PNG colour profiles - and this format for print

I know it's taboo to talk about PNG for printing.
But I can't find and I've searched the forums - there was a post made about embedding colour profiles a while ago.
I know PNG is a RGB only format, but I'm 36.8% sure I read something about embedding either RGB or ... wait for it CMYK profiles into PNG files.
If anyone can shed any light on this - and how about PNG for print - I've been against it for a long time - but it is a lossless format, it can carry 64 bit data.
I know I know - but I thought I'd ask anyway - see what people think.

You can't save a PNG with a profile out of Photoshop, but it looks like you can embed one via the image events scripts that ship with OSX (/Library/Scripts/ColorSync/embed). Unfortunately ID ignores the embedded profile and uses the document's assigned profile instead. PNGs do respond to ID's RGB profile and the RGB profile will have an effect on the CMYK separation when it happens.
Here's ProPhoto and sRGB:
From your ID document you can also assign a profile, which conflicts with the doc's profile, by selecting the png and choosing Image Color Settings.... So, you could assign AdobeRGB as your doc's profile and assign sRGB to all your pngs.

Similar Messages

Colour colour profiles and JPEG compression mismatch

In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
For example, if a JPEG image all one colour is placed in a gallery widget over a text box, and then the background colour of the textbox is set to the colour of the image by sampling the colour in the image using the colour picker, when downloaded to the iPad the colours will not match (although they appear to in iBooks Author). I presume this must be a bug with the encoding of the JPEG? Or is it a conversion issue between different colour profiles used for the solid colours in iBooks and the sRGB colours that Apple advises using for images?
I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
In short, does anyone have a clue what is going on with the colour profiles and colour matching in iBooks Author and iBooks on the iPad? They certainly display the most perplexing behaviour I have ever come across.
Giles Hudson

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

Formatting for print

I have read about using CSS for printing out your pages so
that you dont
have to create 2 copies of each page you want printed.. but i
cant find how
to actually put it to use..
I have added the necessary code to my CSS file.
I have changed the media type to media="print"
and all i keep reading is that this allows you to have the
same page
formatted for print..
But how exactly do i call the same page for print? do i add a
link to the
page saying click here to print? if so what woudl the link
actually point
to?
or by just including the right code, when the end-user choses
to click print
within there browser that knows to display the same page
using the
print.css?

"DC" <[email protected]> wrote in message
>I have read about using CSS for printing out your pages
so that you dont
>have to create 2 copies of each page you want printed..
but i cant find how
>to actually put it to use..
>
> I have added the necessary code to my CSS file.
> I have changed the media type to media="print"
>
> and all i keep reading is that this allows you to have
the same page
> formatted for print..
>
> But how exactly do i call the same page for print? do i
add a link to the
> page saying click here to print? if so what woudl the
link actually point
> to?
>
> or by just including the right code, when the end-user
choses to click
> print within there browser that knows to display the
same page using the
> print.css?
>
The browser display will always be the same, whether you have
a print CSS
option or not.
The arrangement is -
You have one style sheet for your screen layout say
"screenstyle.css" and
one for your print layout say "printstyle.css"
You ad both style sheets to your page code -
<link href="screenstyle.css" rel="stylesheet"
type="text/css" media="screen"
/>
<link href="printstyle.css" rel="stylesheet"
type="text/css" media="print"
/>
When a user views your page on their screen it is laid out
according to your
screenstyle.css style sheet.
When the user prints the page, the printed output is laid out
according to
you printsyle.css style sheet.
Hope this helps
Regards
Phill
P&M Software
www.pmsoftware.co.uk

When going on to iphoto and click on anything i get the curser turning to a spinning colour wheel and this goes on fo ages

When going on to iphoto and click on anything i get the curser turning to a spinning colour wheel and this goes on fo ages

If you want help you’ll need to give us more information. There are 9 different versions of iPhoto and they run on 8 different versions of the Operating System. The tricks and tips for dealing with issues vary depending on the version of iPhoto and the version of the OS. So to get help you need to give as much information as you can. Include things like:
- What version of iPhoto.
- What version of the Operating System.
- Details. As full a description of the problem as you can. For example, if you have a problem with exporting, then explain by describing how you are trying to export, and so on.
- History: Is this going on long? Has anything been installed or deleted? - Are there error messages?
- What steps have you tried already to solve the issue.
- Anything unusual about your set up? Or how you use iPhoto?
Anything else you can think of that might help someone understand the problem you have.

How can I make two copies of the same picture one with my watermark and one without for printing for clients?

how can I make two copies of the same picture one with my watermark and one without for printing for clients?

Export the photo twice, once with a watermark and once without a watermark.

My iPhone 4s has the latest OS update and this morning for no reason all my contacts have disappeared. Is there a fix or reason for this?

My iPhone 4s has the latest OS update and this morning for no reason all my contacts have disappeared. Is there a fix or reason for this?

After some troubleshooting, I decided to order a new battery. I replaced the battery and was then able to get it to restore, however--after I restore it and it comes time to restart the phone, it gets stuck and doesn't turn on.
Sorry, your repair ruined the iPhone.
She does not have apple care and even though she loved this device, she isn't going to buy another iPhone because of all the problems shes had with this one (it's just over a year old).
After you ruined the iPhone with DIY, Apple won't touch it anymore. You should have asked before all these had happened.
I'm an android user myself and I love rooting/flashing new ROMS, so if jailbreaking her phone or doing some kind of super-restore with 3rd party programs might help, I'm all for it-
Yeah, all Android user can think of is Jailbreaking, read this: http://support.apple.com/kb/HT3743

I have been connecting my external HD to my Mac for 2 years, no problem at all. Yesterday, I could not connect it and appeared the message: USB ports disconnect due to energy. I already checked many blogs and this site for answer. Can someone help me

I have been connecting my external HD to my Mac for 2 years, no problem at all. Yesterday, I could not connect it and appeared the message: USB ports disconnect due to energy. I already checked many blogs and this site for answer. Can someone help me? How can I fix it?

Hi, clara_from_brazi.
Thank you for visiting Apple Support Communities.
Here are some troubleshooting steps that I would recommend when experiencing this issue. Also, test connecting the external storage device to the computer with another cable as this can be the issue.
OS X Mavericks: Reset your computer’s PRAM
http://support.apple.com/kb/ph14222
Intel-based Macs: Resetting the System Management Controller (SMC)
http://support.apple.com/kb/ht3964
Apple Computers and Displays: Powering peripherals through USB
http://support.apple.com/kb/HT4049
Cheers,
Jason H.

How do you use RGB And CMKY colours in the same document for print?

I want to create a piece of work with a navy blue back ground and a font on top but don't want to change the colour just the RGB to CMKY mode so the colour looks slightly brighter sitting on top. I have seen this printed out in black and looks amazing but don't know how to create it. Could someone please help?

Sophie,
Your File>Document Color Mode (along with the Edit>Color Settings) determines how the colours are interpreted, more specifically fitting it into the colour gaumt in question. CMYK Color (Mode) had a narrower gamut of less bright colours, RGB has a wider gamut of more vivid colours.
Your Window>Color palette expresses the colours in terms of your chosen combinations of CMYK or RGB (or a few others) values, which are then interpreted by the colour mode.
This means that you can have four combinations: you may insert CMYK values in both CMYK and RGB mode, and you can insert RGB colours in both CMYK and RGB mode.
You will find that most CMYK/RGB values will change once saved, owing to the fundamental differences between the two colour modes.

Hw can I generate XY graphs directly in a vector data format for printing ie pdf

A further question re. Printing of Graphs
There are many similar questions but none where the answers are acceptably adiquite or two or three were the link was broken,
"Developer exchange forums have been moved" and a pointer to the new
site, unfort it was hard to find or guess the rest of the link.
So here is my angle on this problem;
So far I have tried;
Using property node: "App. Printing.Default Printer" to select the printer to use, then
Using Report Functions to print controls;
New Report, to generate a new report reference
Set Report Orientation
Set Report Margins
Set Report Font
Set Report Header Text
Set Report Font
Set Report Footer Text
loop for each page
Set Report Footer Text, With page number
Append Control Image to Report, several times
New Report Page
Until the end of the last page
Print Report
Dispose Report
Initially using existing XY-Graph controls from the front panel. These
are on a page of a Tab control to hide these controls while not in use
and allow them to be hidden while generating the printout.
Unfortunately when this page is hidden any graph scales set to
autoscale don't, (normally don't need to and would otherwise be a waste
of processor time), resulting in graph plots going off scale or
becoming a line along the axis.
An issue is that what is printed appears to be read from the screen, so resolution is much
lower than required for for printing, resulting in rather pixellated
printed versions. These prints will usually be emailed, so tried the
pdf995 "printer driver" but the resulting pdf file size is rather large.
Currently trying Plot-XY on a much larger picture so as to get
adequate resolution for printing, however suspect this will result in
much larger pdf files and probably cause other problems.
The preferred solution in this case will probably be to generate print
output, instead of based on raster images (ie jpg or png), but on a
vector format, maybe via postscript or directly in pdf format.
Similar graphs currently printed from Excel via pdf995
(or OpenOffice) result in files around 20 kb per page. these can be printed at any size
(at least upto 64 times) without becoming pixellated, so assume these
are vector based.
Currently a page with 4 XY Graph controls uses around 40 to 45 kb per
page but resolution is poor and overcoming that may push file size up
to 150 to 200 kb per page, and the whole job can be 50 to 100 pages.
Are there any functions to generate XY graphs directly in a vector data format preferably in pdf or via PostScript format.
Cheers
Darryl

Hi Darryl,
I was able to reproduce the issue you were seeing, in which a report generation was taking up a large amount of space per page in a PDF utility. I found; however, using my attached VI (notice that it is set to *.png) and the CutePDF utility (free download at http://www.cutepdf.com/) I was able to get a per page size of about 10 KB. Also using the png I found that the image quality seemed to be quite high.
Please try incorporating this solution into your application and see if it reduces your file sizes.
Thanks and have a good evening!
Cheers,
Jonah
Applications Engineer
National Instruments
Jonah Paul
Marketing Manager, Embedded Software
Evaluate the LabVIEW RIO Platform! - ni.com/rioeval
Attachments:
print_XY Graph.vi ‏23 KB

Help with colour profiles and wide gamut monitor

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

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

Colour profiles and my sanity!

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

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

Video and audio formats for iPad

Hey, guys.. I've tried searching this up in the forum but didn't have any luck with that..
I can't seem to upload my movies and songs into iPad... I tried converting my movie into .mov and .mp4. They can both be imported into my iTunes library but when I drag it to the iPad tab it says it cannot be copied because it cannot be played on the iPad. And some of my albums just can't be imported.
May I know the preferred format for my movies and my songs? And what could be the problem with my importing..
Thanks heaps.

Here are the spec for video and audio for the iPad:
H.264 video up to 720p, 30 frames per second, Main Profile level 3.1 with AAC-LC audio up to 160 Kbps per channel, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats; MPEG-4 video, up to 2.5 Mbps, 640 by 480 pixels, 30 frames per second, Simple Profile with AAC-LC audio up to 160 Kbps, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats; Motion JPEG (M-JPEG) up to 35 Mbps, 1280 by 720 pixels, 30 frames per second, audio in ulaw, PCM stereo audio in .avi file format

Photoshop colour profiles and Aperture

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

A colour profile is a colour profile. Photoshop is just an app that uses them - there's no such thing as a PS-specific colour profile.
Copy the profile into either ~/Library/ColorSync/Profiles (specific to that user) or /Library/ColorSync/Profiles (all users) and it should appear in the lists for screen proofing and output profiles in Aperture.
Ian

CCP colour profiles and different lenses

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

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

Export file in specified format for printing labels etc (BOnewbee question)

Hello to all,
has anyone experiences with generating a export file in special text-format to a directory???.
Is ist possible to generate this file after some action in BO?? (Printing delivery form and after that generate file for printing barcodelabel in special application???)
Sorry, but i dont have any programming experiences in BO - only in SAP R/3 with ABAP.
Thanks in advance for your replies!

There are a number of ways to do this. You could use the SDK to trap an event and then automate your barcode printing from .net. You could also use middleware (iBolt, K2, biztalk, etc) You might also write a SQL DTS job with an associated trigger to save out a text file.
I guess the answer to your question depends on how big your company is, how spread out your IT resources are and what technical resources you have to dedicate to the project.

PNG colour profiles - and this format for print

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