Proof colors in Lightroom 2.1?

Hi,
While delighted by being able to print from Lightroom 2.1, I can't seem to find where one can soft-proof the image with a printer profile. Am I missing something? I can't believe this functionality is not included...
Thanks,
Juan Dent

No, the functionality is not included. Many people (of which I am one) have asked for it. I am sure it will be here in an upcoming version but nobody outside of Adobe knows a timeframe.

Similar Messages

Why don't color values change when using proof colors?

Hi,
i am very interested in obtaining exact replicas of the image in screen (in ProPhoto) and the image printed (using a suitable printer profile). However when I select Proof Colors from the view menu, the appearance changes but the RGBV or Lab colors remain the same. This is counter intuitive and goes against the well known recomendation to do color correcting using numbers instead of your eyes.
What's happening? Is there a way to accomplish what I want?
Thanks,
Juan

Juan,
please let me tell you my opinion, based on working with i1Pro, ProfileMaker and a couple
of printers and monitors:
a) one doesn't calibrate a monitor for a better match of monitor view and print result.
The monitor has to be calibrated for preferred settings, here for 100cd/m² and 6500K.
In my case, calibrated in an almost dark room in order to avoid any flare, the minimal
luminance is about 0.3cd/m², which results in a contrast of about 300. With some ambient
light the actual contrast is probably not as large.
b) one doesnt calibrate a printer with respect to a monitor. The printer is calibrated by
printing a target and measuring this, followed by profile generation. As a result, a printer
can print color patches with certain Lab values with a measurable accuracy, without any
reference to a monitor. By the way: calibration takes the paper color into account, there-
for one needs for each paper a new profile (as well for different printing modes or diffferent
black inks and so on).
What is to do?
You have already i1 Profiler. Each version can profile monitors, but you need a version
which can profile printers as well. In this German doc means Drucker=printer:
http://www.pdfmarkt.de/index_de,marktcm,15,528,,49.php
It looks as you have a version which can calibrate printers in RGB mode (perhaps i1 Basic Pro2 ).
Then follow the procedures in these docs, mainly the third:
http://www.northlight-images.co.uk/reviews/profiling/i1_profiler_overview.html
http://www.northlight-images.co.uk/reviews/profiling/i1_profiler_monitor.html
http://www.northlight-images.co.uk/reviews/profiling/i1_profiler_rgb_print.html
What means RGB mode? Epson printers, for instance my model 7890, can be calibrated in
RGB mode or in CMYK mode. Of course. the printer prints finally by CMYK inks, but the
targets are defined either by RGB values or by CMYK values.
RGB mode is preferred by photographers (RGB images), CMYK mode accepts as well CMYK
data as generated in PostScript workflows and is used for proofing offset-print-ready PDFs.
An example: technical graphics may contain one or two inks in order to avoid registration
errors. Sending these data to an 'RGB-printer' would result in printing by all inks.
I'm calibrating in CMYK mode. The profile interpretation by Profile Inspector shows CMYK
as device space. Available profiles by others (for common papers) show RGB as device space.
Profile connection space is in either case CIELab.
How are the viewing conditions?
Probably not by viewing monitor and print side by side. The monitor has 6500K, prints are
to be inspected under 5000K. Thus, a simultaneous adaptation is impossible.
Also, it would be wrong, because the rendering is mostly not Absolute Colorimetric.
For the critical inspection of prints the illuminance should be very bright, 2000lx (lux),
according to ISO. 100cd/m² is roughly equivalent to 300lx (3-hundred).
As a result, one cannot expect a match, but an impression: looks right on the monitor, looks
right on the print. And an offset printing press can be adjusted by matching a proof print.
Best regards --Gernot Hoffmann

How differs soft proofing in View - Proof Colors and Save for Web - Preview?

Hi, I'm currently confused with one inconsistency. My working space is Adobe RGB and I use calibrated monitor. After I finish my work on image I go to View -> Proof Colors -> Internet Standard RGB. Image looks terribly with the overall violet/purple hue. Then I open Save for Web dialogue, I check Convert to RGB and from Preview options I select again Internet Standard RGB. Now the previewed image looks as expected. The same results I get if I manually convert image to sRGB before soft proofing and saving for web. So... what's the difference between preview in Proof Colours and in Save for Web? Thank you for your opinions.

Hi 21, thank you for your input. All what you say makes perfect sense, it is exactly how it should work and how I expected it works. My problem was, that while testing this theory in practice, I have come to different results. I expected, that if I stick to the theory (meaning keeping in mind all rules you perfectly described) I should get the same result in both soft proof and save for web preview. But... it was not the case. Save for web preview offered expected results while soft proof was completely out of any assumptions and colours were totally over-saturated with violet/purple hue. Also, Edit -> Assign Profile -> sRGB gave another result then Soft Proof -> Custom -> assign sRGB (preserve numbers), but the same as save for web preview. What troubled me was why this is so.
Today I've made tests on hardware calibrated monitor and... everything works exactly as you describe and as I expected.
Then I went back to another monitor which is software calibrated (both monitors are calibrated with X-Rite i1 Display Pro). And again... I received strange results described above. So I did the last thing I thought and disabled colour calibration on that monitor. And suddenly... both soft proof and save for web preview gave the same result.
Probable conclusion: soft proof and save for web preview (together with Edit -> Assign Profile) are programmed to use different algorithm which is evident on standard gamut monitors with software calibration. Question can be closed.
Gene and 21, thank you for your effort.

Selective Coloring in Lightroom 4

I just got Lightroom 4 last night. When I was in college, I used Illustrator and, we learned how to do selective coloring. I have no clue what I'm doing in lightroom 4 to do this. The set up is way more intricate than I anticipated. I've searched for videos online and, they are all for older versions of Lightroom and do not work. Could someone PLEASE tell me step by step how to use selective coloring in Lightroom 4??

It works, but you need to desaturate with the adjustment brush.
Use a huge brush and desaturate the entire image.
Then use a small brush and hold alt to delete your mask where you want the color back.
When you globally desaturate, you can't get the original color back, you can only color with the colored brushes.

Change Default Soft Proof Color – Illustrator CS5.1

Short Question:
How to change the default soft color proof setting in Illustrator CS5.1?
Backstory:
Every time a document is opened in Illustrator CS5.1, it defaults to Working CMYK soft color proof. For those that work in web, the default soft proof color space of CMYK results in dull colors. This means that every time a new document is opened, the soft color proof settings need to be changed manually. There's got to be a way to change the default soft color proof settings in Illustrator? I know it's possible in Photoshop already.
Many Thanks!

You could try if either a custom Workspace or Document profile does the trick:
http://blogs.adobe.com/infiniteresolution/2009/05/startup_profiles_a_great_tool.html

CS4 - Match Print Colors vs Soft Proof (Proof Colors)

Using a custom printer profile, when I check Match Print Colors in the Print dialog box, the preview closely matches the print. However, the image in the CS4 workspace (with Proof Colors checked) looks like the print preview with Match Print Colors unchecked. The main difference is that the Proof Colors image is brighter than the print preview or actual print. I have the same profile selected in each case. How can I get the Proof Colors view to match the Print dialog preview which more accurately matches the print? I've carefully checked all settings.

To get the best soft proof for print you have to have two accurate color profiles in place.
A monitor profile which would be generated by a hardware or software calibrator during a monitor calibration—if you calibrated your monitor to something like 2.0 gamma and a 5500 K white point, a coresponding monitor profile would be generated for the OS so that the CS applications know what your monitor conditions are.
You also need an accurate press profile, which is usually assigned to a document on creation (Edit>Assign Profiles). The default is US Web Coated SWOP, which creates a lighter soft proof than US Sheetfed Coated.
If either or both profiles are off the softproof (View>Overprint Preview if your layout has RGB color) will be less accurate. So for exmple, if your monitor's gamma is 2.2, but the monitor profile has it as 1.8, and your press profile is US SWOP but the press is printing closer to US Sheetfed, you would get a soft proof that's too light.

Is there a way to turn on Proof Colors and Overprint Preview by default?

I prepare graphics mostly for print, so I like to turn on the Proof Colors view and Overprint Preview views. It's a pain to turn these on for each document. Is there a way to make these the default viewing settings in Illustrator CS6?
I tried creating an action to do it, but the Insert Menu Item command in actions causes Illustrator to crash every time, and the help file seems to say that View commands are unavailable to actions. So I'm not sure if that's a bug. Oddly, Photoshop has the very useful File> Scripts> Script Event Manager that let's me turn on Proof Colors (via an action) whenever a document is opened. It works very well. However, Illustrator does not appear to have these options. I found the View> New View options in Illustrator. They let me create a view that turns on Overprint Preview, but absolutely refuse to turn on Proof Colors. So it's the same number of clicks and pointless. Sheesh!
Thanks!
Illustrator CS6, v. 16.0.3 64-bit, Windows 7 Ultimate 64-bit

Not sure about Proof Colours but you can select Overprint Preview in the New Document dialogue.
Preview Mode > Overprint.

Weird colors in Lightroom

Hi,
I'm having trouble with colors in Lightroom. I believe it's NOT the same problem described here:
http://www.adobeforums.com/webx/.59b4be1e
but I could be wrong of course...
Here goes. I shoot in jpg and use sRGB in my camera (Canon 30D). I run XP and my monitor is (sort of) calibrated with Adobe Gamma. When I open my pics in LR 2.1 or PS CS 2 they look pretty much the same. When I edit pics that need only minor adjustments in lighting LR works fine. However, when I edit pics that need a lot of adjustments in lighting I get much better results in PS. Let me show you what I mean. Here's a pic of a singer with very bad stage light.
http://mensenfotograaf.tripod.com/LR_vs_PS.html
I included 3 versions:
1/ Original
2/ Edit in PS, levels 0 - 2.00 - 255, then contrast +12. This looks decent to me.
3/ Edit in LR, exposure +1,05. Looks pretty horrible, nasty saturated red. I can't get it to look as good (or at least acceptable) as in PS. I tried saturation, curves, color correction, it just keeps looking bad. When I export to PS it looks the same as in LR, which is why I think it's a different problem then the one I linked to above.
It seems either the lighting adjustment sliders work very differently in LR, or the ProPhotoRGB behaves differently. Or maybe LR is more suited for RAW than jpg? Help much appreciated. As it is LR is pretty useless for some of my shoots.
Thanks,
Eppe Tot

@John: Wow! That is really good! Thanks! I tried color adjustment (hue, color and saturation sliders) and even camera calibration to get rid of that red cast. But never thought of such extreme values for both temp and tint. Makes sense when you think of it, more blue and green, means less red, simple rgb logic even I can understand :) Makes you wonder though why the same pic in LR needs such drastic color correction and in PS comes out much better without it (it still needs some).

Printing, Soft Proofing & Color Management in LR 1.2: Two Questions

Printing, Soft Proofing, and Color Management in LR 1.2: Two Questions
There are 2 common ways to set color management in Adobe CS2:
1. use managed by printer setting or,
2. use managed by Adobe CS2 program.
I want to ask how Color Management for Adobe LR 1.2 differs from that in CS2?
As is well known, Color Management by printer requires accurate printer profiles including specific model printer, types of ink and specific paper. It is clear that this seems to work well for LR 1.2 when using the Printer module.
Now lets consider what happens one tries to use Color Management by Adobe LR 1.2. Again, as is well known, Color Management by printer must be turned off so that only one Color Management system is used. It has been my experience that LR 1.2 cant Color Manage my images correctly. Perhaps someone with more experience can state whether this is true or what I might be doing to invalidate LR 1.2 Color Management.
Specifically, I cant use Soft Proofing to see how my images are changed on my monitor when I try to use the edit functions in LR 1.2. Martin Evening states in his text, The Adobe Photoshop Lightroom Book that it is not possible to display the results of the rendered choices (Perceptual or Relative) on the display monitor. While it is not clear in Evenings text if this applies to LR 1.2, my experience would suggest that it still applies to the 1.2 update even though the publication date of his book preceded this update.
Can someone with specific knowledge of Adobe LR 1.2 confirm that Color Management and Soft Proofing with LR 1.2 hasnt been implemented at the present.
The writer is a retired physicist with experience in laser physics and quantum optics.
Thanks,
Hersch Pilloff

Hersch,
since just like me, you're a physicist (I am just a little further from retirement ;) ) I'll explain a little further. computer screens (whether they are CRT or LCD) are based on emission (or transmission) of three colors of light in specific (but different for every screen) shades of red, green, and blue. This light stimulates the receptors in your eye which are sensitive to certain but different bands of red, green and blue as the display emits, making your brain think it sees a certain color instead of a mix of red green and blue. Printers however, produce color by modifying the reflection of the paper by absorbing light. Their color mixing operates completely differently than displays. When you throw all colors of ink on the paper, you get black (the mixing is said to be subtractive) instead of white as you get in displays (the mixing there is additive). The consequence of this is that in the absence of an infinite number of inks you cannot produce all the colors you can display on a monitor using a printer and vice versa. This can be easily seen if you compare a display's profile to a printer profile in a program such as Colorsync utility (on every mac) or
Gamut vision. Typically printers cannot reproduce a very large region in the blue but most displays on the other hand cannot make saturated yellows and cyans.
Here is a flattened XY diagram of a few color spaces and a typical printer profile to illustrate this. Most displays are close to sRGB, but some expensive ones are close to adobeRGB, making the possible difference between print and screen even worse.
So, when the conversion to the printer's profile is made from your source file (which in Lightroom is in a variant of prophotoRGB), for a lot of colors, the color management routine in the computer software has to make an approximation (the choice of perceptual and relative colorimetric determine what sort of approximation is made). Soft proofing allows you to see the result of this approximation and to correct specific problems with it.

Proofing colors in LR3, Color Management, look in sRGB

Hello,
I´m quite new to LR3 but am fimilar with color management. Using WIN7 I like the LR3 workflow, but have problems or don´t fully understand it´s CMM. I already did a search, but didn´t really find what I was looking for.
I found that LR3´s internal profile/gamut is ProPhotoRGB. That´s not generally bad since ProPhotoRGB displays all color a digital camera can reproduce. If you like to use that gamut for the complete workflow why not!?
What if I like to produce images for publishing on a web site for example or like to give these photos to people that don´t use a CMM system. I should use sRGB then, no question!
So the problem with LR3 is that it can export as sRGB, but the file converted to sRGB looks different from that what I see in LR3 on my even well calibrated EIZO CG241 display. That´s also easy to understand since the gamut is compressed/clipped after the conversion.
Best would be to force LR3 to use sRGB in the complete workflow so that I see the sRGB result even in the adjusting process. This would be like Photoshop set to a sRGB proof.
I find proofing to be very important for an professional software or workflow. Converting douzens of photos is of low use when colors are off. This happens when adjusting in ProPhotoRGB and converting to sRGB. The look is different, even when you reduce the saturation in the adjustment process. So no predictable results.
I don´t find a possibility to switch LR3 to use a different profile from ProPhotoRGB as internal profile. Has anyone tried to copy/rename the OS´s internal installed sRGB profile to ProPhotoRGB to make LR3 work with sRGB as standard profile? Does that work, I didn´t try yet. Is there another way to get the final sRGB look while editing. This all should be possible with a professional software!
Regards,
Ron.

No you cannot change the internal color space. And I don't think you need to.
What you need is soft proofing. But, unfortunately Lightroom does not have any sort of soft proofing yet. Let's hope LR4 finally gets there.

Very dull color of Lightroom exported JPEG

My exported JPEG images from Lightroom turn out to be very dull in prints. My monitor is calibrated with EYE ONE (Color Management System). Used correct color space for the printing company (either sRGB or AdobeRGB) I followed instruction about Export process. But still color is not right. Is there anything I should do to get the same color quality as I see in the Lightroom? I think images in the lightroom show much brighter than they are after print (by printing company like Costco/Blurb/Shutterfly) Thank you very much for your help!

You need to have your monitor fairly dim (80-130 lumens or so) to reproduce color. I thought eyeone actually calibrates brightness but I could be wrong. Most people have their monitors set far too bright. Next, you need to look at your pictures using a good fairly bright lamp with much higher color temperature than most desk lamps. If you are getting dull prints (as opposed to just dark) the likely culprit is the wrong colorspace or bad calibration. Some calibrators simply turn out to be broken. Do the pictures look dull too after export in another managed app such as Photoshop, preview, etc? Lastly, you have to realize that it is simply not possible to reproduce every color you can see on a good screen on paper. This can lead to lower saturation. This is the reason why soft proofing is important, which unfortunately is not yet possible in Lightroom.

How do I Print Accurate Color from Lightroom?

I just got my Epson 3880 2 weeks ago. The problem I am having is getting accurate color when printing from Lightroom. I am running a p.c. with Windows 8.1. To eliminate my monitor as the problem, I created a series of color patches in Photoshop, printed them and read them in using the X-Rite Color Munki Photo. Here is a list of thing I have done:
1) I chose Lightroom manages color, chose the appropriate icc profile in Lightroom, chose the appropriate paper in the printer dialogue box, and choose no color management in the printer dialogue box. The results are as follows:
Blue (0,0,255) prints like Black
Photoshop RGB
Color Munki Reading RGB
1
(198,198,198)
(192,197,197)
2
(255,128,255)
(214,130,207)
3
(128,255,255)
(0,196,185)
4
(128,128,128)
(132,132,132)
5
(0,0,0)
(17,16,14)
6
(0,255,255)
(0,186,177)
7
(255,0,255)
(183,78,183)
8
(255,255,198)
(239,229,186)
9
(255,255,255)
(236,241,241)
10
(255,0,0)
(205,0,64)
11
(0,255,0)
(42,179,64)
12
(0,0,255)
(0,31,71)
13
(128,128,255)
(89,146,218)
14
(128,255,128)
(73,191,121)
15
(255,128,128)
(230,102,128)
16
(255,255,0)
(248,210,0)
Printing from Lightroom – Lightroom Manages Color
2) I chose Printer manages color, chose the appropriate paper in the printer dialogue box, and choose Epson - srgb in the printer dialogue box. The results are as follows:
Grays (198,198,198) and(128,128,128) prints too dark (1 - 2 stops?)
Photoshop RGB
Color Munki Reading RGB
1
(198,198,198)
(141,147,148)
2
(255,128,255)
(228,104,194)
3
(128,255,255)
(0,195,186)
4
(128,128,128)
(60,64,63)
5
(0,0,0)
(20,20,17)
6
(0,255,255)
(0,191,186)
7
(255,0,255)
(225,92,188)
8
(255,255,198)
(245,232,140)
9
(255,255,255)
(240,243,242)
10
(255,0,0)
(214,28,50)
11
(0,255,0)
(0,173,62)
12
(0,0,255)
(0,96,193)
13
(128,128,255)
(0,114,204)
14
(128,255,128)
(0,180,80)
15
(255,128,128)
(226,60,73)
16
(255,255,0)
(250,215,0)
Printing from Lightroom – Printer Manages Color
3) I chose Printer manages color, chose the appropriate paper in the printer dialogue box, and choose Adobe in the printer dialogue box. The results are essentially the same as 2.
4) I opened the image in "Windows Photo Viewer", printed the image, chose the appropriate paper in the printer dialogue box, and choose Adobe in the printer dialogue box. The results are as follows:
All Colors look close (for a color munki photo I guess)
Photoshop RGB
Color Munki Reading RGB
1
(198,198,198)
(188,192,191)
2
(255,128,255)
(238,143,209)
3
(128,255,255)
(77,205,200)
4
(128,128,128)
(121,126,125)
5
(0,0,0)
(17,16,14)
6
(0,255,255)
(0,190,186)
7
(255,0,255)
(224,89,189)
8
(255,255,198)
(244,239,186)
9
(255,255,255)
(239,242,242)
10
(255,0,0)
(214,22,41)
11
(0,255,0)
(0,173,52)
12
(0,0,255)
(0,96,198)
13
(128,128,255)
(99,147,218)
14
(128,255,128)
(82,196,118)
15
(255,128,128)
(236,118,122)
16
(255,255,0)
(254,215,0)
Printing from Windows Photo Viewer – Printer Manages Color
Did I miss something in the Lightroom print section?
Message was edited by: David Nestico. Rather than just posing a list of numbers, I summarized what I thought was important. All data is there in case someone smarter than me can make more sense of it :)

I thought my problem could be Lightroom is in ProphotoRGB color space, and my printer is Adobe1998 color space. To test this, I changed the color space of my patches from prophoto to AdobeRGB. I checked my colors in Photoshop, and made them match the RGB number I specified. It was interesting to note that (128,128,255) had a noticeable shift to purple. the other colors shifted slightly. Now I printed the test page with Lightroom managing color and the printer managing color. Both images came out similar.
This study came about when I was printing some images, and the sky had a definite purple shift. So, I took the image into Photoshop and converted the colorspace from prophoto to Adobe. Printed the image, and the image came out much better.
So the question now is, do I need to convert each image I print in Photoshop, or am I doing something wrong in Lightroom?

Blurb books: accuracy of spot color in Lightroom 4 vs Photoshop

Within the Blub book module of Lightroom 4, if you want to have a color block or color type, you can specify that color with a color picker that displays the color you've chosen according to RGB values. When I input those exact same RGB values into Photoshop, the color looks dramatically different. Same computer, same monitor, both are Adobe products.
Why is the color showing completely differently in the two programs, and which should I trust of the best approximation of the color I'm choosing?

Do you copy RGB, HSL or Hex to Photoshop?
What's your color space in Photoshop?

How do you change a background color in Lightroom 4.4 ?

Hi ..please how can you make a background color change in Lightroom 4.4 ?@

If you are talking about the surrounding background of the photo while in Library Loupe View or in Develop, that you can select among 3 levels of gray, black or white in the Preferences / Interface settings.
If you are talking about the photo itself, you need to be a bit more specific about what you'd like to do.

Wrong print preview and printed color from Lightroom 1.3

I am running Vista Ultimate and i just installed the driver for my Canon PIXMA Pro9000.
When i try to print from Lightroom 1.3 the colors are very muted, even when i do print preview the colors are wrong in the print preview screen.
No matter what i do i cant seem to get lightroom to Print Preview AND print with the right colors.
The image on this link http://www.pbase.com/charld/image/94711330
(on the left) is what i see and get when i do a print preview and print and my monitor image is on the right.
If i use Canon DPP the colors are not that bad, its a bit dark but that was easily fixed and i can get it quite close to what i see on the screen. My monitor is not calibrated..The images were all shot in RAW and converted to DNG...Do i need to re-install Lightroom as i don't think print preview has anything to do with the printer i have attached....
Thanks

I got the solution from another forum:
http://www.lightroomforums.net/showthread.php?t=1613
1. in the Print module, clicking on the Print Settings button ...
2. Choose your media type
3. Under Print Quality choose High
4. Under Color Intensity choose Manual. In the subsequent dialogue box choose None.
5. In the Print right hand panel under Color Management choose your print media - PR1 for Photo Paper Pro, SG1 for semi-gloss &c
6. Rendering intent Perceptual.
7. Hit Print and OK.
this resolved my issue!!

Proof colors in Lightroom 2.1?

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