The workings of Photoshop's color management

Hey guys!
I've been spending some time researching and trying to understand the workings of Photoshop's color management and come across a lot of fuzzy and contradicting information, particularly regarding the Proof Setup. I think I have figured some of it out but (for the ease of my sleep) I figured to ask a couple of direct questions just to be sure. I guess it's more of a curiosity thing.
I'm on a Mac OS X 10.8, Photoshop CS6, calibrated standard gamut monitor, working in sRGB for web.
1) From what I gathered, to achieve as precise color as possible on my display, all I have to do is set Working Space to sRGB or have images with embeded sRGB tag and have my calibrated monitor ICC profile loaded in the OS X. In that way, all the images and colours in Photoshop will adhere to sRGB and my calibration profile will make sure my monitor is actually displaying correct sRGB colours (to the best of it's ability anyways). Correct?
2) I have come across a lot of 'quick tips' where people mention using the Proof Setup > Monitor RGB as a way to monitor colours for web and then I've seen people saying that's not right. From what I understand, the Monitor RGB function strips the embeded tag and ignores the working space of the image, instead showing you the RGB values in the 'native' colour space of the monitor, which in my case would be sRGB-ish. Kinda bypassing Photoshop's color management, but not the display calibration profile. Correct?
3) When viewing an sRGB tagged image, toggling the Proof Setup: Monitor RGB on and off has absolutely no effect. Am I right in assuming that it's because the sRGB tag is getting "switched off" but since the monitor is standard gamut, the native color space is still sRGB?
What I find weird is when I change the display profile in OS X from my calibrated one to, for example, a Generic RGB, toggling the Proof Setup: Monitor RGB has effect - the image brightness changes visibly. If my assumption above was correct, it shouldn't happen, right? Hence my confusion.
Thanks!
Kris

In terms of Calibration, it's useful to keep this in mind: Calibration ideally places a device in a known, desried and repeatable state. In terms of a display, the 'ideal' calibration for most is one in which the display and the print produce a visual match. YMMV a great deal! You can calibrate a display such it doesn't produce a match quite easily, getting calibration to produce the match takes work! If any of the targets aim points (White Point, Luminance and contrast ratio) is less than ideal, the calibration doesn't produce a visual match. See: http://www.luminous-landscape.com/tutorials/why_are_my_prints_too_dark.shtml
In theory, if you didn't need to match the display to a print, you don't have to even calibrate the display for an ICC workflow. But you should <g>. You could simply profile it's current behavior which would work in an ICC workflow because you built a profile that reflects the current display conditions. The display will change over time because a display, unlike say an Epson Pro printer, is unstable and it's behavior will change over time. You need to calibrate or get that display back to it's original condition ideally. With the Epson, it's very, very stable (although I'd point out, not necessarily calibrated ideally, if we had more control over the native driver, we could 'adjust' or calibrate a more linear behavior). So with an Epson, you build a profile on top of the less than ideal driver conditions but the driver and the rest of the system is super stable and consistent. You simply need a profile to define that behavior and you're done. The printer and inks are very stable so you could also in theory place a different driver or RIP and calibrate better behavior and profile.
I'd forget the 'calibrate' a display to sRGB on a modern LCD unit short of perhaps an Eizo or NEC SpectraView system. The sRGB color space is based upon a theoretical CRT display circa 1994 or so, with very defined primaries and conditions. There is no real 'standard' to how one can and should define the display, especially if you want to visually match a print next to the display. The illuminant used to view the print plays a huge role! So providing one set of calibration aim points and expecting all displays to produce a match is pie in the sky. Might be close, might be spot on (I wouldn’t depend on that), might be way off. All explained in the URL above. If one setting worked properly, we'd all use that one setting and calibration products wouldn’t vary from only a few presets (kind of uselss) to products like Eizo and NEC which provide a huge number of options for setting white point as just one example.

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  • Color Management on a Photosmart 510a

    I have the Color Munki color management system.  It asks me to "disconnect" the color management in my Photosmart 510a.
    Have NO clue as to where to do that.  Is it by just changing the option to have the "software manage the colors?"
    Thanks for info.
    Bert

    So what you're saying, which is not expressed very well in the very first post in the thread, is that for files saved WITH the sRGB profile, you'd like to see the same thing in Photoshop as you're seeing in a color-managed browser.  What I can't fathom why you would want to save files with no embedded profile.  Let's make that a separate discussion.
    Going on the assumption above, and that you're using Windows 7, here's what you need to do:
    1.  Your monitor profile (i.e., the one created by your calibrator or which came with your monitor) should be your default profile in Windows.  To check this, click the Start button, and type color management into the search box.  When Color Management comes up, click it, and look in the Advanced tab.
    2.  Photoshop's color management should be enabled, and View - Proof Colors menu should be UNchecked.  This means Photoshop will transform the RGB values in an image with a given image profile into the proper values for correct display on your monitor.  This is your normal mode for editing.
    3.  Create your web image using the sRGB color profile as your working space.
    4.  Save it with the sRGB color profile embedded.
    5.  Display it in Firefox.  It should look just the same as it did in Photoshop.
    6.  Capture the screen showing both images (Photoshop and Firefox) side by side.
    7.  Paste the captured image into a new document in Photoshop, and ASSIGN your monitor profile to it (because you grabbed it from your monitor).  If you have the proper checkbox set in your color management settings, Photoshop will automatically ask you to make this choice when you're pasting the image.  It should look just as it did when you captured it.
    8.  CONVERT the image to the sRGB color profile.  You should not see the appearance of the image change.
    9.  Save this image to a file, complete with the sRGB color profile.
    10.  Post the image here.
    Let me know if anything's not clear, or something doesn't happen as expected.
    -Noel

  • Color management help needed for adobe CS5 and Epson printer 1400-Prints coming out too dark with re

    Color management help needed for adobe CS5 and Epson printer 1400-Prints coming out too dark with reddish cast and loss of detail
    System: Windows 7
    Adobe CS5
    Printer: Epson Stylus Photo 1400
    Paper: Inkjet matte presentation paper with slight luster
    Installed latest patch for Adobe CS5
    Epson driver up to date
    After reading solutions online and trying them for my settings for 2 days I am still unable to print what I am seeing on my screen in Adobe CS5. I calibrated my monitor, but am not sure once calibration is saved if I somehow use this setting in Photoshop’s color management.
    The files I am printing are photographs of dogs with lots of detail  I digitally painted with my Wacom tablet in Photoshop CS5 and then printed with Epson Stylus 1400 on inkjet paper 20lb with slight luster.
    My Printed images lose a lot of the detail & come out way to dark with a reddish cast and loss of detail when I used these settings in the printing window:
    Color Handling: Photoshop manages color, Color management -ICM, OFF no color adjustment.
    When I change to these settings in printer window: Color Handling:  Printer manages color.  Color management- Color Controls, 1.8 Gamma and choose Epson Standard it prints lighter, but with reddish cast and very little detail and this is the best setting I have used so far.
    Based on what I have read on line, I think the issue is mainly to do with what controls are set in the Photoshop Color Settings window and the Epson Printer preferences. I have screen images attached of these windows and would appreciate knowing what you recommend I enter for each choice.
    Also I am confused as to what ICM color management system to use with this printer and CS5:
    What is the best ICM to use with PS CS5 & the Epson 1400 printer? Should I use the same ICM for both?
    Do I embed the ICM I choose into the new files I create? 
    Do I view all files in the CS5 workspace in this default ICM?
    Do I set my monitor setting to the same ICM?
    If new file opens in CS5 workspace and it has a different embedded profile than my workspace, do I convert it?
    Do I set my printer, Monitor and PS CS5 color settings to the same ICM?
    Is using the same ICM for all devices what is called a consistent workflow?
    I appreciate any and all advice that can be sent my way on this complicated issue. Thank you in advance for your time and kind help.

    It may be possible to figure out by watching a Dr.Brown video on the subject of color printing. Adobe tv
    I hope this may help...............

  • Trying to Understand Color Management

    The title should have read, "Trying to Understand Color Management: ProPhoto RGB vs, Adobe RGB (1998) my monitor, a printer and everything in between." Actually I could not come up with a title short enough to describe my question and even this one is not too good. Here goes: The more I read about Color Management the more I understand but also the more I get confused so I thouht the best way for me to understnand is perhaps for me to ask the question my way for my situation.
    I do not own an expensve monitor, I'd say middle of the road. It is not calibrated by hardware or any sophisticated method. I use a simple software and that's it. As to my printer it isn't even a proper Photo filter. My editing of photos is mainly for myself--people either view my photos on the net or on my monitor. At times I print photos on my printer and at times I print them at a Print Shop. My philosophy is this. I am aware that what I see on my monitor may not look the same on someone else's monitor, and though I would definitely like if it it were possible, it doesn't bother me that much. What I do care about is for my photos to come close enough to what I want them to be on print. In other words when the time comes for me to get the best colors possible from a print. Note here that I am not even that concerned with color accuracy (My monitor colors equalling print colors since I know I would need a much better monitor and a calibrated one to do so--accurately compare) but more rather concerned with color detail. What concerns me, is come that day when I do need to make a good print (or afford a good monitor/printer) then I have as much to work with as possible. This leads me to think that therefore working with ProPhoto RGB is the best method to work with and then scale down according to needs (scale down for web viewing for example). So I thought was the solution, but elsewhere I read that using ProPhoto RGB with a non-pro monitor like mine may actually works against me, hence me getting confused, not understanding why this would be so and me coming here. My goal, my objective is this: Should I one day want to print large images to present to a gallery or create a book of my own then I want my photos at that point in time to be the best they can be--the present doesn't worry me much .Do I make any sense?
    BTW if it matters any I have CS6.

    To all of you thanks.                              First off yes, I now have begun shooting in RAW. As to my future being secure because of me doing so let me just say that once I work on a photo I don't like the idea of going back to the original since hours may have been spent working on it and once having done so the original raw is deleted--a tiff or psd remains. As to, "You 're using way too much club for your hole right now."  I loved reading this sentence :-) You wanna elaborate? As to the rest, monitor/printer. Here's the story: I move aroud alot, and I mean a lot in other words I may be here for 6 months and then move and 6 months later move again. What this means is that a printer does not follow me, at times even my monitor will not follow me so no printer calbration is ever taken into consideration but yes I have used software monitor calibration. Having said this I must admit that time and again I have not seen any really noticeale difference (yes i have but only ever so slight) after calibrating a monitor (As mentioned my monitors, because of my moving are usually middle of the road and limited one thing I know is that 32bits per pixel is a good thing).  As to, "At this point ....you.....really don't understand what you are doing." You are correct--absolutely-- that is why I mentioned me doing a lot of reading etc. etc. Thanks for you link btw.
    Among the things I am reading are, "Color Confidence  Digital Photogs Guide to Color Management", "Color Management for Photographers -Hands on Techniques for Photoshop Users", "Mastering Digital Printing - Digital Process and Print Series" and "Real World Color Management - Industrial Strength Production Techniques" And just to show you how deep my ignorance still is, What did you mean by 'non-profiled display' or better still how does one profile a display?

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