Soft Proofing Books?

Is there any way of soft proofing books, as in CS2 View/Proof colors? And is there a choice of papers?

At the very bottom of the view menu you can select an ICC printer profile for soft proofing. You can then the function and will use the selected profile. I can't think of anyway to select paper a type unless a specific profile is provided for that printer/paper combination.
Sam

Similar Messages

  • 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.

  • SRGB or Blurb icc profile better for soft proofing prior to Book module?

    As I understand it images destined for Blurb are converted by the Lr engine into sRGB behind the scenes. To achieve best chance of colour accuracy in the finished Blurb book, is it better to softproof using a sRGB profile or the icc profile* offered on the Blurb Support website. On the surface this icc profile is recommended (by them) for their Booksmart process. Anyone know if that is similar to the Lr Book module process? There is no mention of Lr anywhere on the Blurb color management pages.
    It would be great to pin down the answer to this. I cannot find any recommendation for best work practice aimed at getting good colour reproduction in these books; and trial and error, whilst acceptable in making inkjet prints, is a very expensive route when applied to printing a Blurb book.
    * And even then, as far as I can see, there is no method for differentiating between the Blurb papers. It is just one profile to fit all.

    I tried using 'Export Book to PDF' in the LR Book module with 'Book' set to 'Blurb' and the PDF images are all tagged as sRGB profile and 8-bit color.
    SUGGESTION
    If you set 'Book' to 'PDF' under 'Book Setting' you can use Adobe RGB profile, 300 ppi, and your own Sharpening selection, which as Andrew Rodney mentioned is a better choice. You can submit the LR Exported PDF at Blurb's 'PDF To Book' upload page and they will do the proper CMYK conversion on their end. The only issue is that the images are still exported in the LR Book module as 8-bit color JPEGs. This may cause banding with a wider gamut profile, but that should be apparent when reviewing the exported book PDF.
    Here are some comments from Blurb concerning using Blurbs 'PDF to Book' workflow, which is similar to what I just described:
    From Me:
    My Workflow Details:
    My objective is to process all images in LR4 and then export them as 300 dpi, ProPhoto RGB profile, 16 bit TIFF images for layout in InDesign using Blurb's InDesign plugin (Blurb Book Creator CS6 v2.0.2.34d8). I will soft proof the placed images inside InDesign using its 'Proof Colors' tool and the Blurb_ICC_Profile.icc profile. Once the InDesign layout is complete I will do the RGB to CMYK Blurb_ICC_Profile conversion during the export to PDF process using the Blurb PDF X-3 Export Preset v1-1.
    Blurb's Resonse:
    Response Via Email(David) - 07/18/2012
    Using InDesign and our Blurb InDesign Plug-in does mean you're using the PDF to Book Workflow. This is because your InDesign files will ultimately be exported/uploaded as PDF files.
    Regarding, "Once the InDesign layout is complete I would like to do the RGB to CMYK Blurb_ICC_Profile conversion during the export to PDF process":
      Unfortunately, there is no option for this and it's actually unnecessary during the export process. Our printers convert and process all images as CMYK using the Blurb ICC Color Profile, so even if you upload/export them with an RGB color profile, they'll be converted to CMYK for the production process.
    My Response:
    Customer By Email - 07/19/2012 05:10 AM Thanks for the explanation David. It sounds like I can just upload the PDF file using my ProPhoto RGB profiled PDF, but I would prefer to do the conversion from ProPhoto RGB to Blurb ICC CMYK profile. This way I can see the results before uploading the file to Blurb. Can I use the Blurb PDF X-3 Export Preset v1-1 with Output > Color Conversion to Destination > Blurb CC profile, and then upload the PDF file myself? If so please advise where I should upload the file on the Blurb website.
    Blurb's Response:
    Response Via Email(David) - 07/20/2012 03:49 PM Hi Todd,
    If you do end up exporting your PDFs with the workflow you're referring to, you can upload your files here:
    http://www.blurb.com/make/pdf_to_book
    IMHO there's no reason why Adobe and Blurb couldn't work together so ProPhoto RGB 16-bit images can be used in the book PDF that gets uploaded (or exported!) to Blurb's website. Blurb then handles the CMYK conversion using full-gamut 16-bit images and not clipped sRGB 8-bit images.

  • Can I soft proof in LR4 like I can in PS CS5?

    I haven't used LR 4 yet, but did view the soft-proofing tutorial.
    I applaud Adobe for adding this functionality in LR4.  It was one of the most obvious lacking features in the previous version, and I've still been mostly doing all my printing through PS CS5.
    While soft-proofing is not a perfect replacement for test printing, I've been mostly satisfied with proofing in CS5.
    Proofing in LR4 seems a  little different, but by using a virtual copy it looks like if I use my printer/paper profile I should theoretically be able to not only be able to deal with color gamut issues, but also adjust contrast & brightness to more closely match my original developed image, and could compare the original with virtual copy in compare mode.  Is it that simple?  And if so, why is there a contrast & brightness adjustment in the Print module?  That latter adjustment would be similar to what one goes through in PS CS5 when soft-proofing prior to printing.  However, why have it if it can be done in the Develop module......and regardless, from the video tutorial it looks like you can't preview the image after making those adjustments in the print module nor compare it with the original......thus forcing one to make multiple prints until the result is satisfactory.
    Just seems to me there is a bit more tweaking to do in LR4 to make the soft-proofing more functional.  Or, perhaps I'm too stuck with the paradigm set forth for soft-proofing in PS and need someone to clarify how I can achieve the same result in LR just as confidently.

    Beaulin Liddell wrote:
    BTW, I've benefited immensly from your and Martin's Evenings books.......you've never steered me wrong.
    Thanks for the kind words...but LR4's soft proofing is worth the effort to use. It really is better than Photoshop's soft proofing. I'm still on the fence regarding VCs vs Snapshots for soft proofing It's a tossup but the VC part has been built in while making a snapshot wasn't.
    The advantage of LR4's soft proofing is you get the ability to do a Before/After while still using the full range of LR4's controls to adjust the printed version. Makes it really easy to nail great print (assuming you have good print profiles).
    As for the Print module Brightness and Contradt...that's really a special case that doesn't involved color managed output. It's a crutch for those who don't have a locked down system. It's east to tweak but you have to make example prints since the controls don't actually display but only impact the output. I tend to avoid that.

  • Is It Possible to Save a Soft-Proofed File?

    Let's assume that I have an image, foo.psd, open in PSCS4. I softproof the image for a particular paper and printer. When I hit Ctrl-Y, the image is shown in softproof mode, and the softproofing info is appended to the image name in the PSCS4 window. Is there any way to save a copy of foo.psd with the soft proofing applied, i.e. foo-softproof.psd?
    Reed

    Reed,
    a print looks often different to the monitor. Quite normal
    - many monitor colors cannot be printed.
    They are out-of gamut for the printing CMYK space.
    The RGB image data are converted via the RGB profile
    to Lab, which is large enough to represent real world
    photos without loss.
    From Lab the data are converted to CMYK via the CMYK
    profile. Here is loss because of the smaller gamut.
    The colors have to be mapped from the larger RGB gamut
    into the smaller CMYK gamut. This can be done
    a) automatically by Rendering Intent Relative Colorimetric:
    in-gamut colors are not changed. Out-of-gamut colors
    are mapped to the gamut boundary; this process isn't
    accurately defined by standards.
    b) automatically by Rendering Intent Perceptual:
    all colors - even those which were in-gamut - are
    shifted towards the gray axis. This process depends
    very much on the scientist or programmer and is nowhere
    defined by standards.
    So far one doesn't need human interaction, but the results
    are not always pleasing. The third and optimal method is
    c) image based gamut compression. Reduce the saturation
    and eventually rotate the hue in regions which are out-
    of-gamut until Photoshop's Proof Color Gamut Warning
    doesn't show larger out-of-gamut areas.
    Gamut compression algorithms and the color science behind
    are explained in this excellent book:
    Jan Morovic (accents omitted)
    Color Gamut Mapping
    John Wiley & Sons, 2008
    Manual image based gamut compression is demonstrated here
    by many examples (but it's called 'Editing in Lab'):
    http://www.fho-emden.de/~hoffmann/labproof15092008.pdf
    Attention: 3.4 MBytes.
    Chapter 9 shows visualized gamut boundaries for several
    color spaces.
    IMO you're seeking the impossible (if I'm understanding
    you correctly).
    Best regards --Gernot Hoffmann

  • 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.

  • Can you soft proof for Blurb in Lightroom? Can't get Blurb icc to show up in list.

    I have added the Blurb_ICC_Profile.icc to Library/ColorSync/Profiles and Library/ColorSync/Profiles/Recommended, but when I turn on Soft Proof in Lightroom and try to select the Blurb_ICC_Profile.icc from the Profile dropdown in the Soft Proofing Workspace on the right, clicking on other to add it, it simply does not show up as an item in the list even though I have added it to the Profiles folder. 
    The Blurb profile does show up as an option for soft proofing if I try to do it in Photoshop, but I really want to do it in Lightroom to save time since I'm using the Book Module and I know Lightroom so much better than Photoshop.

    Yes. I found another discussion on a blog that discussed the whole thing in detail. Has anyone found a profile that comes close that one could use in LR to soft proof for Blurb? Some said they used sRGB, but I compared and there is a huge disparity. Blurb color space is about 2/3 smaller than sRGB.

  • 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.

  • Soft Proofing: Setting Output Levels

    In Uwe Steinmueller's Fine Art Printing book a very interesting workflow concept is presented that involves assessing shadow and highlight thresholds for specific output combinations and then making a compensating adjustment for the print to maintain detail at either end.  A test strip (ramps from RGB0, RGB1, RGB2 etc and RGB 255, RGB254, RBG253 etc) is generated using the desired printer/ink/paper and you identify where shadow and highlight details are no longer differentiated between adjacent levels.  You than transfer those settings to the output values in a Levels adjustment layer for your print.  Shadows are rendered at the blackest point possible for that printer/ink/paper combo and maintain detail from there, likewise for the highlights through paper white.  It works really well and takes value of the media's full dynamic range.
    This would prove to be a great addition to the soft proofing function, or in general as an addition to the Tone Curve panel: boxes where you could manually input shadow and highlight output values in the same manner as a Levels adjustment layer.  You can accomplish this now by just moving the shadow endpoint up and highlight endpoint down but involves more trial and error.  Even showing the output value as you slide those endpoints (in the same manner that you see RGB values when moving the curve) would be welcome.

    Jay Mitchosky wrote:
    Does current color management remap RGB 0,0,0 to the maximum black registestered in the profile, and RGB 255 to paper white?  It's an interesting question I hadn't thought of, but the process above does seem to work.
    It (the profile) should. And ideally, 1/1/1 would have some measurable difference on the print from 0/0/0 the max black. But like your comment above, we’re not at that point yet, certainly on a heck of a lot of output devices.

  • 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 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. 

  • Soft Proof for Third Party Printing?

    Julieanne's great training video covers Soft Proofing for monitors and local printers.  How about using it for exports to third party Printers?  All my work is exported to my Zenfolio sponsored website.  From there is purchased for print by further exporting it to MPIX who in turn ship it directly to the buyer.  How can I use Soft Proofing to optimize those photos.  With LR3 my highly random and guesstimate solution was to add +5 with the brightness slider.  I don't know why but its seemed to work even though the images were overly bright on my iMac monitor.

    In terms of Blurb, unless you know for a fact that they use only one profile, then the soft proof debate is moot. And I seriously doubt they have one profile for all their papers (that is basically impossible).
    This is correct. Blurb uses different printers/presses for different run sizes. You really cannot predict which one they will use and soft proofing to their one profile is really not useful. In fact I have tested this before and had two identical books printed with them, one using their (indeed cmyk) profile and one leaving all the images in sRGB. The sRGB one came out much closer to the original and the cmyk one came out too dark. In fact the cmyk one looked like what happens when I apply generic US web coated to images in their profile, so if you want to print with blurb, you're better off completely ignoring their profile and sending everything in sRGB as Lightroom appears to do. Of course you could have guessed this as they only offer a single profile, while they offer quite a few different papers as well as use multiple printers/presses.

  • 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!

  • Regarding soft proofing on Lr4

    I am trying to send a photobook created on Lightroom 4 to Blurb for printing. 
    I was told from Blurb that soft proofing function on Lightroom 4 does not work for them because the color profile is different.  What does Adobe recommend to do to match the color space?

    I think there is a bit of a misconception here.
    Blurb wants the images to be in sRGB color space. In Lr you can softproof to sRGB.
    Blurb also provides an icc-profile that can be used to softproof the images. Alas, this icc-profile is a CMYK profile and is not usable in Lr. Lr is RGB-only and doesn't work with any CMYK-profiles. But you can use Blurbs icc-profile for softproofing in Photoshop CSxx.
    If you don't have Photoshop CSxx, you can't use Blurbs icc-profile and your only optin is to softproof to sRGB. Since you have to embed sRGB in the photos used in your Blurb book, softproofing to sRGB will give you a good match.
    On their website Blurb recommends these steps for Color Management: http://www.blurb.com/guides/color_management/workflow
    What they don't mention and possibly the most important thing is that the intensity (brightness) of your monitor is not to high. Some people have complained that their images in the Blurb book are too dark. The reason for this is that their monitors display the images too bright, i.e. brighter than a true representation of the color numbers. But since printers go by the color numbers, you get a darker print.
    Make sure that the intensity (brightness) of you rmonitor is set to a value of about 110 cd/m2.
    Finally, read this thread: http://forums.adobe.com/message/4360009#4360009
    and particularly Andrew Rodneys post (# 11).

  • 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

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