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ICC management as per Epson

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I think he is just giving an example of the print space profile. I have printed from an untagged RGB source and it did not make any difference (I think). I am new to this color management (PS7 + Epson 2200P + D60), and the more I read the more confused I get.

Steve C.
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
 
Did not work for me. Preview and print heavy magenta. This Epson page must be outdated. And towards the end does not do a good job of keeoing Mac and PC settings strait. Epson sure is doing the profiler marketers a big favor.
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
--
http://www.harkavy.com
 
Michael Harkavy said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
--
http://www.harkavy.com
Click to expand...
--There appears to be a bug in the Epson driver that makes the preview magenta even if the picture and the print are OK. If you configure it correctly in PS6 or 7 and use color management correctly, the prints are beautiful, but the preview is magenta regardless.

I just got some advice from Epson tech support which was useless and the preview is still magenta. Guy at Seybold in Epson booth said it is a low proirority bug that may be fixed soon. But I emphasize, the prints can be color managed to be gorgeous on the Epson 1280 and 2200 at least both of which I have.

Gerry Davis
Love my D60 and three new L lenses.
 
Don't waste your time trying to make the Preview work. It won't.

Contrary to what seems to be logical, it is not intended to preview a Color Managed output.

In Photoshop you can do the preview only through a View-> Proof Setup-> Custom. But even that, you really has to understand the whole process and it's not a 100% sure bet.

All related issues around color management, specially the printing process is convoluted and senseless.
Gervaise Davis said:
Michael Harkavy said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
--
http://www.harkavy.com
Click to expand...
--There appears to be a bug in the Epson driver that makes the
preview magenta even if the picture and the print are OK. If you
configure it correctly in PS6 or 7 and use color management
correctly, the prints are beautiful, but the preview is magenta
regardless.
I just got some advice from Epson tech support which was useless
and the preview is still magenta. Guy at Seybold in Epson booth
said it is a low proirority bug that may be fixed soon. But I
emphasize, the prints can be color managed to be gorgeous on the
Epson 1280 and 2200 at least both of which I have.

Gerry Davis
Love my D60 and three new L lenses.
Click to expand...
 
Print and preview work fine if you don't select the paper profile twice. Select it in "media type" in the print driver (with ICM as color management), and leave it as "printer color management" in PS. You'll get good preview and prints, using the profile once, not twice....
Mario Burgos said:
Don't waste your time trying to make the Preview work. It won't.
Click to expand...
 
I've read about the preview being magenta but the print is not. With the UK Epson suggested settings BOTH were magenta. So I returned to the sttings I know work better.

Another unexpected weirdness is when I select SP2200 Premium Glossy_PK for Print Preview, Print Space, Profile, the image in PS7 (Win2K) has a green cast. So I use the Stylus Photo 2100/2200 profile for all papers, which does not seem right.
Michael Harkavy said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
--
http://www.harkavy.com
Click to expand...
--
http://www.harkavy.com
 
Hi Guys,

To this day, I am still confused about the color profile mgt. aspect of printing. I just recently replaced my 1270 with the 2200. I have some color profiles developed for certain Epson paper (for 1270) using Monaco EZ color. My printed images look great, but I don't understand my settings.

Questions:

If you want to use your own developed profiles, what should the settings be like in PS7?

Under Edit> Color Settings> Color Mgt Policies, does it matter if the RGB, CYMK, Gray options be in the off position? When I was using the 1270, I had them set at Ask When Opened, and PS did ask which options (Off, or Preserved embedded profile, or convert to Working RGB), I wanted to used. When switched to the 2200, I had the same options set, but PS never ask me which options I want to used when I opened a file.

Under Printer Properties> Custom> Advanced, which button should be checked? Color Mgt, ICM, or no color mgt?

Under paper tyype, if you had specify "Premimu Glossy Paper", what do you select under Print> Color Space? Epson 2100/2200 or the profile of the Premium Glossy Paper you created using Monaco EZ Color?

I apologize for the long windedness, but I need some help.. Much thanks to anyone who can answers these questions.
Michael Harkavy said:
I've read about the preview being magenta but the print is not.
With the UK Epson suggested settings BOTH were magenta. So I
returned to the sttings I know work better.
Click to expand...
Michael Harkavy said:
Another unexpected weirdness is when I select SP2200 Premium
Glossy_PK for Print Preview, Print Space, Profile, the image in PS7
(Win2K) has a green cast. So I use the Stylus Photo 2100/2200
profile for all papers, which does not seem right.
Michael Harkavy said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
--
http://www.harkavy.com
Click to expand...
--
http://www.harkavy.com
Click to expand...
 
As someone already mentioned on this forum, deleting generic Epson profile from printer preferences fixing magenta cast in preview. I guess that’s where double profiling happen - once by Photoshop and once by windows.
Makes me wonder about Epson engineer's expertise
 
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
The setup this site shows is okay but with what I consider one important ommission - the monitor profile in the Working Space> RGB of Photoshop's Color Settings dialog. When you calibrate your monitor with Adobe Gamma or another hardware/software package the profile created should be selected in Photoshop's Working Space> RGB. This site shows Adobe RGB (1998) which is okay if you have not calibrated your monitor. Which is a big no-no if you are serious about color fidelity from camera to print.

My setup: D1x (shoot in JPEG fine/RGB); Macintosh PBG3 w/Photoshop 6.0; Lacie Electron Blue III (calibrated w/Lacie Blue Eye hardware/software); Nikon View 4 (Xfer images from CF to Mac); Epson 1280 (HWM paper).

When you calibrate your monitor you should give the newly created profile a unique name (mine is Lacie Blue Eye) for easy recognition. Be sure to set your monitor to the new profile. Then launch Photoshop, go to Edit> Color Settings and under Working Spaces click on RGB: and select the new monitor profile. Click on Gray: and set to Gray Gamma 1.8 (Mac) - do not worry about CMYK or Spot settings. Under Color Management Policies turn everything off - be sure Profile Mismatches: Ask When Opening is checked. Under Conversion Options set Engine to Adobe (ACE) - I believe the Apple Engine settings are if you used Colorsync to calibrate your monitor. Set Intent to Perceptual (you can experiment with this selection). Check both Use Balck Point Compensation and Use Dither (only for 8-bit images).

When an image is opened in Photoshop it is an Untagged RGB - the D1x cannot embed a profile (that is done in later Photoshop). The JPEG selected in the camera is a file type(as opposed to TIFF or RAW); RGB selected in the camera is only the color space used to capture the image data. Make all image corrections (crop, levels, etc.) and before selecting print go to Image> Mode> Convert To Profile. In the dialog the Source Space/Profile should show your monitor profile. In the Destination Space/Profile select your printer model and paper type. Click OK.

The printing instructions shown on the site page should provide you with very good/excellent results. I use the advanced settings with No Color Management selected.

Hope this helps and I haven't screwed up anything. ;-)
--
Have a great day,
Roger

My humble gallery: http://www.pbase.com/light_n_dark
 
RogerB said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
The setup this site shows is okay but with what I consider one
important ommission - the monitor profile in the Working Space> RGB
of Photoshop's Color Settings dialog. When you calibrate your
monitor with Adobe Gamma or another hardware/software package the
profile created should be selected in Photoshop's Working
Space> RGB. This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.

My setup: D1x (shoot in JPEG fine/RGB); Macintosh PBG3 w/Photoshop
6.0; Lacie Electron Blue III (calibrated w/Lacie Blue Eye
hardware/software); Nikon View 4 (Xfer images from CF to Mac);
Epson 1280 (HWM paper).

When you calibrate your monitor you should give the newly created
profile a unique name (mine is Lacie Blue Eye) for easy
recognition. Be sure to set your monitor to the new profile. Then
launch Photoshop, go to Edit> Color Settings and under Working
Spaces click on RGB: and select the new monitor profile. Click on
Gray: and set to Gray Gamma 1.8 (Mac) - do not worry about CMYK or
Spot settings. Under Color Management Policies turn everything off
  • be sure Profile Mismatches: Ask When Opening is checked. Under
Conversion Options set Engine to Adobe (ACE) - I believe the Apple
Engine settings are if you used Colorsync to calibrate your
monitor. Set Intent to Perceptual (you can experiment with this
selection). Check both Use Balck Point Compensation and Use Dither
(only for 8-bit images).

When an image is opened in Photoshop it is an Untagged RGB - the
D1x cannot embed a profile (that is done in later Photoshop). The
JPEG selected in the camera is a file type(as opposed to TIFF or
RAW); RGB selected in the camera is only the color space used to
capture the image data. Make all image corrections (crop, levels,
etc.) and before selecting print go to Image> Mode> Convert To
Profile. In the dialog the Source Space/Profile should show your
monitor profile. In the Destination Space/Profile select your
printer model and paper type. Click OK.

The printing instructions shown on the site page should provide you
with very good/excellent results. I use the advanced settings with
No Color Management selected.

Hope this helps and I haven't screwed up anything. ;-)
--
Have a great day,
Roger

My humble gallery: http://www.pbase.com/light_n_dark
Click to expand...
 
Thanks Roger. I'm looking for further clarification or simplification.

Below are screen shots of four Win2K, PS7 print workflow dialog boxes. From what I've been reading, the settings in all four must be correct. Is this true or is it only three? I realize there can be more than one way to do the same thing in Photoshop. I thought getting the ducks lined up in three of these was enough. Now Roger has add the Image> Mode> Convert to Profile dialog to the equation. When I clicked on it for the first time, Destination Space, Profile was set to some CYMK profile, apparently ignoring the settings made in Print with Preview> Print Space, Preview. I was hoping the "Convert" dialog would solve the magenta Preview problem. But that could be a bug.








RogerB said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
The setup this site shows is okay but with what I consider one
important ommission - the monitor profile in the Working Space> RGB
of Photoshop's Color Settings dialog. When you calibrate your
monitor with Adobe Gamma or another hardware/software package the
profile created should be selected in Photoshop's Working
Space> RGB. This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.

My setup: D1x (shoot in JPEG fine/RGB); Macintosh PBG3 w/Photoshop
6.0; Lacie Electron Blue III (calibrated w/Lacie Blue Eye
hardware/software); Nikon View 4 (Xfer images from CF to Mac);
Epson 1280 (HWM paper).

When you calibrate your monitor you should give the newly created
profile a unique name (mine is Lacie Blue Eye) for easy
recognition. Be sure to set your monitor to the new profile. Then
launch Photoshop, go to Edit> Color Settings and under Working
Spaces click on RGB: and select the new monitor profile. Click on
Gray: and set to Gray Gamma 1.8 (Mac) - do not worry about CMYK or
Spot settings. Under Color Management Policies turn everything off
  • be sure Profile Mismatches: Ask When Opening is checked. Under
Conversion Options set Engine to Adobe (ACE) - I believe the Apple
Engine settings are if you used Colorsync to calibrate your
monitor. Set Intent to Perceptual (you can experiment with this
selection). Check both Use Balck Point Compensation and Use Dither
(only for 8-bit images).

When an image is opened in Photoshop it is an Untagged RGB - the
D1x cannot embed a profile (that is done in later Photoshop). The
JPEG selected in the camera is a file type(as opposed to TIFF or
RAW); RGB selected in the camera is only the color space used to
capture the image data. Make all image corrections (crop, levels,
etc.) and before selecting print go to Image> Mode> Convert To
Profile. In the dialog the Source Space/Profile should show your
monitor profile. In the Destination Space/Profile select your
printer model and paper type. Click OK.

The printing instructions shown on the site page should provide you
with very good/excellent results. I use the advanced settings with
No Color Management selected.

Hope this helps and I haven't screwed up anything. ;-)
--
Have a great day,
Roger

My humble gallery: http://www.pbase.com/light_n_dark
Click to expand...
--
http://www.harkavy.com
 
Michael Harkavy said:
Thanks Roger. I'm looking for further clarification or simplification.

Below are screen shots of four Win2K, PS7 print workflow dialog
boxes. From what I've been reading, the settings in all four must
be correct. Is this true or is it only three?
Click to expand...
It really is only three - the Print With Preview is different on the Mac and I don't use it anyway. It should not be necessary to make settings here. Try using the setting in the other three and bypass the Print With Preview.
Michael Harkavy said:
I realize there can be more than one way to do the same thing in Photoshop. I thought
getting the ducks lined up in three of these was enough. Now Roger
has add the Image> Mode> Convert to Profile dialog to the equation.
When I clicked on it for the first time, Destination Space, Profile
was set to some CYMK profile, apparently ignoring the settings made
in Print with Preview> Print Space, Preview.
Click to expand...
Since this is different on a Mac it is possible your settings were being ignored since the Convert To Profile for the output device was improperly set.
Michael Harkavy said:
I was hoping the "Convert" dialog would solve the magenta Preview problem. But that
could be a bug.
Click to expand...
Hi Michael,

Since I use a Mac the printer dialogs are a little different but hopefully that's all.
Michael Harkavy said:
Click to expand...
COLOR SETTINGS

The Woking Spaces menu is IMHO worthless and only serves to confuse. I have no idea why Photoshop lists all of the "profiles" it does since they should know more than anybody that monitor profiling is an important step (the first critical one) to maintain color fidelity throughout the workflow. And none of the "profiles" in the list accurately represent your monitor.

In the Color Settings dialog you have the RGB in Working Spaces set to Adobe RGB (1998). This indicates you do not have a unique profile for your monitor unless you used the Adobe Gamma utility and did not provide the profile with a unique name. So, if you haven't calibrated your monitor do this first. And if you use Adobe Gamma (or any profiling hardware/software package) give it a unique name (i.e., Michael's Monitor Profile). Once you have done so be sure your monitor is using the newly created profile. I'm not sure if your monitor will automatically convert to the new profile or if you have to enter a monitor dialog to assign it (this is foreign territory for me on a pc). Sorry.

Anyway, once you have your monitor set to the new profile open Photoshop and go to the Color Settings dialog. When you click on the RGB menu in Working Spaces the monitor profile should be among those listed. If not load it and use it as your RGB setting.

Under Color Management Policies set RGB to OFF - this give you full control of color management. For Profile Mismatches check Ask When Opening. With this setup the only time a dialog will appear when an image is opened is if an embedded profile is different than the working space.

The settings you have in Conversion Options is good. You can play with the Intent setting to see which gives the best results.
Michael Harkavy said:
Click to expand...
CONVERT TO PROFILE

Everything here looks good if the Destination Space is showing your printer and paper. Of course the Source Space is showing Adobe RGB (1998) since that is the selection in the Working Space/RGB of Color Settings. When you assign your monitor profile it will show here.
Michael Harkavy said:
Click to expand...
As I pointed out above I don't use Print with Preview but the only setting I would question here is the menu selection Color Management. My print dialog is set to No Color Adjustment.
Michael Harkavy said:
Click to expand...
Again this looks good but as I said in the beginning their are some differences in the print dialogs between Macs and PCs.

Hit the Print button! I'll ready my bulletproof vest just in case the result is less than spectacular. Good luck!

--
Have a great day,
Roger
My humble gallery: http://www.pbase.com/light_n_dark
 
RogerB said:
This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.
Click to expand...
Roger,

I don't understand the reasoning for having your monitor profile as your working space. The whole idea of working space is to have a device-independant space, so you can look on the very same data on your machine as I have it on mine, rather then me looking at "Roger's monitor".
I think we have some confusion here btwn working space and icc profile.

Yuri
 
Hey, thanks you guys for trying to work through this. Roger has been quite helpful. As he suggested I switched the workspace from Adobe RGB 1998 to my monitor profile, which I generated in the Adobe gamma utility. In both cases the prints turned out well, but a little darker than what I saw on the screen.

However, I've read somewhere (wish I could remember) that the PS7 workspace = monitor profile is not optimal. The monitor profile needs to be in the list of profiles and either Windows or Adobe will find it and factor it in. I wonder if anyone can bring more light to this.

The images from my D1x are imbedded with the Adobe RGB 1998 profile. There's more gammut with that profile, right? What would converting it to the PS7 workspace = monitor profile do? Would it not narrow the gammut?

So, what do you set the PS7 workspace to. Or is it just ignored because it's only useful in some other kind of color management scheme? We have "No color management" set anyway. Heck, I'm just going around in circles with this.
-michael
RogerB said:
Yuri said:
http://www.photoexpert.epson.co.uk/UK/EXPERTISE/how_to_icc_page1.htm
as you can see it is quite different from what, I suppose, is a
common setup while printing from photoshop. just look at the source
space: untaggedRGB.
I'm going to try it later.
is anyone has any thoughts on this?
Click to expand...
The setup this site shows is okay but with what I consider one
important ommission - the monitor profile in the Working Space> RGB
of Photoshop's Color Settings dialog. When you calibrate your
monitor with Adobe Gamma or another hardware/software package the
profile created should be selected in Photoshop's Working
Space> RGB. This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.

My setup: D1x (shoot in JPEG fine/RGB); Macintosh PBG3 w/Photoshop
6.0; Lacie Electron Blue III (calibrated w/Lacie Blue Eye
hardware/software); Nikon View 4 (Xfer images from CF to Mac);
Epson 1280 (HWM paper).

When you calibrate your monitor you should give the newly created
profile a unique name (mine is Lacie Blue Eye) for easy
recognition. Be sure to set your monitor to the new profile. Then
launch Photoshop, go to Edit> Color Settings and under Working
Spaces click on RGB: and select the new monitor profile. Click on
Gray: and set to Gray Gamma 1.8 (Mac) - do not worry about CMYK or
Spot settings. Under Color Management Policies turn everything off
  • be sure Profile Mismatches: Ask When Opening is checked. Under
Conversion Options set Engine to Adobe (ACE) - I believe the Apple
Engine settings are if you used Colorsync to calibrate your
monitor. Set Intent to Perceptual (you can experiment with this
selection). Check both Use Balck Point Compensation and Use Dither
(only for 8-bit images).

When an image is opened in Photoshop it is an Untagged RGB - the
D1x cannot embed a profile (that is done in later Photoshop). The
JPEG selected in the camera is a file type(as opposed to TIFF or
RAW); RGB selected in the camera is only the color space used to
capture the image data. Make all image corrections (crop, levels,
etc.) and before selecting print go to Image> Mode> Convert To
Profile. In the dialog the Source Space/Profile should show your
monitor profile. In the Destination Space/Profile select your
printer model and paper type. Click OK.

The printing instructions shown on the site page should provide you
with very good/excellent results. I use the advanced settings with
No Color Management selected.

Hope this helps and I haven't screwed up anything. ;-)
--
Have a great day,
Roger

My humble gallery: http://www.pbase.com/light_n_dark
Click to expand...
--
http://www.harkavy.com
 
Yuri said:
RogerB said:
This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.
Click to expand...
Roger,
I don't understand the reasoning for having your monitor profile as
your working space. The whole idea of working space is to have a
device-independant space, so you can look on the very same data on
your machine as I have it on mine, rather then me looking at
"Roger's monitor".
I think we have some confusion here btwn working space and icc
profile.

Yuri
Click to expand...
Yuri,

I have looked at and read so many articles on color management that I should be given a degree in the subject. The fact is I don't necessarily fully understand this complicated subject. I find there are many differing viewpoints in the explanations given by various authors in articles of color management and especially those articles specific to Photoshop settings. Too, the ambiguous explanations provided for color management in Photoshop further clouds this topic. This is probably the reason why there are so many books written on Photoshop.

Until recently I too used Adobe RGB (1998) as the Working Space/RGB setting. The printed output, however, was always unnatural and the prints for the most part ended up in the trash. Through trial and error I tried using my monitor profile as the working space and lo and behold the printed output was much improved. Only a few days after this discovery I came across this site: http://www.shootsmarter.com/painlesscm.html which confirmed my decision. The author says only this about the working space setting:

"Use your custom monitor profile as your RGB working space. Using this profile to "work" in photoshop makes a lot of sense. It shows your photo files in the same color space as your monitor can reproduce and will help you to better match your prints to your monitor. Be sure not to "convert" your file when opening into your monitor profile, we'll get into that later."

To me this makes more sense than the other ambiguous articles on the subject. Using this and the other settings provided in this article has provided me with excellent results. And until I find something better I'm staying with it. Nonetheless, I continue to search for additional confirmation on this setting or a better one. So far I have had little success.

Have a look at the site and try the settings. What have you to lose? Let me know how you make out.

--
Have a great day,
Roger
My humble gallery: http://www.pbase.com/light_n_dark
 
even from everything I learned before it seems to be wrong, I'm going to try what you have suggested. Right or wrong, in the end, if it works - I'm for it.

Thanks, Roger.
RogerB said:
Yuri said:
RogerB said:
This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.
Click to expand...
Roger,
I don't understand the reasoning for having your monitor profile as
your working space. The whole idea of working space is to have a
device-independant space, so you can look on the very same data on
your machine as I have it on mine, rather then me looking at
"Roger's monitor".
I think we have some confusion here btwn working space and icc
profile.

Yuri
Click to expand...
Yuri,
I have looked at and read so many articles on color management that
I should be given a degree in the subject. The fact is I don't
necessarily fully understand this complicated subject. I find there
are many differing viewpoints in the explanations given by various
authors in articles of color management and especially those
articles specific to Photoshop settings. Too, the ambiguous
explanations provided for color management in Photoshop further
clouds this topic. This is probably the reason why there are so
many books written on Photoshop.

Until recently I too used Adobe RGB (1998) as the Working Space/RGB
setting. The printed output, however, was always unnatural and the
prints for the most part ended up in the trash. Through trial and
error I tried using my monitor profile as the working space and lo
and behold the printed output was much improved. Only a few days
after this discovery I came across this site:
http://www.shootsmarter.com/painlesscm.html which confirmed my
decision. The author says only this about the working space setting:

"Use your custom monitor profile as your RGB working space. Using
this profile to "work" in photoshop makes a lot of sense. It shows
your photo files in the same color space as your monitor can
reproduce and will help you to better match your prints to your
monitor. Be sure not to "convert" your file when opening into your
monitor profile, we'll get into that later."

To me this makes more sense than the other ambiguous articles on
the subject. Using this and the other settings provided in this
article has provided me with excellent results. And until I find
something better I'm staying with it. Nonetheless, I continue to
search for additional confirmation on this setting or a better one.
So far I have had little success.

Have a look at the site and try the settings. What have you to
lose? Let me know how you make out.

--
Have a great day,
Roger
My humble gallery: http://www.pbase.com/light_n_dark
Click to expand...
 
The key bit there is "Be sure not to "convert" your file when opening into your monitor profile"

So, for example, the imbedded profile in the D1X image is Adobe RGB 1988; the PS worksoace is the monitor profile and the choose either Do Not Use Imbedded Profile or Discard the Color Profile. Which one?
RogerB said:
Yuri said:
RogerB said:
This site shows Adobe RGB (1998) which is okay if you
have not calibrated your monitor. Which is a big no-no if you are
serious about color fidelity from camera to print.
Click to expand...
Roger,
I don't understand the reasoning for having your monitor profile as
your working space. The whole idea of working space is to have a
device-independant space, so you can look on the very same data on
your machine as I have it on mine, rather then me looking at
"Roger's monitor".
I think we have some confusion here btwn working space and icc
profile.

Yuri
Click to expand...
Yuri,
I have looked at and read so many articles on color management that
I should be given a degree in the subject. The fact is I don't
necessarily fully understand this complicated subject. I find there
are many differing viewpoints in the explanations given by various
authors in articles of color management and especially those
articles specific to Photoshop settings. Too, the ambiguous
explanations provided for color management in Photoshop further
clouds this topic. This is probably the reason why there are so
many books written on Photoshop.

Until recently I too used Adobe RGB (1998) as the Working Space/RGB
setting. The printed output, however, was always unnatural and the
prints for the most part ended up in the trash. Through trial and
error I tried using my monitor profile as the working space and lo
and behold the printed output was much improved. Only a few days
after this discovery I came across this site:
http://www.shootsmarter.com/painlesscm.html which confirmed my
decision. The author says only this about the working space setting:

"Use your custom monitor profile as your RGB working space. Using
this profile to "work" in photoshop makes a lot of sense. It shows
your photo files in the same color space as your monitor can
reproduce and will help you to better match your prints to your
monitor. Be sure not to "convert" your file when opening into your
monitor profile, we'll get into that later."

To me this makes more sense than the other ambiguous articles on
the subject. Using this and the other settings provided in this
article has provided me with excellent results. And until I find
something better I'm staying with it. Nonetheless, I continue to
search for additional confirmation on this setting or a better one.
So far I have had little success.

Have a look at the site and try the settings. What have you to
lose? Let me know how you make out.

--
Have a great day,
Roger
My humble gallery: http://www.pbase.com/light_n_dark
Click to expand...
--
http://www.harkavy.com
 
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