Soft proofing and Out of Gamut warning

I like to use Blurb for a perfect photo book. I am an amateur photographer but like the most of my pictures on paper.
What's the perfect workflow for soft proofing ?
A friend of me has calibrated my screen (Thunderbolt Apple screen).
My current methode :
I take a picture in RAW with AdobeRGB profile setting, i adjust a few parameters in Lightroom and then go to Photoshop and start de soft proofing with the Blurb-ICC profile.
The result with soft proofing is like there's a white mist over the picture. Then i try to optimize this with various parameters.
When i try the soft proofing with the Blurb ICC profile + out of Gamut warning option .... there are many colors out of gamut .
My second methode :
When i import the raw picture in photoshop cc and i convert the picture to the Blurb profile, then there are no out of gamut colors but everything is in CMYK.
Is this a good way for perfect photo books in Blurb ?
Or must i ignore the out of gamut colors ?
Is it better to make my pictures in sRGB ?
When i want to save the end result in Photoshop cc ( jpeg for Blurb ) must i enclose the Blurb ICC (when in CMYK) , Adobe RGB or sRGB profile (when in RGB) ?
Please help me make a perfect photobook
Mario

Since I don't know what "Blurb" is, I'm going to assume that's your printing service somewhere, and that they have provided you with their target printer profile.
What you describe under current method is absolutely normal, expected behavior. Adobe RGB simply is a much larger color space than whatever this Blurb profile is.
If you care to let me know how or where I can get a hold of this Blurb profile, I can in a matter of seconds prepare an illustration of how the two profiles compare to each other. From where I sit, it would appear you're throwing away a lot of image quality by using Blurb.
There are two wacky ways of getting around your seeing the out of gamut warnings. The first is not to soft-proof at all. (Duh! ) The other one is an unorthodox workflow which works just fine PROVIDED you are aware that the image files as an end product are only good for Blurb and for no other purpose, and that is to set your WORKING COLOR SPACE from the get go to the Blurb profile. Of course that is not the recommended or even kosher workflow. It is only a workaround to the deficiencies of this Blurb profile.
I cannot comment on your "second method" until I know more about this Blurb phenomenon. If they print on a CMYK press, then they are throwing away a lot of colors, even if you send them images in sRGB. Nothing you can do about that.
The one thing I can say is that if the outfit doing the printing is the one that sent you the profile, then they will know how to deal with an sRGB file. The profile they sent you is just what their printing process uses. No need to attach a copy of their own profile.

Similar Messages

Out of gamut warning

InDesign will not let me use dark blues, greens or purples and it gives me an error message saying "out of gamut warning." What do I do to fix this?

If you make an RGB or Lab swatch that is out-of-gamut to your document's CMYK space an out-of-gamut warning shows in the swatch dialog. When you use the color it will stay in the RGB gamut unchanged as long as you don't have transparency anywhere on the page with the default CMYK Transparency Blend mode selected, or you don't have Overprint/Separation Preview turned on:
No transparency, Overprint Preview off.
a transparent object on the page with a CMYK Transparency Blend space

Soft proofing problem with wide-gamut monitor

Hi,
I've just upgraded to a wide-gamut monitor (Dell U2713H).
I set the colour-space to adobe RGB when using Lightroom (I'm on LR5).
When I select soft proofing , my picture goes grey (that is, where I was displaying the photo in the border, then changes to a uniform grey within the proofing border). If I click on 'create proof copy' the picture then displays.
When the picture is grey and I move my mouse over the image, I can see the RGB% values change, as if there is an image there.
Previously, I had a (rather) low-end viewsonic and had no problems - Soft-Proofing worked fine. All I did was install the new monitor.
I'm running windows 7, nvidia 8800GT card, 8gb memory. No system changes prior/after changing the monitor.
Everything else on the monitor works fine (better than fine, actually, it is a great monitor)
Soft-proofing in photoshop (CS6) works fine, for what that is worth.
I'm a bit stumped. Can anyone help?
hans

1234ewqrd wrote:
I set the colour-space to adobe RGB when using Lightroom (I'm on LR5).
What do you mean by this? Are you selecting Adobe RGB as color profile for you rmonitor? Or are you talking about selecting Adobe RGB as softproofing color space in Lr?
The fact that your images are grey in Lr is a strong indication that your new monitor is not calibrated and is way off the chart. It might be brand new but that does not mean that its tonality and color display is correct for photo editing in Lr.
Calibration is done with a piece of hardware called a spectrometer and the accompanying software. Brand names are Spyder, ColorMunki, GretaghMacbeth. After calibration the software creates a profile that is used by the monitor.
You don't select any other profile than the profile created by calibration and profiling for photo editing - irrespective of which program you use for photo editing.
In the meantime - as a temporary remedy and until you get the calibration tools - you can set your monitor to sRGB. Be aware that sRGB is a much smaller color space than what you rmonitor is able to display; with sRGB you basically prevent the monitor from displaing wide gamut.
See here on how to set the monitor to sRGB:
http://members.lightroomqueen.com/index.php?/Knowledgebase/Article/View/1137/188/how-do-i- change-my-monitor-profile-to-check-whether-its-corrupted
http://forums.adobe.com/message/4977176#4977176
Everything else on the monitor works fine (better than fine, actually, it is a great monitor)
You have no way of telling if the monitor works fine, i.e. if the monitor has the correct intensity (brightness) and if it displays the colors correctly, i.e. as a true representation of the color numbers. Our brain automatically adjusts colors to what they ought to be. What we see is basically unreliable for photo editing. Only a calibrated monitor will display the colors correctly.
Also, when you calibrate select an intensity (brightness) of araound 110 cd/m2 - irrespective of what the software suggests. Often monitors are way to bright which results in prints that are too dark.

Spot color to CMYK and out of gamut

I do the following:
- Create a document, CMYK workflow
- Color Settings: CMYK: US Web Uncoated v2
- Select PANTONE solid coated color book
- Create a rectangle and fill it with PANTONE Hexachrome Orange
- Now change the PANTONE Hexachrome Orange (double click on the swatch) to a process color in CMYK. Illustrator tells me everything is OK (no out of gammut warning) but believe me, there is no way this can be printed in CMYK (a DeltaE of 30 is not uncommon). PANTONE Hexachrome Orange is way out of gamut in CMYK prints.
Anyone knowing what I am doing wrong?
Thx,
Dirk Ruys
AGFA Graphics

Indeed, I do get an out of Web Color warning as well ..
Yet Hexachrome orange is out of gamut on top of out of Web color and this warning I do not get ..

Photoshop's Inherent Weakness - "out of gamut"

Hi Folks, well I think it is about time to for me to say this. After weeks and weeks of head scratching and emails and experiments on my 3800 I have to conclude that photoshop (in my case CS3) has a huge flaw - it does not truly represent colour that is either in gamut or out of gamut. The truth is that ordinary photographs do indeed hide subtle colour inaccurracies that when seen as a single tint on a greyscale image really show up, and photoshop is incapable of dealing with what is in gamut and what is out of gamut with regards to colour mixes on fill layers. Untill I started to tone my images and combine colour fill layers on varying opacities and blend modes I NEVER had any problems with colour management (just tweaks here and there) but when I went into toning I discovered that Photoshop simply fails miserably to tell you what it is able to print within a colour space and what is outside that colour space. Oh and by the way soft proofing? Overated nonsense that is a joke and three quarters.
The only accuracy I got with regards to Photoshop and toning was when I placed these same images into the sRGB space, at that point I was shocked to see Not Perfection by any means, but certainly much more closer to the screen image that was, by the way, in the Adobe RGB1998 workspace. So I tested many of my images that were in Adobe 1998 RGB on the screen and viewed them under the ASSIGN PROFILE = sRGB space and discovered a huge shift closer to the print out - not by any means accurate but very close indeed. This, amongst many other experiments, proves that Adobe have failed here in a basic software operation, rendering out of gamut colour. As I said before - never any problems with ordinary colour photography, and this point is exceedingly important.
Colour fill layers are decpetive and adobe needs to address this - I know of nobody that uses colour fill layers to achieve what I have done and all toning that I have ever read about has been a sort of a flick of a few switches OR using the duotones and tritones menu (which I find lacking in creativity). The colour fill layer dialoh=gue box does not render what is truly out of gamut, and what is more it is not even as though my choices of colours were anywhere near the borders of out of gamut.
Conclusion? Dissappointed in the overall rendering of accuracy of colour gamut with photoshop.

Hallo Rick, how are things? Well to be honest I am so really fed up with this whole situation and have wasted three weeks trying to figure it out. I am tired of repeating myself. I have just, at the suggestion of another person, soft-proofed my adobe rgb 1998 toned image in the sRGB space with colour nubers set to "preserve bumbers" in the soft proof dialogue box. I know see perfect matches between my print out and screen image. NOW, this is important, I have NEVER had this problem with normal colour photographs. So it is not all to do with colour management. And as Tim on photo.net said:'
Chris, I'ld like to add some info I didn't mention in that thread that may explain a bit about Photoshop's Soft Proofing and out of gamut warning tools and their intended use. According to many discussions over at Adobe forums I've participated in on your issue, Soft Proofing is meant for photographs only.
A duotone or toned image as you call it is considered a graphic effect. In fact the old way of getting this look was performed by graphic artists and prepress technicians before digital made it a click and print affair. I used to be both a graphic artist and prepress technician and the process for getting a toned image printed on a commercial press before inkjets came around involved cutting light blocking overlay film knockouts for each Pantone ink that was to be mixed using darkroom exposure tricks performed by the prepress technician.
Color gamuts weren't an issue because the inks were custom mixed on press. Can't do that on an inkjet. This still can be done in Abobe's InDesign by picking spot colors and the separations are done through a RIP (Raster Image Processor) where the 1's and 0's get turned into those light blocking knockouts for burning plates used for printing to a commercial CMYK press.
Another aspect about why Gamut Warning and Soft Proofing is engineered for photographs is because photographs have by their nature a dithered pattern made up of millions of alternatiing pixel colors that act as a color slice and dice mincer that aids a printer that prints with a dithered pattern in smoothing out color TRANSITIONS it can't reproduce.
There's a lot of "faking it" going on utilizing this dither smoothing in an attempt to fool the eye into accepting the color the printer chooses in relationship with the rest of the surrounding colors in the image. This is why there are rendering intents named Relative, Saturation, Perceptual and Absolute in Soft Proofing dialog box and in Photoshop's printer dialog box.
You should try them out and see what happens with your toned images, but outcome can't be guaranteed because toned images don't possess enough alternating color dithering as in a photo to allow the printer to provide smooth color transitions. You'll notice their is a check box for "Dithering" in the Convert To dialog box. This isn't enough for toned images especially if choosing a color fill that doesn't allow the printer to "fake" this look. These printers including yours which uses a gamut limiting pigment inks for longevity over larger gamut dye based only have cyan, magenta, yellow and black to produce transitions in intense colors. That's not much to work with.
And remember saturation is tied to luminance levels. The printer must reproduce the luminance level as well as hue and saturation using just two inks, in your case magenta and yellow, to get that orange brown. The only way to get a darker and lighter version is to add black because adding cyan, a mid density ink, will make it a dull brown. This is just plain physics learned in any paint mixing class.
Pre-visualization tools such as Soft Proofing are primarily meant for allowing the remapping of intense colors like in flowers to allow editing for an alternative hue and saturation level that will allow the printer to "fake it" more precisely.
So basically photoshop might be the problem. But, if you seriously think that I ma at fault then I certainly will give it one last try because I really am sick of this ridiculous situation. I will follow your instructions to the letter and will go through it for the 10th time.
Kindest regards
Chris.

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

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

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

Determining in and out Gamut values for RGB profiles

Hi all,
I am looking into how to check if a swatch value falls within my .icc profile gamut.
If I have a color value for example L=74 a=12 b=-37 and I want to see if it falls within my .icc profile I can select Edit>Convert to Profile and choose my profile
I then can select the swatch and see if there's a gamut warning there.
With the above swatch if my color profile is "Photoshop 5 Default CMYK" I will get the warning, if I change the profile to "US Newsprint (SNAP 2007)" I won't get it.
This works great for CMYK profile.
My question is how to check if the color falls inside an RGB profile?
I have tried changing the document intent to Web and Digital Publishing and changing the RGB profile but only changing the CMYK profile affects the out of gamut warning.
Does any one know of a solution to this? The same issue would appear to be in photoshop.
Thanks in advance.
Trevor

Timo,
actually he wants to set the attribute mapping dynamic, reading the field to map the return value to from a custom property.
1D10T,
If this could be done then in the Def object of a view object (which means its not per user session but use). Investigate into the View Object Def object for the view object that defines the list of value (not the one that you use as the LOV list source)
Frank

I use lightroom with the soft proofing feature for my printing. I used to make a copy proof, but all of the sudden something changed, and even if I'm on the copy in the developing mode it prints the original. Also, If i chose a file that was already in li

I use lightroom with the soft proofing feature for my printing. I used to make a copy proof, but all of the sudden something changed, and even if I'm on the copy in the developing mode it prints the original. Also, If i chose a file that was already in light room to print, even though I have the chosen file up in the developing mode, it will instead print the most recent file that I added to lightroom. If found a way to work around these problems, (check make this the copy in the soft proofing, and copy my settings and delete and reload the old files) but it's a slight hassle and it didn't use to do this. Not sure why it changed. Could I have accidentally changed a setting?

See
iOS: Device not recognized in iTunes for Windows
- I would start with
Removing and Reinstalling iTunes, QuickTime, and other software components for Windows XP
or
Removing and reinstalling iTunes and other software components for Windows Vista, Windows 7, or Windows 8
However, after your remove the Apple software components also remove the iCloud Control Panel via Windows Programs and Features app in the Window Control Panel. Then reinstall all the Apple software components
- Then do the other actions of:
iOS: Device not recognized in iTunes for Windows
paying special attention to item #5
- New cable and different USB port
- Run this and see if the results help with determine the cause
iTunes for Windows: Device Sync Tests
Also see:
iPod not recognised by windows iTunes
Troubleshooting issues with iTunes for Windows updates
- Try on another computer to help determine if computer or iPod problem

Soft proofing to sRGB not working as expected

I've gone through three customer reps via chat on this, and none of them had a clue.
I recently discovered the soft proofing capability in Lightroom 4, and watched an Adobe video about it. Looked pretty cool. I experimented with soft-proofing for printing to an Epson Artisan printer. I'd always struggled a little bit with prints being too dark, etc., but now I was able to produce the best prints I've ever had.
But then I started to experiment with soft proofing for sRGB. My photo club takes photo submissions as sRGB, and they then show them on a monitor during meetings. Sometimes they don't look so good. So, I figured soft-proofing them first would help correct that.
So, I've got a photo that has a lot of red in it (a flower). The soft proofing indicated pretty much all of the reds were out of gamut. I tried reducing the saturation, but they had to go pretty much completely desaturated (black and white) before Lightroom said they were in gamut. I also experimented with change the hue, but still no luck.
I then deleted the soft proof virtual copy, and just exported the original as sRGB. Looked fine.
This would seem to make the soft proofing to sRGB to be somewhat useless for me (at least for reds - seemed okay for the small number of other photos I experimented with that didn't have that much red).
Just wondering if anyone else has had issues with this, or if I'm doing anything incorrectly, etc.
Thanks!
P.S. Update... Last chat rep had me try something that seemed to work better. My photos are stored in Lightroom as JPGs with a color space of RGB and a color profile of ProPhoto RGB. If I export that photo to JPG / sRGB, then re-import it into Lightroom, and then do the soft proofing again, it works much better. The downside of this that the two-step process makes it a bit unusable for me.

> if I'm doing anything incorrectly,
You should not really try to do the bringing of the colors into gamut too much. I know the videos you see online show this but it is really counterproductive in many cases. You'll often completely desaturate or get really disagreeable hue shifts if you trust the out of gamut warnings as you have noticed. What you should do is turn on the softproof and check whether your image looks good and the colors don't shift too much. If they do or you lose essential detail, try to correct it using the HSL tools or local desaturation. The out of gamut warning is more useful when you are proofing to a printer profile and you might have colors that your display cannot show but your printer can print. For sRGB, not so much in my experience.
> Last chat rep had me try something that seemed to work better. My photos are stored in Lightroom as JPGs with a color space of RGB and a color profile of ProPhoto RGB. If I export that photo to JPG / sRGB, then re-import it into Lightroom, and then do the soft proofing again, it works much better
That's a silly answer that rep gave you. What happens when you export to sRGB is that all your colors will get truncated hard(it uses a relative coloremtric conversion) to the sRGB profile, so if there was detail there that you wish to preserve you just lost it and you won't be able to get it back. Of course if you then soft proof the sRGB jpeg to sRGB, you will have an easy time conforming it to sRGB, since it already is! The out of gamut warning it might show you on sRGB jpegs without any correction is not correct - a known bug or strangeness with how Lightroom handles these and just tiny touches on the sliders will make them disappear. It is fooling you and in fact you were better off not even trying to soft proof and simply exporting to sRGB and ignoring soft proofing.
P.S. the monitor problems you have noticed in your photo club are probably more an issue of the monitor not being calibrated and probably not using a color managed application to show the images. If your monitor is calibrated and that one is too and using a color managed app to show the images should give you very good correspondance in color between your monitor and that one regardless of what color space you choose for the images. That might perhaps be a good thing for the club. You really need to be calibrating monitors and use only color managed apps for display.

Cannot select gamut warning

I have CS3 and today I cannot select "gamut warning" when I proof colors. The Mode is set to RBG. If I set the mode to CMYK or Lab Color then it will allow me to select gamut warning. There must be some setting I changed but I cannot figure out how to fix this.

I am usingView -> Proof Setup -> Custom and then a local Costco printer. I have profiles for the printer and have been able to soft proof and run gamut warning in the past. I have also changed the Custom to other printers I have profiles for and also tired Windows RBG. None of them allow me to select gamut warning.

Soft Proofing: may not work on my screen

First of all: Thanks so much for implementing soft proofing! Especially in such an easy way! I was really hoping you'd do it exactly like that.
Anyway, I've got a wide gamut monitor (Thinkpad W520 laptop screen). And I've got an image with a lot of strongly saturated reds (PowerShot S95, RAW).
Now, if I switch between Loup View and Develop View, I can see a huge difference in the reds because the Loup preview is sRGB (medium quality). I can also see the same difference when exporting to sRGB vs. exporting to AdobeRGB.
However, if I engage soft proofing and select sRGB, the image still looks the same. Only the little preview in the upper left changes to what I would expect.
That's not exactly what I would expect ^^
On the other hand, if I select a custom profile (AdoramaPix, lustre paper), the whole rig seems to work.
More information:
- Windows 7, 64 bit with 64 LR4 beta
- Whether relative or perceptual doesn't matter
- Only seems to affect sRGB
- The image shows very, very clear differences between sRGB and AdobeRGB on my monitor, so it's definitely not a visual problem on my end
- The histogram changes when switching between sRGB and AdobeRGB in soft proofing mode
- I really cannot see the slightest change in the image when switching
I hope you can find a fix or point out what I'm doing wrong because I would really like to use soft proofing for images published on the web, which is of course in sRGB.

I went on about this a little more scientific by creating an image with three rectangles: red, blue and green.
All of them are 100%, e.g. (255, 0, 0). Colorspace: ProPhoto RGB.
Results when exporting the images to AdobeRGB and sRGB, concentrating on the reds:
- sRGB looks very washed out
- AdobeRGB looks a bit washed out
- Original ProPhoto has so much red that it almost drives me nuts
Now, I would really expect similar results when activiating soft proofing.
But when selecting either AdobeRGB or sRGB, the reds always drive me nuts.
There is just no difference at all to the original ProPhoto image!
Conclusion 1: Dorin, you were right, previews are in AdobeRGB. What I saw in the reds was the difference between ProPhoto and AdobeRGB. Somehow my screen seems to have extreme reds (calibrated recently with an X-Rite ColorMunki Display).
Conclusion 2: Soft proofing with AdobeRGB and sRGB really DOES NOT WORK!

Colors in print preview not matching colors in soft proofing

Hi There,
Just wanted to print a new photo and realized that the colors in print preview do not match the colors in soft proofing. In both cases I selected the same icc profile and rendering method. The print colors matched the colors in print preview. I never had a problem so far. All new prints will be checked with soft proofing and adjusted when necessary. I never paid attention to the color rendition in print preview and all prints perfectly matched the colors from the soft proofing. I was surprised when my print came out of the printer and the colors weren't matching the soft proofing colors, but that of the print preview.
I don't understand why Photoshop renders the colors differently in the first place. Please see attached screenshot for the difference in the blue/cyan colors.
I would appreciate if anybody could point me in the right direction in what is causing this difference. I don't care if the print view colors will match the print, but I do care when soft proofing is not working.
Thank you.
Best regards,
D.

Here are some addtional details:
PS 13.1.2
Mac OS X 10.8.4
12 GB Ram
60 GB free disk space
I printed the same photo from two other computers (MacBook and iMac) with different PS versions (CS4 and CS5). The prints turned out identical to the first one which matches the print preview color rendition on my main computer (MacPro) running CS6. Strangely the colors in print preview of CS5 on the iMac renders the colors identical to the soft proofing colors.

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

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

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

WhenPrinting- Does Photoshop or Epson Determine out of gamut ?

We, (our photo club), have had a discussion going. When finished with your photo using CS2, if you go to Gamut warning and it is out of Gamut, you go to CMYK and back to RGB to get rid of the out of Gamut warning. This removes the out of Gamut colors. We printed 2 pictures using a small portion of the picture blown up 200%. We could not find any difference if we did the above fix or if we just printed the out of Gamut picture on a Epson 1280. Now the question comes up- does Adobe or Epson really drive the printer? Or are we spinning our wheels doing the Gamut correction ?? I may need a Adobe or Epson Techie...?? Anyone know ?
Thanks
Ron Stein

We, (our photo club), have had a discussion going. When finished with your photo using CS2, if you go to Gamut warning and it is out of Gamut, you go to CMYK and back to RGB to get rid of the out of Gamut warning. This removes the out of Gamut colors. We printed 2 pictures using a small portion of the picture blown up 200%. We could not find any difference if we did the above fix or if we just printed the out of Gamut picture on a Epson 1280. Now the question comes up- does Adobe or Epson really drive the printer? Or are we spinning our wheels doing the Gamut correction ?? I may need a Adobe or Epson Techie...?? Anyone know ?
Thanks
Ron Stein

Bug: Previews not generated properly when Soft Proofing is enabled in LR5, LR5.2 RC

I am experiencing problems with previews in Lightroom 5.0 and Lightroom 5.2 RC.
I have noticed incorrect previews under the following circumstances when Soft Proofing is enabled:
1. When I make modifications (like cropping), the preview in the Navigator panel does not update until I uncheck (and recheck) the Soft Proofing option.
2. When I am paging through several images at 100% or greater, the view in the main window, while zoomed in correctly, does not provide the correct resolution (blurry) until I either uncheck (and recheck) the Soft Proofing option or zoom out and zoom back in.
I am using:
Lightroom 5.0 64-bit, Lightroom 5.2 RC 64-bit
Windows 7 Ultimate 64-bit
Canon CR2 RAW files
16GB RAM, plenty of local disk space
Note: I have not done extensive testing on this, but many of these files are stored on a network drive, so I don't know if there is some sort of bug in the optimized routines for network drives/folders.

I have the same problem as michaeln2 and adobe 1230931.
I use Lightroom 4.4.
When I am in the Develop screen and I turn on Soft Proofing, then about 20% of the time the image goes blank. If I go back to Library view and reenter Devleop, sometimes the image will show up, sometimes not. If I advance to other images, sometimes they'll show and sometimes not in the Soft Proofing mode. Sometimes rotating an image in Library mode and going back into Develop "wakes up" the Soft Proofing and sometimes not.
In other words, the soft proofing feature is, as michaeln2 says, functionally useless. I'm surprised that no fix has been posted on this thread. No point upgrading to Ver 5 either...as it seems to be buggy there as well. Help!

Soft proofing and Out of Gamut warning

Similar Messages

Maybe you are looking for