N86 Colour Question

Hello. I am considering purchasing an N86 in the upcoming weeks, so I'd appreciate it if somebody could help solve the following puzzle:
Here in the UK the N86 is listed as being available in two colours: black or white. The problem is that the "black" N86 looks more dark blue than black. Having searched on youtube and various other sites it is clear that there is a version of the phone that's actually black (and not blue) however I am unsure as to whether this colour is exclusive to the North American market or something to that effect. If somebody is able to clear this up I'd be thankful, as I think the black version of the phone looks far, far better.
Thanks.

the phone is available in two colors: black and white. however, the black one tends to look indigo-ish when seen in bright light, therefore it's sometimes named indigo, depending on the sites, their marketing strategies and so on. i've ordered mine (N86 indigo) thinking that maybe a better choise would've been choosing the black one, but i've found out when the shipment came that it's just a name, and a very vague tent of indigo, indeed (i've realised this because when comparing with my monitor or the speakers, i can notice a difference between their black and the phone's).
If, from time to time, I actually give a good advice, please click on the Kudos icon, I have cookies and free hats!

Similar Messages

Black to colour question

I think I have a very simple question but I can't find the answer. I have a simple black and white picture of a chicken and I want it to become (light) blue, but when I google something like 'color to black' I only get pages for turning photos into colour and that is much to complicated for this. Can someone help me with this?
http://www.supercoloring.com/wp-content/original/2009_01/chicken-and-its-egg-coloring-page .gif

First, there are two ways to interpret your question.
Which would you prefer?
These are both fairly easy to achieve. For either, do the following:
Image - Mode - RGB color.
Image - Adjust - Curves.
Then for the first case above, adjust the Black points of the Blue channel (and possibly the others) until the blue color is to your liking.
In the second case adjust the White points of the Red and Green channels.
-Noel
Edit: Corrected a small mistake in the first case Black point adjustment text.

N86 8MP Questions

Hello everyone,
I am an enthusiastic N86 8MP user and I am content with the phone. However I have a few questions if you would mind answering.
*I have recently hard-formatted my phone to make it faster. When I turned it on for the first time I noticed that the device wanted "Lock Code" after entering the PIN code. Whatever I have done through security settings I could not manage to solve the issue.(I do not want to enter the Lock Code everytime I switch on the device.)
*When I tried to restore the backup I have made a day ago I noticed that not all my Sent Messages were syncronized although the ones in the Inbox were syncronized. All of the sent messages were present in NOKIA Ovi Suite 2 and I manually dragged and dropped them into "Sent Messages" folder on the device/Through OVI GUI. However I came to the realization that all the names in the syncronized messages were reversed.(For example John Doe[expected]-Doe John[real])How can I revert the names of the recipients and senders back to name-surname?
*How can I move all the messages from internal phone memory to mass storage? I have tried once and got an error saying "Selected memory card could not be accessed. Messages will be saved on phone memory."(the message may vary I have translated it) How can I solve this issue?
*OVI sync question: How can I syncronize e-mails, multimedia, media, bookmarks, multimedia messages and short messages through OVI Internet database? What settings should I use? I did not get anything explained on OVI's website or on the manual.
*According to my observations avaible phone memory decreases over time and the phone becomes to feel sluggish(especially when switching from horizontal to vertical view or vice versa. How can I clear the phone of junk files? What kind of utilities should I use?
Thanks for reading any kind of help would be appreciated.(Size adjusted for reading comfort)
Regards

I am not sure everything I say may help since I do not hold an n86, however with the similarilty between Nokia phones, try these:
1. Go to the menu for phone security for s60v3 like the n86, I think its in Menu>Tools>Settings>Phone management>Security if I am not mistaken. Choose phone security (it may also be labeled as phone and sim security) and disable phone autolock.
2. For the reversed names, go to Contacts>Options>Settings>Name Display and change it to First Name Last Name
3. When did you do this?Immediately after restoring?turn your phone off and reboot it. try it again after 10min or so.
5. Try to do it through ovi suite.
6. If you use internet services often, the phone will accumulate web privacy data, same with PC's. However as we both know PC's have 100s of gigs of memory so it is not a problem, however on phones it is. Go to your browser and go to options>clear privacy data. You will be asked to select which privacy data to delete. The others you delete at your discretion but you MUST delete the data in the cache. I get about 30mb from that in a week. ^_^
Hope I helped. Please press the yellow kudos button if you find this helpful. Cheers. ^_^
If you find my post helpful please click the green star on the left under the avatar. Thanks.

Non-ID-related colour question

Hi,
I'm on a computer without colour-calibration and without a Pantone swatch book.
I need to choose a "yam soup meets extension cord orange" for the back cover of a book that needs to go to the printer, and I can't trust the screen or printer not to lie to me. I wonder if anyone has any suggestions?
The text is white or black on orange.
The values in the file now are C=9 M=70 Y=100 K=5. My "feeling" is that the orange needs to be a bit darker, but I worry about it going into "baby diaper brown" territory.
Any help/suggestions/opinions are very much appreciated.
(Thankfully, this will pretty much guarantee that the colour calibration software and Pantone book I've been pushing for will be ordered, finally)
Thanks in advance!

Spot or process? If spot, will it also be screened?
Either way, whatever colour we recommend, how will you check it? You need to see some reference swatch to know how it will print. The printer probably has Pantone books in solid and process. If not you can probably check one at a design studio if you know someone or at an art supply store.

Transparency and colour question

Hello - I would like to mix colour in Flash using
transparency to create something like
this
(no interactivity required):
If I create Cyan, Magenta and Yellow movie clips and change
the Alpha transparency, obviously the whole colour becomes lighter
(and the layered colours don't merge well). Is there any simple way
to do this, preferably using transparency, although I am prepared
to accept this is not possible. I have tried using masks, but I may
be overcomplicating things and am unable to get my head around what
is required. I found a movie showing that
it
is doable.
Any ideas?

Hello, you can achieve that by utilizing the blend mode in
Flash 8. If you create movie clips from the 3 items then apply a
multiply blend to each, you'll get what you're looking for. See my
example
here.

Simple colour question

Apologies for this because I know there are always lots of queries on the subject, and I thought I had it sorted in my head, but.....
I create a solid colour square in Quark of (eg) Pantone 7547U and it looks like what I would expect.
I create an identical shape in Illustrator 3 of Pantone 7457U, and on the same monitor at the same time it looks like a completely different colour.
What have I missed?
Using a Mac G5 with 10.4.11

Both are not exact representations of Pantone 7547U. To get an exact representation, find a Pantone color fan.
The difference on your screen is most probably because there is no exact calculation from any PMS color to RGB. Adobe also tweaked the calculations a bit between CS releases, so your color may even look different between Illustrator CS4 and CS5.
It should not a problem, though. If it's a process color, the CMYK values to be used are stored somewhere in the file; and if it's a spot color, it's not even necessary at all for the color on the screen to look the same (although it does help while designing).

Combo box colour question

If i want my JComboBox items to appear against a white background instead of the default grey background, do i have to use a custom renderer or can i use one of the inherited paint () methods?
If i can use paint method, what do i paint?

Try
UIManager.put( "ComboBox.background", color );
UIManager.put( "ComboBox.foreground", color );

N86 three and free sat nav

I cannot get free sat nav on my n86
When questioning three , and after they flatly denied that nokia did free sat nav,I had to direct them to the nokia site and then tell them how to investigating finally went and asked the resident expert!
He said it was all nokias fault as nokia have not released the right software to them and they did not know when this would happen,strangely enough they are still selling the telephone.
All this adds up to if you have three you cannot get free sat nave!!!!!!!!!!!!!!
If anyone from nokia reads this site in the famous word
go on go on go on

did you get this sorted out? Iv got the same problem as im on three network also but there is a way round this problem if you are still using V11.043 version (latest version three has approved back in 2009). if you can get E52 ovi map app v3.03, this works ok on my phone.
And why are three network suck cants when it comes to updating nokia software.... Saw a full 2 years on previous N73 with associated bugs that were never sorted out for three customers as they didn't approve any software updates on that either- including Nokia phone not connecting with Nokia bluetooth car kit due to no firmware updates from three, also phone freezing, white screen freezes, camera slower than a week in jail, list goes on, 3 different replacement handsets all the same. OTELO complaints got me some compo from three network due to faults caused directly by three not updating software.
Got a funny feeling this N86 is gonna be the same for software updates... NONE FOR ANY THREE CUSTOMERS, but updates for other network operators handsets.
Because im with the three network im not entitled to face recognition on my camera nor am i entitled to free ovi satnav for life nor im i entitled to any performance tweaks or improved functions....... All because I am with the three network..... YOU GET WHAT YOU PAY FOR I SUPPOSE!
Do you honestly think anyone at three is going to look over latest software release from nokia and adjust and modify it to suit a handset that they no longer sell? doubt it.
COME ON NOKIA, COME ON THREE!

"Break out" black and pms for prepress?

Help please?
I am working in Illustrator CS4, and finished a 2-sided mailer/postcard for a client in cmyk. After emailing the final PDF to the client, the client responded back to me with their print provider's request for— "native file, with black and PMS broken out".
First—the file was set up as CMYK, so I am asuming it was partly a lazy reponse/request? (not realizing it was set up as CMYK).
Second—I typically I send files to commercial print providers as a PDF (Press Quality or PDF/X:1a)—is this not sufficient for them—and why?
I appreciate any insight on this for my own edification, and I'd like to know if they asked for this beacuse they don't have certain "break out" capabilities on their end? ...OR if it's because PDF's do not provide them with editability (which I thought they did)?
Lastly, I would specifically like to know what steps I should take to prepare CMYK colors "broken out". (Step by step please?)
Thank you VERY much in advance.
Chemol

Jet,
Thanks for your feedback.
Given that this "separations request" came from the print sales rep—versus the prepress department, I am inclined to think it was "partly a lazy reponse/request (not realizing it was set up as CMYK)." ....as I stated in my initial posting. Hence, this whole discussion could be moot.
That said, I do have the Adobe Print Publishing Guide, but not much insight on file separations/what to actually look for. Also, the book does not suggest "separations" for print vendor file prep procedure—just save as PDF/X-1 or PDF/x-3.
I have tried to research this topic and I am not finding much on "real world" reasoning or situational application—ie: why some print vendors ask for it, while others do not. When is it expected, what is good practice? Are separations for PMS only? Situationally speaking—would a designer actually send a file to a printer broken down/separated by colour—translating a 2 spot colour, 2 sided card (2 pages) into 4 pages—one page per colour? Is that done in the native program ie: illustrator, or is there a SAVE feature that breaks it out for you? questions, questions......
Yes I have Acrobat Pro and have viewed it already via that method, though I am not sure what I am supposed to gain by it, it or look for specifically?
Yes, I also have a colour laser printer—I printed the separations (Host Based) instead of Composite—all 4 sheets came out in various degrees of black (similar to viewing an image via individual Channels in Photoshop). Again, not sure what I need to look for here, beyond the cool effect of an infrared appearance. ??
Yes, I stated in my original message that I was using Ilustrator CS4.
2-sided postcard:
I know not to use a "multicolour black" for text, and as I mentioned in my first response to you colour question:
1 background black (C50, M40, Y40, K100)
black text ink (K100)
There are no spot colours, and the commerical printer is a highly reputable large printing company.
Good suggestion about uploading it for evaluation, and perhaps I will look for a site like that.
Thx.

Colour Profile Question - Press PDF

Hi
I've got a quick question regarding colour profiles.
I've designed an A5 flyer for a client and I have my CS3 suite colour settings set to Adobe 1998 for RGB and Euro Coated for CMYK. The client has decided that this flyer is now to be printed on uncoated paper. So, should I be converting or assigning the working/document CMYK profile to Euro uncoated?
Also on output for press I have a PDF export setting which I use for creating press pdf's which is set to 'No Colour Conversion' and 'Don't include profiles', so in fact does the above matter at all?
I'm totally confused, any help appreciated!
Thanks

I think you are guessing correctly, they may have some control which will work ok for them at a certain level.
You could convert in ID, which will alter the appearance and that will change the output file. Or you could manually adjust the colour/saturation to taste and let the printers go through their usual process and end up with better job.
They probably 'run to density' on press, so you are taking some of their control. Most printers at least calibrate their equipment to a standard, such as Euroscale and then suggest that clients use that when preparing files. That is what I guess when a printer does not have a custom profile.
What they are saying to you is that they are calibrated and their approximate appearance is based on Euro Coated on coated stock at a particular ink density measured at the press.
Uncoated stock looks desaturated, so if you increase your saturation and reduce your Total Ink, you can control the look at their desired press density.
This is not correct colour management, but reflects real world conditions in many commercial 'jobbing' printers in my experience.

Pixma Pro 100 Colour Space Questions

Hi
I Have a few questions related to Printing from lightroom I am new to this so bare with me.
1) I have a canon 7D I shoot in Raw 12-14 bit ? and most of my processing is done within lightroom so no need to export to photoshop however if i was to would this export as a 16bit file tiff or Jpeg ? If so if I was to after post processing in photoshop then back into lightroom this would only allow me to print in tiff or jpeg is this correct as a psd file/jpeg ?.
2) As I only edit in lightroom I can print directly in CR2 Raw format 12-14bit by using the canon print studio pro plugin ? or is this exported to the translator as a 16bit file ? and then use the paper manufactures ICC profile i.e (canon paper) for best results do I lose colour print quality by printing from Raw 12-14 bit rather than 16bit tiff/jpeg.
3) By using the Paper Manufactures ICC Profiles will the original raw file 12-14bit from 7Dcamera sRGB be translated to the printer by default from lightroom or is the colour space not needed as I havent converted to 16 Bit in post processing?
3) I havent had my monitor calibrated yet but intend to do so in the future, but until then I see no point in messing around with pro mode or sRGB or Adobe RGB or Pro photoRGB.
4) If I use lightrooms canon print studio pro pluggin is the colour space automatically translated from the settings in my camera or do I need to enable this in lightroom first ?.
5) I use a Mac running yosemite 10.10 and would like to know more about ICC profiles where to find the manufactures ICC Profiles how to download and where to store can you recommend a common website for learning how to do this on a mac ?.
6) As you can see I just want to print the best images from camera to printer without to much science involved however I am willing to learn but get confused with the different workspace post production softwares menu's for best results which i would prosume until i get my monitor calibrated proffesionally would be to print from Raw with the Manufactures ICC Profiles ?.
7) Are colour space and calibration settings all about printing what you have on the screen or is it mainly for extra colour depth in the print ?.
I can self calibrate my monitor to adobe RGB and have my camera shoot on adobe RGB -calibration with software but have been told i need colour monitoring devices correct ? if I was to do this and still just used the ICC paper profiles would the prints be any better ?.
My first prints were excellent very similar to what I see on the screen anyway but I checked lightrooms settings and these are on Pro photo RGB for external editing and is this the colour space for print studio pluggin also or is it just native Raw sRGB if I change the settings it says I will lose the maxium potential colour space.
sorry for the influx of questions :-)
Thomas
Solved!
Go to Solution.

You can not set the printer to match the monitor. You must set the monitor to match the printer. But the printer is already calibrated by the factory.
First, you must not let the printer set anything. Turn off every bit off control it has. You can do this with the Canon My Printer under the Printer Settings tab. Do you know how? I will guess, yes, for now but if you don't get back to me.
Second, you need to have your photo editor (like Photoshop or Lightroom) handle all the print settings and color matching. You know how to do this? I prefer Photoshop and I use AdobeRGB color space.
And lastly, it is essential you get some settings on your monitor that somewhat matches what the printer is printing. Your printer may be doing exactly what you are telling it to do and you have no idea it is, because your monitor is so far off. If you don't do this step, you can forget the other steps. However, there are only a few things that you need to be concerned with. You don't need any fancy extra add-on to do this. No additional software or gadgets, etc. No monkeys, no spiders, nothing!
Most people set their monitors too bright.
You must get the gray-scale very close. You need to get the brightness very close and you need the contrast very close.
After you do these things you can make adjustments to your prints by just looking at your screen. Because you know the monitor and printer are on the same level. One more point, you can NOT get a printer to print every color exactly the way you see it. It isn't possible as all colors and adjustments effect all others. My goal is to get the skin tones right. That is what people notice most. Remember you are dealing with two different disciplines here. One is colored light and the other is colored dyes. They are not the same thing.
For instance, I know my Pro-100 tends to print slightly darker than what I see on the monitor (typical). So, I automatically know to set it's prints 1/2 to one stop brighter in Photoshop, in my case. It also prints with a slightly warn tone. Most of the time, with portraits especially, this if OK but sometimes it is not. In that case I adjust the "temp" setting slightly cooler in PS.
All the Canon photo printers I have ever seen have this warm/magenta cast. Canon engineers must prefer this look. It can not be changed. You need to "fix" it in post.
Make sure you have the correct ICC profiles and you are using Canon brand ink and paper until you get good with the printer. Very, very important, otherwise you don't know if the printer is doing exactly what you are telling it to or not.
Important is, use the USB connection until everything is right. You are just adding another issue when you try to set up the printing and the wireless all at the same time. Just like using Canon branded products until it is a go. Use a real printer USB cable. Not just any old USB cable. Get everything right before you explore.
Good luck.
EOS 1Ds Mk III, EOS 1D Mk IV EF 50mm f1.2 L, EF 24-70mm f2.8 L,
EF 70-200mm f2.8 L IS II, Sigma 120-300mm f2.8 EX APO
Photoshop CS6, ACR 8.7, Lightroom 5.7

C5.5 Issue with color/colour in matching question drop down list

Hi is there a way to change the colour of the letters that appear in the drop down lists for a matching question in 5.5?
I'm using white text on a grey background for my quiz slides, which is nice and easy to read, but then in the preview the letters in the drop down appear as white text on a white background. I can't see a way to change the font in the drop down back to black (as it is on my editing view), without also changing the colour of the answer text.
Is there a way to change this?
I've just tried covering the lists over with a chunk of background image - so that the user doesn't even know they're there, but the quiz slide has ordered the image behind the lists.
Failing there being a way to change the colour, is there a way to have a matching slide without a drop down list at all?
Thanks for reading
Lynn

Hi Shekhar
Thanks for the extra info - I'd tried changing the properties and using the object style manager before, but hadn't considered using them together.
This time, I followed your advice and:
I set the colour for 'Matching entries' to black in the object style manager
Then went into each column 1 entry and set the text to white
The result was white text in the column, with black in the list. Much better than before!
However, when I changed the text in column 2 to white, the list entries became white as well.
After a lot of experimentation, I've discovered that if you just select the text object and change the colour, you change all the text including the lettering and numbering of the answer - this changes the list colour.
If you change the text in the answer by highlighting it, this doesn't affect the lettering/numbering, however it still changes the drop down
To leave the drop down the right colour you need to change the answer colour by highlighting first, but, and the order is vital, you need to insert a space between the letter/number and the answer text first.
So, the end result I have is that the column 1 text is the right colour, the column 2 text is the right colour and the text in the drop down is the right colour. Unfortunately the lettering for the column 2 answers has to stay the same as the letters in the drop down list, so they don't show up brilliantly (black on a dark grey background), but it's a massive improvement on the invisible list I had before!
Thanks again!
Lynn

Colour Space / Workflow question.

Hi,
I have been seconded to take photos at an up and coming family wedding.
I will be using a Canon 300D Digital SLR, shooting in RAW, and performing post processing on a Mac using Aperture (yet to be purchased).
I have established that my print lab works in the Adobe 1998 colour space. So, please let me know if I have the this right:
As long as my screen is calibrated, and I work in and save my images as Adobe 1998, my prints should accurately resemble what was present on my screen?
Is there a preference for which format (jpg, tiff, etc.) the images should be saved in for ensuring accurate print output from a pro lab ? They charge per print for RAW conversion, so I'm looking at saving finals as TIFF as the logical alternative.
Also - can someone tell me if I should necessarily set the camera parameters to any particular colour space ? On the Canon, I have the option to set Adobe RGB, or a number of Canon pre-sets, or in fact set my own pre-sets for tone, colour saturation etc. Does this even matter if I'm shooting in RAW ?
Any other advice on how I can ensure consistency in this workflow for this and future projects ?
Sorry for all the questions, but many thanks,
Paul
MacBook Pro Mac OS X (10.4.7) 23" Cinema Display

I took your advice and sought more info from my lab.
They have provided me with a calibration image on CD
as well as a print of the same to do some side by
side comarison with my monitor. They also provided a
colour settings file for Photoshop. Armed with all of
this I seem to be getting closer to understanding the
necessary adjustments (although I temporarily
confused things by introducing my home printer into
the equation, until I realised that this thing also
has it's own colour settings).
To me, it sounds like the color settings file for Photoshop is most likely the color profile data I was talking about - does it end in .icc? What are the instructions for installation?
After you install it you can check the "Proofing Profile" dropdown in Aperture to see if you see anything like it - you'll need to restart Aperture after you install the icc profile (I think).
You can import the image from teh CD into Aperture and try using the proofing with the color profile sent to see how close it looks.
Basically the idea of the proofing and the profile is that by turning on on-screen proofng, you are taking the colors you have and seeing how the smaller range of color availaible in the printer will reflect what you have.. this gives you the ability to alter tones until the image you have better fits into the range of colors the printer can produce.
I haven't purchased Aperture yet, but I presume there
will be a way to invoke settings similar to the
colour settings in Photoshop so that what I'm seeing
in Aperture will be consistent ?
Yes, sorry for the above then which will be of little use until you get Aperture - basically there is a "Proofing Profile" dropdown and a command to enable or disable "Onscreen Proofing" (which is just like CS2's "Proof Colors").
Aperture makes use of any color profile defined in the system, so hopefully the installation instructions are for general OS X color profile installation. If it's an icc file you can install it for use with all of OS X.
Correct me if I'm wrong, but from what you're saying
it actually makes no difference what parameters I
specify in my camera if I'm shooting in RAW ? This is
good to know, as the Adobe RGB setting in the Canon
is actually quite 'washed out' - and I'd prefer to
keep it in one of the sRGB settings for my 'snaphot /
home printing' needs wheh shooting jpegs. So,
provided I export in Aperture to Adobe RGB (my lab's
preference) and work with a calibrated screen I
should be okay ?
Yes, all true. I just want to make sure to note that the choice of color profile does make a difference shooting JPG as it will affect the colors that are defined in the file (and the viewing of them in a browser), but from your comment above it seems you understood that aspect.
I calibrated my current monitor (using software only
at this stage). Does it particulary matter which
colour space I choose to start from, if I'm modifying
brightness, gamma, temperature etc. to save as a
custom profile ?
I'm not sure here what you mean by "color space you choose to start from".
Also for profiling even a cheap device like the Huey would probably be a lot better than the software profiling - I went that route at first as well but the hardware stuff is worth it.
One last, slightly dumb, question. Are "Adobe RGB
1998" and "Adobe RGB" the same thing ?
Yep, pretty much the same thing by slightly different names.

CS4 Colour Management question(s)

Ok, here goes...
My team of designers create adverts in InDesign that are to appear in either a newspaper OR a glossy magazine.
We employ an Ad Tracking system that provides a blank InDesign template for them to work from.
The Ad Tracking system knows if the advert is for newsprint or glossy and provides a template where the CMYK Working Space is either ISOnewspaper26v4 or ISO Coated v2 300% (ECI) respectively.
We only ever place CMYK images into these adverts. These images have been converted in Photoshop using the same ICC Profiles (depending on destination) as above. Profiles are not included in the images.
We then output a PDF with "No Colour Conversion" and "Don't Include Profiles" in the output settings.
We have been working this way for years but I would like to introduce an RGB workflow where we can place RGB images in InDesign and output a PDF that is not yet specifically for Newsprint or Glossy.
I don't want InDesign to convert to a profile but our Ad Tracking system can route this "generic" PDF through a system called Asura from One Vision that does the conversion to Newsprint or Glossy using the relevant output ICC Profile.
My questions...
1. Am I correct in thinking that the RGB and CMYK values of the placed images will not change in the PDF exported from InDesign?
2. How are placed images affected by the Working Space?
3. Does "Emulate Adobe InDesign 2.0 CMS Off" give a non-specific document?
I have watched both David Blatner's and Chris Murphy's titles on Colour Management on Lynda.com and thought I had a reasonable grasp of basic colour management until I came to think about changing workflow.
Any help would be greatly appeciated.
Thanks
Simon.

Thanks Rob, well explained.
Just a couple more questions if you don't mind...
How would you create an InDesign document with no profile assigned?
and
Does it matter if a document has a Glossy profile assigned and the exported PDF is then converted to Newsprint downstream? Is this just a case of the downstream conversion needing to know what profile was assigned to the document and the placed images?
Thanks again.
Simon.

Basic colour management questions

Hi,
I am a biology PhD student and I am reasonably proficient in using computers for everything except when it comes to colour management. I frequently encounter people at Uni who struggle when working on posters etc. because the colours do not print the way they looked on their monitors. I try to explain that most computer monitors are not calibrated correctly.
Anyway, I have my monitor calibrated, the area where I run into trouble is when assigning colour profiles. For example, I need to scan some photos using a flat bed scanner, and I don't know which colour profile to assign it. Should I assign it the calibrated profile that I created or will this only work on my computer. I need to be able to share these images and know that they will look the same on other computers.
I also don't understand what is meant by converting to a working space. I have an Apple PDF about Tiger colour management but it is a bit too technical for me.
Basically I was hoping someone could explain the basics to me or point me towards a good article.
One last question, the scanner I use is a very old UMAX Astra 2100U scanner that does not work in OS X. I have to boot up in Windows and scan there then go back to OS X. Am I likely to run into problems taking the picture between the two OSes?
Thank-you in advance,
Ben

Ben_ wrote:
What is the point of using profiles other than these two. For example, I know most digital cameras embed their own profile. Is there an advantage to using this over say Adobe RGB or should I always convert these images to Adobe RGB or sRGB?
Scanner & camera profiles have two main purposes AFAICT: in colour-managed environments where the original file is sent to a printer or displayed on a monitor, the profile will enable the output to be adjusted for the idiosyncracies of the imaging device; and when opening a file for editing, the device profile will (in theory at least) allow a more accurate conversion to the program’s working space.
If I was editing an image that I planned to print, why would I use Adobe RGB rather than convert the image to CMYK mode? Or is the colour mode (CMYK vs RGB) separate from the colorsync profile?
Yes, there are various CMYK profiles as well: some are for particular printers, while others (like SWOP, Standard Web Offset Printing) attempt to encapsulate typical commercial printing environments. I work in prepress, where CMYK is always the eventual destination—but a printer that uses six or more colours of ink can often represent a larger portion of the RGB gamut than a four-colour press can, for example producing more vivid blues than would be possible in CMYK.
Another issue is that CMYK images that have been optimized for prepress often look somewhat dull or ‘washed out’ on a monitor, especially one that has a high colour temperature (as is typical outside a prepress environment). If the image been tagged with an appropriate CMYK profile, the display may be able to compensate to some extent, but conversion from RGB to CMYK very frequently results in some ‘shoehorning’ of a wide range of colours into a narrower one.

N86 Colour Question

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