Soft proofing LR4

Not all of my RGB profiles which are in my colorsync profiles folder are available for soft proofing in LR4. I've copied and pasted the profiles into my profiles folder. These are Imageprint profiles. I need some help with this. Thanks.

sbradom wrote:
I am on a Mac and I did run my profiles through first aid in colorsync. This did not fix the problem. Hence, they claim that my situation is unique as ALL of their other customes have no problems after running first aid in colorsync. Maybe I should call Adobe....
Got you. Yes, the comment to run em through Profile First Aid seems like a BS answer from them. And no, your situation isn’t unique as I’ve heard this from other CB users. But yes, Adobe needs to figure out why one of their applications works with the profiles and one does not.
If you have other Adobe applications (Acrobat, InDesign) that can access profiles, it would be useful to know if you can see them or not. That could help speed up a fix from Adobe’s end.

Similar Messages

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.

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

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

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

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).

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 Proof in LR: Put it in LR!

I must have (like that, must have?) soft proofing abilities in LR if I am going to be able to use LR for preparing images for printing.
Cheers

Soft-proof was first introduced in LR4. You can download the free trial to see if it's what you hoping for. I don't use it so I don't know much but from what I've heard you can only proof RGB profile but not CMKY. Hope this help.

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!

Stuck in soft proofing

I am working in LR4 with soft proof. I set up a photo but somehow got "caught" on the screen in the Develop module. My photo is on the screen after working with it, but I cannot budge it and when I go to print it thr Print module is blank and I cannot print the photo. How can I get out of this bind?

Thank you for your quick reply. I have looked at forums but never joined
one until now. I just upgraded to LR4 and had to try soft proofing. I got
through the the process to the final print in the develop module, but when
I tried to go to the print module it was empty of the usual setup info. The
photo just sits there on a gray page that seems to be on top of the
regular.window. the page says Page 1of1,Paper Letter, Printer: Epson
Stylus. On the top and on the side of the window are rulers showing the
8x10 print. On the left top side of the window is a small printer graphic
and the word Print. I press it but nothing happens. I am in the Print
module at this point, but no info is in the printer info area on the right
side.so I cannot print. Of course I turned the PC off and on again to no
avail. I also removed and reinstalled LR4 all over. No luck. I can use
every other feature on LR4 and process prints regularly, but I cannot print
them. The only thing in the Print module is this photo sitting there with
no place to go.

Soft Proofing Alterations Happen on Original aswell as Virtual (Proof) Image

When soft proofing, I split the image horizontally and then create proof image when asked after making first alteration.
However, in both LR4.4 and 5Beta, both the original and virtual (i.e., proofing image) change.
Example. Have l Brightness value of 55 in original. Proofed image is duller. Increase brightness in proof by 10 to match original. (Figures are just for explanation) Now when I compare images again, original image brightnesss has increased by 10 also. This can be seen, of course, on the Develop panel.
Obviously, proofing won't now work properly, I think.
What is wrong here?

After you make a develop-change in <Softproof> you should get a dialog box that gives tyou three options:
<Undo> - <Make This a Proof> - <Create Proof Copy>.
Are you selecting <Create proof Copy>?
Only then a Virtual Copy is created that shows the altered state while the original remains without the alteration.
If you select <Make This a Proof> the original image will be changed.

Beta 4 Soft Proofing

I’m getting results from Soft Proofing I don’t understand and can’t find any reference to anywhere.
With different ink/paper/printer combinations and different Relative/Perceptual combinations, I get the following results when selecting “Destination Gamut Warning.”
Yellow border: Purple Out of Gamut
Yellow border: Red Out of Gamut
Yellow border: Yellow Out of Gamut
White border: Red Out of Gamut
Does anyone know what these differences mean?
Wil

During the beta period, please post LR4-specific questions in the LR4-specific forum:
http://forums.adobe.com/community/labs/lightroom4

LR 3 - Soft Proofing

Please tell me soft proofing is now in the product? I can't seem to find reference to it.

Select the image in LR and then request edit in Photoshop - you probably want to check the box to get it stacked with the original.
Do your soft proofing in PS and then "Save" it - do not use "Save as". Exit from PS.
Now you can print the PS produced file from LR. Make sure to specify the correct profile and rendering intent in the LR Print module. Printing in LR is much easier and more flexible than in PS and provides better results as it includes output sharpening. I actually rename the PS produced file to include the printer, paper and rendering intent so I can remember in future if I want to reprint it.
That's my work flow - based on what Jeff Schewe teaches. Works like a champ.
Yes, it's a pain not having it in LR (maybe LR4?) but it works.
Selby

Soft proof blurb profile

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

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

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.

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.

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 LR4

Similar Messages

Maybe you are looking for