on the pull down menu, see if there is a profile name above "Use Document default" If there isn't, the image is "untagged." Go to step 2.
2. Open the image in Photo Paint. This app will have some way of measuring CMYK % values. Go to the very darkest area of the image and read the CMYK values. This is the "black point" of the image. Knowing this can help determine the CMYK color space of an untagged image.
Here is more color management advice (hope it helps):
In InDesign, the default is to "Preserve CMYK numbers". This means that any placed CMYK images do not undergo a conversion to a different CMYK when you output a PDF.
This is standard practice in the print industry, but there is much debate about this. To illustrate what preserve numbers means, you can use View: Proof Setup: Custom, in InDesign. Under "Device to Simulate", try selecting different CMYK profiles.
Each time you do this and hit enter, you will notice the color appearance changing on-screen. What is happening is this - the CMYK file number values are not changing. But as you choose different print conditions (newspaper, web, sheetfed, etc) you can see how the color can shift, sometimes quite dramatically.
This is why choosing an ideal destination CMYK is so important. If you choose the wrong one, there is no way you can properly anticipate the print color, even if your monitor is accurate.
As far as Photo Paint goes - I don't know much about it, and I'm not sure what its color management capabilities are. If you do a lot of image editing with this program, it needs to have the proper color management policies in place. You may consider moving to Photoshop eventually, if you plan to do a lot of photo adjustments and manipulation, because it is very compatible with InDesign. Even so - it is not necessary to convert images to CMYK in either of these applications. It is much easier to let InDesign handle the conversions when you output the PDF.

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

Printing with HP B9180 and Photoshop Elements 8 and Color Management

I've got a bit of confusion about certain settings in the printing process and I've posted a rather long discussion of my 'issues' and confusion. I hope someone can give me some guidance here. I've seen a lot of these issues addressed in many places but I can't seem to find an integrated response. Thanks to anyone who takes the time to read and respond.
Color Management Questions
My problems started when I was getting pictures that were too dark from my HP 9180 printer after having gotten very nice prints for a long time. I had obviously started to do something differently inadvertently. The only thing I think that is different is that I got a new 23 inch monitor, which does produce much brighter on-screen images. So, I started to do some research and know just enough about color management to be slightly confused and have some questions that I hope someone can give me some help with.
Equipment Background
I use both a Canon 20D and a Canon PowerShot SD600 camera. Both have the default color space as sRGB, although the 20D can be also set as RGB.
I also use Photoshop Elements 8, where there are a variety of settings possible for printing.
My monitor is an HP S2331, whose color space is sRGB and cannot be reset to RGB (I think) except for temperature; the default is 6500K.
My printer is an HP Photosmart Pro B9180 Printer, where there are also a variety of settings possible.
I’m running XP-Pro.
Here’s Where I Get Confused
Everything I have read about color management (various web sites, forums, books, etc) says to have the image, monitor, and printer all in the same color space.
Everything I read about PSE 8 (same sources) says to set PSE 8 to ‘Always Optimize for Printing’ under Edit>Color Settings in order to get the best prints. This displays photos based on the Adobe RGB color space.
I am taking pictures in sRGB, and telling PSE 8 to process them in RGB by selecting ‘Always Optimize for Printing’. Is this something I should be concerned about? Should I reset my camera for RGB?
Further, by selecting ‘Always Optimize for Printing’, I am setting PSE 8 for RGB while my monitor displays sRGB. Is this an important issue or is it also much ado about technicalities that an amateur should not worry about? It does violate the ‘keep them in the same color space’ rule.
Next, when I go to File>Print and get the Print window and then do the Page Setup and Select Printer, I then go to More Options in the lower left of the window. Under the More Options window, I select Color management and select Photoshop Elements Manages Colors. Next, there is Image Space, which is fixed and not subject to selection from a drop down menu.
I understand that this is the image space of the image I took with my camera and that information is embedded in the image. Correct?
Next, there is Printer Profile. But, from what I have read, this is where the IEC profile of the paper being printed on is supposed to be selected, isn’t it?
Shouldn’t this more appropriately be called Paper Profile, or Printing Media Profile? Further, this drop down menu appears to be somewhat erratic, sometimes showing all of the paper profiles I believe are loaded, sometimes not. It also shows listings such as Working RGB-Adobe RGB (1988), Adobe RGB 1988, Dot Gain 10%, 15%.... along with a lot of paper profiles. Aren’t those profiles unnecessary here?
I’ve used both Relative Colorimetric and Perceptual Rendering and am happy with either one.
Next, when I go to Printer Preferences, in order to “…disable color management in the printer preferences dialog”, under the Color Tab, I select Application Managed Colors from the Color management drop down menu, and also have the option of selecting ColorSmart/sRGB and Adobe RGB (1988).
Is there any time when I should use either ColorSmart/sRGB or Adobe RGB (1988)? If I were staying with my camera’s sRGB setting, given the fact that the monitor is sRGB, would the appropriate selections be ‘Printer Manages Colors’ and ‘ColorSmart/sRGB’?
Finally, under the Features Tab, I go to look for the same paper I selected under Printer Profile (Question 4 above). If it is one of the pre-loaded (by HP) profiles, it is there, but if it is a profile I downloaded, say for an Ilford paper, it isn’t listed, and I need to guess at an equivalent type of paper to select.
Is there any way to get that listing to appear under the Paper Type drop down menu?
I know that this is a long post, but it helped me to clarify my ‘issues’. Thank you for any and all suggestions, answers, guidance and help.

RIK,
Some printers have long names, esp. HP printers, and PSE gets ":confused." In control panel>devices and printers, right click on the default printer, go to printer properties, and rename the default printer to something short, e.g. "Our Printer." That may fix it..

How do I get color management options in PSE9?

I have been trying to print pictures on an HP printer and when I do they come out fairly red and pink. When I go under more options under printing and select color management the only option that I have to adjust is print space. I have a PSE9 book which shows that I should have color highlighting, image space, rendering intent as options but they do not appear. I have tried many different solutions but nothing has helped, same results. My file formats are in RAW but I also tried JPEG which ended with the same result. I was thinking of reinstalling the software but wasn't sure if I would lose all of my files.
Thanks,

TXGB Packer a écrit:
Sorry, I meant color handling. However this is the screen that I was talking about. The only option that mine shows is image space. I want to know how to get the rest of this information to show up. I believe once I get this fixed I should be able to make prints with the correct color balance.
Do you mean 'color editing or correction' rather than 'color management' ? Correcting the color balance may be done in either of the quick, guided or full mode. If so, which mode do you use ?

Confused about Color Management in CS5 (Photos appearing differently in all other programs)

I recently noticed this and it's been driving me crazy; when I view photos in Photoshop CS5 they appear significantly lighter/more washed out than when viewed in other programs like Zoombrowser, Digital Photo Professional or just in a regular Windows folder using Filmstrip mode (Windows XP). When opening the same photo in both CS5 and Zoombrowser and switching back and forth between the two windows the difference is very apparent...for example, one of the photos I compared was of a person in a black shirt -- in CS5 (lighter/washed out) the folds in the shirt were very obvious, but in Zoombrowser (darker, more contrast/saturation) the folds were nearly invisible and it looked like just solid black. Now, after messing around with the settings in both Photoshop and in Zoombrowser I've found a few ways to get the photos to look the same in the two programs; one way gives them both the lighter/more washed out appearance and another way gives them both the darker appearance with more contrast and saturation. My problem is that I'm not sure which view is accurate.
I use a NEC MultiSync LCD1990SXi monitor with SpectraView II calibration software and calibrate it every 2 weeks using these calibration settings (screenshot): http://img52.imageshack.us/img52/8826/settingsx.jpg
In the SpectraView II Software under Preferences there's an option that says "Set as Windows Color Management System Monitor Profile - Automatically selects and associates the generated ICC monitor profile with the Color Management System (CMS)." This option is checked. Also, when I open the Windows' Color Management window there's only one option displayed, which is "LCD1990SXi #######" (the ####### represents my monitor's serial number).
I assume the above settings are all correct so far, but I'm not sure about the rest.
Here are my current default Color Settings in CS5 (screenshot): http://img97.imageshack.us/img97/666/photoshopcolorsettings.jpg
Changing these settings around doesn't seem to make the photo appear much different. However, when I go to Edit -> Assign Profile, then click off of "Working RGB: sRGB IEC61966-2.1" and instead click Profile and select "LCD1990SXi ####### 2011-06-21 18-30 D65 2.20" from the drop-down menu, the picture becomes darker with more contrast and saturation and matches the picture in Zoombrowser. Also, if I select "Adobe RGB (1998)" from the drop-down menu it's very similar in terms of increased darkness and contrast but the saturation is higher than with the LCD1990SXi setting. Another way I've found to make the image equally dark with increased contrast and saturation is to go to View -> Proof Setup -> Custom and then click the drop-down menu next to "Device to Simulate" and select "LCD1990SXi ####### 2011-06-21 18-30 D65 2.20" again.
Alternatively, to make both images equally light and washed out I can go to Zoombrowser -> Tools -> Preferences and check the box next to "Color Management: Adjust colors of images using monitor profile." This makes the image in Zoombrowser appear just like it does in CS5 by default.
Like I said, I'm confused as to which setting is the accurate one (I'm new to Color Management in general so I apologize for my ignorance on the subject).
It would seem that assigning the LCD1990SXi profile in CS5 would be the correct choice in order to match the monitor calibration given the name of the profile but the "Adjust colors of images using monitor profile" option in Zoombrowser sounds like it would do the same thing as well. Also, I've read that Photoshop is a color managed software whereas Zoombrowser and Windows Picture and Fax Viewer are not which makes me think that maybe the lighter/washed out version seen in Photoshop is correct. So which version (light or dark) is the accurate one that I should use to view and edit my photos? Thanks in advance for any help or info.

Sorry for the late reply;
But before we go there or make any assumptions, it's important for
you to determine whether you're seeing consistent color in your
color-managed applications and only inconsistent color in those that are
not color-managed. For that you'll need to do a little research to see
if the applications in which you're seeing darker colors have
color-management capability (and whether it is enabled).
I opened the same picture in 7 different applications and found that the 6 of the 7 displayed the photo equally dark with equally high contrast when compared to the 7th application (CS5). The other 6 applications were Zoombrowser EX, Digital Photo Professional, Windows Picture and Fax Viewer, Quicktime PictureViewer, Microsoft Office Picture Manager and Firefox.
However, at least two of these programs offer color management preferences and, when used, display the photo (from what I can tell) exactly the same as Photoshop CS5's default settings. The two programs are two Canon programs: Zoombrowser EX and Digital Photo Professional. Here's the setting that needs to be selected in Zoombrowser in order to match up with CS5 (circled in red):
And here's the setting in Digital Photo Professional that needs to be selected in order to match up with CS5 (again, circled in red):
*Note: When the option above "Monitor Profile" is selected ("Use the OS settings") the image is displayed exactly the same as when the monitor profile is selected. It's only when sRGB is selected that it goes back to the default darker, more contrasty version.
So with the red-circled options selected, all three programs (CS5, ZB, DPP) display the images the same way; lighter and more washed out. What I'm still having trouble understanding is if that ligher, more washed out display is the accurate one or not...I've read several tutorials for all three programs which only make things more confusing. One of the tutorials says to always use sRGB if you want accurate results and *never* to use Monitor Profile and another says that, if you're using a calibrated monitor, you should always select Monitor Profile under the color management settings...so I'm still lost, unfortunately.
What I also don't understand is why, when the monitor profile is selected in CS5, the image is displayed in the dark and contrasty way that the other programs display it as by default but when the monitor profile is selected in Digitial Photo Professional it displays it in the lighter, more washed out way that CS5 displays it using CS5's default settings (sRGB). Why would selecting the monitor profile in DPP display the photo the same way as when sRGB is selected in Photoshop? And vice versa...why would selecting the monitor profile in Photoshop display the photo the same way as when sRGB is selected in DPP?
I feel like I'm missing something obvious here...which I probably am. Again, I'm very new to this stuff so pardon my ignorance on the topic.
By the way, I find that the way that the non-color managed programs (Windows Picture and Fax Viewer et al.) display the photos is more aesthetically pleasing to the eye than the duller, more washed out display that CS5 gives the photos, but ultimately what I want to see in these programs (especially PS5 where I'll be doing the editing) is the accurate representation of the actual photo itself...i.e. what it's supposed to look like and not a darker (or lighter) variant of it.
So just to reiterate my questions:
Why does selecting Monitor Profile under the color management settings in DPP give the same display results as the default sRGB profile in CS5 and vice versa? (CS5 with monitor profile selected having the same display results as DPP with the sRGB profile selected)
When using CS5 with it's default color management settings (sRGB), using DPP with the Monitor Profile selected, and using Zoombrowser EX with "Adjust color of images using monitor profile" selected this results in all three programs displaying the same lighter, washed-out images...is this lighter, more washed-out display of the images shown in these three programs the accurate one?
I noticed when opening an image in Firefox it had the same darker, contrasty look as the other non-color managed applications had. Assuming that the CS5 default settings are accurate, does this mean that if I edit a photo in CS5, save it, and upload it to the internet that other people who are viewing that image online will see it differently than how it's supposed to look (i.e. in a non-color-managed way?) If so, this would seem to indicate that they'd see a less-than-flattering version of the photo since if their browser naturally displays images as darker and more contrasty and I added more darkness and contrast to the image in CS5, they'd be seeing a version of the photo that's far too dark and probably wouldn't look very good. Is this something I have to worry about as well?
I apologize for the lengthy post; I do tend to be a bit OCD about these things...it's a habit I picked up once I realized I'd been improperly editing photos on an incorrectly calibrated monitor for years and all that time and effort had been spent editing photos in a certain way that looked good on my incorrectly calibrated monitor but looked like crap on everyone else's screen, so the length and detail of this post comes from a desire to not repeat similar mistakes by editing photos the wrong way all over again. Again, thanks in advance for all the help, it's greatly appreciated!

Color Management

Though color management is very important when using Photoshop some aspects of it though is a waste of money for me. You see I'm like 10% of the men is the world am a little colorblind. This does not mean I do not see colors I see color quite well. Perhaps my color world is a more pleasing one then yours. I only calibrate my displays using web test pages and software tools. Perfect color on a screen has little value for me. People also have different taste when it comes to color when it comes for images many prefer over saturation then true life like looking images. Even when it come to black and white images. I have even heard people criticise Ansel Adams image as not being right. Ansel of course was creating art not mer real look pictures. Most of us have see Ansel Adams's images in books and print. If you have not seen a print made by Adams's himself you have not seen what he is famous for.
Being colorblind I do color correcting more by the numbers then by trusting colors my eyes see. I may transpose numbers from time to time I can still see them and use them for fixing color problems. I also have problems understanding many articles written about fixing colors when they state you fix image by finding neutral gray areas in the image. While that is true if the image has a color cast those areas will not be gray till the image's colors are corrected. Anyway I do numbers better then color. When it comes to art colors used is up to the artiest and their vision. Still I want my images to look good for people with normal color vision they look good in my world too. Ansel did color too but BW was where his love and ART is at.
Photoshop is also a toy and can do a great job with numbers for you. Using the gradient tool and square images you can get perfect black and White and color gradients. Using these you can see how Photoshop is able to blend thing. When you add to this blend if gray with its sliders that can be split you will find you have more the a toy at hand.
Playing around with Photoshop can be very educational here is a little example.
Simple gradients created in ProPhotoRGB 16 bir color and saved for the web in PNG-24 converted to sRGB.
Now to blend them and animated gif is not going to heck it for the web. CS6 does some video and color mangement what will it do with 16bit ProPhotoRGB???
How well does this web sit embed video??? only allows some web sites
how about a link to mine http://www.mouseprints.net/old/dpr/BlendingModes.mp4

Hi craigpop1,
So we can better assist you, please let us know what operating system is on your computer (version of Windows or Mac OS X), as well as what type of paper you are planning to print on.
If this is a time-sensitive matter, additional support options are available at Contact Us.
Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

Suspected Flaw in Firefox 35 Color Management Behavior

I hope I can keep this concise, but bear with me if my confusion causes me to include some extraneous info. The info below is what I think is required for someone else to fully understand the issue.
BACKGROUND:
- NECPA271W wide gamut monitor in dual monitor setup with a standard gamut Samsung 245BW
- Windows 8.1 Pro 64-bit
- Nvidia Quadro K4000
- Latest versions of FireFox (v35 32-bit), IE11 (11.0.9600.17498 updated to 11.0.15 32-bit) & Avant (Ultimate 2015 build 7, in use for testing because it incorporates the rendering engines of 3 major browsers, IE v 11.0.9600.17496, FireFox v 34.05.5464, & Chrome v39.0.2172.95)
- i1Display Pro (not the NEC SVSensor version), SpectraView II, NEC Multiprofiler & i1 Profiler
- Both monitors are calibrated and profiled. The NEC is calibrated using SVII, but since that software only supports NEC monitors, the 245BW has to be done using i1Profiler software that comes with the i1Display Pro. SVII is only capable of generating v2 ICC profiles, i1 Profiler is capable of v2 & v4, and recommends v4. Nevertheless, I think this entire bullet point is irrelevant to the effect I'm observing.
- I've lately started selling some of my photography on a fine art website. As a result I started digging deeper into how those images are viewed by others & subsequently printed. Images optimized in sRGB for the best possible display results across a widely varied viewer base are not going to give the same results as images that are soft-proofed and optimized for specific media/printer/ink combinations. This is especially true of my images which tend to lean in the direction of being more heavily saturated & wider gamut
- I've been exhaustively over the info here COLOR MANAGEMENT PHOTOSHOP CC CS6 Basic ColorManagement Theory ICC Profiles Color Spaces Calibrated Monitor Professional… & here http://cameratico.com/tools/web-browser-color-management-test/ among many others.
I had reached a point where I thought I understood things pretty well, but now I'm not so sure again Here's the problem:
I followed the guidance and info on how to set FireFox for FULL color management (value 1 with associated monitor profile) that allows the handling of non-tagged images and web page elements, http://cameratico.com/guides/firefox-color-management/. Upon restarting Firefox with the updated configuration, I return to the test at http://cameratico.com/tools/web-browser-color-management-test/ The last two tests there are designed to show a) how much wider your display gamut is than sRGB, and b) how the browser handles untagged images and elements.
The behavior I observe is different from the behavior I expect! Specifically, setting FIrefox to color management value 1 and telling it my monitor profile causes Firefox to display the sRGB tagged images as if they were not tagged. With the default value 2/no monitor profile, I can see a difference between the display of sRGB tagged images and either the ProPhoto RGB tagged image or the untagged sRBG & untagged CSS elements. I would expect that the change to value 1 with monitor profile should have no impact on the display of tagged images and elements, and yet that switch ONLY causes a change in the display behavior of the tagged images it shouldn't have affected, and I can no longer see a difference between the various images because everything is fully saturated
A marked up screen capture showing the comparative behaviors between the various applications and browsers would probably be worth more than the proverbial 1000 words, I'm new here & haven't figured that part out yet, but will post this as is while I work on that.
Can anybody replicate the behavior I observe? Is anybody spotting an error in my thinking?
TIA
Randy
*EDIT - I have annotated a screen shot comparing the results across 4 browsers. The screenshot has an embedded Adobe RGB profile which best represents the effects & changes that I was/am seeing but may not be preserved if posted here. It may be best to download and view in CS6 so as to not introduce any additional confusion arising from which browser YOU may be using :-) If needed the full res 2560x1440 version is available, but scaling to meet the forum limits of 900x900 makes the text unreadable. Can anyone suggest a means of supplying the full res file with the embedded profile retained?

twenty_one wrote:
Firefox will use the profile for the main display. It does not support a dual monitor setup. If you move FF to the secondary display, it will still use the primary display's profile.
There is a Firefox Add-On called Profile Switcher that allows using multiple monitor profiles. You will need to setup a Firefox user profile for each monitor:
https://developer.mozilla.org/en-US/docs/Mozilla/Multiple_Firefox_Profiles
After installing Profile Switcher Add-On you will find a new entry in the FF File menu 'Open Profile Manager,' which can be used to create and manage the new user profiles (see screenshots below).
You can then setup a Firefox Sync account to keep the user profiles synchronized or do this manually using Copy & Paste. I was concerned that Firefox Sync would over-write the configuration data for the monitor profile, but it doesn't. I leave 'gfx.color_management.display_profile' blank on the user profile for the primary NEC 272W monitor, and add the path for the monitor profile on the user profile for my standard gamut secondary display. Here's what I see when launching FF:
After installing the Profile Switcher Add-On you'll see two new entries in the FF File menu that allow you to manage and launch other FF user profiles as separate browser instances.
It works fine on my Windows 7 system and should also work on Mac OS X systems and Windows 8.x.

Color management in Illustrator CS6 and InDesign CS 6-settings & workflow questions.

I've read the color management posts and the Adobe help file regarding the Pantone + libraries and the new differences between CS5 & 6. However I'm still a bit confused as to just what my settings should be, and a few posts offer different pieces of advice, so I'm looking for clarification. I don't need to work with legacy CS files, so I don't want to swap out the old Pantone libraries for the Plus ones. However I still have my old Pantone Solid, Coated and Uncoated swatchbooks and until I can afford the new Plus swatchbooks, I'll depend on those. I'm hoping the difference between Pantone 321U and Pantone+ 321 is not great.
If I'm preparing a file for print and to be placed into an InDesign CS6 document for print, I know both document color modes should be CMYK—got that. In Illustrator CS6, I'm assuming I would use a Pantone+ Uncoated swatch (remember I'm using the old Pantone Uncoated swatch book as a visual guide and praying that the difference isn't too noticeable.)
1. In the Swatch settings pallette, should I set the Spot Color option to use the first choice—use LAB values specified by the book manufacturer, or use CMYK values from the manufacturer process books.
2. In the View menu, should I select Overprint Preview to get a (more or less-I know the drill) closer monitor color to what will be printed.
I don't want to fool around with trying to set the CMYK values as listed in Pantone Color Bridge CMYK EC (found on Scribed here: http://www.scribd.com/doc/33104/Pantoner-Color-BridgeTm-Cmyk-Ec ), and I'm not even sure of the point in doing so or what it would do for me.
What I want is to depend on a swatch book, select the named swatch from the Pantone library, have all my settings set properly, then place it in InDesign, then send the file to a digital printer and get as close an approximation to the swatch book selection as possible. I need monitor color settings to reflect the swatches as best possible.
When I can afford it, should I opt for the Pantone+ Coated and Uncoated swatchbooks, or the Color Bridge? I'm usure of the difference, and if there are any Illustrator or InDesign settings that would need to be changed depending.
As a corollary to this questions, once the settings are OK in Illustrator, what do they need to be in InDesign? There are settings for Ink Manager (all spots to process or use standard LAB values for spots, the Color palette has check options for LAB, CMYK, RGB.
I'm not sure what needs to be set in InDesign to make sure colors are consistent between what is set in Illustrator and then what InDesign does.

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.

Safari's Color Management Policies

Hello, I'm a graphic designer from Germany. I've encountered that Safari can handle color management, which is indeed quite up to date. But Safari always assumes that untagged RGB image data has to be translated with the "Generic RGB"-profile (Apple's system profile, right?) instead of sRGB - the official standard color-profile in the web.
Well, that's not a problem at all if every image has a sRGB profile attached. But the only practical web file format handling ICC is the JPEG (PNG works also but is a bit difficult to use thanks to the png-internal gamma "correction" and his chunk of a sRGB-profile). As a result, I'm limited to the JPEG. But the real problem is not only Safari: Macromedia Flash data isn't color managed too, and there is NO WAY of importing images with color-profiles into a Flash movie. Additionally, no browser (except IE5 for Mac) bothers about color management.
To sum things up: Safari handels images with color profiles correctly, but untagged image data is displayed wrong (sRGB is official). IE5 for Mac DOES emulate a sRGB environment in the browser's window. IE5 displays untagged data correctly, it's using sRGB.
I'm not searching for a plug-in for Safari or anything else. The customers, to which my graphics are sold, don't bother about such a plug-in. They want to use Safari right out-of-the-box. As a graphic designer I have two choices:
First, I only use JPEGs and maybe PNGs with color profiles. Firefox for Mac won't care, but at least Safari can translate colors.
The second is, that I always use untagged data and accept that Apple users just see the web a bit lighter. Images without an ICC profile are way smaller, a good reason to abandon profiles at all (by the way, profiles in the web should be obsolete anyway, browsers just have to interpret every RGB-value as sRGB).
My question is, does Apple plan to change Safari's color management policies to a standard sRGB environment or do I really have to see Flash pages an the like a bit lighter than it is intended to be? What is the best way to handle my images? Attach profiles or leave it untagged, so that Windows users (sRGB) will see it correctly and Mac users a bit lighter?
Thanks for any answers that will come! Greetings, Peter.
iMac 17" Intel Mac OS X (10.4.6)

Welcome to Apple Discussions
Good questions about rendering color on the web. Not being technically savvy when it comes to this type of thing, I'll leave the technical questions for others more versed in web design.
Suggestions to Apple for future versions of their OS and software can be made here.
iMac G5 Rev C 20" 2.5gb RAM 250 gb HD/iBook G4 1.33 ghz 1.5gb RAM 40 gb HD Mac OS X (10.4.6) LaCie 160gb d2 HD Canon i960 printer

Color Management Trouble! HP, Lion, CS5 ***!

Hey there,
I've spent the last 6 hours on and off the phone with HP tech support, which is blaming Mac OS Lion and Adobe Creative Suite 5 for the crappy color management that I'm getting out of a new HP Laserjet CP5225.
Can anyone give me some tips to improve my color output?
I can print the same color to a Canon Pixma Pro, a small cheap Epson RGB printer, and an HP Indigo Digital Press, but it comes out too dark and lacking yellow in the mix via printing on the mac.
I have had more problems with color management in my Macs than I had in 15 years of owning PCs. I figure that the solution is probably more complex, with the driver, the Color Sync "utility," and Adobe all getting in the mix to screw up the reliable output of color.
Any tips would be very much appreciated.
HP suggests that I give up the idea of being able to print in CMYK and just try to convert and print everything using an RGB color profile.
I have been writing down settings, changing one at a time, and printing a sample... and so forth... since 3:30 p.m. this afternoon -- and no luck... Good color seems impossible to achieve.
Should I just send back the printer tomorrow and give up now? I just went through a terrible experience with a Konica Minolta Grafx, so maybe I should cut my losses quick on this one.
Any help or suggestions would be terrific.

Hey there,
I've spent the last 6 hours on and off the phone with HP tech support, which is blaming Mac OS Lion and Adobe Creative Suite 5 for the crappy color management that I'm getting out of a new HP Laserjet CP5225.
Can anyone give me some tips to improve my color output?
I can print the same color to a Canon Pixma Pro, a small cheap Epson RGB printer, and an HP Indigo Digital Press, but it comes out too dark and lacking yellow in the mix via printing on the mac.
I have had more problems with color management in my Macs than I had in 15 years of owning PCs. I figure that the solution is probably more complex, with the driver, the Color Sync "utility," and Adobe all getting in the mix to screw up the reliable output of color.
Any tips would be very much appreciated.
HP suggests that I give up the idea of being able to print in CMYK and just try to convert and print everything using an RGB color profile.
I have been writing down settings, changing one at a time, and printing a sample... and so forth... since 3:30 p.m. this afternoon -- and no luck... Good color seems impossible to achieve.
Should I just send back the printer tomorrow and give up now? I just went through a terrible experience with a Konica Minolta Grafx, so maybe I should cut my losses quick on this one.
Any help or suggestions would be terrific.

Vista 64 bit and CS4 and color management

This is a question about Vista 64 bit and CS4 and color management. I scan 4x5 film and sometimes end up with up to or even bigger than 1 GB files. Obviously that needs as much memory as possible. Windows XP is limited in this regard and I am in the market for a new speedy computer which won't force me to stay at a snail's pace. In this month's Shutterbug, David Brooks in his Q&A column says to avoid Vista for color management reasons, but offers no explanation or support for his opinion. He implies one should wait for Windows 7 for some unstated reason. With a calibrated monitor and printer and Photoshop controlling color files sent to the printer, why would Vista be any different or worse than XP? Is he on to something or just pontificating? Does anyone know any reliable info about Windows 7 that would make it worth waiting for?
Thanks.

Zeno Bokor wrote:
Photoshop has direct access to max 3.2gb
On Mac OS X, PS CS4 can use up to 8 GB of RAM, but only directly accesses up to 3.5 GB. (Figures quoted from kb404440.) In using PS CS4 on Mac OS, though, direct Memory Usage maxes out at 3 GB even. If you set usage to 100% (3 GB), then plug-ins (including Camera Raw and filters), as well as actions and scripts, can access RAM above that 3 GB to between about 512 MB and about 768 MB total (seems to vary depending on which filters et al that you are using), leaving the rest up to 4 GB for the Mac OS. If you have more than 4 GB, then the amount of RAM above 4 GB is used by PS as a scratch disk. This increases performance significantly for most things because writing to and reading from the hard drive is much slower than doing so with RAM.
I haven't done the testing for actual RAM usage and such for PS CS4 on Vista 64, and Adobe's documentation is very much lacking in detail, but, based on the statement "If you use files large enough to need more than 4 GB of RAM, and you have enough RAM, all the processing you perform on your large images can be done in RAM, instead of swapping out to the hard disk." from kb404439, it seems that PS would be using RAM in very much the same way as I described above for Mac OS, except that the scratch disk usage in RAM wouldn't be limited to 8 GB (instead to how much you have installed). Has anyone done any performance/load testing to know for sure? I didn't see any such studies published, but I am curious if one has been done.
I will agree that there is a definite performance advantage when using PS CS4 (64-bit) on Vista 64, which I've experienced, especially when working very large compositions.
My initial recommendation to the OP to use Mac was based upon reading those articles about bad color management. As I stated before, I have never experienced that problem, and clearly the views of all that have posted here so far indicate that the problem may not be a real issue. (Perhaps this David Brooks fellow and Steve Upton both like to mess with their computers and broke something in Windows?)

How do I turn off color management in my Epson Stylus Photo R1900

How do I turn off color management in my Epson Stylus Photo R1900 printer? I am using the laetest Epson driver, I am using Adobe Photoshop CS5 and I'm using OSX 10.5.8.
Thanks
Joe

I have researched the matter a lot and I,
along with many others, still have problems with this complicated
subject.
Color management is as simple in theory as Honoring a Source Profile and CONVERTING it to a Target Profile (monitor or printer) for Proofing.
But yes, we work at the mercy of the rocket scientists who try to dumb an extremely complicated process down so regular folks (like me) can make it work — trouble is I think their approach needs a bit more distilling and common sense sometimes...but it is very doable once you put in the time to figure it out, just follow the CHAIN in your workflow if you're still having problems.
If you want a "simple button" try staying in sRGB and printing out of Apple Preview app using OEM standard papers matched to your printer and OEM ink set.

Exporting h.264 and color managment

I'm wondering what everyone that owns the production suite does with color management.
If you open Adobe Bridge....what are you color management settings? The reason I'm asking is that I've got two 2408WFP monitors and I'm using CS3. Everything looks great in Premiere CS3, but when export to h.264 I get horrible contrast results. It really looks over exposed. I've checked my Adobe Media Encoder settings and I'm exporting at 100% with 20,000kbps and it still looks like garbage.
When I play the same footage on a iMac....it looks under exposed to the point I can barely see it.
If this is a monitor calibration issue, how do you recommend I calibrate? What do you use and what are your settings? Also, does anyone else here use a 2408WFP monitor?
Much thanks!

It has to do with default Gamma settings. Mac are 1.8,(until Snow Leopard, which is now 2.2) PC is 2.2
PC's look a little brighter, more washed out compared to MAC. You should get a monitor calibration image from the net, and adjust your monitor.
Here is a link that might help...
http://www.gballard.net/photoshop/osx_22_gamma.html

IPhoto 6 & Photoshop Elements color management

Hi All - I have recently purchased and installed both iPhoto6 and P.S. Elements 3.0 so both are new to me. I'm trying to co-ordinate the color between iPhoto, PS Elements, the camera and printing. Forget printing for now. At this point I just want the pic in iPhoto (which is over saturated) and the pic opened in P.S. Elements to look the similiar color. Actually the one in P.S. Elements seems truer than iPhoto. It is not a calibration issue as the photo viewed in preview/email etc. is good.
Having read much in the forum I have tried the following and am totally frustrated - no sense fine tuning color/saturation etc. in P.S. elements only to save back into iPhoto and have it look totally different.
So, I have 1. turned off embed color in Image Capture prior to importing.
2. Turned off Add Color Sync Profile in iPhoto
3. Used no color management in P.S. Elements
4. Used embed color sync profile Camera RGC prior to import
5. Used embed color sync profile iMac prior to import.
6. Tried P.S. elements with limited color mgmt as well as full
color mgmt.
AND every combination of the above and still can't get the pic in iPhoto and P.S. Elements close to same color, saturation etc.
Any help would be greatly appreciated

Hello All:
I too am experiencing the same exact thing with color shifts, saturation issues, etc. I have done a couple of things to minimize this (Unfortunately it has not totally gone away). First, I import my images with image capture without a colorsync profile added. Second, I am more careful with my camera's WB settings. With my Canon Rebel, if I have it to a cloudy setting, it automatically applies a red cast to the image in attempt to 'warm' the image. If I use the sunny setting, the problem is minimized, but not solved.
One theory I have with all of this is that perhaps Apple had introduced this color shift in order to enhance direct printing through iPhoto. In the past, I have ordered prints through iPhoto (which I believe goes to Kodak's gallery) and they were simply dull. Is it possible that these color profiles are an attempt to optimize printing with Kodak's equipment?? Just a hunch.
I hope Apple comes up with a solution fast, as iPhoto for me is just a storage tank. The whole reason why I upgraded to '06 was iPhoto's new features, which are pretty much useless.
Dan

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