D700 files shooting in Adobe RGB color space

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• For the printing of P.O.D.: how to set the Adobe RGB color space

  Hello and thank you in advance,

  (I use InDesign CS 5.5 on a Mac).

  I need set the appropriate PDF export settings

  To print a book on demand, with color drawings inside on the text pages.

  The instructions in Mandarin that I could find, say this:

  'Submit your graphics in color space Adobe RGB, integrated withprofile.'

  The big Question: how should I do that?

  I know enough to start with

  File-> Adobe PDF Presets-> print quality

  Then I click on the Menu 'output '.

  and this is where I start to get lost.

  for

  Color conversion...

  I think I should choose "convert to the Destination.

  for

  Destination

  I think it should be "Adobe RGB (1998).

  Now to incorporate this profile.

  What should I choose in virtue:

  Profile Inclusion policy?

  And is there anything else I should do to get these inside good printing color images?

  Thanks again,

  IthacaAuthor (aka ZorbaTheGeek, but the forum wouldn't let me connect with my old screen name)

  Virtually all digital printing is done via PostScript or PDF. In the first case, the PDF file is converted to use viat PostScript to Acrobat and in the latter case, the PDF file is sent directly to the digital printer.

  In both cases, CMYK is actually the real destination color space. There is no true RGB printer! What is true is that non-PostScript / non PDF (laser printers generally low range and inkjet printers as well as specialized sublimation photo printers inkjet and dye) take RGB via drivers and that convert to CMYK, but I don't think that's what you deal with.

  Our recommendation to Adobe for best printing results, whether for offset or digital, is to export PDF into PDF/X-4 with no color conversion using the default color CMYK (CMYK SWOP) space or if the contrary view of your print service provider, among other CMYK color spaces provided by Adobe or the print service provider themselves. FWIW, more peripheral to digital print on demand, have settings to fully emulate the SWOP CMYK printing requirements. The use of PDF/X-4 in this way allows the existing color in your document InDesign is properly tag in the output PDF file and converted to CMYK RIP the device level digital printing.

  (It may also help us if you can provide a pointer to the explicit instructions provided by your print service provider.)

  -Dov

• Hi can someone help me... I try to open my photos of microscope and all of them are just empty black screen while the merged file shows the image. I can't change grayscale in RGB color space (like my single images the info on them is

  Hi can someone help me... I try to open my microscope fluorescnece images and they are all just empty black screen while the merged file shows the image. I can't change grayscale in RGB color space (like my single images the info on them is gray and the merged image color space is RGB)

  Try to update your video card driver to exclude

  Then reset your preferences - with Photoshop CC you can do it in the preferences. Earlier versions require that you press the modifier keys that you launch Photoshop. Ctrl alt shift on Windows or cmd opt shift on Mac.

• In the toolbar, I click on the face of color and see the view from the RGB color space. How can I put them in CMYK?

  In the toolbar on the left, click on the face of color and see the view from the RGB color space. How can I put them in CMYK?

  German:

  In der Werkzeugleiste klicke auf Farbflache und den RGB-Farbraumansicht sehe ich. Stelle wie ich sharp in CMYK um?

  Color picker, if that's what you mean (it opens if you double-click the color proxy) is still in RGB in InDesign, but if you place the cursor in one of the fields of CMYK value, add swatch button will change to add CMYK Swatch.

  Personally, I like the color picker and use the color Panel instead.

• What is Pro P YUV (YCbCr) and RGB color spaces?

  If I understand correctly, Premiere Pro handles colors and luminance in a variety of ways depending on what you do with the video.

  For example, with cuts only edition, P Pro upsamples YUV (Y Cb Cr) video of its sampling frequency native native (4:2:2, 4:1:1, 4:2:0) in 4:4:4. Then converts this on-the-fly to RGB for display on computer monitors but retains the oversampled YUV for the current edition.

  That said, when the application not YUV tag video effects or transitions, the YUV video is converted to RGB, the effects or transitions are applied and then it is converted into YUV lose some quality along the way. Fix? When working with YUV tagged effects, there is no intermediate conversion into RGB, which is a good thing.

  But beyond that, all the video work in YCbCr color space? What happens when transcoding? Is there an optimal workflow?

  Also, what the scope of the YCbCr Parade? The YC waveform, RGB Parade, and the Vectorscope are first intuitive largely because P Pro display and effects are WHAT RGB oriented (despite the many effects with YUV tags). So, what is the best use and approach when working with YCbCr Parade field?

  Thank you

  Jeff Sengstack

  (1) the same treatment of color usually occurs during playback as an export. Where possible, we process and store the data YUV all the way up the screen where we will convert on the fly.

  (2) only the elements of track containing non - YUV effects will be converted to RGB and only for non - RGB effects.

  (3) information may be lost in two ways. First of all some YUV values will map to negative values greater than 255 RGB or RGB and they catch to these limits. Secondly a given value of YUV pixel may map to a fractional pixel RGB value how to round to the nearest. 32 bit floating point RGB is not either of these problems.

  (4) many effects are directly working YUV. If you are looking for an example of chroma appears in the interface user of the effect, video limiter would be an example. How to make controls at an effect is not always directly correlated to how it is made. Use scopes to monitor the YUV values has several objectives. Most of the output formats are still YUV so you will monitor what will be your exit. Also depending on your target, ensuring the values of legal dissemination may be important. Of more if you try to adjust something like the brightness of a scene the luminance channel can be the most important to measure value.

• PS 7 Why does not Adobe RGB files?

  I have an Olympus E-620 DSLR. When I put the color space in the camera into sRGB, after downloading the images, when I click to open in Photoshop 7, the images are correctly identified as sRGB files. When I put in the camera to Adobe RGB color space, Photoshop does not recognize the format. Please see the picture below.

  Question 1: Why does Photoshop not recognize Adobe RGB files?

  Question 2: What can I do to make Photoshop recognizes the Adobe RGB files?

  Question 3: If I assign the Adobe RGB profile in Photoshop to Adobe RGB file unrecognized, that even make any sense? Are 'additional data' Adobe RGB offers compared to sRB there again even if the profile is not recognized in the first place?

  I am very grateful for all the comments and tips!

  

  Assuming these are JPEG images, JPEG format use integrated EXIF metadata to indicate that the files are sRGB. In the EXIF specification, there are only two possible in the metadata, either sRGB or unspecified flags. He doesn't are not of type ICC profiles full files, just tags. When a camera is set to Adobe RGB, it cannot set the Adobe RGB color space in the EXIF metadata. The camera makers have circumvented this limitation is often include underscore in the beginning of the name such as _IMG12345, JPG. Photoshop 7, which is very old, does not understand the importance of underscore in regards to an indication of the different RGB color space. Currently versions do... might be time for an update eh?

  And, as Chris said, you need to avoid warning of profile and assign Adobe RGB images.

• Projection of images and the question of the color space

  We are having a discussion in our photo club. We use a projector to project the images of the competition. For years, we used Faststone Viewer to project images. We have the usual problems of people not calibrate their monitors and sometimes the colors match does not, but it worked pretty well.  Now that the people who handle the projection are competent in LR, they use LR on a Windows laptop, to organize and display the images via the projector. The projector is a projector of sRGB VGA.  Some argue that LR will cause problems because it uses the Adobe RGB color space as the space of display colors. (We know that the native color space is ProPhoto). Others think it will display images in space sRGB color to the projector as you can when you export an image. I can't find anything in Adobe help pages on this subject.

  Here is a contribution to the debate to give you an idea of what some people are talking about:

  I understand that LR will send bits of images (in the Adobe RGB color space) to the Windows API and in turn the bits are returned on the LCD screen and exit VGA via LCD/VGA color profiles associated. That is my understanding of the viewer FastStone sends the image bits being without modification in the color space. LR sends the bits altered the Adobe RGB color space. Assuming that both programs require the same Windows API, the images must return the same, but they do not. My conclusion is that the former is in sRGB and the latter in Adobe RGB. I guess they call the same APIs because you can open a jpeg file in Windows Picture Viewer (applet in Win7) and see a different rendering of FastStone, it does not use the color managed API.

  Anyone who can shed some light on this delicate subject?

  You actually want an app like Lightroom or Bridge to view images on your projector and not the unmanaged faststone Viewer or something like. Lightroom translated correctly the image on the destination for the projector profile regardless of the original color of images space. It is best to calibrate them and profile projector in addition to your monitor. Some of the highest fine adjustment washers support projectors too. It is rare that these projectors really are sRGB. They are usually somewhat narrower. Some of the more recent are wider gamut when using LEDs or lasers instead of bulbs.

• Photoshop does not recognize the monitor color space

  I have a screen that supports Adobe RGB color space, but when I try to open a picture saved in this color space it tells me that my workspace supports sRGB IEC... and so wonder if I want to change the color on the picture profile or keep. Can it be because its only on the calibration in the factory and the first I need to recalibrate using a calibration device? I have tryied to use google, but in fact I was not yet able to formulate it to search correctly and only found nothing that could help me.  I use the BenQ sw2700 monitor if it helps.

  suggest you to calibrate your monitor profile

  See this link for the procedure: http://www.lightroomqueen.com/articles-page/how-do-i-change-my-monitor-profile-to-check-wh ether-STI-corrupted /

• Color space RGB in LR3 - it converts to sRGB export?

  First of all, I only got LR3 for two days so I'm a complete novice. I have read my book and just found out the part about the RGB color space. I shoot with and use sRGB, which apparently LR is recognized. However, it states that the development module using Lightroom RGB. My question is, when I export my photos modified to PSE8 (or in a folder on my desktop to record and send an e-mail to my daughter), he exports their return as sRGB? I know there is a lot of controversy over the whole thing of RGB, but after my research on the topic, I decided that sRGB is the best for my particular situation. I'm just that I don't have to check something or convert them if they do not automatically change out of LightroomRGB.

  You can define it in the export dialog box.

• PIXMA Pro 100 color space issues

  Hello

  I have a few questions related to printing from lightroom, I'm new on this bare with me.

  (1) I have a canon 7 d I shoot in Raw 12-14 bit? and most of my treatment is done in lightroom, so no need to export to photoshop, however if I would be this export as 16-bit tiff or Jpeg? So, if I had to after post-processing in photoshop then back in lightroom, this would allow only me to print in tiff or jpeg format is correct as a psd/jpeg file?

  (2) given that I only edit in lightroom I can print directly in Raw CR2 format 12-14 bit using canon plugin pro printing studio? or is it exported to the translator as a 16-bit file? and then use the ICC profile that is (canon paper) for best results paper mill, I lose a quality of colour printing by printing from Raw 12-14 bits instead of 16-bit tiff/jpeg.

  (3) using the profiles of ICC paper mill, the original raw will deposit 12-14 bit sRGB 7Dcamera be translated to the printer default Lightroom or is the color space is not necessary because I have not converted to 16-bit in post processing?

  (3) I did not have my calibrated monitor yet but intend to do so in the future, but until then I'm not messing around with pro, photoRGB Pro or Adobe RGB or sRGB mode.

  (4) if I use lightrooms canon pro printing studio Player is the color space translated automatically the settings of my camera or do I have to activate it in lightroom first?.

  (5) I use a Mac running yosemite 10.10 and to learn more about ICC profiles where the factory ICC profiles download how and where to store can you recommend a joint Web site to learn how to do this on a mac?

  (6) as you can see I want to just print the best images from the camera to the printer without much science involved but I'm willing to learn, but get confused with the post-production of workspace different menu software for best results, that I'd do it prosume until I get my proffesionally calibrated monitor would print from Raw with the factory ICC profiles?

  7) color space and calibration of the parameters are all about what you have on the print screen or it is mainly for the depth of extra color to print?

  I can calibrate my monitor on adobe RGB and have my camera shoot on adobe RGB-calibration with the software, but said I need correct color surveillance devices? If I were to do this and still just used paper ICC profiles the footprints would be better?

  My first impressions were excellent, very similar to what I see on the screen in all cases but I checked the lightrooms settings and these are on Pro photo RGB for external editing and it of color space for printing pluggin also studio, or is it just native Raw sRGB if I change the settings it says I'll lose the color space maxium potential.

  Sorry for the influx of questions :-)

  Thomas

  Hahnemühle has an excellent explanation on downloading and adding profiles for PC and Mac

  http://www.Hahnemuehle.com/en/digital-FineArt/ICC-profiles/installing-profiles.html

  Print Studio Pro is rather obscure on the use of profiles than those installed, but it's pretty simple.

  In the area of setting printer settings choosing fine arts I or II (I used one and it seems to work)

  Then in the color management box, use the pull down to find the right profile added.

  (I posted this before, but the post was deleted for some unknown reason)

  

• Adobe RGB 1998 Workspace vs Image with embedded sRGB profile

  I worked through countless published on the Web about various aspects of the profile settings of colors from all different angles. Obviously a difficult topic depending on how much you must understand.  For now, I have a question of several party who I would appreciate any feedback on of those in the know.  I'll try to summarize it briefly - it is simply in the default RGB color space setting in CS6 against opening an image that has a different embedded color profile.

  Question

  (1) is it interesting 'potential' to work in color space Adobe RGB 1998 if I open an image with an embedded sRGB profile and "preserve embedded profile?  I realize that any potential benefit could depend on the range of colors in the image itself - that is, where an image with color dull or limited range could not affected by any color profile or workspace is applicable.

  (2) if my color default RGB in CS6 space is Adobe RGB 1998 and I open an image with an embedded sRGB profile, can I convert to Adobe RGB to take advantage of the widest range when working with the image.

  (3) if I don't need to convert an Adobe RGB sRGB image to enjoy the widest range when changes but must register the image with an sRGB profile for purposes of production (out of print or Web presentation service):

  3.1 should I make a copy of the image final and Convert to sRGB or I can just save as Jpeg and select sRGB for the profile to be integrated?

  3.2 irrespective of how I save the final image with an sRGB profile, I would lose some advantage I might have seen while working in the Adobe RGB workspace?

  I am not questioning if there is a good reason to work in sRGB vs. Adobe RGB (or ProPhoto) or under what circumstances it can matter - just trying to figure out a couple of mechanics I would work in Adobe RGB, but have a lot of things (slide previous scans etc.) than sRGB or some other built-in profile.

  Also not to query the best camera settings as I am completely convinced the only way to go is to capture in RAW if the goal is a flexibility to work with the picture (I'm still shooting Fujifilm Provia 100F in my Nikon F6 but eventually will go with a good FX digital SLR when I can rotate - point being that all of the images that I work with is roughly slides scanned on my Nikon Super) COOLSCAN 5000 ED Scanner).

  I understand that it is a topical subject (sRGB vs RGB etc.) and not trying to stimulate a wide debate on the issues.

  Thanks for any thoughts you may have on this topic.

  Jerry Keenehan

  p.s. Here is a comparison of an image of the test case of 14 CS6 Adobe class-in-a-book.  "Rev00" on the left is the original image to sRGB included with the tutorial; "Rev01' on the right is the picture where I have first of all"affected"the Adobe RGB profile, and then (through ignorance, maybe, converted - profile Adobe RGB). I did that because I noticed that I simply convert RGB perceptual colors remain the same, so that if I have 'assign' RGB profile, I certainly get a slight pop at this image - may not be noticeable in this screenshot, but I can definitely see an improvement that I love watching them side by side on my Apple LED Cinema display 27 ".

  

  That is right. If the file has embedded sRGB, Adobe RGB workspace is unnecessary and irrelevant. He never comes into play.

  You can, however, convert the file in Adobe RGB if you plan to make a big change on that, and you think you might need the extra margin of a larger color space.

  If you assign a profile (for an untagged document), there is not need to convert to the same.

• What is the best color space for workflow photo where the goal is marketing and selling prints?

  What is the best color space for workflow photo where the goal is marketing and selling prints?

  The really important thing here is not work in the color space. The important thing is that you set up your calibration targets so they correspond to the document that you are printing on. This means that the white monitor should be a Visual match white paper and black monitor a match to the density of the ink max for the paper.

  But to answer the question - assuming that you print on an inkjet printer, Adobe RGB should cover most of what the printer can reproduce on a glossy paper of good quality. If you have or get a range wide screen you will also be able to see the range of the file to the screen and you can then test your profile to print with confidence that "what you see is what you get".

  Some will say that good inkjet reproduce some colors that are in fact outside the Adobe RGB, and so you have to work in ProPhoto. While technically true, this superior to Adobe RGB color range is very small and very limited and IMO a fairly minor concern.

• LR - PS for color space

  Hello

  I used PS4 and bridge for years. Now I've finally moved PS and LR CC. So again to know how everything works. I met a few questions on the color space.  I capture in raw and I have existing files in PS4 in the color space sRGB IEC61966 - 2.1 8-bit (I realized just now that's worse for printing color space) I understand that Adobe Prophoto is a such color space big monitors will not be able to show all the information which means that there is a gap between the screen and printed. Given that I'm large format prints problably it is better to use Adobe RGB 16 bit depth.

  
  

  I learned that RAW files will not have a color space so I don't need to choose or worry about them and also that LR works in a color space called Meilssa/Prophoto RGB.

  Now, I received the following question:

  What will happen with the color space for my existing jpg and psd, tiff girls I have in PS4 in sRGB IEC61966 - 2.1 once I then added in LR? Will be it be converted to Prophoto RGB since it's the working color space of LR? If this isn't the case, it will remain in the original color space. I would like to have these files to stay in space orginal color and depth. Because I don't want to run the risk of losing information by conversion of color spaces.

  
  

  Hope someone can help me with this. And correct me if some of my results are not correct.

  
  

  Thanks a lot ,

  Hazel

  
  

  Your sRGB files will be fine - they will not visually change and will not somehow by LR ProPhoto, workspace.

  LR assigns a profile when you export and then choose sRGB on export of these files.

• Does make any sense to use Adobe RGB to process a photo taken in sRGB?

  On the one hand, it seems that color for any photo post-processing would be limited to information of color captured by the sensor.  You cannot work with information that isn't here.  For example, if the camera were to sRGB, sRGB information don't that would capture all the sensor.  Post processing in a larger color space like Adobe RGB, would be foolish.  On the other hand, I suppose it is possible that PS, during any process of development of color, could present me with ARGB options (i.e., options a wider color space) and map of smaller space (sRGB) to the largest (ARGB).

  As far as I know, most DSLRs offer sRGB or ARGB option.  However, I know there are those who value their color space ProPhoto in PS; so, there may be a post processing value in a color space that is larger than the space used by the camera to capture color information.   In case it is not obvious, I'm confused.  Any help would be appreciated.  Thank you.

  If you capture images JPEG in sRGB then files are limited to smaller color space and cannot be extended to a larger range such as Adobe 1998 or ProPhoto color space.  If your RAW capture files then it's not what your profile settings of cameras are because the Raw files are just text information of your sensor which has not been made to the pixels even serious.  It's an essential difference.  If you open a RAW file in ACR you can render pixels in any color space.

• Color spaces do not stick...?

  What is confusing: I have a layered file, assigned color space is sRGB. I save a png file via save for Web, check the option to convert the export in sRGB. Everything looks good in the save to preview 2 - up web. But when I opened the new png file, it's the color profile is defined in Adobe RGB and color space appears off - is not as he did in the SFW preview.

  Details: My default color space is Adobe RGB. Synchronized on all CS5 applications. I have the option checked to warn me on the inadequacy of the profile when opening a file. So far so good.

  So it seems that my working space (Adobe RGB) color is the substitution of parameters SFW and my document color space settings

  Same thing happens when registering as a jpg.

  Any thoughts?

  Economy on a PNG in save for Web will delete the profile. The box converts the numbers in sRGB, but the profile itself is stripped. So when you reopen this file untagged, the workspace is assigned.

  A regular PNG, however, will keep the profile, even if the checkbox "add profile" is gray.

  It's just how the current implementation of PNG in Photoshop. It makes no sense, but that's it. What you see is actually the standard "normal" behavior.

  Regarding the jpeg, the default to save for Web is also to strip the profile, but you have the choice to incorporate at least here (you have not with PNG).