LR - PS for color space

Similar Questions

• 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.

• Change how ACR interprets color space for raw images

  When you browse the raw (CR2) photos with the OS X finder, I love the way color is represented, it corresponds very closely to the camera in preview. However, Bridge/ACR/Lr all interpret the color space of files differently good raw, and I wonder if there is a way to put these programs according how OS X finder restores raw images.

  Color space isn't the issue.  I think what you see with OS X finder is the embedded jpg file has been generated by the camera and saved in the RAW file for viewing, and it should look identical to the jpg of the camera.  The adobes in Camera RAW and Lightroom RAW converter uses the Adobe Standard profile of the camera as the default profile to the camera to generate an RGB from the RAW data image and you can save the image as a jpg, tif, etc. with any colorspace you select (sRGB, ProPhoto RGB, etc.).

  Adobe has generated camera profiles for Canon, Nikon and a few other cameras that are a good match for the profiles used by the camera to generate an RGB image.  You will find them on the camera Calibration tab (as suggested in the post above) and they have names like camera XXXXX, XXXXX is the same name as that used in the camera.  Select one with the same name XXXXX that you selected in the camera and you should get a much better game.  You can also change the default profile to the camera at one of them, as suggested in the post above, and then the RAW image will open the first time using this profile instead of the Adobe Standard profile.  If you always use the same profile in the camera, this will solve your problem.  If you use different profiles of the camera in the camera photo then you will need to manually change in Camera RAW and Lightroom to one corresponding used in the camera because the RAW converter does not read what profile you selected in the camera.

• Is LAB 'native color space' for ID?

  Is it correct to say that the LAB is the 'native color space' for InDesign? Only colors specified in RGB that must be translated to CMYK will by LAB along the way and vice versa?

  No, the LABORATORY isn't the color space native to InDesign. InDesign does not have a space colorimetric native .

  However, all colors between color space conversions happens by ACE, the Adobe color engine, a component of the core of Adobe technology, using techniques of ICC color management. All conversions between color spaces are made first to a colorspace connection , then the color space target. The LAB is pretty well what is this color space of connection.

  -Dov

• What color space are color presets search for?

  I noticed that if I convert the same image to multiple color spaces and apply a LUT 3D with the new adjustment to color search, the result is significantly different.  Experimentation, it seems that lookup tables work on any RGB value is given to them in any color space.  Is there a certain color space, so they have been optimized?  For example, a certain color space would give me a glance 2-strip more authentic than another due to space, in that they were sampled?  And if I create my own 3D LUTs, should I create a separate for each color space in order to get a consistent look in all areas?

  3DLUTs don't know about image encodings or spaces of colors - they operate on values.

  Devicelink profiles are similar.

  But abstract profiles are completely color management.

  Yes, you will need to create 3DLUTs for each color space and image coding to get accurate results.

• 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

• How to specify the color for LR space?

  How to specify the color for LR space?

  chlonini said:

  How to specify the color for LR space?

  LR only uses the ProPhoto RGB color space. You cannot specify any other

  color space (work). When you export pictures, you can specify a

  different color space to convert. Or if you use an external editor.

  You can choose what color space to send to the external editor.

• Color space for exported mattes

  I work as a stereo composer and find that I am often creation and composition of elements in several programs according to my needs. This can become a bit confused trying to maintain the appropriate color space and to ensure that items are formed with the mast it was meant to do.
  
  My questions are:
  What color space is a mast that is exported by the Alpha as a .png? .png files are sRGB, should I assume that a mast exported from the alpha channel is so? even if the mast has been created in a project with .dpx files or .exrs logarithmic?
  
  If a cache is created in the RGB layers (a black and white mast without real alpha channel), the exported file match the color space of the type of file that is rendered (sRGB if it's a .png)?, would be the color space determined by that of the original source that the mast has been created from (newspaper if it were .cin)? Or would the color space in this case be dictated by the settings of the project?
  
  Please let me know if anything that I have not has said. Any information on the management of color space relative to the creation and export of the mattes would be useful.
  
  Thanks a bunch!

  I guess I really explicit does not respond to your question:

  Yes, if you import a movie (and the film is be a cache), while the film will be interpreted using a profile of color like any other movie. Just because a movie to grayscale DPX format happens to be intended to be used as cache, it doesn't prevent it somehow be interpreted differently from the other films in the same format.

  You can change the parameters of interpretation to assign an input color profile, and you can choose to keep the RGB values (that is, not color - manage them).

• Apple TV and YCbCr color space

  Sorry for my bad English.

  I want to know if we can expect from Apple TV to support as their previous versions YCbCr color space.

  Thank you

  Ivan

  Yes the current version 4 allows you to select:

  Auto, high and low of RGB RGB, YCbCr

• RGB to the transfer of the HSI COLOR SPACE

  An organization can help me for example how to change the color space of the image RGB to HSI image and then save and display the new image

  

• 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)

  

• Can not unlock the profile sRGB color space drop, Help!

  I need to unlock the next file to install adobe cs4 on my windows vista system:

  C:\windows\system32\spool\drivers\color\sRGB Color Space Profile.icm

  I downloaded the program "unlocker 1.8.8" but when I try to run the file, I get a message "no locking handle found. I tried to "install profile" as well, but nothing happens when I press this option. Also, when I go in the file properties > security, it only allows me to add 'total control' to the 'system' or the 'administrators' account I am at a loss. Help, please!

  Thank you for your answer! I was able to install adobe cs4 without opening the file after all. I followed solution 6 on the adobe forums page you suggested above (adobe customer service offers I do solution 1 and 6 and since I could not with solution 1, I did solution 6) then quit all programs and restart the computer. I then leave all the start up programs and tried to install again and it worked (the program has been completely uninstalled before that I did). Thank you :-)

• 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.

• Color space options

  It's on the menu "Export As.... ».  I can either, both or neither of the two boxes and it seems a bit contradictory.  For example, convert without coating seems to be useless.  What do the various combinations?

  

  Conversion will change your image color space sRGB. It's better to display pictures on the Web in browsers managed UN-color, than no conversion at all.

  Incorporation of the profile - means that a color managed application (for example, photoshop and some but not all browsers) doesn't have to guess that the image is sRGB - it is told and can therefore display correctly.
  For the web - I check them both.

  Dave

• How to solve "unsupported color space" to pack a psd

  I have a big PSD with dozens of dynamic linked or embedded objects, when I try to package I get

  "Couldn't package the document" (aw) .psd "because a color has been specified using a color space not supported."

  Because Photoshop gives me no clue as to what and had this "unsupported color space" is, how to solve this?

  (PS CC 2015.5.1 MacOS 10.11)

  An easier option would be to sort your smart objects related, then rasterize them for the "packed" version (do not save on the linked original PSD). Which should convert them to your current working color space.