Soft Proof Profile??

Hi, my question is quite simple really, Is it possible to create a profile for soft proofing? If it is possible, could somebody let me know how to do it! Many Thanks!!

Thanks for the reply!! I do understand that and to say the least I am a novice. I have a Huey Pro which is calibrating my colour. I recently had my first batch of prints done by a professional lab they sent me one batch corrected and the other straight print. The straight print was darker than the image i had on the screen. So it was my understanding that you could use the soft proofing to gain some idea of what the final image would look like depending on the media type. So what i was getting at really was if i select the standard profile of lightness decrease i have an image on screen far closer to that of the straight print. So what i would like to do is create or edit an existing profile to take the lightness a little lower which will being bang on for the lab prints. This is just so i don't have to second guess the results from there colour correction. I hope that make sense. But as i said before I am a novice and i might have this wrong!!

Similar Messages

OA2: Soft Proofing Profile for Apple Print

Hi,
Does anyone know what Soft Proofing Profile to use the Aperture 2 "built-in" Print & Book Services? Or perhaps where to get it?
Thanks
Message was edited by: styrvolt

Hi
This has cropped up a few times before, the general opinion seems to be to use Average McCoy Gloss for proofing Apples print services.
Check out this link : http://discussions.apple.com/click.jspa?searchID=9295427&messageID=6190046
for more info, David is still holding a copy of the profile at the link provided in the thread.
Good luck
FlatE

How to use ICC profiles and soft proofing profiles?

Hi,
I got an Epson Stylus Pro 3880 and Epson Hot Press paper which, upon investigation, received great profeesional reviews and, having never printed digitally before, I don't know how to use profiles for soft proofing or printing.
I don't know where to go in Aperture or what to do. My driver is up to date and I downloaded the paper profile - not sure where it ended up. What's next?
So far as I know, soft proofing is about calibrating the monitor to the paper - am I correct?
Thanks guys,
Raphael

Raphael,
A good reply is going to require a full-size keyboard, which I don't have access to just now. Here are some starter pages:
http://www.cambridgeincolour.com/tutorials/soft-proofing.htm
http://www.luminous-landscape.com/tutorials/soft-proofing.shtml (a bit grumpy and out-dated)
Fwiw, I print to Epson Hot Press using a 3880. Imho, it's a _great_ printer, and that combination of printer and paper produced state-of-the-art results. (Not suitable in all cases, but if that is a look you like, the only thing that I've seen that surpasses it is the Epson 9900, and without looking at prints side by side you can not tell them apart.)
Your profile ended up wherever you have told your browser to save downloaded files. The Epson site should provide instructions on where to move the file. Once it is in the right Finder folder, when you next Aperture it should show in your list of profiles.
Keep in mind, though, that soft-proofing is useless without a well (read: hardware-calibrated) calibrated display.
HTH,
--Kirby.
(Sent from my magic glass.)

Problems installing soft proof profiles

I'm having troubles installing .icc profiles into photoshop CC. To install the profiles, i've installed the files into the directory: /windows/system32/spool/drivers/color. However, when in photoshop I go to view>proof setup>custom>device to simulate, and the profiles I installed are not there. I also restarted my computer and it made no difference. What is going wrong here????

Are you 100% sure that the profiles in question are device-dependent printer profiles?
If they're not, Photoshop will not even shown them to you.

Custom Profile to soft proof 10% Clip?

Thanks in advance!
I'm trying to set up an image to be used on a piece of packaging, which is supposed to be 'light and airy', and therefore uses pretty light colours thoughout. But I've been told that the image will clip any ink below 10% on the final output.
I've been supplied a generic ISO Coated FOGRA39 profile but that's it. So I'm trying to find a way of soft proofing to see where the clipping will occur.
I'd prefer to work in Adobe RGB for as long as possible rather that convert to the FOGRA309 profile and tweak the channels individually.
So can anyone give me some pointers on setting up a custom soft proofing profile?
Cheers! (I hope)
PS. CS3 10.0.1, OSX 10.5.8, 2x2.8 Quad

Thanks Buko.
But I think the FOGRA 39 profile was just sent as a general catch-all profile, and as such will not help me see the clipping below 10%.
The image has several areas of smooth gradient, hypothetically going from 100% of a channel to 0% of of a channel. This displays and prints smoothly (with the FOGRA 39 profile or without).
However I have been told that the final print will have worse tolerances, and areas below 10% af any particular colour will simply burn out, leaving a hard edge at the lighter end of the gradient.
It's these hard edges I'm trying to see, so that I can try and minimise the damage. I thought I may be able to create a profile to do this for me?

Soft proofing - implementation suggestions

Reading this thread it seems the Lightroom team is seriously considering or actually implementing soft proofing for LR3.0. Since it's not in the current beta, the users cannot give feedback on the implementation. Instead, let's use this thread to give suggestions on how soft proofing should work.
Here are my suggestions:
availability: soft proofing should be available in all modules: you need it for print and web output, but the necessary corrections are made in the develop and library modules.
UI placement: the film strip seems to be a logical place for a tool that can be used from within all modules.
features: soft proofing would need an on/off toggle, a clipping indicator toggle and a list menu to select/create soft proofing profiles (with a choice of relative/perceptual; black point would be nice but doesn't fit the 'lightroom way').
monitor proofing: make it easy for users to select the profile corresponding to their monitor. That way they get a warning that their monitor may be 'cheating' them (especially on laptops).
further: the tool could show a warning if it is switched on with the 'wrong' profile for the active module. For example, for web you should only use sRGB, for print the same as selected for the printer and for the slideshow perhaps only the monitor profile.
Anyone else?
Simon

Jeff Schewe wrote:
I disagree for several reason: 1) the Develop module is the ONLY color accurate viewing environment, 2) Develop already has a before/after built in that can be adapted to the task of showing a before and an after with the after representing the output space. 3) the Develop module allows the creation and or selection of Develop templates as well as snapshots. Snapshots might make an excellent vehicle for carrying image adjustments.
I am not sure what you mean by the develop module being the only color accurate viewing environment. I just checked it by setting my monitor gamma to 1.0, and all modules applied the necessary adjustments to the images. The only difference I could find is that the other modules use heavily compressed JPGs, leading to the occasional artifact when viewing at 1:1.
I really believe that soft proofing itself is fundamentally an analysis tool that should be accessible from all modules, and not necessarily be linked to image adjustment tools. If someone wants to work on a set of images for a particular output process, he/she should be able to make all necessary changes with soft proofing turned on, and have the effects visible in all modules. Of course, in practice many users will want to target different output media for the same image, and such tools are important, but need not be a show-stopper for soft-proofing to appear.
On your number (2), I personally don't find before/after view essential, or even that useful, when making adjustments for printing. When you want to compress an image into the gamut of a printer, I tend to make small adjustments in the context of that particular image, not with a reference to some master image. The exception to this case would be if you really have something which you would call the 'master' (say, some really famous image), and you want the output to be as close as possible on more restricted printing process. In any case, I wouldn't consider a before/after view as essential. And when it's needed, it could be implemented by an on/off toggle as well, IMO.
I find snapshots quite cumbersome, and especially for the purpose of keeping track of such 'output versions'. The problem is that they exist inside the develop module, they are 'all or nothing', and there is no easy way to transfer partial settings between snapshots. For example, suppose I have three 'output versions' of an image, and I decide to change some of the underlying settings (say, the white balance). Then I don't have an easy way to synchronize these changes between the output versions. Another issue is that there is no easy way to recall snapshots from outside the develop module. If I want to print a couple of images for which I have the necessary adjustments at some other time, I have to go in and select the appropriate snapshot for each of them. In the context of these 'output versions', this is something that should be possible from the library module, where you select the versions you have worked on before.
Also note that while Develop might be the place for adjusting the image for the output, the creation of an output adjustment might be best called up in Print (or Export). So you might create a saved preset that contains the output device, the specific profile, the rendering intent and whatever output based adjustments the image (or images) may need. That could be done directly in the Print module...
The three main factors that soft proofed adjustments require is a change in the tone curve required by differences in dynamic range or outputs, hue and saturation adjustments to counter or alter the way a profile may render a certain (or several) colors and a local area contrast adjustment in the form of Clarity. Ideally, the soft proofing tools should contain a soft proofed histogram, color samples in the output space and tone/color adjustments suited for correcting for the output condition.
Ok, I can see a benefit to a separate output adjustment tool that is specifically aimed for the type of adjustments you'd make when soft-proofing. The settings for this tool could be linked to the output device and profile, so that they would switch automatically according to the profile that is selected. When soft-proofing is turned on in the library module, there could be an icon in the images for which a particular output transformation is defined. And because soft-proofing would be fully functional in the develop module, you could inspect which other images need further adjustments.
I don't think it's very useful to have a 'preset' for this tool for a particular output profile and rendering intent, independent of the image. That's the job of the profile itself. However, it should be possible to easily copy-paste such settings between images. For example, if I have shots a number of images in bright green grass, I will probably need similar adjustments for all of them. Also, settings should be copyable to serve as a starting point for use with a different profile.
The 'output adjustment tool' itself should IMO contain two things:
1) Photoshop-like hue/sat control (with selectable color ranges) [most important]
2) Manual tone curve adjustments.
I wouldn't mind if the tool is only accessible from within the develop module, as long as you can see the soft-proof from all modules. The soft-proofing functionality (separate from this tool) should also take care of adjusting the histogram in the library and develop modules.
Summarinzing, I see room for two separate tool sets that do not necessarily need to be implemented at the same time. The first is an overarching soft-proofing solution that makes the effects of the output transformation visible throughout the workflow. The second is a separate output adjustment tool in the develop module, that is able to link it's settings to the currently selected output device/profile.
Simon

Iphoto book -- how to soft proof

Does anyone know of a way to get a soft proof profile for an Iphoto book?

If you're using CS3 from within iPhoto for your editing then just set it up to manage the color as seen in this screenshot and follow the workflow described below.
Using Photoshop (or Photoshop Elements) as Your Editor of Choice in iPhoto.
1 - select Photoshop as your editor of choice in iPhoto's General Preference Section's under the "Edit photo:" menu.
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
NOTE: With Photoshop Elements 6 the Saving File preferences should be configured: "On First Save: Save Over Current File". Also I suggest the Maximize PSD File Compatabilty be set to Always.
If you want to use both iPhoto's editing mode and PS without having to go back and forth to the Preference pane, once you've selected PS as your editor of choice, reset the Preferences back to "Open in main window". That will let you either edit in iPhoto (double click on the thumbnail) or in PS (Control-click on the thumbnail and seledt "Edit in external editor" in the Contextual menu). This way you get the best of both worlds
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
If you're using a digital camera and not shooting raw then the camera's RGB profile will be very close to the sRGB IPC61966-2.1 profile that you can embed with PS and you shouldn't have to edit a photo just for the profile. However, if you do edit with iPhoto's editing tools the profile that gets embedded will be the one that the monitor is set to. iPhoto only embeds profiles on files it creates, i.e. modified files.
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto (iPhoto.Library for iPhoto 5 and earlier) database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger or later), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 6 and 7 libraries and Tiger and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.
Note: There now an Automator backup application for iPhoto 5 that will work with Tiger or Leopard.

How to export soft-proofed image?

Hi !
Maybe I'm completely off but I didn't find any info on the subject.
I have soft-proofed image with a profile that a specific printer provided me.
I want to export the image that I soft-proofed to be displaying them as an album in Photoshop.
I didn't find any way to export the soft-proofed files.... Is it something that makes sense ?
Let me know.

Dorin Nicolaescu-Musteață wrote:
Just export it and select the soft proof profile in the Export dialog.
To add to this for the OP, you might need to select Other... option from the color space popup to access the profile. It will remain within the list now.
And if it isn’t RGB, it isn’t going to show up (LR only supports RGB profiles).

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.

Changing color profile in Lightroom 5 Soft Proofing from ProPhotoRGB to sRGB is not showing any changes, changes in Photoshop CC are dramatic

I am working with the color profile ProPhoto RGB in both Lightroom 5 and Photoshop CC. In preparing for my first Blurb book I have tried to generate pictures in sRGB in Lightroom, using the Soft Proofing feature, but there are no changes at all. Then I transfer the same pictures into Photoshop, change the color profiles and the results are dramatically different.
What can I do to achieve the same results in Lightroom

With an average monitor what you see on-screen is already soft proofed to sRGB (or something very close to it), because that's all the monitor is capable of displaying anyway. So soft proofing to sRGB won't tell you anything. You won't see any difference.
In Photoshop it sounds as if you assign profiles. That's not the way to do it. If you convert correctly you won't see any difference. Same principle as above: there may be clipping in the process, but what you see on screen is already clipped, so no visual on-screen difference.
With a wide gamut monitor soft proofing becomes slightly more useful. But still you won't see any changes occurring outside Adobe RGB. You'll get a better idea by keeping an eye on the histogram. Ideally, all three channels should taper gently off towards the endpoints. If any one or two channels are backed solidly up against the endpoint, on either side, that's gamut clipping.
If Blurb gave you a real profile, one that reflected their actual printing process, you could soft proof to that. But apparently they don't.

Convert to Profile & Soft Proofing.

Hello,
Apologies if this has been asked and answered. Some answers on soft proofing searched on the forums helped, but didn't hit the nail on the head.
I'm grateful for ideas, instruction, pointers.
I. Per the instructions of the printer who's printing my work, I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen; and b) give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no? Do I have this wrong?
II. I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible, with allowances, of course being made for paper, ink, etc. The match has to be close. Is there a standard for softproofing that will allow me to see what's likely to appear on a given screen. A tall order, I know. Wondering if I should just inform the viewers to view the jpegs with their monitors set to a certain color profile--or if I should send them a monitor profile along with the jpegs.
Again, I'm grateful for ideas.
Best-
Gear: iMac 27"; Native Gamma 2.2; CS6.

I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen
if YOUR monitor profile is proper, Photoshop is 'accurately' displaying your image
to see your image the same, SHE (or anyone) will need to apply your source profile and also have a proper monitor profile
give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no? Do I have this wrong?
Gernot offers a good approach (what I would recommend):
"Leave images in sRGB (Working Space sRGB)
Modify by PhS until the appearance is nice
In Soft Proof choose your PP"
in other words, "Soft Proofing" (View> Proof Setup> Custom: Device to Simulate: the specific Epson profile) -- it doesn't make much sense to Soft Proof source DotGain20% to device DotGain20%
my question to her would be: is Dot Gain 20% the actual Epson Print Space (or does she use a specific printer-paper-ink profile that you can Soft Proof on your 'calibrated' monitor)
if she doesn't do any conversions to your DotGain20 file (it is the Print Space), then Photoshop is showing you the contract proof on your monitor when you open it (is my opinion)
I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible
here, i would Convert to sRGB and embed the sRGB profile -- short answer here -- that is the best you can do

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

When Soft Proofing in LR4 most of my loaded printer profiles are not visible

I am running LR4 and CS6 on an HP desktop with 4Gig Ram, Win 7 Home, Profiled Monitor using DataColor
In CS6, all my loaded ICC printer profiles appear when setting up the soft proofing...
In LR4, most of the profiles do not appear...
The problem is that I print to an Epson 7600 CMYK printer with UltraChrome Ink and mostly on Canvas so I need to proof for that environment.
The problem is that I print to an Epson 7600 CMYK printer with UltraChrome Ink and mostly on Canvas so I need to proof for that environment.
Photos of the two different pull downs are attached.

dmcrescent wrote:
Not sure what makes you think the Epson 7600 is a CMYK printer, but it isn't. You may be running a CMYK RIP attached to it, but the printer accepts RGB data, not CMYK. The only reason I can think of needing to profile in CMYK would be if you were using profiles generated for a press. I'm sure there may be others, but can't think of one off the top of my head.
Well you can send either RGB or CMYK to the printer but you have to first setup the proper driver for either. Unless you are proofing (make my Epson simulate a press sheet), I can’t think of any reason to send it CMYK data. The limitation is the driver in terms of what you send it. With a 3rd party driver (might be a RIP, might not) it can be possible to send CMYK data to the Epson. Epson bundles the ColorBurst product for this purpose (press simulation, use of CMYK profiles).
Since the Lightroom path is solely RGB, it can’t do anything with CMYK data. So the profiles are filtered out of the list. And don’t expect this to change anytime soon or ever. If CMYK is your game, well you need Photoshop or some other application to handle this data. And you’ll need another driver. So in context of this post, CMYK is simply not a possibility and that is why the profiles are not accessible.

[LR 5] Soft Proofing - Monitor Gamut Warning vary with printer profile ?!?!

Hi,
There's something I can't understand when using the soft proofing feature in LR.
The Monitor Gamut Warning feature (top left icon in the histogram when soft proofing is enabled) is supposed to show us what colors in the current image cannot be reproduced on the display. Right ? If I understand well, the warning computation is made by comparing the current image (virtualized by LR in the Melissa RGB color space) to the gamut of the display (read from the active calibration profile).
So why does LR show different "out of gamut" areas for the display when I change the printer profile selected when using soft proofing? This doesn't make sense to me.
Did I miss something?
Thanks in advance.

indeed they are vague about this. My thought about this comes from conversing with Adobe folks here and elsewhere as I am pretty sure I'vce discussed this on the forum before. As far as I know the monitor warning is supposed to be calculated after the conversion to the printer profile so that you get an idea whether the soft proofed color is accurately displayed. That shoud be the correct behavior as proofing can actually take a color either in or out of the monitor gamut. I am not 100% sure on this though but it certainly explains how it behaves.
Also if you calibrate your display and write out a icc v4 display profile, the situation changes again as now the display profile can actually contain a perceptual rendering intent, making it even less precise and the assumption of simple one-to-one linear conversions between color spaces is invalid. Few calibration software packages do this though but there are a few exceptions.
If you only want to know whether your image is outside of the display profile, you can indeed trick the soft proof to allow you to select a display profile as the printer proofing profile. You can in principle select a standard working space such as prophotoRGB there and get results that make sense. But you definitely do not want to have a random printer profile selected for the reasons cited above. I guess they could add some smartness to detect that you selected the profile of the current display and not a profile of another random display and then collapse the interface but that is such an edge case that I doubt Adobe would prioritize this. It works fine if you simply realize that you selected your monitor profile as the printer proof profile.

Soft-Proofing with .icc color profiles

Hello!
I'm currently working on a book in InDesign. I've calibrated my monitor with X-rite, and have installed an .icc profile from my outside printer (Blurb Books). Of course when I use it to soft-proof, I see a change on my monitor, so if I dion't like what I see (how it will print), I would have to go back to my working space and make changes, etc and keep rechecking. This seems so weird to me yet nowhere in all the forums and internet have I run across an answer to my question:
Why not just work entirely in this .icc profile so one doesn't have to go back and forth? You'd see immediately what you're going to get, even though it may not look as pretty on the monitor set in another color space?
It seems so obvious to me that I know I must be missing something here (as I usually do the obvious), as no-one has addressed it that I can find, anywhere, even Blurb support. They don't even understand what I'm asking!
thanks!

In fact, that is one perfectly valid method of working, and I would not have a problem at all using that profile as the working space in ID (I have a number of printer supplied profiles that I rotate, depending onthe destination of the job). But there's a downside to working on images in a device-specific output space. It limits your ability to use the same image in multiple output scenarios, and many (most) output profiles have a smaller gamut (sometimes significantly smaller) than a device-independent RGB space like Adobe RGB, so you lose some colors. That's going to happen no matter what when you convert for output, but if you do your editing and save in the output space, those losses are permanent, even if you later want to ooutput on a different device with larger gamut capability. Profile-to-profile conversion never adds new colors.

Soft Proof Profile??

Similar Messages

Maybe you are looking for