SRGB Workflow - Color Nightmare

Issue: I open sRGB-based images via Bridge to sort them out, then open them in ACR to make adjustments. After saving them, I preview them in Chrome, Firefox, and IE - and they look completely different in the browsers than what I'm seeing in ACR or Bridge. I understand that is because ACR and Bridge are color managed but some browsers are not.
Same with Photoshop - I open the image, make adjustments, go to Save for Web, and things look completely different.
In almost all cases, the images look yellowish and washed out in ACR and Photoshop, and overly red once I go to Save for Web.
The point is that I can't make adjustments to images that already have a color profile because once I save them they look too different. It's basically a bunch of guess work at this point. How do you make sure you see the exact same colors while you make adjustments as you will have once you go Save for Web?
I need things to look exactly the same way throughout the entire workflow, from import all the way to saving for the web.
Here's where it gets confusing though: my monitor is the Dell 3011 which comes factory calibrated. It is set to sRGB.
I should be seeing everything the way it's supposed to be.
Also, for Bridge/Photoshop I tried every available Color Management option. I put the images on the web only, never print.
Even using "Proof" is way off, for example if I select Monitor Color, images tend to look even more red than they will once they're Saved for Web.
I cannot find a image workflow that works for me. How do you guys do it?
Could it be my monitor's calibration is actually bad? (came fresh from Dell factory, not a refurb)?
Thanks

function(){return A.apply(null,[this].concat($A(arguments)))}
FuelMe wrote:
In your opinion, is that the way to go or am I risking end user monitors to display my images too differently doing it this way?
I won't offer an opinion either way, I'll just inform you of one of the possibilities, and you can make your own decision.
It is actually possible to adjust on-monitor controls and video card output curves (with most video cards) to get your system to emulate sRGB quite well. I actually run my system this way, in that I have specific need of an sRGB reference system to develop and test software with. I have Dell monitors that provide a good rendition of sRGB.
Since you say you can set your monitor to emulate sRGB, this is also a possibility for you.
There is a chart you can use to visually check to see if your display, after the signal is generated by your video card and the image displayed on your screen, is close to sRGB. You must view it at 100% original size, and assume it's got an sRGB document profile.
http://forums.adobe.com/message/3379137#3379137
It can be quite a handful to try to juggle the monitor controls, and the video card gamma curves et. al., but once you get the gradients in this chart looking smooth and gray, you can be confident your output response is very close to ideal sRGB.
-Noel

Similar Messages

SRGB jpeg color shift upon import to Lightroom

Hi all,
I've tried to do enough reading to ask and intelligent question, so here goes:
I have sRGB jpegs I shot on a Nikon D80. When I import them to Lightroom, there is a color shift (as compared to the camera LCD). If I open the jpegs in Photoshop (using the embedded profile, ie. sRGB), open the jpegs in Photoshop and assign ProPhoto as the color space, or open the jpegs in Firefox, there is no color shift.
Question #1 - Why is there a shift in LR?
Question #2 - The LR (Melissa) color space is often described as "ProPhoto with a sRGB tone curve". I've not seen the mention of a tone curve in reference to sRGB or aRGB color spaces. What is it?
Question #3 - When an image with an embedded profile is imported into LR, is is always assigned to the ProPhoto space, or would it be displayed in its native color space, and only assiged to ProPhoto upon editing?
Thanks,
Michael.

Reading your question, there are a few things that really worry me. First off, Lightroom assumes images with no profile to be in sRGB, second when the image has a profile or a profile tag (such as your D80 writes) it will honor the tag. You should completely forget about the internal working space in Lightroom. It is irrelevant. The way color management in Lightroom works is the following, you take an image in its source profile which defines the colors in absolute terms, render it into the working space (linear prophotoRGB) using the source profile, which does NOT change the color, and then convert to the monitor profile for display. This is how every color managed program does it. Some skip the working space step. This means that the working space, as long as it is wide enough, does not matter for the display.
>open the jpegs in Photoshop and assign ProPhoto as the color space
And this is extremely worrisome. You should NOT assign prophotoRGB to your image. You should leave it in its embedded space, or
convert to the working space. In general leave it in its embedded space. Your photoshop settings should be as the first image in this old post: http://lagemaat.blogspot.com/2007/12/mildly-lightroom-workflow-for-printing.html . If you need to assign prophotoRGB to your image to make it appear right, implies that your monitor profile is messed up majorly.
>open the jpegs in Firefox, there is no color shift
Firefox normally does not color manage, so it always lies to you. Only when you enable tyhe secret setting will it not lie to you (provided the monitor profile is good). See here on how to enable color management in Firefox: http://lagemaat.blogspot.com/2008/06/firefox-30-released.html
>Question #1 - Why is there a shift in LR?
On a good calibrated monitor the shift should be minor. There is a shift because of color management. The displays on Nikons are good, but you cannot trust them in absolute colorimetric sense. Your shift sounds much larger than normal, which is why we think the monitor profile is probably bad.
>Question #2 - The LR (Melissa) color space is often described as "ProPhoto with a sRGB tone curve". I've not seen the mention of a tone curve in reference to sRGB or aRGB color spaces. What is it?
Again, don't worry about the color space. It is not important but for knowing that it is wide enough to handle anything you throw at it. Lightroom internally uses a color space that is 16 bits and linear and has the primaries of prophotoRGB. It does NOT use a tone curve. For its histogram display and the percentage displays, it applies a sRGB tone curve to the data, so that not everything clusters on one side of the histogram. This is only done for those two displays! Lightroom works in a linear space for everything else. A good document on this was written up by Andrew Rodney a while ago: http://www.ppmag.com/reviews/200701_rodneycm.pdf . I discuss the tone curve here: http://lagemaat.blogspot.com/2008/06/srgb-tone-curve-and-lightroom-color.html
>Question #3 - When an image with an embedded profile is imported into LR, is is always assigned to the ProPhoto space, or would it be displayed in its native color space, and only assiged to ProPhoto upon editing?
Explained above. When you're working in Develop, the image is
converted to the internal color space using the embedded profile, any edits are applied, and then it is converted to the monitor profile before display. The step in between is immaterial. It even happens in 16-bit precision to avoid obvious bit steps. In the Library module the situation is slightly different because previews that are generated from your file are used, but the result is exactly the same. There is NEVER any color space assigned to your images, except when the original files have no profile. In that case sRGB is assigned.

LR2: export jpg sRGB vs. print to jpeg sRGB - Same colors in MS explorer preview?

Hello !
Im using LR2 and do have problems understanding why "printing" to jpeg and exporting to jpeg give different results (colorwise) in the following case:
The first picture was exported using "jpeg" file format and "sRGB" color space.
The second picture was "printed" to jpeg using "sRGB" profile and rendering intend etiher "perceptual" or "relative" (doesn't matter).
I was just wondering, why in explorer preview(MS Windows XP sp3 with a calibrated monitor) colors of both pictures look different. The "printed" jpeg does have less red in it.
shouldn't the look the same in this case?
Did I miss something here?
Any hints appreciated.
Thank you very much
Sokrates

Hello,
thanks for pointing me to the related threads.
Indeed the results of the LR2 functions "print to jpeg" and "slideshow to jpeg" are dependent of the current monitor profile being used.
Here are my expamples:
http://www.tiga-online.de/downloads/comparison.jpg
if you have a closer look, it becomes more obvious:
upper left picture:
http://www.tiga-online.de/downloads/P5248984_print_sRGB_with_sRGB_monitor_profile.jpg
upper right picture (which shows different color):
http://www.tiga-online.de/downloads/P5248984_print_sRGB_with_sypder_profile.jpg
lower left picture:
http://www.tiga-online.de/downloads/P5248984_export_sRGB_with_sypder_profile.jpg
lower right picture:
http://www.tiga-online.de/downloads/P5248984_export_sRGB_with_sRGB_monitor_profile.jpg
Thanks again
Sokrates

Color Nightmare

not having much luck with this program
i sent a 111 minute concert video to color... did my corrections
and it took 5 days to render....
now i am back in final cut pro and it says that all my files are an unspecified path
when I recconnect files I get an error message saying that -reel - attributes ... and says there is a conflict....
WORST PART is when I relink it doesn't find the other files like it ussually does.... so it wants me to find the files with all the renders... all 640 of them.... THIS *****

wilsondef11 wrote:
now i am back in final cut pro and it says that all my files are an unspecified path
when I recconnect files I get an error message saying that -reel - attributes ... and says there is a conflict....
How are you getting back to FCP?
If Send To FCP isn't working try :
Export > XML
Then in FCP:
Import > XML
WORST PART is when I relink it doesn't find the other files like it ussually does.... so it wants me to find the files with all the renders... all 640 of them.... THIS *****
That's because Color renders each clip to it's own folder. You could build an Automater script to move all the movies to a single folder, but I think FCP will still want to relink each file individually.
I won't harp on you about untested workflows (since JP and Michael already did that). But before you go any further you also need to go to the Color menu item: Help > Release Notes.
Then read those Notes. We can post here for days as you discover on your own the 10 different ways to die in Color - or you can read all about it upfront and then we can help you figure out where to go from here.
But unless the XML option works, you're probably in for some more pain.
- pi

SRGB to color LCD

i have just got back form the mac shop where they told me my computer would be faster if i down graded the software. now i am home i cant change the color settings to what i had before.
this is not ideal as im a designer starting with a new client tomorrow. what use to be grey is now blue.
how can i make this work by tomorrow morning?

Hi,
Go to System Preferences > Accessibility in 10.8.x,and down in the Display: section make sure that the Enhance contrast: slider is all the way to left to Normal, or more to the right for less Contrast.

Save to Web Color Shift with sRGB Working Space

I'm having a problem a lot of other people have, which is the color shift when saving to web or viewing my work in a web browser.
The solutions I've found in the past have been to simply make sure my working color space in Photoshop is sRGB and that my files are being built with that profile as well. I'm under the impression that sRGB is essentially the same color space as is used in a web browser, and therefore my work should look identical in both Photoshop and a web browser.
So why am I still getting a color shift? Everything in a browser appears darker and with more contrast, as though the colors have been pumped up a bit.
My monitor color has been calibrated with a Spyder 3 Pro and I'm using the profile it created for me as my OS X color profile. Thinking the shift may be related to my monitor profile, I tried switching to other profiles, but I still get a color shift in every single one.
Any ideas? Thanks!

sRGB based on capabilities and trends of development (circa late 1990s) for commodities CRT computers displays. sRGB per se has nothing to do with web browsers. The reason it has become associated with the web is the assumption that most web users are looking at content using a commodities CRT monitor using Microsoft Windows.
It should be obvious that the use of a standard of some kind for display is better than none if there is to be any trend towards predictability of image display. Today, in commodities computing, that standard is sRGB: neutral color where R=B=G, and a gray ramp and primaries typical of the electron gun and phosphors used in CRT displays perfected for use in color television. It just so happens that this coding is rather will suited to get good value out of a minimum numbers of bits for color representation (e.g, 8 bits per channel 24 bit color)
Web browsers in and of themselves don't have a color space. A few, such as Mac Safari, use the ICC color management capabilities of the system, and these display compensated color just like Photoshop does: if the image is tagged with an ICC profile, compensation will be applied in the browser window. But for the vast majority of computers and users, browser color is monitor color, and it's easier and most reliable for designers to just assume sRGB because it's the space that's the best approximation of the internet at large.
You work usually will not look identical in Photoshop and a web browser (assuming that the browser does not or cannot do color management) because Photoshop is always soft proofing the working space onto the display. It is this quality that leads you to see parity between photoshop and the web browser when you choose you monitor profile as the working space: the soft proof produces no compensation.
But while this fixes up your local experience it is -not- the solution because this projects your monitor characteristics into the image when you share it. For example, if your monitor has a lumpy non-linear tonal response and you correct image shadows or saturation for a certain look the image data will code your monitor response as well as your intentions for the image appearance. Others will see the combination of your correction for your monitor response mapped over their monitor response, in fact they will see an inversion of your monitor's response coded in the image, and to whatever extent your monitor deviates from the norm is the extent which at the very least others displays of the images you correct will deviate from your intentioned look.
The answer to your problem--and this may surprise you--is to tolerate and appreciate the difference in display between photoshop's rendition of color and your browsers. Photoshop is showing your image more truly--within certain significant local limits--in terms of your working space than your web browser. By choosing an appropriate working space, and for the web it should be sRGB, and by profiling your monitor as you have, you are ensuring your images are normalized to current standards for web presentation. Others may still see crap, but it's most likely their problem and if they don't want to do anything about it that's their problem, not yours.
There are a wide variety of reasons why a properly calibrated monitor will not match a working space which the soft proof cannot overcome. A monitor gamut larger than sRGB is not one of them. Photoshop will properly display sRGB data if the display profile properly characterizes the larger gamut display. This leads to questions about the effects of monitor quality on workflow. Maybe the most important of these is "How do I know my Spyder has properly calibrated my display!!!" But this is a topic for a whole 'nother thread.
Where I run into trouble is when trying to make visual color comparisons during web design between my photoshop website mockup and a published site. I get confused and try to make color picker style matches by eye rather than by the numbers because I forget my web browser is not color managed. Sometimes I forget how all the parts play together and get confused and disoriented, then I make compounding mistakes. Then I start blaming my tools. Pity me.

Color spaces in Lightroom and Photoshop

I read that Lightroom uses the large ProPhoto color Space and then again, that it's gamma curve ist close to sRGB. So what is my color space when working in Lightroom? ProPhoto, or sRGb, or something else?
And what kind of a color management workflow between Photoshop and Lightroom do you advocate? Using ProphotoRGB or sRGB as color work space in Photoshop? I used to work in AdobeRGB in Photoshop. Has this to be changed to gain maximum color consistency?
Thanks again for any help!
Johann M Ginther

Hey Claude,
if it did not have an attached profile it is almost definitely in sRGB or, more rarely, Apple RGB. Lightroom always assumes sRGB for untagged files which is typically a safe bet. Photoshop generally uses the working space for untagged images. Since you had adobeRGB there, you should get a more saturated image in photoshop then in Lightroom. The same data is simply interpreted in a different color space leading to different colors. This has nothing to do with the monitor profile therefore and my initial hunch was wrong. So for untagged images in photoshop, you should usually assign sRGB to them instead of working space.
>As for calibration hardware we do use them here so I will use it but since the Mac was brand new out the box I assumed that it was ok...
Unfortunately, in general the canned calibration is not very good on Macs. I find very large differences between the shipped profile and a profile generated by a calibrator. Also, Apple ships profiles that set your display's gamma to 1.8 instead of the standard 2.2. This leads to many images in webbrowsers being too low contrast. Even Apple suggests recalibrating your screen at 2.2 if you do digital photography work (it's in their Aperture help files). In this case though the difference between Lightroom and Photoshop had nothing to do with the monitor profile but was related to photoshop interpreting untagged files in its working space instead of the more likely sRGB space.

Big color discrepancy when rendering video

I'm editing video on a Mac using PS CC. My Multisync PA242 monitor is calibrated. When I open the .MOV files for editing I select sRGB for color managing. I'm rendering out to a H.264 MP4 file and I've checked "color manage" in the export video dialogue. My rendered video is hugely undersaturated. My only "work around" is to OVER saturated before performing the export render. After much research, I can find no advice addressing this issue.

I am afraid this is not going to be a big help but you are not alone. I have just started shooting video after years of still photography. I have a full understanding of colour management and my still workflow is consistent from end to end. My impression of video is that most video editing applications do not colour manage at all. The professionals use expensive suites to edit in which separate calibrated monitors (to something called REC709 which is close to sRGB) are used to display the output but the User Interface display where all the work is done is not colour managed. This is probably all right if you do all your work on an sRGB monitor but if you have a calibrated wide gamut monitor like many stills photographers then you are in trouble. I was under the impression that the Video module in Photoshop CC (and CS6) is properly colour managed as we understand it and should assume sRGB for untagged video clips but I could be wrong.
The other big problem is that video "colourists" speak a different language from still photographers.

Please help. Photoshop isn't displaying colors correctly after new monitor/calibration

When I open JPEGS or RAW images in photoshop they have a dull, flat color to them. This is happening after recently buying a NEW PA271W wide-gamut display and calibrating it using Spectraview 2. It doesn't matter whether I have the Working Space in PS set to Adobe RGB or sRGB under color settings... The only way I can make my image look normal is to go under settings and ASSIGN PROFILE to Adobe RGB. It looks fine then. I could live with that, except the bigger problem is that I begin my editing process in RAW, where the colors are also looking flat. The best I can tell, there is no way to assign a profile at this stage... and I don't even know if that would help.
I've been working in photoshop many years and I do know that RAW images have a 'flatter' appearance to being with, but this is something completely different. For example, when I slide photoshop onto my other monitor next to it (I have multiple monitors) - the color reverts to the normal color I want . And if I then slide photoshop back onto my new NEC monitor, the normal color actually stays intact for about two seconds, then reverts back to the dull color. So I am unable to begin my work process in RAW since the colors are wrong. Also, I know that my new monitor is capbable of displaying my images in their proper colors because when I use any of several different image viewers I have - irfanview, etc. - everything is fine. It's only in photoshop. Any help will be greatly appreciated. Thanks, Chance. Oh, and I have CS5 and I'm using Windows 7.

What you're describing sounds like your display profile is incorrect.
Don't mess with the working space, don't assign profiles -- just fix the display profile.

CS3 color management won't match prints

Okay, I know there are a lot of boneheds who can't figure out how to set up color in Bridge and CS3 but I am at my wits end on this so bear me out.
Windows XP and CS3
Bridge is set to; Enable color management in Bridge
RAW conversion is SRGB
CS3 color settings/working space set to SRGB
Print color management is set to SRGB and Photoshop manages colors
Printer is set to "application manages colors" (HP B9180)(btw, I have also tried it set to SRGB)
Image looks the same on Bridge, RAW conversion, CS3 and print screen (dark)Image looks LIGHTER when viewed with any other program (including windows picture and fax viewer, HP print program, Paint Shop Pro and online) and prints to match the lighter image both on my HP and from my lab!
The closest I have been able to get to a total sync is to set Photoshop's color settings to "Monitor color," and uncheck the box in Bridge that says "apply color management settings in Bridge." In that case, Bridge and CS3 produce a lighter image but RAW conversion is still darker. Plus, who the hell wants to use monitor color in Photoshop!?

That's pretty much it David... I could get Photoshop to match my prints but then any other program would show the prints as being waaaay off-color.
Today I bought a spider2express and color balanced my monitor. Now everything seems to look in sync and my prints match very close (a little warm for my tastes..). Tech support at Photoshop told me it was a calibration issue but I thought that was bull... i mean, how can calibration make an image that looks different in two different programs look the same? Well, it does. As far as I understand it now (layman's terms)when you look at an image in windows viewer ot explorer or any other non-color management program you are looking at the image based on your monitor profile. When you look at the same image in photoshop the program uses it's own color management which then gets filtered through your monitor program to your eyes (but not to the printer). If your monitor profile is bad, the image looks bad.
Or something like that :)

Color Code is not working, please help

I am using the color code 080808 from adobe photoshop as my background for my template. When i put the JPG file into dreamweaver and try to set the page properties in dreamweaver (background) to 080808 it is putting me at pure black. please help me.080808 is not a pure black its a shade of it. I need a color code that matches 080808 correctly. thanks
I am using adobe CS3

I'm not quite sure I understand exactly what you are doing, but I ran into something like this myself. I was creating GIFs in Photoshop -- type on a background color. I then created DW pages. I used the same color code for the background color in PS and again for the background color in DW, but when I inserted the images in the page, they did not match. It turned out that when I created a new file in PS, I was creating it in my default color space, Adobe RGB. I assumed that when Save For Web converted the file to sRGB, the colors would convert perfectly. What I found is that I should have been creating my PS files by starting with a new file in sRGB color space. Once I did that, the background color of my images identically matched the background color of my DW page.
Hope this helps.
John

Lllustrator and Photoshop display different colors despite synchronized CS5 Color Settings

I've got some students who noticed that Illustrator and Photoshop display completely different colors on screen for eactly the same RGB values despite Color Settings being synchronized.
Settings are:
CSF: North American Web/Internet (RGB color space = sRGB),
Proof Set-up: Internet Standard sRGB
Proof Colors turned On.
RGB Values: R=0 G= 162 B=211
But colors displayed are not close between Ai and Ps.
With Proof Colors turned off, both apps display the colors reasonably closely.
I teach Photoshop and Print Color Management, so I admit my knowledge of how Illustrator handles screen proofing and proof set-ups for screen destinations is not comprehensive.
I expect I'm missing some difference in the two apps' behaviour.
Any info from anyone experienced in this corner of the field appreciated.
Cheers
Tom

I've got some students who noticed that Illustrator and Photoshop display completely different colors on screen for eactly the same RGB values despite Color Settings being synchronized.
Settings are:
CSF: North American Web/Internet (RGB color space = sRGB),
Proof Set-up: Internet Standard sRGB
Proof Colors turned On.
RGB Values: R=0 G= 162 B=211
But colors displayed are not close between Ai and Ps.
With Proof Colors turned off, both apps display the colors reasonably closely.
I teach Photoshop and Print Color Management, so I admit my knowledge of how Illustrator handles screen proofing and proof set-ups for screen destinations is not comprehensive.
I expect I'm missing some difference in the two apps' behaviour.
Any info from anyone experienced in this corner of the field appreciated.
Cheers
Tom

Diagram of sRGB values outside of the sRGB gamut?

When I have sRGB selected as my color space in Photoshop (CS6), often I see the out of gamut warning in the color picker. I expected every possible sRGB color value to be within the sRGB color gamut, but apparently I was wrong. I would like to see a horseshoe color space diagram that shows how far the values extend beyond the gamut.
I guess this occurs with all color spaces - you can select color values that are outside of the gamut. I'm not sure what the color space diagrams represent, but I'm guessing they represent the gamut.
Thanks!

It may help your understanding to know the lay of the land a bit better...
Most users are using Internet Explorer, which is HALF color-managed and reads the document color profile - but assumes the monitor is sRGB, so that anyone using IE with a monitor that's reasonably close to sRGB will see reasonable colors and those who have wide-gamut monitors will always see inaccurate (oversaturated) colors.
Safari and Firefox do use both the document and monitor profiles, and assuming the profile actually DOES describe the monitor performance (which I htink is a stretch for the majority of systems) can show proper color. Firefox has some advanced settings to allow a user to set it to a very rational strategy, in which not only images but web page elements are also color-managed, but that's not the default.
I don't know about Chrome's color-management capabilities. I'm generally allergic to running Google malware software so I don't test it much.
But know that color profiles are complex beasts, and can actually be (mis)crafted so that some or all color-management doesn't actually work right.
Gary Ballard (aka gator_soup) recommends publishing web images without a color profile, claiming this can yield a greater likelihood that people will see your images as intended, but I'm not sure I buy into that argument. Personally I lean toward getting the color right in Photoshop, publishing with an embedded sRGB profile, and not worrying about it any further. Anyone who cares about color will work things out on their own system so they're seeing proper color, and as for the others, well, as long as red things are vaguely reddish, and blue things bluish, what's to worry about?
At the end of the day, there are probably more "standard gamut" monitors (i.e., not wide gamut) out there than anything else, so the likelihood that an image will be seen on a device that's sRGB-like is probably higher than all else. This may be why Microsoft feels comfortable with leaving IE broken as it is, though frankly the same thing would be accomplished if they used the monitor profile, since Windows defaults to associating sRGB IEC61966-2.1 with monitors.
If your prime goal is web publishing, consider just making sRGB your working profile of choice, then watch your histograms when you edit to ensure you don't clip black points of any of the channels. Working in sRGB you cannot have an out-of-sRGB gamut color, so that's a non-issue.
By the way, you can show (as a status) what the current color space of your document is in a couple of ways: The little status box at the lower-left of the document editing area, or via the Info Panel.
-Noel

Calling workflow from java(1.4)

Hi All,
I have a scenario in which the request status comes from outside SUN IDM (7.1) and is forwarded to IDM via a Java class which in turn calls the related On Hold workflow.
The code has a bug as it calls all the workflows while trying to isolate (filter) out the particular WorkFlow.
Could any one suggest how to isolate the particular workFlow using java(1.4) ?
Currently the code is like this :
{color:#0000ff}AttributeCondition executedTaskFilter = new AttributeCondition({color}
{color:#0000ff}Attribute.+PROCESS+,{color}
{color:#0000ff}com.waveset.object.AttributeCondition.Operator.+EQ+,{color}
{color:#0000ff}"abc approval Workflow");
{color}{color:#000000}Thanks in Advance
Bislerinow{color}

[ JasperReports 3.0.0|http://www.jasperforge.org/index.php?option=com_joomlaboard&Itemid=&func=view&catid=9&id=42461#42461]
Looks like something is still using SDK 1.4 or eclipse is set to compile to 1.4 compliance.

Aperture 2 Color Profiling....please help

Hi
I have a MBP and aperture...I did the following setup
1) Calibrated my Monitor with a spyder (used gamma2.2 and neutral)
I doubled on this website that the calibration is ok
http://www.drycreekphoto.com/Learn/monitor_calibration.htm
2) on Aperture 2, I post processed my RAW file (5DmarkII) and I made sure that onscreen
proofing is checked and the proofing profile is sRGB-IEC61996-2.1
3) After I am done, I noticed that when I export the photos (using sRGB), some color are slightly different than what I see on Aperture for example a slighty satured blue turned a little purplelish
Any ideas how to have those colors in sync ?? Am i doing something wrong
Your help is very appreciated
Thanks
Vadim

you may have already explored this:
What is your export color profile? It could be different than your onscreen which could explain this issue you are having.
CD

SRGB Workflow - Color Nightmare

Similar Messages

Maybe you are looking for