Proofing profiles & color management

I am just beginning to learn about color management. I've ordered a Gretag Macbeth Eye-One Display 2 calibrator (I've already done the basic calibration using OS X's built-in tool, and it's not enough). I am also considering ordering a custom printer profile for my Canon MP800 from Dry Creek Photo.
However, I have a few questions:
1. I've noticed that RAW images look quite different in PS CS2 (opened via ACR) than they do in Aperture, even though my CS2 color space is Adobe RGB 1998 (which if I understand correctly is the same space as Aperture). Is this difference simply due to the difference in Aperture and CS2's RAW conversion?
2. I've discovered the "onscreen profile" feature of Aperture. Under the RGB presets are a number of profiles for my Canon printer. When I select these profiles and view them on the screen, the images appear significantly different than they do in Aperture's normal RGB workspace. Unfortunately for me, they look much better in Aperture's RGB workspace than they do with the Canon printer profiles. Is the custom printer profile a good way to remedy this? Will the custom profile appear in the "onscreen profile" menu, and is there a way to set this as the default Aperture workspace? Are there other options?
3. What color space should I set my Rebel XT to? Adobe RGB or sRGB?
Thanks for you help,
Chris

Aperture uses it's own internal color space which should have a really large gamut. This is then converted into your monitor profile for display. The differences you see are probably just differences in the RAW converter.
The proofing will almost always look worse because printers tend to have smaller color gamuts than monitors. You can compare them using the ColorSync utility (which is pretty cool!). Aperture has no options for print proofing, unlike Photoshop.
I would love to see black point compensation in print proofing so the blacks actually look black. Here's a good description of it http://www.newsandtech.com/issues/2004/05-04/pt/05-04_blackpoint.htm
Oh, and here's a great article on rendering intents. Something that Aperture is also lacking options for http://www.creativepro.com/story/feature/12641-1.html
If you're using the RAW setting on your camera the colorspace setting is ignored since each RAW format is sort of it's own colorspace.
I've found that getting things looking right in the Aperture colorspace and then trusting the colorspace conversion functions works best. Anytime I try to adjust the proofed image to look better it always prints worse. I'd like to blame it on the lack of black point compensation, but it's probably just a lack of skill I always print on commercial Lightjet printers, so I can't speak much about inkjets.
It's really important to have a good calibrated and profiled monitor so score one for getting the hardware calibrator.
2Ghz MacBook Pro Mac OS X (10.4.5) 2GB RAM, Sony Artisan Monitor

Similar Messages

Embedding profiles, color management settings

Greetings.
I've calibrated my monitor, and either need photos to give to my customers on a photo cd, or sometimes I need prints. I've downloaded my lab's profiles.
...and that's where things get weird...
My monitor never matches what the lab prints.
I shoot in RAW, run my images through Phase One's 'Capture One' Pro 3.79. In there, there are some color management choices.
There is...
1) Camera Product, which I've set to Nikon D200
2) Camera Profile, which I've also set to Nikon D200
3) Output destination, which I've set to sRGB (I have no need to use RGB)
4) Web destination, set to sRGB
5) Proof destination, which I've set to my lab's profiles that I've downloaded
6) Monitor profile. It is this one, that most concerns me. I can set this for sRGB, which is where it is now, or I can manually tell it to use the ICC profile that I set with my calibrator. This is a trick question, because I figured it'd be a slam-dunk to set it to the ICC profile. But I called X-rite calibrators, and he said not necessarily, and in fact, you probably want to leave that choice simply set to sRGB. He said to check with Capture One to see what they say, because with Photoshop you don't choose what monitor profile to use as it detects your ICC profile automatically. I will ask Capture One later, but wanted to hear from all of you as well (the guy from Capture One might give the wrong answer, so I'm hedging my bets).
Then within Photoshop CS4, there are also several choices.
1) Under Convert to Profile, since my image will be printed, I currently have the lab's profile selected.
2) Color Settings, is set to sRGB
3) Under Assign Profile, I currently have the lab's profile selected. Other choices, would be sRGB, the ICC profile, Capture One's settings, etc.
So overall, there are 9 settings x 5 choices or more choices most of the time = 45 options, if not more.
What d'yall think about what things ought to be set to? Again, sRGB is the color space I'm using.
Thanks.

"I've calibrated my monitor, and either need photos to give to my customers on a photo cd, or sometimes I need prints. I've downloaded my lab's profiles.
...and that's where things get weird... My monitor never matches what the lab prints."
If it's your prints not matching your screen that you're worried about, there are a few places to look, but first, how are they not matching - color, contrast, overall luminance or brightness, or something more specific? How did you calibrate your screen, which which device, and are you sure it was done right? What target values for color temp and luminance? What is your ambient light like in your editing space? How are you viewing the prints that don't match your screen - what light source for viewing?
There's a good chance that the lab's profiles are not great as well, and do you know how well calibrated they are and how stable their chemical processes are as well.
"I shoot in RAW, run my images through Phase One's 'Capture One' Pro 3.79. In there, there are some color management choices."
That's a very very old version of CaptureOne, and while it was always color managed, I can't recommend strongly enough that you upgrade to the latest version. Better processing. Better features. Much faster. Just much better all 'round. I'm up to v6 now and it's one of the most productive tools I own, particularly for working with large shoots.

Major Bug in CS's color profiles, color management & working spaces

Hi everyone:
First of all, thanks so much for taking the time to read and answer my questions!!! I am having a having a major bug in CS3's creative suite. The problem is the following:
1. My settings are not sticking in Photoshop. Last night I selected Adobe RGB as my working space and this morning I woke up with it being Apple RGB.
2. Bridge. When I select one of the thumbnails of my edited files I see the colors and levels changing before my very eyes. My theory is that profiles are being assigned to the images as I select them.
3. Photoshop. Photoshop is assigning embedded profiles (of whatever working space is selected) into my files. I have the color management system on off so this should not be happening.
The only solutions that I came up with were to either uninstall and reinstall creative suite or upgrade to CS4. Does anyone have any other suggestions out there? I would greatly appreciate them.
All my best,
s_ke

Ok open Edit > Color Settings. Where it says "color management policies" make sure that all these are set to "preserve"
• You seem to be saying that photoshop is automatically converting images, without opening them? - this is impossible
• Document profiles are readable at the bottom of the image window and choosing 'document profile'
If something strange is happening reset your Preferences, you will not need to reinstall
It may also be that your issue is to do with monitor profiles, or something similar but its impossible to tell from your description

Dual monitors, ICC profiles, color management...problems

Problem:
An image displayed in Safari and then pulled off the web into Photoshop shifts colors noticeably. This is esp. apparent in a side-by-side comparison on the same monitor with the Safari window open next to the Photoshop file window…they look very different.
Possible clues?
When I drag an image in Photoshop from one monitor to the other it shifts color after I release the mouse. In my two-monitor setup one is a large LCD (that's the "main" one) and the other is a MacBook Pro laptop. Even though they both have ICC profiles the laptop is slightly more saturated than the LCD…and Photoshop seems to mirror this but exaggerate it. For example: I pull the same image pulled off the web into two separate Photoshop files and then I display one on each screen: the one on the laptop will be /much/ more saturated than the one on the LCD.
In the end, if I have 4 windows open of the exact same image (2 on each screen: one in Photoshop and one in Safari) I am looking at 4 differently colored images - with the Photoshop images appearing even more exaggeratedly different than anything.
Obviously I understand that the two monitors will never look identical, but Photoshop seems to be imposing some extra color management on my files that makes it impossible to use with my previously very helpful dual-monitor setup.
Specs:
- Dual monitor setup: both are calibrated using an i1Display 2 from x-rite and have their own different profiles (this is new as of this week)
- Mac OS 10.6.6 (w/all current updates)
- Photoshop CS3 10.0.1 (w/all current updates) :: Edit>Color Settings : set to North America General Purpose 2
Help?

Just read this entire thread and wanted to leave a few comments and qualifications, first a couple of FACTS for all to consider.
1) I am not "new" to color management - in fact I am quite experienced in color management at a commercial level since the days of film back when getting "accurate color" was actually difficult. At this point it should be easy if the involved software is working correctly and impossible if it is not.
2) I have the top of the line color management solution provided by one of the top players in the color management market and am using it properly as verified by their technicians.
3) I am running 10.6 on my main computers. Mac Pro, 2 27inch iMac sandy bridge quad cores, and am using mac cinema displays (new ones) on all of them.
Now the rant - I have been trying to run down this or a similar and related issue for over a year. If you happen to be experiencing the same issue as I am, which I will summarize as trying to get 2 displays to display anywhere near the same color (even identical monitors) do not bother upgrading to CS5 as I am using CS5 as well as a bunch of other tools (Aperture, LR, etc, etc) - this is BROKEN and all I can get from any of the vendors involved is finger pointing from one to the other. Each of them wants to blame the other vendor for not doing something correctly but NONE of them can actually give me any details as to what exactly is the problem.
At this point in time I am holding the color management vendor I use to create the profiles responsible - the reason that I am doing that has nothing to do with what exactly the technical problem is. It s purely because they claim that the product is compatible with OS 10.6 and they claim that their software does EXACTLY what I want = mach two monitors. Now we all know that different monitors have slightly different gamuts but at the end of the day if two identical colors fall within the gamut of both monitors they should display the same. They don't. I have worked with my color management vendor for 6 months on this, they agree that it is not working properly, they blame apple but they cannot tell me exactly what the issue is.
If a company advertises and sells a product they claim to be compatible with a particular brand and version of hardware and software and they claim that it will manage color consistency across multiple monitors (even on differing machines) then I believe they are ultimately accountable for ensuring it actually works and resolving the issue - whatever it is, if it fails to function properly.
RB

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.

Accurate proof with inaccurate monitor? [color management question]

At the risk of sounding really dumb, here goes:
I have never had a true color managed workflow despite dabbling in it and even delving into custom profiling.
I don't want to shut the windows in my upstairs office and be dependent on unnatural light sources. I'm content to design knowing that what's on my monitor is not accurate.
But I do want to be able to print my own inkjet proofs and know that what I see on paper is at least 90% accurate to what I'll get off press. And I want to try my best to provide clients with PDF proofs that come as close as possible to press. (This last bit's probably a pipe dream given that the clients don't have calibrated monitors, but perhaps Acrobat 9's new Overprint Preview default settings will help somewhat?)
Is this realistic? Everything I know about color management starts with monitor calibration and I'm reluctant to take that step for fear of working in a cave-like environment.
Would love to hear thoughts from the community.

I'm still using my Sony Artisan, and dreading the day it fails to calibrate, but I'm definitely in the minority now. Adobe Gamma is useless for LCDs, and no longer ships, but the modern hardwares solutions are all supposed to be compatible. I suspect you'll get good results with a good monitor.
As far as being worthwhile, absolutely. My office uses North light and daylight balanced fluorescent lighting, so there isn't a harsh color change through the day. Things are probably most accurate at the time of day when the calibration was last done, but they are definitely better any time than they would be without it.
Peter

Color management question on having separate profiles in one document

I have a document with images in it that have attached printer profiles with different separations, I'd like to print without further conversion of these images since they are profiled to be printed with no color management, how do I go about this?
Does Indesign see the attached profiles and ignore the document profile? Or Do I have to set a document profile with no UCR/GCR that will maintain CMYK values.
Thank you

>I'd like to print without further conversion of these images
Profiles are only useful if there needs to be additional color conversions at output or exporta conversion to a new CMYK space (new press conditions) or conversion to RGB for monitor display or an RGB proofing device.
You don't want or need additional CMYK to CMYK conversions so you don't need the embedded profiles. When the profiles are ignored, the ID document profile is assigned to the images (there's no conversion) and as long as you output with the destination as Document CMYK the image values will be output with no change.
Ignoring the profiles can potentially change the ID preview of images separated with conflicting profiles (CMYK>RGB), but it sounds like you are simply separating for different black generations so you shouldn't see a preview change.

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

ICC profile from SmugMug not showing up in LR Color Managment

I've installed the two standard ICC print profiles from the SmugMug website. One is for EZPrints and the is Bay Photo http://www.smugmug.com/help/choice-of-printing-labs
Both are installed correctly and show up in the correct Win 7 directory. However, only the BayPhoto driver is shown in the LR dialog.
Any ideas why?
Thanks

I have no idea why the EZprints one doesn't show up, but you should realize that there is little point in using them in Lightroom. The technicians at both Bay Photo and EZprints actually have told me that the icc profiles they have on their website are useless as there is no guarantee that your image will get printed on the machine the profile was made for. They have many machines and paper types and that one profile is therefore useless. Secondly, both labs color manage, which means that you can just send them sRGB or adobeRGB jpegs and as long as they are correctly tagged (which Lightroom always does) they will convert them to the correct printing profile for you. Lastly, Lightroom does not have any soft proofing without hacks, so you cannot even use the profiles for that purpose.

All my prints using: Lightroom 5, printer color management turned off, and non-generic ICC profile (e.g. Epson Premium Glossy) have magenta tint or cast

I'm using PC with: Windows 8.1, 64bit, Lightroom 5.4, Epson R3000, 6.75 (latest) driver, color management turned off in printer settings, Lightroom configured to manage color. If I use a generic ICC profile such as Epson sRGB, the prints look OK. But when I use any ICC profile dedicated to my paper and printer combination, such as Epson Premium Glossy, or one created using ColorMunki print profile, the prints all have a medium to heavy magenta tint or cast. The effect can be seen before I even print in the Epson Print Preview. Yet when I soft proof, I don't see this effect. I suspect the problem lies somewhere in the CMM process, but I can't pin it down. Any tips or suggestions are appreciated.

Thank you kindly for your insightful response. As it turns out, the answer is half correct. I've found others who'll say the same thing, that double color management will lead to a very magenta result. I believe this was certainly the case when I first started playing with the settings, Where I went wrong, is that after I corrected my settings by turning off printer manages color and letting Lightroom do the color management, is that the Epson Print Preview was still showing magenta with certain profiles. Not wanting to waste more money on paper and ink, I used the preview to gauge whether I was going to get a normal print or not. Then one day I ignored the print preview's magenta cast as a 'warning' and I went ahead printed the photo anyways. Because I used a profile that I created with ColorMunki Photo, the picture came out perfect (i.e. a very good match to what I was seeing in Lightoom on my monitor). The lesson learned is that for judging the final color correctness, the Epson Print Preview can be way off target and your best bet is to ignore it.

Is Lightroom 2.2 color managed? How to soft proof?

I was just told that LR 2.2 is not color managed and softproofing is not possible... is this true?
I also have PS CS4... What is the best way to use LR 2.2 for you image editing in a color managed workflow if you also want to Soft proof before printing when you also have PS CS4?

It is correct that LR does not have soft proofing. But you don't have to print from PS to use soft proofing.
For color images, when I've finished with Develop in LR, I then edit in PS and do the soft proofing there. I have recorded some actions (two per paper type - one for each rendering intent - relative and perceptual) which I then apply as appropriate. The actions apply two adjustment layers - a curve and a hue/sat (to do a saturation bump - not necessary for all papers). I then tweak if necessary, flatten the layers and save the result.
I then print the PS edited file in LR. In my case I also rename the file to indicate the paper and rendering intent, plus I keyword it accordingly.
It's a pain but works very well. By printing in LR you can take advantage of the built-in output sharpening, and it's generally more convenient to set up - at least for me.
I have an Epson 2880 - when printing Black and White I use Eric Chan's profiles for the 3800 ABW mode - they seem to work fine for the 2880 - at least for me - I get results that match what I see on screen. For B&W I do not need to use PS at all - I just print directly from LR - no need to soft proof.
Selby

Color managment - CS4 doesnt seem to be using the calibrated profile

This problem has been plaguing me since setting up a dual screen.
My main screen is a dell 2410. I have calibrated it with an eye1.
My test prints from 2 seperate pro labs arent the same as what I see on my screen from inside PS. BUT are perfect to how the image appears when viewed in windows. If I soft proof within PS to 'monitor RGB', it is perfect to the print (which is redder than how it is appearing in PS)
It is as if PS isnt using the right profile.
I've double checked that my main monitor is set to the calibrated profile as default in windows color management for Win7
The colour setting in PS are set to Nth american general purpose....but when I fiddle around with comparing it to the soft proofing profiles it goes back to 'custom'
I'd appreciate any thoughts
Rowena

I installed Toshiba bluetooth Stack 8.00.03 as non-TOSHIBA USB Bluetooth adapters. I paired "AND UA-767PBT-C" which is Continua compliant Blood Pressure monitor with Bluetooth manager in netbook and the device is listed as one of the connection in Bluetooth settings. But in Toshiba bluetooth settings windows, the AND device is appearing with status as "Not Connected". When I try to connect, I get message as "Connect from health care ready application.". I went to "options" - "other" - "Health Device Settings" and checked "Displays a message when data is received from the Healthcare Device".
When I get the readings from Blood Pressure monitor, no data comes on the computer's system tray or Toshiba bluetooth application. What should I do so that I can view the readings from blood pressure monitor onto the computer? In the manual it is mentioned that Toshiba bluetooth stack will display the readings on the computer.
Do we have to use any APIs to get the readings out of Toshiba's bluetooth stack?.
Any help is appreciated.

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.

Preview Color Management broken? Profile not applied?

Hi all,
I've come upon an inconsistency and wondered if anyone else is having this issue?
I profiled my Xerox Color Laser Printer. When I print out of Photoshop CS 4 my prints look great.
If I print out of Preview (Mac OS X 7.5), the colors are not correct and the In Printer color management prints match the ColorSync Color Managed with my new custom profile selected prints? I tried turning on the soft proofing, and the screen image in Preview looks amazingly like my successful Photoshop Color Managed Print, but when I print, the image appears as if the printer profile is not being applied. FYI, this profile is an ICC v2 Profile.
As I noted prints out of Photoshop are accurate and just fine.
Any help would be appreciated.
Thanks, and so long for now, TOM

Thanks for the reply Richard. I indeed tried the latest driver, 91.31. The new control panel was quite confusing. I managed to get to the performance and quality place, but there was no way to set a color profile to a specific game, so keeping the same drivers, I went back to the classic control panel. Color profiles can't seem to be applied for game profiles, as the value in the profile switches to a "0" every time I hit apply (read that some other guy on the nZone forums had the same issues). So as of now, I just use the 84.21 drivers and set the color profile manually in the taskbar.
By the way, does anyone else here set color profiles in their game profiles? If so, how's the experience?

Color management/print profile setting in LR2

I tried to set a custom print profile in the LR2 Print Module. Specifically, I picked print to JPEG and under "Color Management" I picked "Profile/Other. When I pick other, an empty pick panel pops up. I use Vista 32 and under "\Windows\system32\spool\drivers\color" there are lots of ICC profiles available. How do I point LR2 to the location where Vista stores these profiles?
Franz

franz:
>As described in my opening problem description, I would like to print to JPEG and using the new LR2 ICC profile option provided under "Color Management" / "Profile/Other" and pick an ICC profile.
I'm not sure what the solution may be. When I chose to print to a .jpg file I see four profiles show up: sRGB, Adobe RGB, and Pro Photo RGB in addition to my normal printer profile. If I chose 'Other' then I see all of the profiles in C:\Windows\System32\spool\drivers\color. If I deselect 'Include Display Profiles' then I only see those profiles associated with my default printer. I know that sRGB and Adobe RGB are installed by the disk that installed my V500 scanner drivers, but those are 'generic' files and may also have been installed by other driver software.
Note, none of the profiles in that folder were copied there by me. All 31 were installed either by a printer driver installation, monitor installation, or installation of my Epson V500 scanner.
Quite possibly some were there after I installed the system but before I installed any drivers--I can't say for sure because I never looked at that folder before installing drivers.

Proofing profiles & color management

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