Just calibrated my monitor with the Monaco...

Discussion in 'Digital Darkroom' started by steve_myaskovsky, Nov 30, 2005.

  1. Do I have to change the Photoshop color setting to that same profile?

    I see color difference (bet. regular viewing images in the folder) in
    Photoshop when it's set to SRGB color space.

    Thanks in advance.
     
  2. I think the answer is no. If I understand you correctly, what you use the calibration for is to set neutral color for viewing and not for manipulation. Your color space (ARGB, SRGB, etc.) sould be consistent from cam to edit to print (preferably).
     
  3. I just did the same thing (calibrated my monitor using Monaco Optix XR Pro). I did it because (am I right?) I want to make sure that the color on the monitor is accurate to the "mathematical" color in the computer.

    Since I'm designing album pages to be printed by someone else (AsukaBook), I asked them how to assure that what I see on the monitor is what I will see when the album comes back. The told me the 'proof' set I could use in Photoshop to 'soft proof' (verify the color) but all of that was no good unless my monitor was color calibrated...They recommended I calibrate my monitor. That's why I did it...we'll see what happens.

    Like you, Steve, I question:
    Is that the right reason to calibrate your monitor - and what else do I need to do? If that's the correct procedure for designing pages to be printed by a lab or album company, it makes sense that to be really correct, I will need to make sure I have the correct 'proof set'(or is it called 'profile') from each potential printer/lab to use in Photoshop for final 'soft proofing'my images prior to sending them.

    Hope I have not sidetracked this post...I invite some experienced comments.

    John Givens, www.storybookpages.com
     
  4. The proof setting is: View>proof setup>Custom. Once here you set the porfile to the one being used by your printer (Asuka or whomever). Click the blackpoint compensation on and select relative colormetric. Click ok, and now go to: View>proof colors. This will (assuming you have your image open) give you the best rendition of what you will see in print. You must also convert your image to the color profile that the printer uses before sending it to them. That is done by going to: Image>mode>convert to profile, and then select the profile required (that is in PS9 or earlier). In PSCS2, go to: Edit>convert to profile.

    Hope that helps.
     
  5. When you run the Monaco software it creates a profile for the monitor so that what you see on the monitor is what you are supposed to see. If you are running a Windows box, you can check the Color Management tab in your display properties and you should see the deault set to the profile you created in Monaco. Make sure Adobe Gamma is not running. If it was when you profiled the monitor, reprofile it after AG is no longer loaded.

    Your monitor profile has nothing to do with your Photoshop working color space. Do not set your PS working space to your monitor profile, printer profile, scanner profile, paper profile, etc. If your final output device is sRGB (this is the range of colors that it can cover), then just set your working space to sRGB.
     
  6. I use millers lab and their printers only use sRGB. I downloaded their icc profile, so should I do all of my adjustments with their profile? I am fairly new to all of this and am slightly confused as I find that when I make adjustments to my image with the millers profile, when I upload it to photo.net it comes out too dark and contrasty. Please help.
     
  7. Thanks you all. So, I just leave Photoshop color space to SRGB. Right,
     
  8. John - If you are claibrated, then your color/exposure/contrast should be pretty close to what you get from Millers. I would do a Soft Proof, using their profile, of one of your files that gave a bad print. If the soft proof doesn't look like what you got back then you're probably not calibrated right. If it looks the same as the print, then do a Convert to Profile, with their profile as the target, before sending them the files.
     
  9. EricM

    EricM Planet Eric

    "Thanks you all. So, I just leave Photoshop color space to SRGB. Right,"

    No. Shoot in rgb and work in rgb until the very last minute when you have nothing else to do and then finally convert the document to srgb in edit/convert to profile.
     
  10. My thanks to you all...very helpful discussion. I guess I need to have a profile of every printer to which I will be sending my page designs...so that I can soft proof them and then convert them to that particular profile before I send them to the printer.

    Right?
    John Givens, www.storybookpages.com
     
  11. EricM

    EricM Planet Eric

    just ask your lab(s) for their icc profiles and put them here in cs



    Win XP - C:\Windows\System32\Spool\Drivers\Color


    Mac OS 9.x - System Folder>ColorSync Profiles


    Mac OS X - Library>ColorSync>ColorSync Profiles




    and then assign the profile as the last step and tweak to suit. the digital darkroom is the best place to ask, or search, for info. but to them, it's like "please critique my web site" to us here.
     
  12. I don't work with labs much, but for Fuji Frontier printers I set the file's colorspace for sRGB and for Lightjet printers it's Adobe98RGB. These are not profiles, they are gamut range defined colorspace. Most printers have their own proiles, and I am hesitant to convert my files, even with their profiles. <p>They are the lab, I am the photographer. I provide files corrected on ICC calibrated monitors in the required colorspace of the contracted service. <p>The printer designs slopes and profiles for their particular output devices and it's their job (which is automated at input) to convert my files to their custom profiled devices. <p>These custom profiles are not set in stone. Custom profiles for output devices are just like profiles for display devices in that they must be updated on a regular basis, that's why you have to re-calibrate your monitor every month or so. Labs do too, and even more frequently. <p>So if you are converting to the labs printer profile, you need to get a new one, possibly before every print order. Not me. I profile my stuff, they profile theirs, we match in color space... t
     
  13. Steve,
    Good job in going with Monoco, once you calibrate your monitor profile will change and that's good keep it that way, on your Adobe, keep the sRGB. You will be fine.
    Greg
     
  14. EricM

    EricM Planet Eric

    "...keep the sRGB."

    that's wrong, Greg.

    You should shoot and work in the widest gamut possible, 16bit rgb, and the final step before printing is to apply the limiting colour gamut icc profile that are usually in srgb. (edit/convert to Profile. Adobe RGB (1998) to your icc profile) and the image will change. Adjust to how you want it to look and save. In a perfect world your print will look exactly like what you saw on the monitor. And of course you only do this to copies of the original.

    Tom's answer is spot on.

    Why this question is posted in this forum with a few responses taking a stab in the dark and not having it posted in the appropriate forum is strange.
     
  15. EricM

    EricM Planet Eric

    http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00DKR8
     
  16. EricM

    EricM Planet Eric

    http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00D9gR
     
  17. Calibration assumes that what you see on your monitor will closely match the print. This may work for in-house devices but not for labs. After all, the labs are continously adjusting their equipment and paper stock so, despite the best hardware or software calibration on your end, you will see slight color differences from the same file (print) printed by the same lab but at different times. I am partially color blind so I depend on the photoshop RGB numbers to confirm that I have good color. For example, I know a caucasian skin tone under fill-flash lighting will be around 220-170-150, with a tan 205-150-130. I measure for color casts and decide if I need to adjust that.
    A daylight light source should produce RGB numbers that are very close to each other when measuring a white or black object. Wedding photographers have it easy since the bride is in white and the groom is in black. Learn the RGB numbers in photoshop and monitor your lab for consistancy of output. Never allow a lab to adjust the color for you or you will not learn how to have control over the quality of your work.
     
  18. EricM

    EricM Planet Eric

    "After all, the labs are continously adjusting their equipment and paper stock so, despite the best hardware or software calibration on your end, you will see slight color differences from the same file (print) printed by the same lab but at different times."

    this is when they update their icc profiles and make them available to their customers. it's not rocket science and the results are bang on with no reason for hoping and guessing.
     
  19. "Calibration assumes that what you see on your monitor will closely match the print".
    Actually not quite right. Monitor calibration matches your monitor to other calibrated monitors. Printer calibration assures the print will match the calibrated monitor. Colorspace is the language used to assure matching between calibrated devices capable of reproducing a specific gamut.
    If your monitor is calibrated to ICC standards, and the lab is calibrated the same, but you mismatch colorspace, you will not get a print that looks like your image does on your carefully calibrated monitor.
    Provide files corrected on a calibrated monitor, in the color space required by the service you contract for, and you will get good prints if the lab is keeping up it's end of the bargain by calibrating it's devices and testing paper emulsions and chemistry on a daily basis. You take care of yours, and they take care of theirs... t
     

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