Soft Proof Default Location

Photoshop CS3, Mac OS 10.5.2
After I create a custom soft proof I would like it show up in the "View" drop down. Where is the "default" location to save custom soft proofs so that they show up in the drop down menu?
Thanks

When you save a custom proof condition, the .psf file is saved in user/library/application support/adobe/color/proofing. To view using that soft proof, go to View > Proof Setup, and the file you just saved will be at the bottom of that sub-menu.
Hope that helps.

Similar Messages

  • 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

  • Costco and soft proofing show dull washed out image

    OK, so I am trying to utilize my nearest costco to print some images from lightroom 5. I am getting back dull washed out prints.
    Facts:
    I shoot in RAW in manual mode
    I am using sRGB when I do my post processing
    I export to jpg for printing
    I used the costco LR5 plugin from Alloyphoto to upload to Costco
    I have installed the printer profiles from drycreek for the specific location/printer and have chosen the correct profile as I export
    I made sure that I chose to have Costco NOT autocorrect the color
    Even when I use LR5's soft proofing, I get the same result on my monitor
    I checked the print I got back and it says that they did NOT autocorrect (taken with a grain of salt)
    The machine they are using is a Noritsu QSS-A, so I know my profile is correct
    I have attached a screen shot of what I am seeing.
    Why am I seeing this on my soft proofing as well as my prints?
    How can I solve this and get vibrant prints?
    Any advice would be helpful.
    Message was edited by: moviebuffking

    moviebuffking wrote:
    I have calibrated my monitor as good as I can get without specific hardware. I have 18 years experience calibrating monitors (via optical media and my eyes), so I know that mine is very close.
    It is virtually impossible to "accurately" set the Luminance, Gamma, and Color temperature "by eye." This is most likely the cause of your prints not matching the screen image you see in LR. That being the monitor's Luminance (i.e. Brightness) level is too set to high.
    http://www.northlight-images.co.uk/article_pages/colour_management/prints_too_dark.html
    To see if this could be your problem I downloaded the posted screen shot and cropped out the 'Copy' image, which has your adjustments applied to it. Here are my results:
    Click on image to see full-size
    I needed to apply a full F stop (+1.0 EV) of Exposure correction to achieve a good midtone brightness level for the print image. You'll notice I also added -50 Highlights and +50 Shadows along with +25 Vibrance. I bet the image with my adjustments added looks way too bright on your uncalibrated monitor.
    You have two (2)  issues–Monitor Calibration and LR Basic Panel Control Adjustments
    Monitior Calibration
    I would highly recommend investing in a hardware monitor calibrator such as the X-Rite i1 Display and ColorMunki, or Datacolor Spyder models. If you tell me what make and model monitor you are using I can recommend specific calibrators.
    Temporarily you can try adjusting the monitor "by eye" to get it closer to the desired 120cd/m2 Luminance, 2.2 Gamma, and 6500K Color Temperature using the test patterns at this site:
    http://www.lagom.nl/lcd-test/
    When the monitors Brightness and Contrast controls have been correctly set the screen image should look much closer to the prints you have recently made with the LR Soft Proof adjustments. So in fact you will be adjusting the monitor to make it look bad with the LR adjustments you applied. The proper monitor settings will make the Lagom test patterns look correct AND should make your bad Costco prints now match the screen image using you original LR settings.
    After changing the monitor's Brightness and Contrast settings try readjusting a few of the  image files you had printed and send them to Costco as check prints. Compare them again to your monitor's screen image. They should be much better!
    LR Basic Panel Tone Control Adjustment
    LR's PV2012 Tone controls can provide much improvement to your raw image Highlight and Shadow detail. Start with all of the Tone controls at their '0' default settings and adjust them from the top-down in the order shown below.
    1. Set Exposure for the midtone brightness ignoring the highlight and shadow areas for now. Setting Exposure about +.5 EV higher than what looks correct for the midtones seems to work best with most images.
    2. Leave Contrast at 0 for now. You’ll adjust this after the first pass.
    3. Adjust Highlights so that blown out areas are recovered and “fine tonal detail” is revealed.
    4. Adjust Shadows to reveal fine detail in dark areas. For most normal images simply setting -Shadows = +Highlights (Example -50 and +50) works very well.
    5. The Whites control sets the white clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping just appear with the ALT key.
    6. The Blacks control sets the black clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping just appear with the ALT key.
    7. Now go back and adjust the Contrast control to establish the best midtone contrast.
    8. Lastly touchup the Exposure control for the best midtone brightness.
    9. If necessary “touch-up” the controls using the same top-down workflow.
    moviebuffking wrote:
    Am I correct in assuming that the soft proof (with a certain profile) is a "preview" of what that print will look like?
    Soft Proof does two things. It shows you what the image's colors will look like in the target color space (i.e. printer profile). You can see what (if any) colors are "out of gamut" by clicking on the small icon in the upper-righthand corner of the Histogram. You can also see if any of the colors fall out of your monitor's gamut by clicking on the small icon in the upper-lefthand corner of the Histogram.
    When you check 'Simulate Paper & Ink' the Soft Proof image's contrast and color saturation are changed to make it look closer to what the "reflective" print image will look like when held next to the monitor for comparison. Many people have difficulty using 'Simulate Paper & Ink' since it requires using precise light levels for viewing the print and a well calibrated monitor.
    In summary my best suggestion is to purchase and use a good hardware monitor calibrator on a scheduled basis to insure you have an "accurate" screen image inside LR and other color managed applications like PS.

  • Display profiles and soft proofing Windows RGB / Monitor RGB

    This might have asked before, but I did not find any definite answer for this. Sorry this gets a bit long.
    Short question:
    What's the difference between softproofing with Windows RGB and Monitor RGB targets? I see differences in my image between these targets.
    Long question(s):
    Here's some reasoning.. let me know when I go wrong.
    I have hardware calibrated my display Spyder 3 elite to sRGB standard. I have understood that the generated display profile contains a LUT table that affects gamma values for each RGB component, so that affects both gamma and color temperature. That table is loaded into video card when Windows starts. In addition to the LUT table, the display profile contains what? Probably information on what color space the display has been calibrated to. Does that matches directly with the LUT table information, but may deviate from sRGB in the case my monitor cannot reproduce sRGB 100%?
    Now if I have image that that is in sRGB, but the embedded sRGB profile has been stripped away, should any non color management aware image viewer show the colors properly, if it is assumed that 1) my monitor can handle full sRGB space and 2) my monitor was succesfully calibrated to sRGB and the LUT table has been loaded into video card?
    Or does it still require a color management aware program to show the image, which implies that the LUT table information alone is not enough and the display profile contains some extra information that is needed to show the image correctly? I would think this is true, as I needed to turn on color management in Canon Zoom Browser to see images in it the same way as in Photoshop.
    Now to the original question, what's the difference in Photoshop when soft proofing with Windows RGB and Monitor RGB targets
    I read from www.gballard.net that
    Photoshop can effectively "SoftProof" our web browser color:
    Photoshop: View> Proof SetUp> Windows RGB
    Photoshop's Soft Proof screen preview here simulates how unmanaged applications, web browsers, will display the file on 2.2 gamma monitors, based on the sRGB profile. If the file is based on sRGB and our monitor gamma is 2.2 and D/65 6500 degrees Kelvin, we should see very little shift here, which is the goal.
    Photoshop: View> Proof SetUp> Monitor RGB
    THIS IS WHERE the color-brightness-saturation problem will repeat consistantly.
    Soft Proofing Monitor RGB here strips-ignores the embedded ICC profile and Assigns-Assumes-Applies the Monitor profile or color space.
    The color and density changes seen here show the difference between the monitor profile and the source profile sRGB.
    I'm not sure how to read that. Assume here that my monitor has been calibrated to sRGB and the PS working space sRGB. Do in both cases photoshop strip away color profile from the image at first? What happens after that? Does in Windows RGB case Photoshop pass the color values as they are to display? What does it do in "Monitor RGB" case then? Does it assign my monitor profile to the image? If it does, does there also happen conversion from one color space to another? In either one conversion there must happen as the soft proofing results are different. Does either one cause "double profiling" to the image as the monitor is already calibrated?
    Thanks

    Windows defaults to sRGB if you don't calibrate your monitor so untagged sRGB files should display (more or less) correctly in applications that don't know about color management on systems with uncalibrated monitors.
    When proofing against Windows RGB you're proofing against sRGB, it will show you how applications that don't know about color management on an uncalibrated monitor will show the image. This is what you proof against if you want to see how the image will display in web browsers.
    When you proof against Monitor RGB, Photoshop will assign your monitor's icc profile to the image which tends to be utterly useless most of the time.

  • Strange sRGB soft-proofing behavior

    I am wondering if the CMS gurus might have an idea about this:
    I am using Photoshop CC, but had a similar experience with the previous version and on a different machine.
    I have a wide gamut NEC monitor which has been profiled using i1 Display. The generated profile is selected in Windows as default profile. Everything seems OK with this side of things.
    So I have a bitmap file with sRGB embedded profile, and my working space is sRGB.  Colour appears correct in 'normal' editing view, i.e. PS is already adjusting what it is sending to the monitor based on the fact that it is an sRGB image. To confirm, I can look at the same graphic in Firefox with CMS switched on, and it looks the same as in Photoshop. And it looks "correct". Furthermore, if I soft-proof to "Monitor", what I see makes sense too. (Overly vibrant colours). And that's also visually consistent with looking at it in Firefox with CMS switched off.
    So far so good. The fun begins when I ask PS to softproof the image to sRGB.  Now, you might ask what would be the point of that, since in theory I'm already looking at it being rendered into sRGB colour space. Regardless, what I expect to happen is that soft-proofing to sRGB makes absolutely no difference to what I see. However this is not the case! The on-screen representation changes markedly... not only is it overly saturated but there is a colour shift as well!  To make matters more confusing, when I use the Info box to show the raw and the softproof colour values, they are identical, as they should be. So the numbers seem OK, but the on-screen rendering is clearly wrong.
    I also see a similar effect if I do a "convert to profile sRGB" with preview switched on. Up until I hit the OK button, the preview rendering is "wrong". Once the conversion completes (which did nothing because it was already in sRGB space) it renders as it did before.
    I'm wondering if this is some kind of weird bug that happens when you softproof to the space you're already in?
    MT

    tozzy wrote:
    it's very confusing behavior and leads you to wonder if there are other times when the on-screen CMS rendering behavior can't be trusted.
    In my observation there are two forms of color-management implementation, both controlled by Adobe:  The first is the traditional Adobe Color Engine as executed by the CPU - this is run if you have the [ ] Enable Graphics Processor setting unchecked or have it checked but are using Basic drawing mode in the Advanced Settings section.  Phtotoshop also reverts to this CPU-resident color-management while you are moving a window and when you're using View - Gamut Warning.
    The second form is executed by the GPU and is used when in Normal and Advanced drawing modes.  This GPU implementation is presumably faster, but is also observably inaccurate under certain specific conditions.  For example, if your document is in the ProPhoto RGB color space, it will show subtle color banding in a pure gray gradient.
    The GPU-resident color management transforms have also been seen to add multi-value output level jumps, resulting in visible banding, in high bit depth gray gradients, where the CPU-resident code does not.
    I reported these inaccuracies to Adobe some time ago, but either the GPU-resident color-management code is inscrutable or they just have other priorities, because the inaccuracies remain.
    I just brought all this up, tozzy, since you mention the problem going away when the CPU-resident color-management code is invoked.  To retain GPU acceleration for other things, but use CPU color-management, try using Basic drawing mode if you're concerned about getting the most accurate displays from color-management.  Remember that you have to close and restart Photoshop after making changes in these settings.
    -Noel

  • Lightroom 4 soft proofing doesn't show installed ICC profiles

    If I go to printing options there are many paper profiles I can choose. However in the Other menu of the soft proofing tool, there is no profile except the visualization ones.
    I have an HP officejet 8500 pro printer and windows 7 64 bit.

    Disregard my second message about not understanding your email reply.
    I thought I had to hit "H" to see a link -on the email- to confirm my registration.
    I didn't realize it was your answer.
    Since I had just installed my 3.4.1 update and the default on my installed version of LR, and since my 'pins' have never been hidden, the 3.4.1 default of hiding the pins was a problem and is likely to fool a lot of users that hadn't read about hiding those pins yet.  Shouldn't the installation of -any- new version, pick up the defaults currently in LR?  That is an issue.
    We're good now.
    Thanks for the response.
    Michael

  • Soft-proof images

    This question was posted in response to the following article: http://help.adobe.com/en_US/lightroom/using/WS2bacbdf8d487e582-5591e4a41341ae6cc6d-8000.ht ml

    Thank you, THANK YOU for Julieanne's video as a part of your explanation here. If I were to try and understand better about 'soft proofing' images in advance of export to print by simply reading the text here I'd go cross-eyed trying to digest it precisely. This is a problem I have found with most of Adobe's (LR and PS) Product Support pages (as well as most of its 'Classroom in a Book' content, unfortunately the default "textbook" used by much of Academia). To be fair, Adobe seems to be focused on "explaining" pretty complex topics with the fewest possible words. (Who wants to read these days?! Such a chore, eh?) With Julieanne's video though she explains everything you might ever care to know about soft proofing – its utility, features in LR that will assist in bringing images back into gamut for WHATEVER specific surface one intends to work with for their final product printed – and WHY. She has always been, continues to be The Very Best in explaining the complexities of working with this great application. Thanks for including the screencast!

  • Soft proofing for online printing - CS5

    After using PSE since V1 and LR since it was beta I've added CS5 and I'm a bit overwhelmed.  Right now I'm trying to set up CS5 to soft proof for online printing.  I read a bunch of online tutorials including Dry Creek Photo's, then downloaded and installed the ICC files for my local Costco.  When I select one of the Costco printers under View - Proof Setup - Custom - Device to Simulate, I get an error message:  "Could not complete your request because the ICC profile is invalid."  I've repeated this with profiles from other Costcos - including one across the country from me - and from Adorama.  No joy.  I'm running CS5 V12.1 x64; it's the same story in 32 bit.  OS is Vista 64 Home Premium (fully updated).  Interestingly, I had no problem when I downloaded ICC profiles for a couple of paper-printer combinations; it's the online services that are giving me grief.  Any idea what I can try next?

    Keep in mind that your monitor puts limits on how useful soft-proofing is. If you have a standard-gamut monitor, what you see on-screen is already soft-proofed to sRGB (more or less). If your target profile has a larger gamut, you won't see any difference on-screen.
    If you want to do this in Lightroom, just soft-proof to sRGB and you'll probably be fine. The histogram will show you if there is substantial channel clipping, and you can adjust to that. However, since you have Photoshop, my choice would be to do it there, using the Blurb profile.
    Printing conditions vary widely around the world and CMYK-profiles likewise. To give you an example, US Web Coated (SWOP) v2, which is the Photoshop default, has a gamut much smaller than sRGB. In Europe the corresponding standard is ISO Coated v2 300% (ECI), which has a gamut that practically corresponds to Adobe RGB. To soft-proof effectively for this you need a wide gamut monitor.
    Where the Blurb profile places in this I don't know.

  • What happened to the soft proof function for printing???

    What happened to the soft proof function for printing???

    Edward Sozinho wrote:
    Thanks Jim.  It's no longer located there.  I miss spoke I'm running Lightroom CC now.
    Then you must not be seeing the toolbar. Press the letter T to display the toolbar. I'm using Lightroom CC.

  • I added a profile but i can not find it in cc 2014 for soft proofing

    I added a color profile from White Wall a printing company in Germany.
    I want to soft proof it before I sent it to them to print it on aluminium.
    But the added profiles doesn't show up on PS CC2014?
    Photoshop runs on OSX version 10.9.5
    Can anyone tell me what I'am doing wrong?

    It does show up in CC 2014 (Yosemite 10.10.1) It should show up in Mavericks.
    First Place it in /Library/Colorsync/Profiles folder.
    When you go to "Device to Simulate" it will be located here on the list.
    Gene
    (Remember to mark the answer that solved your issue by clicking on “correct”. This indicates the question is answered and credits those who took time to help you or followup if there are further questions)

  • Soft Proofing for Blurb

    How do I creat a color profile in Lightroom for Blurb? I know they use HP Indigo printers (which are CMKY) but I would like at least a compatible color profile as well as options for when I creat books with different paper types. Do you have any suggestions so that I can be sure that my images are soft proofed for printing through Blurb?

    Keep in mind that your monitor puts limits on how useful soft-proofing is. If you have a standard-gamut monitor, what you see on-screen is already soft-proofed to sRGB (more or less). If your target profile has a larger gamut, you won't see any difference on-screen.
    If you want to do this in Lightroom, just soft-proof to sRGB and you'll probably be fine. The histogram will show you if there is substantial channel clipping, and you can adjust to that. However, since you have Photoshop, my choice would be to do it there, using the Blurb profile.
    Printing conditions vary widely around the world and CMYK-profiles likewise. To give you an example, US Web Coated (SWOP) v2, which is the Photoshop default, has a gamut much smaller than sRGB. In Europe the corresponding standard is ISO Coated v2 300% (ECI), which has a gamut that practically corresponds to Adobe RGB. To soft-proof effectively for this you need a wide gamut monitor.
    Where the Blurb profile places in this I don't know.

  • 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.

  • Soft proof blurb profile

    I want to soft proof with the Blurb ICC profile. In LR4.0 beta I can only select from attached printers or display profiles.
    OS10.6.8, I have stored the Blurb profile in root/Library?ColorSync/Profiles.
    In Photoshop the Blurb profile is an option, so that location works for Photoshop (version 12.1)

    Austerberry wrote:
    That does answr the question, but what I wanted to do was to soft proof the output of the Blurb printers.
    You can’t for several reasons. One, LR only handles an RGB path and the output device here (an Indigo) is a CMYK device. You could soft proof in Photoshop which of course supports RGB and CMYK.
    But the other issue is, the ICC profile Blurb provides is a generic one that does not describe all the print conditions (all possible paper and print behaviors) so even if LR could use the profile, the soft proof would be inaccurate and of little use.
    Third, if any print provider demands output in say sRGB (which is what LR feeds to Blurb), then a user has no control over the actual conversion process (control of Rendering intent, pretty darn important, Black Point Compensation etc). So in such workflows, having a profile you can’t use, being forced to send sRGB is kind of pointless.
    What can you do? Well until Blurb in this specific case provides CMYK profiles you can actually use for conversions for all their possible print processes, nothing. If they did, you could soft proof and convert in Photoshop. But until LR provides a CMYK path (don’t hold your breath), you can’t use the CMYK specific profiles even if they were available (which thay aren’t).

  • When i double click itunes it doesn't open it just comes up with an error saying " The itunes library.itl file cannot be found or created. The default location for this file is in the 'itunes' folder in the 'music' folder". How can i fix this?

    When i double click itunes it doesn't open it just comes up with an error saying " The itunes library.itl file cannot be found or created. The default location for this file is in the 'itunes' folder in the 'music' folder. How can i fix this problem?

    Anyone can help to advice how to solve this issue ?

  • ITunes library not in default location doesn't show up as shared library

    My iTunes library will not show up on my network as a shared library. It is not in the default location for Windows (Documents and Settings\<user>\My Documents\My Music\iTunes). I can find no reference anywhere that this should prevent a library from being seen by other iTunes users, yet that seems to be the case.
    I have two other iTunes libraries on computers on my local network. Both show up on each other's machines, so this isn't a firewall issue. All my machines are running the same level of Windows XP Pro.
    On one machine, I actually created a library in another location, then shared it. It was not visible. Once I recreated the library in the default location, it was again visible.
    Does anyone have a any ideas how I can troubleshoot this? I really don't want to copy/move what is now a very large library and there's nothing to indicate that this shouldn't work.
    Thanks!
    Michael Greis

    Normally all you need to do is copy the entire iTunes folder from <User's Music> on one computer to <User's Music> on the other. If you've made things more complicated see make a split library portable.
    tt2

Maybe you are looking for