Tagging colour profiles

How do I tag a colour profile to an image in photoshop

If the image is unprofiled use
Edit > Assign Profile
and on using File > Save As check »Embed Color Profile«.
If you want to convert an image from one Color Space to another use
Edit > Convert to Profile

Similar Messages

  • Do I need to set AI colour profiles for use in ID?

    My previous set up:
    Mac
    CS2 (Illustrator, Photoshop, Bridge)
    Quark XPress 7
    My new set up:
    PC (Win 7)
    CS5 (Illustrator, Photoshop, Bridge, InDesign)
    My problem:
    I work for a company that prints newspapers, but my dept also does work for glossy sheetfed printers (magazines leaflets etc)
    All my work is exclusively CMYK.
    With my previous set up - I didn’t want to have to switch my colour profiles via Bridge as I was constantly juggling two types of jobs:
    Our tabloid press - Profile - ISOnewspaper26v4 (CMYK)
    Sheetfed Printers - Profile - ISO Coated V2 (Fogra 39) (CMYK)
    So I set my CS2 Suite colour settings to  ISO Coated V2 (Fogra 39) and set an action in Photoshop to convert jpegs / eps photos to ISOnewspaper26v4.
    So my CS2 working space was set for Sheetfed glossy publications and if I wanted to set a picture to the correct profile for newsprint I just had to open the picture and hit the action that applied the ISOnewspaper26v4 profile.
    Regarding Quark – I set up separate templates for each type of job:
    One for Profile - ISO Coated V2 (Fogra 39) and one for - Profile - ISOnewspaper26v4.
    Regarding Illustrator - I found that Quark 7 didn’t differentiate between Illustrator colour profiles, or if it did, it didn’t show up in ‘Usage’.
    If I went to Quark Usage and went to ‘Profiles’ it only listed the Quark profile and any Photoshop profiles, not any Illustrator profiles.
    So in Illustrator I just set colour profiles to ‘do not colour manage this document’. So that I only had to worry about changing profiles for Photoshop jpegs / eps’s.
    So I had a good little system going that served me well and now my company decided to move us to PC’s and CS5; and I still have the same problem – juggling newsprint jobs and glossy magazine jobs and not wanting to have to synchronise my CS suite colour settings every time I switch between jobs...
    So I was hoping to stick with my little system on PC / CS5.
    So basically my question is, do I need to worry about Illustrator colour profiles if I am bringing Illustrator files into InDesign? (To clarify, my Illustrator files are always pure vector, so there is no chance of some rogue RGB jpeg sneaking through on a Illustrator file)
    Im open to suggestions regarding my set up, but really would prefer not to have to keep switching my colour profiles.
    Any help would be greatly appreciated.

    First, I wasn't suggesting that your PDFs be exported to RGB, but it is a common workflow these days to keep photos in RGB until you convert them to the correct profile during the export process. This maximizes the potential for re-purposing your documents and allows you to use the same RGB photos for different output purposes without having to do separate CMYK conversions for each destination, so long as you don't need to do any tweaking after the conversion.
    And to answer your question, if the .ai files have no embedded color profile they will ALWAYS be considered to use whatever the CMYK working space is in your ID file, so the numbers will be preserved. This means that there will be slight differences in color on output on different devices (the whole point of color management, after all, is to preserve the appearance of colors by altering the numbers for the output device).
    Does the vector work you get from Thinstock come with an embedded profile? Is there any color that is critical for matching, such as a corporate color (which should be spot, but that's a different discussion), or do you use the same art in both the newspaper and magazine, and does the client expect a match (which we know isn't going to happen anyway)?
    If there's no embedded profile when you start, there's no way to know what the color was supposed to look like, so color management is not possible, really. You can assign a profile, but you'd be guessing. Since the correct appearance at that point is unknown continuing with out color management shouldn't present a problem. The only case where you would need to manage the vector art would be if the color APPEARANCE is critical or you need it to match across different outputs, and in that case you would need to assign a profile and allow ID to preserve the profile on import and remap the numbers, which means you would likely get rich blacks someplace. Since it's unlikely that you can get a good match going from glossy to newsprint, I probably wouldn't even try -- you wouldn't want, for example, to tag the art as newsprint, and have it print subdued on the gloss if it would look better or more correct with the other profile. Color management would be much more useful if you were going from sheetfed to web on the same stock.

  • Need some help with the colour profile please. Urgent! Thanks

    Dear all, I need help with the colour profile of my photoshop CS6. 
    I've taken a photo with my Canon DSLR. When I opened the raw with ACDSee, the colour looks perfectly ok.
    So I go ahead and open in photoshop. I did nothing to the photo. It still looks ok
    Then I'm prompt the Embedded Profile Mismatch error. I go ahead and choose Discard the embedded profile option
    And the colour started to get messed up.
    And the output is a total diasater
    Put the above photo side by side with the raw, the red has became crimson!!
    So I tried the other option, Use the embedded profile
    The whole picture turns yellowish in Photoshop's interface
    And the output is just the same as the third option.
    Could someone please guide me how to fix this? Thank you.

    I'm prompt the Embedded Profile Mismatch error. I go ahead and choose Discard the embedded profile option
    always use the embedded profile when opening tagged images in Photoshop - at that point Photoshop will convert the source colors over to your monitor space correctly
    if your colors are wrong at that point either your monitor profile is off, or your source colors are not what you think they are - if other apps are displaying correctly you most likely have either a defective monitor profile or source profile issues
    windows calibrate link:
    http://windows.microsoft.com/en-US/windows7/Calibrate-your-display
    for Photoshop to work properly, i recall you want to have "use my settings for this device" checked in Color Management> Device tab
    you may want to download the PDI reference image to check your monitor and print workflows
    and complete five easy steps to profile enlightenment in Photoshop
    with your settings, monitor profile and source profiles sorted out it should be pretty easy to pinpoint the problem...

  • Colour colour profiles and JPEG compression mismatch

    In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
    For example, if a JPEG image all one colour is placed in a gallery widget over a text box, and then the background colour of the textbox is set to the colour of the image by sampling the colour in the image using the colour picker, when downloaded to the iPad the colours will not match (although they appear to in iBooks Author). I presume this must be a bug with the encoding of the JPEG? Or is it a conversion issue between different colour profiles used for the solid colours in iBooks and the sRGB colours that Apple advises using for images?
    I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
    In short, does anyone have a clue what is going on with the colour profiles and colour matching in iBooks Author and iBooks on the iPad? They certainly display the most perplexing behaviour I have ever come across.
    Giles Hudson

    Although you say there is no concept of a colour profile in iOS, the problem is that iBooks Author does recognize profiles, and appears to take them into consideration when downloading images to books on the iPad. For example, an image tagged with an sRGB profile placed in iBooks Author will appear differently from an identical image tagged with an Adobe RGB profile. The problem is, it is not at all clear what conversion is going on, especially when using a monitor with a different colour profile appears to cause radically different behaviour in the conversion. Is it being converted to "Device RGB" that the colour picker apepars to use? What is this Device RGB? The monitor RGB or the iPad RGB?
    I understand that iOS supports RGB and CMYK. However, the important question is, which working space does iBooks Author use? sRGB, GenericRGB, Device RGB (whatever that is), Apple RGB, Adobe RGB, the monitor RGB? Without knowing this it is difficult to match solid colours to colours in images (and even arguably impossible due to the JPEG encoding problem I mentioned above).
    All this vagueness in colour handling with OSX and iOS makes life very difficult, especially, as you suggest, when things have the potential to change at any minute, potentially wrecking months of painstaking work that has been put into designing books in iBooks Author.

  • Can a RAW image have a colour profile straight from camera?

    I am totally confused after having read a host of apparently contradictory materials. If I shoor RAW images, can they already have a particular colour profile imposed on them by the camera? Does not RAW mean 'no profile before being processed by software outside the camera'?
    I have a Canon Powershot G11 camera. JPEGs are always recorded with sRGB profile in this camera. But after some e-mail correspondence with the Canon technical enquiry department, they have told me that the RAW images are also recorded with sRGB profile, i.e they already have that profile as they come out of the camera and before they are processed by the Adobe DNG Converter and ACR. Can this be right?
    Thanks very much in anticipation of a simple answer!

    Usually cameras don't embed profiles, rather they include a simple tag in the exif data "hidden" within the raw file.  This can be used by manufacturer's software for default rendering, but has no effect upon the actual raw image data.  This is also done with jpeg output, although of course the camera has rendered the image into either sRGB or Adobe1998 depending upon the camera settings.
    I generally set Photoshop to ignore exif colorspace tags (File Handling within Preferences), only want to honor a profile if is actually present.  Therefore I always set my camera to sRGB so that on the rare occasions I shoot in jpeg I won't have the wrong colorspace in use.  Of course for ACR the camera colorspace makes no difference, since the output colorspace is chosen within ACR, no attention is paid (for raw) to the exif tag.  I use ProPhoto for most work in ACR/Photoshop to avoid channel clipping.
    Richard Southworth

  • Colour Profile Bug in CS4 32 bpc Mode?

    This has been confirmed on both Mac and PC by different users
    (this topic was confirmed on another list before posting here).
    One may be working on an image that has a different colour profile
    than set as default in colour settings. For example, colour settings
    has Adobe RGB while the current document is in ProPhoto RGB. If the
    ProPhoto RGB (16 bpc) file is taken to 32 bpc mode, the status message
    reports that the file is in a modified linear space based on the input
    profile. One may then perform USM, for example and then return to 16
    bpc or 8 bpc mode.
    Here is the bug: Once the ProPhoto RGB file is returned to 16 or 8
    bpc, it now has the working RGB space tagged of Adobe RGB, rather than
    the original ProPhoto RGB as input before 32 bpc conversion. This is
    not just a tagging issue, the numbers have been converted to working
    RGB rather than the input ICC that was tagged to the image prior to
    entering 32 bpc mode.
    ICC tagged image operations have been divorced from colour settings
    since version 6, the document can reside in a space that is
    independent of colour settings. I can't recall other operations that
    change the files colour space and tag without user intention.
    If using 32 bpc edits, to preserve the input space, one either has to
    change their colour settings to match the document or convert the
    document to working RGB.
    So why this reversion to working RGB and not the document RGB - bug or
    design feature/limitation? Did CS3 work this way, is it only my
    version of CS4?
    I have searched the help notes, this forum and other Adobe support docs,
    however I could not find this issue documented.
    Sincerely,
    Stephen Marsh

    Can anyone post a supporting argument for the current behaviour (design or bug). While in 32 bpc Photoshop "knows" what the original profile is (it is listed as being in a linear state), while on default conversion to lower bit depth the data is converted to working RGB, rather than the document RGB prior to conversion (if different to working RGB). Am I missing something - is this a good thing, should this be behaviour be changed?
    OK, topic drift it is!
    Buko/progress, it is not so much bit depth in this case, it is gamma encoding - or lack thereof. 32 bpc mode processes in linear gamma, which can have an effect on some operations for certain receptive image content (tonal moves, USM, interpolation etc).
    As one example, some links to linear resampling can be found in the comments at this blog:
    http://forensicphotoshop.blogspot.com/2008/11/resize-smaller-part-2.html
    I prefer the 32 bpc route to linear processing rather than the alternative, which is 16 bpc and a hacked custom RGB profile set to gamma 1.0.
    I don't like linear USM for output sharpening (nasty dark halo artifacts). However, for subtle capture/acquisition sharpening linear USM may be preferred for certain images. I generally sharpen with blend if sliders limiting the intensity of the light halo, which comes close to one aspect of linear sharpening (light halo reduction). This can also be achieved by blending the USM in two separate layers, set to darken and lighten blending with reduced opacity.
    While on USM and gamma, there are some L* based RGB working spaces such as L*RGB or the new ECI RGB which behave the same way as Lab mode Lightness channel sharpening (when set to Luminosity blend). As the response of the Lightness channel is different to linear gamma and standard gamma encoded spaces, for some image content one may be preferred over the other as the processing space.
    I would still like to explore the original topic/post before submitting a bug report. How do you think things should work?
    Regards,
    Stephen Marsh

  • How do I change colour profile of embedded objects?

    One of my Illustrator CS6 documents was intially created some time ago without paying much attention to colour management issues. I am now trying to put that right and have assigned the document a profile of Adobe RGB (i998). However, each time I open it I am warned that 'The document has an embedded color profile that does not match the current RGB working space'. It also says that the embedded profile is sRGB, while my working space is Adobe RGB. I get this message three times and am assuming that it refers to embedded objects.
    So far, I have failed to find a permanent solution. Do I have to reimport all items that may have a colour profile, having first ensured that they are tagged as AdobeRGB?
    David

    Hi Monika,
    First of all, let me apologise for using the word 'embedded' instead of 'linked'. I was distracted by the fact that the doc in question (an award certificate) is embedded in a Microsoft Access report. That being said, I have now found that all the linked logo images in this Illustrator doc are GIFs or TIFs that don't accept a colour profile (and thus cannot be the trigger for my profile warnings).
    I use a Canon 5D and (rightly or wrongly) have chosen to standardise on a CS working space of Adobe RGB. However, your reference to digital photos is not relevant in this case as there are none in the document. My only concern is to make this document match my working space and no longer trigger irritating profile mismatch warnings. My overall objective is to ensure that the colours will all be correct when it goes to a printer (one of our sponsors, a UK colour paper manufacturer, will be printing the final certificates from a PDF file).
    David

  • Can you use a photo lab's colour profile in Elements?

    Using PSE 6,  I want to use a printer profile from a digital photo processing lab, so as to get accurately printed images. (Additonally my monitor is calibrated by a Heuy Pro)
    The profile is  'FUJI 570 Supreme Lustre' which I have downloaded from the lab and installed on my Windows Vista PC.  Following PSE Help instructions, if I go to the print option then from the drop down Printer Profile list, I can see, choose and select the Fuji 570 profile.
    The problem is that this process only seems aimed at then allowing me to click on cancel or print (there is no save option etc).  PSE seems to assume that I am connected to the Fuji printer and want to print the image myself, which, of course, I don't but rather want to save this image with the correct profile for the lab's printer and paper-type, so as to send the file(s) for my colour managed image(s) to be printed.
    Is there any way that you can save a PSE image file with a colour profile like this in it?
    If yes, how is this done?
    The lab provides instructions as to how to do this with Photoshop but they are unfamiliar with PSE.  In the lab's instructions it refers to View/Proof Set up/custom and unchecking Preserve Colour Numbers, Paper White and Ink Black. Is any of this possible/necessary with PSE 6 (or any later version?)
    I have tried to resolve this myself but come to a dead end. If anyone can advise me how to achieve what I want to do, that would be really great or if it can't be done using PSE, to know that would be a great help.
    (I have used this lab before without the profiles and whilst the results were good in several respects, some colours, not surprisingly,  were not very accuate with my calibrated monitor)
    Thanks for reading and considering my posting on the forum.

    Thanks for this further advice- much appreciated.
    I don't think the Edit>>Colour Settings is going to work as this means that the monitor set up becomes the profile. In my case the Huey profile (which is confirmed as it shows in the print set up preference/settings boxes). Although the Huey profile is important for accurate editing, it will not fulfil the lab'sFuji printer/papers settings.
    It looks like PSE does not have any way to save to file with the printer profile (unlike Photoshop). This is a real shame.
    It's an interesting issue, as I can't believe that I am the only user ever wanting to use a lab's profile to get better colour management and to use a photographic lab rather than an attached printer.
    Anyway, thanks again for engaging in this issue and for your thoughts and advice - much appreciated.
    Should I find a way to resolve this, I will post it on the forum.

  • How do I Fix Messed up Colour Profiles

    I've somehow managed to completely mess up my colour profiles in Photoshop CS5. What a total Gormlops I am. Can anyone help me with these 2 related problems?
    1 - ACR displays colours from RAW files as lifeless and dull compared to JPEG. I've searched countless forums and I'm lead to understand that RAW files don't include the 'in-camera' processing that we see on the JPEGS. What I don't understand is that ACR used to display the colours on my RAW files exactly like it did with JPEG files so although I understand the difference in the way ACR handles RAW vs JPEG why has this only become noticable in the last few months? I've had this installation of CS5 for almost 2 years and the problem crept in only recently. How do I fix this?
    2 - Proof Colours Confusion
    I mostly work on the web and rarely need to print. Round about the same time the above problem reared it's ugly head I also started having issues with how many graphics colours looked in CS5. I realized that half of the time I was working with 'Proof Colours' switched off which made my colours really intense (something to do with gamma).
    I checked my 'Proof Setup' and switched it to Internet sRGB seeing as I mostly work with web graphics and photos. I then hit Ctrl+Y to switch on Proof Colours and now I see the colours as they really are.
    My question for this is twofold - Am I correct to be working in sRGB and is there ar way to have 'Proof Colours' always switched on so that I only EVER see the 'actual' colours that others will see when I publish my files to the web?
    I can't help thinking that these two issues arose at the same time and are linked. I tried installing a demo of CS6 in the hopes it would set me back to where I used to be but alas nothing changed.
    Thanks in advance.

    Try posting in the Adobe Camera Raw forum:
    http://forums.adobe.com/community/cameraraw?view=discussions
    You might want to do a forum search there before posting, though.  This comes up repeatedly and has been discussed ad nauseam there.
    In a nutshell ACR is not designed to emulate the in-camera JPEGs at all.

  • Using colour profiles with Windows XP Pro SP2

    Hi,
    Freshly-installed WIndows XP Pro SP2 on the Unibody MBP.
    I note that in the advanced display settings there is a tab for colour management. It offers the opportunity to add a .icc or .icx (I think) colour profile. I copied across my .icc-prefixed colour profile from my Leopard install, added it, and Windows reports it as invalid.
    Can anyone tell me how (or whether it's possible) to make a Leopard-created .icc profile work with XP Pro SP2? If it's not possible, can someone suggest some free software for XP Pro SP2 that I can use to achieve a similar result?
    Thanks.
    SiR. G.

    Got the error message 3256 after downloaded latest itunes version 8.xx.
    After days of reading logs and bullentin boards, uninstalling, hard resets,firewalls experiments, etc, I found solution for me. Following firmware upgrade to airport express solved. When you go to Apple download center and search for airport revisions only the MAc version pops up. However they do have this one for windows. Give it a try. Good luck.
    http://www.apple.com/downloads/macosx/apple/firmware_hardware/airportexpressfirm wareupdate63forwindows.html

  • Change colour profile on export of jpeg for using files on windows pc

    My father, who is 80, has a mac and aperture.
    He is reasonable proficient using it, but as a windows user myself I'm unsure of the in's and out's of things and it always falls on me to help him when he has a problem.
    He also has a windows computer, which he has a programme on for making calenders.
    The problem we have is that when he saves his photo's after editing in aperture to a dvd, he puts this dvd into his windows pc and he cannot see any of the previews.
    On opening up any picture in photoshop on the pc, it asks if he wants to use the embedded colour profile or change it.
    I'm wondering if Aperture is exporting using a certain profile which windows cannot read? Thus doesn't show the preview.
    He needs the preview to pick which pictures he wants to use on the calender.
    He then stores all his pictures on the dvd.
    I'm pretty sure he shoots as jpegs, not raw. Though I need to ask him.
    He has several different cameras, and I think he has trouble with all of them. I'm pretty sure one is a nikon d5300 (I just googled red body nikon)
    Is there a colour profile for aperture when saving as a jpeg that is compatible with windows?
    It's a hundred mile round trip to visit and to then sit down and try to work it out by trial and error would take some time. 
    So if I can find an answer and call on the phone to tell him what to do, it'd save me a lot of time
    I'm not sure what Mac he has, what OS he's using or which version of Aperture, he only recently bought it, so guess at the latest one.......... I know I'm a great help !!!!!
    I can find out if needed, but thought there might be an easy fix....... I know, whenever is there an easy fix for anything!!!
    Cheers,
    Graham

    There is no standard for a 'Preview'. It's a feature of the software that is opening a file as to how it shows those files to the user for selection. Some software will look in the file header for a thumbnail, some will use the files associated icon (if it has one) and some will just present a list of file names. I seriously doubt changing the colour profile output by Aperture will have any impact on this.
    Although Aperture doesn't have a calendar feature, iPhoto does and as of the last year or so, Aperture has an option to open it's library in iPhoto. So if he has a current enough version of Aperture and iPhoto, he could avoid the issue altogether if he is happy to switch into iPhoto to make the Calendar.
    If he wasn't using DVD (say a USB thumbdrive instead) he could run a utility on the PC to create icons for the files where the icon is a thumbnail of the picture, which the calendar software might then use when prompting for images to load. But the use of DVD complicates this, as it depends on the DVD drivers and file systems in use on the DVD.
    Chances of resolving this remotely, remote
    Andy

  • How do you add a icc colour profile to a mac

    I need to add the icc colour profile of the printers that print my photographs onto my computer so when i do the little post production I know what im getting from them. Any ideas how this can be done.

    There are two library folders where you could install them:
    To install for all users install in
    Macintosh HD > Library >ColorSync>Profiles
    To install only for yourself install in
    Your Home Folder > Library >ColorSync>Profiles
    Regards
    Léonie

  • Help! How do I create a document with an imported PDF in 300dpi using a FOGRA27 colour profile?

    I am a new Indesign user and I have been working with GIMP for the last year creating single colour print-ready PDFs. But now I need to create a document with a FOGRA27 CMYK colour profile and a resolution of at least
    How do I create a document with an imported PDF in 300dpi using a FOGRA27 colour profile?
    I can import the PDF by creating a new document and finding the PDF in places, but it's bad quality.
    The only colour profile I can find under View - Proof Setup is FOGRA39, but I need FOGRA27!
    Help help help, I need to get these files printed in two days!
    Thanks so much..
    xx

    Proof Colors doesn't change the file's color management, it just lets you see what the color values would look like if they are printed unchanged on different output devices. If you want to actually convert the color from one CMYK space to another, it's probably better to do that in Acrobat—Tools>Print Production>Convert Colors.
    There's very little difference between Fogra27 and Fogra39—Fogra27 allows more total ink 350 vs. 330.
    There's nothing you can do to improve the quality of low res images

  • Help with colour profiles and wide gamut monitor

    Hi there,
    I know this issue must crop up a lot due to its confusing nature but I would really appreciate it if someone could explain what settings I should be using in Photoshop to get accurate colours. I had a look around and couldn't find any other discussions that answered this exactly.
    My set up is a Dell 2408WFP monitor which is wide-gamut. I have calibrated this using a huey Pro calibrator (therefore have an accurate system colour profile). My photos are in Canon sRGB space, set by Digital Photo Professional (obviously easily changed if need be).
    What I would like is to be able to preview what my photos will look like on a standard sRGB display. When I open a photo in Photoshop with all the settings on their default it looks extremely washed out, very low contrast and saturation. This is nothing like what the photos look like outside of Photoshop, and also not what the photos look like on other (normal gamut) displays. I have tried using the "proof colours" settings. When I have "proof setup" set to Internet Standard sRGB the colours look dreadful, oranges become blood-red, definitely not what I am getting when I view the image on a standard monitor. If I have it set to Monitor RGB then I get colours that look like my monitor outside of Photoshop -- this is the closest out of the three to the result I am actually getting on standard gamut displays. However I know it is not accurate because I know my monitor is wide gamut and therefore more has more contrast (and this is the case).
    So what combination of photo colour space, proof colour space, and proof colours settings should I be using? My main priority is just the Joe Average using his TN panel monitor on facebook, I accept that on my monitor they will look slightly different. Settings for print don't concern me at the moment.
    Thanks for the help. To anyone who will suggest that I read up on colour profiles... I have, and I understand them to an extent, but there are so many variables here that I am getting lost (monitor profile, photo profile, photoshop settings, DPP settings, faststone viewer's settings, browser's lack of awareness...)
    Andrew

    function(){return A.apply(null,[this].concat($A(arguments)))}
    thekrimsonchin wrote:
    I know this issue must crop up a lot due to its confusing nature
    You have no idea. 
    What I'm reading is that you want Photoshop, with its color management enabled, to display your sRGB photos as they would be seen on a true sRGB monitor - i.e., accurately.
    Something to always keep in mind, when everything's set right and working properly:  Your sRGB image displayed on your wide gamut monitor without color management (e.g., by Internet Explorer) will look bolder and brighter (more color-saturated) than the same image displayed in Photoshop with color-management.  There is no getting around this, because the sRGB profile is not equivalent to the monitor profile.  Do not expect them to look the same.
    It's hard, without being there and seeing what you're seeing, to judge whether your sRGB images are undersaturated compared to what's seen on other monitors.  I do know, as one with sRGB monitors myself, that images can look quite vibrant and alive in the sRGB color space.
    What we can't know is whether your judgment that your color-managed sRGB images are undersaturated is correct in an absolute sense, or whether you're just feeling the difference between seeing them on your monitor in non-color-managed apps and Photoshop.
    Photoshop normally does its color management like this:  It combines the information from the color profile in your document with the color profile of the monitor, which it retrieves from a standard place in Windows, and creates a transform used to display the colors.
    To have it do this you would NOT want the Proof Colors setting enabled.  It is the default behavior.
    -Noel
    P.S., I don't recall whether DPP is color-managed, but you might consider using Photoshop's raw converter, which definitely shows color-managed output, per the settings I described above.
    P.P.S.,  Your calibrator/profiler should have put the monitor profile in the proper place and set all the proper stuff up in Windows.  Is it specifically listed as compatible with the version of Windows you're running?

  • PNG colour profiles - and this format for print

    I know it's taboo to talk about PNG for printing.
    But I can't find and I've searched the forums - there was a post made about embedding colour profiles a while ago.
    I know PNG is a RGB only format, but I'm 36.8% sure I read something about embedding either RGB or ... wait for it CMYK profiles into PNG files.
    If anyone can shed any light on this - and how about PNG for print - I've been against it for a long time - but it is a lossless format, it can carry 64 bit data.
    I know I know - but I thought I'd ask anyway - see what people think.

    You can't save a PNG with a profile out of Photoshop, but it looks like you can embed one via the image events scripts that ship with OSX (/Library/Scripts/ColorSync/embed). Unfortunately ID ignores the embedded profile and uses the document's assigned profile instead. PNGs do respond to ID's RGB profile and the RGB profile will have an effect on the CMYK separation when it happens.
    Here's ProPhoto and sRGB:
    From your ID document you can also assign a profile, which conflicts with the doc's profile, by selecting the png and choosing Image Color Settings.... So, you could assign AdobeRGB as your doc's profile and assign sRGB to all your pngs.

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