Separation color space - get alternate color (function of type 0)

Hello,
I'm trying to retrieve the alternate color value of a spot color which has a function of type 0. Actually I just want to retrieve the result of the function when the tint is 1.0.
How can I do that?
Thanks in advance,
Joe

Right Leonard.
The function is PDApplyFunction().
Thanks,
Joe

Similar Messages

In ALV, how do u get alternate colors in output

In ALV, how do u get alternate colors in output

For a non OO ALV...
TYPE-POOLS: slis.
DATA:   xfield    TYPE slis_t_fieldcat_alv,
gs_layout TYPE slis_layout_alv.
In your data structure you have tu put a field for the color, example:
DATA: BEGIN OF xdata OCCURS 1.
DATA:   ebeln          LIKE ekko-ebeln,
        name1          LIKE lfa1-name1,
        txz01          LIKE ekpo-txz01,
        color_line(4) TYPE c,           " <==== this is the color line
END OF xdata.
You have create a form for the layout like this:
FORM init_layout.
gs_layout-info_fieldname = 'COLOR_LINE'. "<==the name of de field of the structure
ENDFORM.
Perform the init_layout in the initialization.
Your call alv function, have to be like this:
CALL FUNCTION 'REUSE_ALV_GRID_DISPLAY'
    EXPORTING
      i_buffer_active         = 'X'
      i_callback_program      = 'YOUR_PROGRAM'
      i_callback_user_command = 'USER_COMMAND'
      is_layout                = gs_layout
      it_fieldcat              = xfield[]
    TABLES
      t_outtab                 = xdata
    EXCEPTIONS
      program_error           = 1
      OTHERS                  = 2.

PDF ERROR! ICC Based color space contains/ alternate key

Can somebody help me?
When I put in Rip (Agfa Apogee X) a pdf I receive the follow error: ICC Based color space contains/ alternate key.
I don t know where is the problem? There Is a problem with pdf? or it is a problem in my Rip? how can I solve this?

That's pretty odd, because (techncnically) an ICCBased color space must contain an Alternate key, so why complain about it? It certainly seems specific to your RIP, so I would check with Agfa what it means and whether it is a check you can turn off, or if an update is available.

Color Space Management & Final Color Output-not WYSIWYG?

I have constantly had problems with getting final output color to match what i am seeing on my monitors when color correcting. This has been a continual problem mainly with R3d footage and going to Prores...but for the sake of this discussion here is my prime example:
Start a new project in PrPro and clor from PrPro adding effects, 3 way color, 3rd party effects like Finesse and Colorista...then output the project to Tiff for master then convert from Tiff sequence to Prorest; H264 or anything else....But, when i output a prores file, and then open the prores file on its own--not brining it back into Premier...i notice a shift in colors....completely desaturated etc...this happens whehter i choose for gamma as "auto" or "none" when choosing codec settings for prores. I've had this continual problem for many years and the ONLY way i have found it to work is by using Apple's Color and then going to Prores....seems apple hardware and software work well together...but this cannot be an isolated incident with me only...AND coloring a project on your desktop and putting all that work into it and seeing it DIFFERENT at the end of the day is more than a let down...
...so maybe a discussion on properly setting a project for color work is in order...I came across another forum members website reToolednet and he had some great info on setting up the sequence timeline and video preview area that is great info...but even when i do that i cannot get a perfect match at the end of the output....Exapmples below all done in PrPro and then output to Prores 4444.
I've found info on Adobe site that does not seem current about setting project settings and color space, but no place in PrPro do i find that setting...is this only AE? OR...can we even do a proper color job within PrPr? or should that be done elsewhere?
Id like to go through the proper steps of setting workspace and color schemes for say a Prores output since that is likely 75% to 90% of everyone's deliverables in the tv realm....
Snapsot of Tiff sequence WITHIN PrPro (colored)
Final Output from PrPro to Prores--snap from actual QT prores file--(Desaturated)
When i began this project i had my sequence settings to R3d 1080p @ 29.97 and video previews to Iframe....
**NOW, i think i would have been better off to change video preview to my final output of Prores 4444...BUT, i tried that and still see a color shift.
**Note, i oriingally colored this on 5.5 with Matrox out to my color corrected monitors....and results on those monitors DO and WILL be diffrent than what you see on your computer screen....my monitors were set to rec709 and RGB at end of the line for viewing....but i see nothing within PrPro on how to set this....however at end of the day i do not get what i see on my preview monitors....

Thanks Jim....yes, i'm covered on all cc monitors and quite used ot viewing output on color calibrated...as well viewing both on the same platform/monitor....The BIG question is PrPr being able to do color work---and my question is why would it have all the color effects if it did not? But i agree with you....first place to start is can you do proper color work on PrPr AT ALL? no problem to do a quick web video...but can you properly color a for television product---I seem to think NO....i could not get colors in end to match....i can view out on PrPr view my I/O box (Matrox MXO2) and see great colors that i colored the project on to my FSI color corrected monitor....but then when i view the ProRes file back (not on PrPro)...but on it's own with its own codec engine...this is where things go awry and stray from colors i originally put on the images...
But this is a PARAMOUNT subject as Pr is offering coloring....i hate to bring this in, but in FCP i can get accurate colors on my Matrox and same when rendered out to Prores file....Again, i think Apple plays well with apple.....but as you say, there are a great number of varialbes involved in the preferences etc...within PrPr...seems to me AE may be better just by reading about it...but why not both?

What color space are the Color Lookup presets meant for?

I've noticed that if I convert the same image to multiple color spaces and apply a 3D LUT with the new Color Lookup adjustment, the result is noticeably different. From experimenting, it seems that the lookup tables operate on whatever RGB value is given to them no matter what color space. Is there a certain color space these were optimized for? For instance, would a certain color space give me a more authentic 2-strip look than another because of the space they were sampled in? And if I create my own 3D LUTs, would I have to create a separate one for each color space in order to get a consistent look in all spaces?

So do you know what color space was used to create the presets that are there, such as 2-strip and 3-strip? Even though they don't know about color spaces, the different gammas on the input cause the look to come out different in all colorspaces, so it stands to reason that whatever color space the calculations and/or sampling was done in is closest to what was intended while the others are rough approximations. For things like "warming" it doesn't matter, but for ones that simulate actual films I'm curious to know, especially since the 2-strip ones looks a little different than when you just copy the green channel into the blue and green channels as described on all the websites.

Have any tutorials to explain 3D color space scope in Color correction

Taiwan Have no Large information to learn Apple Color, then Color manual Have no to much explain for operate 3D color space scope.
Have Anyone can tutorial that operating? thanks a lot

The Color manual describes the 3D scope in the space of a cube, but I find it much easier to understand in the form of two cylindrical cones.
You can imagine the two cones being placed end-to-end, with their flat sides touching. At the tip of one cone is white, and the tip of the other is black. Where a color falls in this space between the two tips demonstrates the color's value (its brightness).
In the middle, the color is most saturated. This region (where the flat sides of the cones would touch) forms a color wheel. The hue of a color can change by rotating around the wheel.
As a color moves toward one tip or the other, closer to black or white, the color necessarily becomes less saturated. You can't have a color that's almost completely black and is also highly saturated. In this cone configuration, it becomes clear that a color loses its saturation as its value moves toward one extreme or the other.

Visual representations of color spaces

I copied these diagrams from the program called Color Space ...
Can be downloaded from here: COULEUR.ORG
I think that it draws spectral locus on xyY by just plotting matching x, y and Y values for every interval of monochromatic lights on the spectrum ... just like we draw the locus line in XYZ by plotting matching tristimulus values X, Y and Z.
Because the underlying data for the most saturated colors human can see is CIE XYZ color matching functions, I think that we can draw the line of spectral locus in every model originated from CIE XYZ by just making necessary transformations to the XYZ tristimulus values for the intended model.
3D representation of the entire human gamut is more tricky, I think. I will ask about it, after getting your confirmation about the spectrum locus.

A set of three numbers in xyY or XYZ defines a color.
How does it look? How can it be reproduced?
A good occasion to go back to the roots.
The CIE color system is essentially based on the work of Hermann Graßmann,
one of the greatest scientists in the 19th century [1].
Mostly his four laws are quoted [2], but it boils down to this [3]:
"The whole set of color stimuli constitutes a linear vector space,
named tristimulus space."
Colors behave like vectors in a three-dimensional space. A color is
characterized by three numbers. A fourth number would be redundant
(linearly dependent). A color is not characterized by just one spectrum. For
one color exists an arbitrary number of different spectra, called metamers.
The explanation of Graßmann's laws via spectra [4] is wrong.
Nobody knows what a color 'really' is. Acccording to the philosopher Kant,
we don't know what any object in the space 'really' is. We have just an
impression by our senses, eventually enhanced by instruments.
Colors are described by comparison with reference colors. For length and
weight we need references as well: the meter, the kilogramm.
Reference colors are (for instance) the three CIE primaries, spectral colors
with well defined wavelengths (it's not important, that the first experiments
were executed with a different set). Let's say R,G,B.
According to Graßmann one needs exactly three 'primaries'. This should
have ended a long dispute: three or four?, but it didn't.
Now we can use these spectral colors as base vectors of a coordinate system.
According to Kant, humans have an a-priori idea of space (without any proof),
where we can position objects. By intuition the axes are orthogonal.
Any other color can be described by a linear combination of the three primaries,
according to Graßmann exactly in a vector space. Color matching means:
find the three weights for the primaries to match a given (numerically unknown)
color.
Unfortunately, one needs for the matching of some colors negative weight factors,
which is possible by the concept of vector space, but somewhat disturbing for
real color mixing.
In RGB we can describe a new vector space by base vectors X,Y,Z, which form
a non-orthogonal coordinate system. All colors have non-negative coordinates X,Y,Z
and this construct has the funny feature, that luminance is identical with Y,
whereas the 'imaginary primaries' X and Z don't have luminance. Mathematically
this is not a problem.
The relation between the two spaces is given by a matrix Cxr and its Inverse:
X=(X,Y,Z)' (column vectors)
R=(R,G,B)'
X=Cxr R
R=Crx X =Cxr^-1 X
Conventionally we draw XYZ as a cartesian coordinate system (with orthogonal axes),
and R,G,B is the set of non-orthogonal base vectors – the arrangement has been swapped.
There is no natural law, which of the coordinate systems has to be shown as a cartesian.
XYZ is universal. Other RGB-systems with new primaries can be added, either as
working spaces like sRGB, aRGB or pRGB (ProPhotoRGB, which uses two non-physical
primaries, which doesn't surprise, because we got used to entirely non-physical primaries
X,Y,Z), or device RGB systems like monitor spaces. Each RGB system is related to XYZ
using a matrix, thus we can transform as well from one RGB-system to another.
Now it's possible to render a threedimensional visualization of a color space by appropriate
colors, for instance aRGB. But for a monitor these colors would be clipped almost at the
sRGB boundary.
Of course it's not possible to render pRGB correctly, because the blue and green primary
are outside the human gamut, and the red primary would be too dark. Therefore it's wise,
to use pRGB only for regions or real world colors.
There might be still an objection: the reference system contains only spectral colors.
How are the little saturated colors looking? This had been clarified by Graßmann: the vector
addition of any two colors is valid mathematically and by appearance.
These explanations may also help to end the dispute about the 'basic colors', especially
for painting. Many artists have invented their own system. The answer is simple: basic
colors are like primaries. Their location in the XYZ-space defines, which colors can be
created with positive weight factors or mixing ratios. By the way: one shouldn't worry here
about the difference between additive and subtractive color mixing.
One may have serious doubts, whether Graßmann's laws and the whole CIE colorimetry
is really valid, especially considering numerous optical illusions [5] and all these special
effects in color appearance, like Helmholtz-Kohlrausch and other nonlinearities.
It's perhaps surprising, that CIE colorimetry works so very well for image processing and
device calibration for monitors, printers and cameras.
Finally I would like to mention another scientist, which is not as popular as others,
probably because his work is mathematically difficult: Jozef B.Cohen [6].
His work has been continued by William Thornton, Michael Brill and James Worthey
(for a further search).
Best regards --Gernot Hoffmann
[1] Hermann Günther Graßmann (Grassmann)
http://en.wikipedia.org/wiki/Hermann_Grassmann
[2]
http://de.wikipedia.org/wiki/Gra%C3%9Fmannsche_Gesetze
[3] Claudio Oleari
http://www.slidefinder.net/o/oleari10/32197498/p3
(6th slide).
[4]
http://en.wikipedia.org/wiki/Grassmann%27s_law_%28optics%29
[5]
http://www.michaelbach.de/ot/index.html
[6]
Jozef B.Cohen
Visual Color and Color Mixture
http://books.google.de/books?id=W8QeI5di7t4C&pg=PR13&lpg=PR13&dq=cohen+color&source=bl&ots =aYGoI0I99g&sig=IJEgdJjk3yDhi-1NvTD4GdyUIXk&hl=de&sa=X&ei=614hVM_dFsrMyAPbzoDwCA&ved=0CGsQ 6AEwCA#v=onepage&q=cohen%20color&f=false

Export Color Space, etc?

I'm a couple of days into a trial of Fireworks and I got it
only for two reasons: First to be able to create navigation bars
with popup menus on some of the menu options and second, to more
easily create photo galleries for my web site. (I'm quite
comfortable with PhotoShop and creating web-optimized images.)
Anyway, I've run into a couple of things that have got me
stumped...
If I use FW CS3 to optimize a JPG image for the web (either
from directly within FW or via the Create Web Photo Album command
from within Dreamweaver CS3) the resulting images no longer have a
color space embedded. And I can't find out how to embed one. The
original JPG images were created in PS CS3 and had the sRBG color
space embedded and the colors displayed as expected in a web
browser. The resulting "optimized" images no
longer have a color space embedded and the colors appear quite off.
This might be acceptable with some vector graphics or logos but
it's not acceptable with photgraphs, especially for a photography
web site.
(It's quite well-known, at least in photography circles that
for proper display of the colors, images designed for the web
should be in sRGB with that space embedded, as that is what web
browsers are optimized for. Anything else, including not embedding
a color space results in colors that are "off".)
A related issue is that when using the Create Web Photo Album
from within DW CS3 the resulting files all have a new suffix of
"_jpg" added to the name. Meaning that my
original "name.jpg" gets named
"name_jpg.jpg". I really don't like that, and
can't find how to turn it off.
(I went to a large bookstore to buy a FW book today but they
didn't have any. And the only one they even listed on their
computer is due to be published at the end of February!)
Any help would be greatly appreciated. Thanks.
Eldor - Montreal

quote:
Originally posted by:
Newsgroup User
EldorG wrote:
> As I said, PEBCAK error. But that still leaves me
with the file name 'problem'
> I mentioned... that my images get named from
'name.jpg' to 'name_jpg.jpg'.
> This happens when I use the 'Create Web Photo Album'
from Dreamweaver CS3
> (which in turn calls FW to do the work). Should I
post that in the DW forum,
> or is it a FW thing? Thanks very much! Eldor
Don't name them in FW. Allow them to be exported with the
names they
already have.
Linda Rathgeber [PVII] *Adobe Community Expert-Fireworks*
http://www.projectseven.com
Fireworks Newsgroup:
news://forums.projectseven.com/fireworks/
CSS Newsgroup: news://forums.projectseven.com/css/
http://www.adobe.com/communities/experts/
Linda, I'm
not naming the images in FW. As a matter of fact, I never
even see a FW dialog. If I optimize an image directly from within
FW, there is no problem. But doing so from Dreamweaver (through the
Create Web Photo Album command which seems to call FW to automate
the work) causes the images to be reduntantly renamed. And I don't
see an option anywhere to change this.
As I said, I'm not sure if this is something I should be
asking in the FW forum or the DW forum. But since this option
doesn't even exist in DW until FW is installed and FW is called
from DW to do this, I really don't know where to ask.
How does that FW automation work? Is there a script file or
something somewhere that I might find and modify?
That option in DW not only optimizes a bunch of images, it
creates thumbnails as well, and writes all the stuff into HTML code
to produce a table of the images. So I can't just go to FW and
manually optimize an image.
Regards...
Eldor

How to find the Color Space name for a PDEElement

Hi
I am trying to find out the color space for each PDEElement in my PDF file. While doing this,
I put some debug statements ( cout stmts ) that print the color_space as integer values. I gave this list
after the code. I belive the color spaces should be something like CMYK, DeviceRGB,DeviceGray..etc.
How can I know the actual color space name coresponding to these numbers printed in Debug statements.
Kindly please help me..
void   ProcessElementDetails(PDEElement element)
                PDEGraphicState gfx_state;
                ASInt32 pdeType = PDEObjectGetType(reinterpret_cast<PDEObject>(element));
    ofstream outfile("E:\\temp\\test.txt",ios::app);
    outfile<<"ProcessElementDetails\n";
    if ( pdeType == kPDEText )
      outfile<<"PDE Text type\n";
      PDEText pde_text = (PDEText) element;
      ASInt32 num_run,i;
          num_run = PDETextGetNumRuns(pde_text);
      outfile<<"Number of Runs for PDEText :"<<num_run<<"\n";
      for (i = 0; i < num_run; i++)
        PDETextGetGState(pde_text,kPDETextRun,i,&gfx_state, sizeof (PDEGraphicState));
        ASAtom color_space = PDEColorSpaceGetName(gfx_state.fillColorSpec.space);
        outfile<<"Color Space :"<<color_space<<"\n";
    if (pdeType == kPDEImage )
      outfile<<"PDE Image type\n";
      PDEElementGetGState(element,&gfx_state,sizeof (PDEGraphicState));
      ASAtom color_space = PDEColorSpaceGetName(gfx_state.fillColorSpec.space);
      outfile<<"Color Space :"<<color_space<<"\n";
    if (pdeType == kPDEContainer)
      outfile<<"PDE Container type\n";
                        PDEContent content = PDEContainerGetContent(reinterpret_cast<PDEContainer>(element));
                        ASInt32 numElem = PDEContentGetNumElems(content);
                        for (ASInt32 i = 0; i < numElem; i++)
                             element = PDEContentGetElem(content, i);
                             ProcessElementDetails(element);
Debug statements with color numbers:
====================================
ProcessElementDetails
PDE Image type
Color Space :700
ProcessElementDetails
PDE Text type
Number of Runs for PDEText :63
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
ProcessElementDetails
ProcessElementDetails
PDE Text type
Number of Runs for PDEText :38
Color Space :389
Color Space :700
Color Space :390
Color Space :388
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :389
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
SeparateColorPlates
PDF file exists
Number of Pages:1
Number of Elements:5

As you may have noticed, the "numbers" you see are actually of type ASAtom -
which is a type declared in the SDK to represent reused strings. You have to
read the relevant documentation to learn how to use the SDK - there is no
way around it. The Acrobat SDK is very powerful, but also a lot more
complicated than most people expect when they start to work with it. Take
your time to learn how to use it.
In this particular case, you need to call this function to convert the
ASAtom to a string:
const char* ASAtomGetString<http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html#ASAtomGetString135%28%29>
(ASAtom<http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html#ASAtom>atm)
(from
http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html
Karl Heinz Kremer
PDF Acrobatics Without a Net
[email protected]
http://www.khkonsulting.com

How to get the color interpretation ( transparency/opacity)

Hi all,
I am trying to translate colors that may be affected by opacity & transparency into a strong color.
Input colors may be RGB, CMYK and LAB.
Right now, I am :
1) duplicating source color (because Paper/Black can't be tweaked, I need to work on a copy)
2) Setting duplicated color space to CMYK
3) creating a dummy color in CMYK
4) affect CMYK values of the duplicated color by transparency and opacity
ie : source color is Black [0,0,0,100] at 50% opacity and 50% transparent ( frame effects) => [ 0*0.5*0.5 , 0*0.5*0.5 , 0*0.5*0.5 , 100*0.5*0.5 ] = > [0 , 0, 0, 25 ];
5) setting dummy color space to source color space
6) Do my computations based on dummyColor
6) remove duplicated color
7) remove dummy color
The process is working but deltas on teh colors are a serious issue. Not big deltas but enough to corrupt the trust on the color interpretation.
SO question is : Is there any way to get a correct interpretation of a color affected by opacity/transparency settings ?
Do you have any link towars an understandable paper about how lab/rgb and CMYK colors are affected by opacity/transparency ?
Thanks in advance,
best,
Loic

@Loic – nothing much to offer here from my side. Just a source by Adobe which is very likely outdated, but you can look for hints doing research on the theme:
"Transparency in PDF, Adobe Developer Technologies, Technical Note #5407" from 30 May 2000 at:
http://www.planetpdf.com/mainpage.asp?webpageid=837
Especially chapters:
3 Color Compositing Computations
4 Shape and Opacity Computations
5 Groups
6 Soft Masks
7 Color Space and Color Rendering Issues
should get you going. At least a bit. See for yourself…
Uwe

Alternate color of tabular forms table

hi all,
how can i get alternate color of tabular form records, is there any possibility if oracle forms of this??
Thanx
Hina

Hello,
<p>You can use a Visual Attribute in conjunction with the Set_Item_Instance_Property() built-in. Change the color of the record's item when the record number is even. Get the record number with Get_Block_Property( :system.cursor_block, CURRENT_RECORD).<br>In this article you will se how to colorize a whole record.</p>
Francois

When to use ProPhoto RGB color space?

I've read articles recommending to use ProPhoto RGB color space because the color gamut is greater. At the same time, I've had to convert some images I created using ProPhoto RGB templates to sRGB so they will display with the right colors in applications that don't support it. I'm wondering (just curious) when it is appropriate to use this color space. Is it only for professional graphic image designers and photographers who send their images to a professional printer?

in addition to what ssprengel said and some of it may be in other words:
There are several standard profiles listed in a separate section in the menus displaying color profiles when you use Assign Profile, Convert to Profile, and when you choose Working Spaces in the Color Settings. These profiles are so called 'well behaved' or 'editing' color spaces. They are device independent and created synthetically for editing purposes - in these color spaces R=G=B is perfectly neutral gray which makes the numbers of color values make sense when editing images referring to the numbers, histograms, curves, etc. ProPhoto RGB is one of these spaces and have the widest gamut, parts of which exceed the visible spectrum. This allows you to have an image with colors that are not limited to the color gamut of eventual destination color spaces like printers and monitors. That's why some people prefer to use Prophoto RGB for images with destination unknown. When you know the destination, in your case an online printing service, get the color profile used by the printing service, install it on your computer, and use convert (Edit menu > Convert to Profile) from ProPhotoRGB to the color profile of the printer. The color management trys to make the conversion to the best possible color match when the destination color space is with a narrower color gamut and you may see color shift of the colors outside the color gamut of the destination. You can also use soft proof (View > Proof Colors with View > Proof Setup set to the destination profile) to edit (optimize) the colors of your document to the destination before the conversion if you can do better than the color management conversion. It is a good idea to make this on a copy of the original image or different layers dedicated to editing colors for a particular destination (color space).
Also have in mind that the conversion can be done on any other computer with Photoshop provided that along with your image they have the source and destination profile. So it can be done by your printer too but without the printers profile on your computer you wont' be able to proof and edit the final appearance.
If you create or edit your artwork or photos with destination unknown in a color space with a comparatively narrower gamut then when in the future you have the opportunity to use a destination with a wider color space you won't be able to take advantage from all possible colors.

Problem of color spaces when i switch between photoshop cc 2014 and lightroom 5.7. where to ask

hallo,
where can we ask questions on photoshop cc 2014 tools ?
i have a prophoto nef in lightroom which is retouched.
i edit in photoshop cc to make a selection and come back to lightroom with a huge psd.
it says color space of photoshop is not correct and advises prophoto. i say yes.
first one day i lost the pen tool mask when i wanted to re-edit from lightroom. fortunately the version of psd on hard disk was ok. never understood what happened
second is i want to open a jpg background on my hard disk, perhaps srgb, in photoshop and add the selection.
how to manage color spaces because my colors of the selection or the background become ugly
not sure i still need to use lightroom for this step. bridge or photoshop itselfs can open files,...
best regards
marc

That's great, but what exactly did it - matrix (gamma) profiles instead of LUT? It would be good to know for future reference.
I have seen small problems with LUT profiles in Firefox, like black clipping up to value 6 or 7, but Lightroom seems to behave well with LUT profiles here. The problem with LUT profiles is that they are "heavier" and more complex, because they contain complete tables for all possible transformations - whereas matrix profiles do it by much simpler mathematical formulae. LUT is more accurate, but matrix simpler and more reliable.
Not that I think accuracy is a problem with Eizo CGs. Which is why it's a bit puzzling that ColorNavigator has LUT as default. I use mostly matrix targets these days, my feeling is that the simpler the profile, the better.

Photoshop and Bridge Color Space Mismatches

I've recently scanned a number of photos (.TIFF) using the Wide Gamut Color Space (Nikon AdobeWide 4.0.0.3000).
Bridge shows:
Color Mode = RGB
Color Profile = Nikon AdobeWide 4.0.0.3000
However when I open them using the embedded profile, Photoshop CS5 shows on the file Info/Camera Data Tab
Color Space = sRGB, or
Color Space = Uncalibrated.
I opened the files in IDImager to see what it showed. It had under Technical Data
Color Space = AdobeRGB
Color Profile = Nikon AdobeWide 4.0.0.3000
So, Bridge and IDImager seem fine; Photoshop seems to have some difficulty.
The monitor is calibrated.
Why would Photoshop behave in this way? Is there anything I should be concerned about in what PS may be doing.
Dale

Probably something to do with your Edit->Color Settings. Is the second RGB dropdown set to Convert to Working RGB?

MPB 17" and what Adobe RGB color space coverage I might expect from it

Hello,
I am photographer and currently PC user. However, I plan to dive to the Mac’s world.
Before I become a Mac user, I have few questions.
Now I think about MacBook Pro 17”, i7 2.66MHz, 8GB RAM, 500 GB 7200rpm HDD and antiglare screen.
I plan to use additional monitor for photo editing.
I did search on google about *NVIDIA GeForce GT 330M* and *Adobe RGB color space* it covers, however, it gave me no results related to Mac. The only information about this card and Adobe colors I found is that Sony Vaio use this graphic card and in some forums, one say it covers 98% and in other 100% of Adobe color space which made me wonder what type of screen Vaio have.
- is MacBook Pro 17” good for photo editing?
- what % of AdobeRGB color space I might expect from it on my external screen or what % of sRGB colors space it delivers?
- Is it possible to calibrate Mac’s native screen and external one, use both at the time and have different profiles on each?
- Tell me anything that would stop me thinking about MBP for photo editing?
Thank you for your time reading this and hope to find the answers here.

You should consider posting your questions in the Pro Application section for Aperture. You will bump into more photographers there than you will here. But I will make an attempt at answers:
whats about Adobe color space?
No, the MBP screen will not encompass the Adobe Color Space. In fact, few desktop monitors are capable of this.
does the native MBP screen display full color range the video card is able to produce...
There really is no limit to the color extremes, which define a color space, as established by a graphics card. So your question is not a well formed question. An old ATI Rage card with 8-bit output would reveal the same color gamut as would the NVIDIA GeForce GT 330M connected to the same display. The gamut is determined by the attached display, not the graphics card.
...or connecting external monitor to it’s mini display port would bring much wider color range to my eyes?
Yes, certainly the potential for that exists. Notebook screens are usually a compromise and can't be expected to compete with a high-end desktop display in many categories, including color gamut. But whether it would bring a "much wider color range to" your eyes is hard to say. It depends on what type of external display is in use.

Separation color space - get alternate color (function of type 0)

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