Soft proofing copies gone?!?

I am new to LR. I soft proofed several photos for printing. I came back to print another copy and the virtual copy proofing copy was gone. There used to be 2 side by side. Now to print do I have to readjust?

Nothin. Weird thing is I talked to a buddy who recently started on Lightroom as well and his are gone too. He switched catalogs and came back and a couple re appeared. I created a new one yesterday and the stacks and collection idea worked for that one, but my original proofs are gone. What a pain. Thanks for the tips guys. For the record in case any adobe folks are out there I'm running LR 4.4 on a Macbook Pro running OS X 10.8.3.

Similar Messages

LR4: Soft Proofing Batches Of Unique Pictures?

Hi. I was wondering if there is a way to do batch processing for soft proofing different pictures similar to the sync functionality? I created a customer user preset however it seems to copy over the existing settings vs updating the +/-'s in the different areas. For example, I have a bunch of photos from different scenarios, events, actions, times, etc..
When I am soft proofing to a custom profile, looks like I just need to apply a few universal tweaks to WB (+100), exposure (+20, maybe +30), contrast (+10), blacks (-10), and clarity (+10, maybe +15) to get the soft proof copy to look like the master copy. Then I can quickly go through the soft proof copies and check. Is there a way of doing this?
Also, is there a way of creating a soft proof copy of all the pics in the develop module at once?
Thanks in advance for your help.
Cheers,
George

smilingcdn@yahoo wrote:
Andrew and trshaner, thanks for the replies. Andrew, your answers definitely leave the impression that its a challenge to have good quality pics from big box photo labs. I guess this is a chance we choose to take.
I've always gotten very good results from my Costco Photo Center in Ocean, NJ. Post #28 at the link I provided shows tests results I got using sRGB with and without soft proof corrections:
http://forums.adobe.com/message/4865815#4865815
smilingcdn@yahoo wrote:
I will need to read more the potential downside by not having the local adjustments not reflected in the global adjustment tools. Not familiar with this yet.
There's no downside as long as you remember that's how you are applying the "additional" corrections to your soft proof copies. If you need to go back and make additional corrections to any of the soft proof copies you can either update the Graduated filter settings or apply a 2nd Graduated filter with those changes.
Just be aware that LR applies the Local Adjustment BEFORE the Global Adjustments. The potential danger is that if you apply controls like +Exposure to an image area that is near 100% highlights you will push the image into clipping. The Global controls will NOT be able to recover the clipped data! The same holds true for an image with deep shadow areas. If you use -Exposure your shadows can become clipped. This applies to use of ANY Local adjustments for ANY purpose, not just soft proof adjustments, so you need to be aware of it at all times.
Since you'll only be making minor color corrections and very moderate tonal corrections to the soft proof images there's very little likelyhood you'll see this issue. For all other usage apply Local settings that REDUCE HIGHLIGHTS and/or RAISE SHADOWS and you won't have a problem.

Soft proofing: how to A/B?

Hi all,
I'm kinda new to soft proofing, so maybe this is a silly question, but here goes:
My workflow for printing is that i first tweak my photos so they look like how i want them on my computer monitor, for uploading to Flickr.
After that i choose the one(s) i want to print (Epson 3880) and go into "soft proofing" mode.
After i've tweaked the photo to compensate for the print, i want to A/B with my original. What i've noticed is that i need to generally add a bit more brightness and vibrance to approach (on physical paper) what i see on my computer screen, so i want to be able to A/B between my original photo and the proof copy.
But the thing is, when i do this the "soft proofing" module remains engaged for both my proof copy (that's ok) and for my original photo (not ok!) which was tweaked to look good on the computer and never meant to be printed, and on which i never did any soft proofing!!!
This makes it really hard to A/B between the two copies.
So why doesn't the soft proofing module automatically turn off when you switch to another photo on which you haven't done any soft proofing?
Hmmm, clear as mud methinks!
But does anyone see what i mean and could offer any tips?
Thanks! ......... D

Daz V wrote:
So why doesn't the soft proofing module automatically turn off when you switch to another photo on which you haven't done any soft proofing?
Soft Proofing "simulates" on your computer display (transmissive) what the print copy (reflective) will look like in your hands. The two are radically different in contrast ratio, black level, and white level achievable, so it makes little sense to try and compare the two. They will always look quite different. The goal is to adjust web based images so they look good onscreen, and print based images with 'Soft Proof' so they look good in the actual reflective light viewed print copy. What are you trying to achieve?
You can view them side-by-side by windowing LR and your browser and viewing the image in both at the same time. In fact that would be much close to reality, since browsers aren't always properly color managed. Two separate displays would be even better for this purpose.

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.

Soft Proofing?

For those here who are having success with their printing. What if anything are you doing about lack of soft proofing in LR.
My current situation is, I get acceptable prints only 50% of the time. Everything is color managed of course and I'm printing to Epson R2400 using Velvet Fine Art Paper and Epson current icc profiles.
What happens is I can make Develop adjustments to two similar images and when I print one comes out fine and the other does not.
Following advise of others I have set up presets for my printing and still check settings after clicking print button. All appears good but result are unpredictable.
I have managed to get some very nice prints on VFA paper so I know it's possible. Just seems like something in the settings is not sticking from one print to the next. Any thoughts on this issue? Like many others here I can print from Aperture or PS with 100% perfect results every time.
I have tried doing preview after starting the print dialog (osx) but the previews are always very oversaturated and very bright. I understand from reading elsewhere that OSX preview is not reliable. I've also tried printing to pdf first and opening in Acrobat however the result is still bright and oversaturated but not as much as the preview version.
I really want to stick with LR but this unpredictable printing thing is making it tough for me to do so. Trying to get consistent prints has so far cost me almost as much in paper/ink as I paid for LR. Since print output is my main goal it's important to me that I get this working. Otherwise LR will become a doorstop.
For the record: (in case Andrew Rodney weights in) I'm shooting with a Nikon D200, Raw in AdobeRGB, Macbook Pro with monitor calibrated with spyder2, using paper/ink icc profiles from Epson (I know their canned, but their the same ones used in PS with perfect results)in LR for my R2400 printer connected directly to my Macbook Pro using firewire.
Is there something I'm missing?
THH

"P.S. when a print comes out bad is always muddy, blocked up in the shadows and somewhat washed out overall(looks like its foggy). Is that a clue to anything?"
It's a clue that your image needs the contrast range of a glossy paper vs a watercolor paper...or that you need to go into the shadows to "open" them up so they print.
The d-max of a glossy paper (like Luster) can hit 2.39/2.4 on Luster but a watercolor paper can only hit 1.7 or so d-max. What that means is that between max white (paper white) and max black )d-max) a watercolor paper is gonna plug up from the midtones down to the shadows...black will be black which is the d-max.
And yes, having a soft proof function in Lightroom would greatly aid in evaluating how much "opening" of the shadows you need to do. Which is why I tend to round trip from Lightroom to Photoshop back to Lightroom very important fine art type prints. While in Photoshop, I can take advantage of local tone/color corrections while doing sharpening and image enhancements such as a mid-tone contrast adjustment, saving the -EDIT file back into Lightroom for printing. While in Photoshop (before saving) I will softproof using the paper profile I'll be using and add an ajustment layer or two (usually a curve and a Hue&Sat adjustment).
The imprtant factor here is to separate out problems using Lightroom functionality such as not using OS X saved presets, remembering to update LR templates and using the correct settings to print from issues of printing difficult to print images on low d-max papers.

Soft Proofing Question

I have made a soft proof and printed. I now want to go back and make additional edits on the soft proof while comparing to my original. If I go back to the original and check soft proof, it offers me a fresh version, rather than the one I printed from. Is there a way to compare the original to the edited soft proof after printing and make additional edits while comparing????

You have processed an image to a certain state, and this is now what you wish to print, correct? This state is copied into the proofing copy when you first make it - as the initial item in its History. That is the "before" state of the before/after function. The "after" state of the before/after function, for the proofing copy, tracks whatever adjustments you then make to that, in relation to a softproofed display, for printing purposes.
These adjustments do not appear in the "before" state, because they have happened subsequent to that state, within the History of this particular image version. This continues to be the case even after you make a test print, and make some more adjustments to the proofing copy as a result of that. Your basis of comparison remains the same.
Also the softproofing does not appear in the "before" display, because the original editing of the image prior to softproofing (the appearance which you want to see) was not done in softproofing mode.
So before/after does give you exactly the comparison which (unless I misunderstand you) you are asking for, when you write "comparing the softproof to the original file I started with".
When softproofing is first turned on and a new proofing copy made, the master image is left in place. The adjustments made specifically for printing are only relevant to the proofing copy and can only be properly judged in softproof mode.
Further general-purpose changes made to the master image (after the creation of the proofing copy) are not going to reflect into that same proofing copy because these are now independent image versions in the Catalog.
Print-specific adjustments made to the proofing copy do not (necessarily, cannot) appear in the master copy, for the same reason - and this is actively desirable. The master image needs to be able to serve other purposes, for which these particular print adjustments would be unsuitable.
However you are free to generate a fresh proofing copy from the master, or to selectively copy-paste or Sync any updated adjustments from the master, into the proofing copy / copies, and to transfer corrective adjustments between different proofing copies, at will.

Weird behaviour when soft proofing.

I'm finding that if I open an image in DEVELOP, when soft proofing is ALREADY switched on, the sliders usually grey out as soon as I make a first adjustment, the histogram display disappears as well. Toggling the soft proof check box brings everything back to life.

I'm on Win 7 Pro 64, HP Z800, Nvidia Quadro FX3800, Xeon 6 Core. Wacom Intous.
...and I'm still getting the problem. I suspected maybe the Wacom tablet so disabled the service but still get problem with a mouse. I created a new catalogue and imported some different images,
still get the problem, except for the FIRST time I try it with a new image, then everything's OK but subsequent tries give the problem. The files are either layered tiffs of finalised images or DNG or Hasselblad 3F
originals.
The grey outs occurred after the first adjustment, after choosing "Make Proof Copy". I have now checked the "Don't Ask Again" button and the problem seems to have gone away. Just a little glich I guess.
Cheers.

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.

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

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.

Soft proofing in Lightroom

In Aperture (dare I mention it?) there is a "View" setting for soft proofing. You input your printer model and paper and the display changes to the actual colors the printer will output. It comes pretty close. I can't find such a setting in Lightroom.
Canon 20D, Intel iMac 20, HP 7160, monitor frequently calibrated with a Spyder2 Pro, Lightroom V1.
If I import a photo from the camera into Lightroom, the colors on the monitor are quite different from the object shot. If I do NO editing at all, just print, the colors on the print are quite close to those of the subject though a long way from the monitor picture.
This is no help at all if I want to edit the photo in Lightroom...

Yeah...LR lacks soft proofing presently.

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.

Soft proofing quit working in 4.2 update

the Cloud just updated my Photoshop CC to 14.2 and now the soft proofing feature doesn't work properly. It slows the machine to a crawl and only shows unlinked blocks of proofs. It was working fine inm the last version.
Thanks anyone for helping

I am having the same problem with Apple TV 2 - My children's movies are showing all songs. Comedy movies the same.
I have changed 8 movies (meta tags) and call them kids movies, go to the Apple TV2 and shows all songs. When I update the genre and called the movies genres "business" it seems to fix it. I don't see any rime or reason.
I can't understand it - never had this problem with Apple TV 1
Thoughts?
I just bought the Apple TV and it was on 4.2 and now I am on 4.22

Soft proofing in LR 4

I purchsed and downloaded LR 4 online. In the Develop Modue when I want to soft-proof. I press 'S' to get the soft proof menu but do not have the soft-proof box under the image that I see in ALL the examples when going through tutorials. I tried closing LR and restarting computer, doesn't help.

Hit the T key to toggle showing/hiding the toolbar...

Soft proofing copies gone?!?

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