Warning range adobeRGB vs prophotoRGB

Similar Questions

• Color picker out of gamut diferent alert warning of the range image? (CS5)

  I'm confused...

  I'm editing an sRGB image.  My custom proof condition is set to sRGB IEC, preserve numbers not controlled, BY intention or RC, PCBS. The range warning is enabled.

  I add some text and color using the text color picker tool. I have activate WARNING range in that and choose a color of the range e.g. #ff0000 off. I go back to the image and the text is * no * reported as being out-of-gamut.

  In fact * no. * color marked as OOG in the selector seems to be considered OOG, once I go back to the image with sRGB IEC selected, if they are when I select other devices to simulate.

  Why the disparity between the OOG WARNING image as well as the selector tool?  The tool uses another simulation device that I have chosen?  Who should I believe?

  Ian

  I guess the warning of the range Color Picker is against your workspace CMYK in the color settings.

• U2713H - sRGB picture in AdobeRGB (CAL1) differs from sRGB (CAL2)

  Hi all

  I have calibrated the screen using the calibration solution Dell 1.5.3 and created two color profiles. We're together CAL1 to 120, AdobeRGB space, and the other sRGB CAL2 also value 120.

  The intention was to switch between profiles for ready for web vs photos ready for printing photos. Unfortunately, I discovered that this is not such an easy task. Firstly, when I switched between CAL1 and CAL2 I saw the difference in saturation, and there was a tint of the color difference. I thought everything was good, but the following scenario makes me think not all right.

  When I export to JPEG (sRGB) it seems substantially the same as that which is displayed in the photo development module in LR in LR (screen to CAL1, AdobeRGB). I would say that the difference in this scenario is not so obvious for example that there was not much color clipping. However, when I switch to CAL2 photo suddenly dulls.

  Shouldn't the picture exported in jpeg format as sRGB next to CAL1 (AdobeRGB) the same as the same photo in CAL2 (sRGB)? Why sRGB CAL2 seems so different than AdobeRGB CAL1?

  In addition, Windows is not color-managed, should not CAL1 and CAL2 colors are similar for most applications, including windows explorer?

  I use the monitor with Fujitsu E752 that has graphics HD4000 Intel and Windows 7 64-bit.

  Thank you

  No need to restart the computer, restart only application like Photoshop or LR color management.

  Without a profile, LR or PS does not know what gamut or gamma has your monitor in its current state.

  If you are in CAL2 = sRGB, but there 'CAL1_AdobRGB.icm' as a default, color management will think that your monitor in its current state has a range AdobeRGB and overwrite green (among others) to remap an image to sRGB underprivileged (one you opened) to your range of AdobeRGB (what the profile ICM said color management)

• HD channel added to the existing range of Windows Media Center

  I use a Ceton Infinitv card in Windows Media Center Win7 HomePremium.  The NFL Network was added to my cable (!) yesterday Time Warner range.  Is it possible to add this to my line-up without rerunning Setup tv signal?  It is not a clear qam channel so I don't think that I am able to use the "Add a missing channel" option in the menu tasks.  I'm on the cable box in another room, so I know its not already.  Any help would be appreciated.  I don't know on the point to have a lot of people with the same question.

  the Ceton diagnostic tool see these channels?
   
  in any case, http://1geek1tool.com/guidetool might be of interest to you.
   
   
  Barb
   
  MVP - Windows/entertainment and connected home
   
  http://digitalmediaphile.com/
   
  Please mark as answer if that answers your question
   
   
   
   

• Convert to profile & Soft Proofing.

  Hello

  My apologies if this has been requested and replied. Some responses on proofing looked on the forums has helped, but not hit the nail on the head.

  I am grateful for the ideas, instructions, pointers.

  I. According to the instructions of the printer that prints my work, I have converted my image profiles to Dot Gain 20%. I want to assure you that I see on my screen will have a) be a tight that she (woman, the print job) will see on his screen. and (b) give me an idea of how the print job and the printer (Espson stylist Pro 4800) will interpret. It is logical to me that I should change my format of test for Dot Gain 20%, no?  Have I not this wrong?

  II. I also need to do a series of JPEG files which will be visible on a variety of screens, each with a different brand and calibration. These JPEG files should be as convincing a match to print as possible, with compensation, of course, carried out for the paper, ink, etc. The game should be close. Is there a standard for ever which will allow me to see what is likely to appear on a given screen. An order, I know. I was wondering if I should just inform viewers to display JPEG images with their monitors, assign a certain color profile - or if I should send them a monitor profile as well as JPEG files.

  Thank once again for ideas.

  Best-

  Hardware: iMac 27 "; Native Gamma 2.2. CS6.

  A little guide:

  You will need a valid of monitor profile (MP) and a printer profile (PP) for

  Epson 4800 for a printing (ink, paper, well-defined resolution process

  and much more).

  If your impression people do not have a profile, and then not to print from there.

  A PP contains everything about the Dot Gain.

  Let the images in sRGB (sRGB workspace)

  Edit by PhS until it looks nice

  In the event, choose your PP

  Rendering Intent Relative Colorimetry, Black Point Compensation

  Observe the changes of the image, Soft Proof on / off

  Failure to comply with the warning range, using a color of alarm

  If the changes are strong or / and if the Gamut Warning zones are large

  (not only highlights or some leaves on the trees), then change your image.

  This can be explained by simple means.

  If the image looks nice and save with sRGB embedded profile

  and leave it to print, using exactly the defined printer process previously.

  Test is done by software, here Photoshop, for simulated hardware.

  which is entirely defined by the PP.

  sRGB is a de facto standard for the Web.

  If your images are in a colorful way, then it could be recommended

  working entirely in AdobeRGB (1998) = ARGB.

  Image in aRGB, work space ARGB.

  You can do this after the clarification of this issue with the impression people. Of course

  the aRGB profile must be incorporated, but even in this case, there is a good chance

  the people of print is not familiar with profiles and assumes sRGB as

  Profile of the source.

  Putting, you would need two versions - one for printing, one for the Web.

  Cordially - Gernot Hoffmann

• Exported JPEGs will appear desaturated

  It's only a recent issue, but I have export any image in Lr or Ps file appears very desaturated when exporting as AdobeRGB or ProphotoRGB, while that only a little desaturated as sRGB. Why is this happening? I've never had this problem before about 3 weeks ago. I looked at some old pictures (almost a year) and now they appear over-saturated in windows photo viewer. The only reason I noticed that it is because I had a few images printed after have exported them in AdobeRGB. Skin everyone looked gray "exotic."

  Exporting as sRGB especially solved the problem, but the JPEG format resulting is not 100% accurate when compared the way in which the image appears in Lr or PS.

  Windows 10 64-bit OS, processor i5, NVIDIA GForce 930 M

  I can't seem to find the reason why my exported AdobeRGB prints (and my office) appear desaturated.

  As I said, they appear desaturated as photo viewer is not color management.

  To correctly display the Adobe RGB images, you use colors such as PS, LR, bridge management applications or Explorer free Irfanview.

• Determine the entry and exit of Gamut values for RGB profiles

  Hi all

  I'm looking how to check if a swatch value is within my range of .icc profile.

  If I have a color value e.g. L = 74 = 12 b = - 37 and I want to see if it is in my .icc profile I select Edition > convert to profile and choose my profile

  I can then select the shade and see if there wasn't a warning range.

  With the color chart above if my color profile is 'Photoshop 5 CMYK default' I get the warning, if I change the profile of "US Newsprint SNAP (2007)"I don't get it. "

  

  

  

  This works very well for the CMYK profile.

  My question is how to check if the color is located inside a RGB profile?

  I tried to change the intent of the paper Web and Digital Publishing and changing the RGB but only the CMYK profile profile affect the output of the warning range.

  We know of a solution to this? The same question would seem to be in photoshop.

  Thanks in advance.

  Trevor

  Hi Rob

  Thanks for your reply.  I need a solution that I can reproduce by script.

  I have been in contact with Phil Green of the ICC and he said that if I convert my color Lab to RGB and vice versa if a difference between the original and the new laboratory values, then the color is outside the gamut of the RGB profile.

  I have tried this before his suggestion and wasn't getting anything out of the values of the range.  I made the conversions using the user interface.

  After his suggestion that I did the conversion by changing shades space using scripts and, to my surprise showed differences.

  This provides the solution I was looking for.

  Concerning

  Trevor

• Question of opacity layer CS 6

  In the middle of working on a file my opacity of the layer started acting weird. If I reduce the opacity to 90%, it seems that I dropped it 60%. It happened on the file, I was working on, but when I open a new file and a box filled with black Uni (100%) and then duplicate the layer and reduced that to 90%, it looked very well. SO I thought that I had a memory problem. I left the PS, then I rebooted. Now, any file I open or create, my opacity is not proportional to the slide. 90% looks like 60% of any layer that I do. Now, when I save the file and place it in an InDesign document, the preview looks as it should. What gives? There is no adjustment layers or layer masks apllied to the layers.

  

  You can see the great divergence in the shadow of 100% black to 90% black.

  Help, please. Its driving me crazy!

  Charles,

  Thanks for your reply, but I discovered the problem. The range warning! I've inadvertently got hit shift-command-Y and unchecked the warning of the range under the view menu.

  Opacity in RGB mode with the UNCHECKED warning range are:

  

  And with the range WARNING CHECKED:

  

  I knew it was just me hit some random setting that he screwed up. As usual user error. Not sure why the warning of the range needs a keyboard shortcut, but little matter.

• Dark tones

  Dear all,

  I use a photocopier color for evidence before expensive archival ink jet printing. The warning range and using the color profile correct is useful. Can I be sure that the colors I see on the screen will be a comfortable approximation of what I see on the screen when I produce the final print.

  However, the following image I want output contains lots of dark tones. The color copier not faithfully reproduce these and Gamut warning doesn't help.

  Any suggestions as to how I can predict how large areas of your dark will be to reproduce before the cost of expensive archival ink jet printing.

  Thank you

  You want to print using the setting Photoshop manages colors as part of the print dialog box color management?

  Try a print with dark tones with the definition Black Point Compensation changed what you used.

  Another idea: you could get a low-cost personal inkjet printer...  The ink is never cheap, but it looks like you need a better ad hoc photo printing capability.

  -Christmas

• Seeing the unseeable in ACR

  I work mainly in Bridge and Camera Raw and sometimes end with a bit of retouching images in Photoshop. I'm mainly, is looking at the bridge Essentials workspace and its preview in full screen or Camera Raw.

  I usually work in Adobe RGB or ProPhoto depending on the task at hand. I have a moderate knowledge on the joys of color management, but I'm a bit confused with how it is displayed in Adobe Bridge and Camera Raw. I have a "wide range" of HP calibrated/profile LCD monitor.

  I worked with a raw image of Red tulips. His reds and Greens are rich enough and it does quite well in sRGB. Fairs better with Adobe RGB, it is still far the image range. Preview in full screen deck looks pretty similar to the version of sRGB. In fact, any job colourspace you choose, previews in full screen of the resultants JPEGs all look the same, so I think that bridge restores all the previews in the sRGB color space. Is this good?

  The thing that really, I just can't get my head around is the Camera Raw preview of tulips in ProPhoto RGB mode. It's almost as if I see the range. But I can't see the full thing on my HP monitor, which is supposed to be similar to the range AdobeRGB. How Camera Raw shows out-of-monitor-gamut color in ProPhoto RGB preview?

  ProPhoto

  

  AdobeRGB

  

  sRGB

  

  (you may need to save these on the drive to see properly managed by color)

  Yammer P wrote:

  How Camera Raw shows out-of-monitor-gamut color in ProPhoto RGB preview?

  Camera Raw takes internal ProPhoto RGB color space in a linear gamma and turns for rendering your screen using Relative Colorimetry ICC profile... it is also accurate display in Photoshop, you've discovered is much better than the bridge. When the bridge cache raw files using Camera Raw to render right but I'm sure that stores the updated results in cache than sRGB. When viewing a high quality or the preview thumbnail, it takes inches sRGB or preview and changes to your display profile, but it is much less accurate than Photoshop or Camera Raw.

• Lightroom for imageprint

  What is the best way to print images optimized in Lightroom of Imageprint without exporting the images on the desktop, then opening the image in imageprint?

  If you can define intellectual property as a program started at the end of an export process, then do it.  In other words, everything down export LR to the disc Panel there are Post processing options where you can choose open in another Application, and perhaps can choose IP like this other application and then to print with intellectual property, export and have defined IP as the post-processing application and LR should automatically start when it is done with the export.

  --

  Otherwise, how ColorByte people expect you to do things seems to be through the driver option printer PTAPP (print through the Application), where you configure the print operation to use the PTAPP and the color output LR AdobeRGB value and say PTAPP what what it takes the color of the printed output space and just have an impression of the LR to the IP PTAPP LR print driver.

  Page 264 of the IP8 Instruction Manual PDF instructions say to define the profile of LR into sRGB instead of AdobeRGB for other applications without explaining why.  I think that this is not applicable with LR2 + because you can choose the display profiles including AdobeRGB and ProPhotoRGB from the list of profiles in the color management Panel in the print Module by selecting profile: others... and then allowing the display profiles include:

  http://www.colorbytesoftware.com/techsupport/ImagePrint_8_Users_Manual.PDF

  Here is a walkthrough of third since a while ago (maybe LR 1.x days) on the use of the ZEP and LR printing, although the LR settings are not well documented, and it's mainly on the parameters of intellectual property:

  http://www.luminous-landscape.com/reviews/printers/ImagePrint-PTA.shtml

• How can I get rid of frequency is out of range warning on my VPL-HS60 projector?

  I recently changed the lamp on my projector and when I turned it back on, I received this warning and now I don't have any picture (sound is ok). All the elements are connected with HDMI (receiver, set-top Blu - ray player cable Charter and projector). Prior to that, everything worked fine (only changed / bulb of the lamp).

  I also put the old bulb back in and it still does not work (as I suspected).

  One thing I noticed in troubleshooting, it is that I can not change the image or Signal settings on my projector. He said that it is not available (not sure if it was this way before I changed the bulb).

  Can someone help me with this?

  Thank you!

  I no longer get the "frequency out of range" warning (I got that fixed - I don't know how but I fixed it before see and try your suggestions).

  So now I can watch the cable TV with cable box set to 1080i. However, I can still watch all the movies of my Blu - ray player (again this used to work fine) - no image is displayed. I tried to adjust the video output from the blu - ray player at 1080i and 720 p with the 1080/24 p output BD ROM set to Auto or off function and it still does not (sound is ok).

  Any ideas or suggestions? Thank you!

• Disable the warning of the range?

  For those of us who have no intention to print our graphics, isn't it frustrating that Photoshop will not allow you to use certain colors, because the range warning says that he will not be available printing? It's really annoying that the computer allows me to use the colors I want.
  
  So is it possible to turn off or disable the boring range warning?

  I don't want to print my file. I want to use it in my website.

  Well, then why work you in CMYK, or use a color other than sRGB profile? That's all there is to it - you try to use a color that cannot support the current color space and certainly based on your improper use of the patterns of colors and profiles. I really think you dance around a very obvious question (and solution) here.

  Mylenium

• Best way to configure Photoshop workflow settings when source photos are taken in AdobeRGB, edited from a wide and output range in sRGB?

  Be able to quickly produce finished photographs is of importance with the majority of my photography work. That's why I pull, process and deliver JPEGs. There is no advantage to my clients to my shooting RAW for this time sensitive workflows. I won't be able to accommodate any possible future uses of the photos, so I shoot using the Adobe RGB color space. The output of my clients are JPEG images for use on the Web, so of sRGB. Currently, I used a screen wide gamut (NEC PA302W) with a 24-bit graphics card. (I plan on upgrading to a 30-bit card in the future).

  I noticed that in Internet Explorer, the reds in my finished photos are too intense on my screen. My photos look good in other web browsers on my screen. This situation worries me because I don't know exactly why it's happening since my pictures have embedded sRBG color profile and IE supports embedded color profiles. If anything, I think that the reds would be too intense in other applications that do not support embedded color profiles.

  Please let me know if my work flow can be improved outside shooting RAW and use a 30-bit screen:

  1. Take JPEG pictures in Adobe RGB color space
  2. Edit photos in Photoshop using range wide screen, 24-bit
  3. Color settings: colors of the monitor (Monitor RGB - PA302W, calibrated)
  4. Save for Web, convert to JPEG, incorporate the sRGB color profile

  When you work in Photoshop the reds appear very well. When registering for the Web and previewing "Color Monitor" the reds are intense, when previewing 'Internet Standard RGB (No. Color Management)' the reds appear very well. The final appearance of fine recorded images with the exception of when displayed in Internet Explorer, which supports embedded color profiles - color management.

  Shooting JPEG can certainly be beneficial for the size and speed, although with improvements in conversion raw in a few years it becomes harder to justify.  But if you expose just conversions in camera can be very beautiful.  The camera manufacturers do a decent job in their chips.

  Your sounds of workflow practices, but one thing you know may not be not is IE use NOT your monitor profile, so what you see in Internet Explorer is incorrect to 100% of the time.  He only reads the profile of your image.

  In other words, Internet Explorer is not properly managed by color, unless you have a monitor set to display accurately in the profile sRGB IEC61966 - 2.1.  Microsoft seems to have no intention to fix it either, which is a shame.

  I suggest to view your images in Firefox or Safari, who read your color monitor profile as well as the profile of the image.  Firefox can even be configured to display the elements of the web page in a mode of color management.

  -Christmas

• Warning of the range grayed out in what cases?

  According to the Manual CS5 Gamut Warning point in the view menu should be available when color test is verified however mine is grayed out for all of the items in the sections second of the test Format, legacy Macintosh and Internet Standard Monitor RGB menu.

  If I choose the equivalent of Internet Standard and Monitor RGB from the custom option on the Format of event menu, Gamut Warning becomes available

  Is this a bug?

  Please read the help:

  Soft proof presets

  .. .unavailable in Photoshop for Lab and CMYK documents

  (in the same way in Illustrator)

  Cordially - Gernot Hoffmann