Monitor profiles

[coops]

I have been Googling for the answer to my question, but am still a little unsure. I just calibrated my monitor using an Eye Two, and saved the profile.
Do I edit images using that monitor profile, or in Adobe 1998 ?
When I print, assuming I use 1998, do I apply the paper profile in the printing dialog box, or should I edit the image using the paper profile?

I just edited an image in 1998 and proofed the image using the paper profile from Red River papers, and the image went quite dark on the screen. I decided to print anyway reamaining in 1998 and using the paper profile in the printing dialog box and the print is pretty good, looking close to what I see on the monitor . Nothing like the preview using the paper profile which, as I said, was pretty dark

Just not sure I am doing something wrong and appreciate input. Hopes this makes a little sense.

[Greg Miller]

Your monitor profiling device simply tries to make your monitor display colors as accurately as possible. You will never specify that profile for anything in Photoshop.

When editing your images in Photoshop, assign a profile that is appropriate for the image. Some people use Adobe RGB 1998 or ProPhoto for all images. I assign a profile based on the image content. For example, for images of foggy scene, and therefore a relatively small gamutmall and no highly saturated colors, I will use a small gamut workspace such as Adobe sRGB. For images with a large gamut and highly saturated colors, I will use a a high gamut workspace such as ProPhoto RGB. Since all workspaces contain the exact same number of total possible color values, a high gamut workspace necessarily has to spread those color values further apart than with a low gamut workspace.

I don't know why your softproofing would cause the image to display very dark. In the custom setup, do not check "preserve RGB numbers". Also, checking "simulate paper color" can cause the image to look (depressingly) desaturated and low contrast and with white values darker than you normally see on your monitor - that can cause the image to appear to be darker.

[Kimberly Anderson]

You should be working on your image using the profile of the intended output device and paper choice if at all possible.

[Greg Miller]

You should be working on your image using the profile of the intended output device and paper choice if at all possible.

That would be true if you are certain of the output device for an extended period of time. I prefer to optimize a master image that represents the ultimate image, and then perform custom adjustments to optimize for each output device that I am currently planning to output to. If a different output device is chosen, or becomes available, this allows me to most easily optimize the image for that new output device.

[coops]

That would be true if you are certain of the output device for an extended period of time. I prefer to optimize a master image that represents the ultimate image, and then perform custom adjustments to optimize for each output device that I am currently planning to output to. If a different output device is chosen, or becomes available, this allows me to most easily optimize the image for that new output device.

So what you are saying is edit in 1998 and if I want to print to say Red Rive satin, I should soft proof that and make whatever changes to the image based on how it looks using that profile, then use that same RR satin profile in the print dialog box.

[Brian Ellis]

I have been Googling for the answer to my question, but am still a little unsure. I just calibrated my monitor using an Eye Two, and saved the profile.
Do I edit images using that monitor profile, or in Adobe 1998 ?
When I print, assuming I use 1998, do I apply the paper profile in the printing dialog box, or should I edit the image using the paper profile?

I just edited an image in 1998 and proofed the image using the paper profile from Red River papers, and the image went quite dark on the screen. I decided to print anyway reamaining in 1998 and using the paper profile in the printing dialog box and the print is pretty good, looking close to what I see on the monitor . Nothing like the preview using the paper profile which, as I said, was pretty dark

Just not sure I am doing something wrong and appreciate input. Hopes this makes a little sense.

When you soft-proofed, what did you put in the "Device To Simulate" box?

Did you have the "Preserve RGB Numbers" box unchecked and the "Simulate Paper Color" box checked?

There's more to soft-proofing that just going to View > Proof Set-Up and looking at the image. I don't mean to suggest that's necessarily all you did but it kind of sounds like maybe it is. If so, you might want to read chapter 7 in this article. It deals with CS4 but I don't think CS5 changed anything. http://www.adobepress.com/articles/article.asp?p=1315593&seqNum=7

[Greg Miller]

So what you are saying is edit in 1998 and if I want to print to say Red Rive satin, I should soft proof that and make whatever changes to the image based on how it looks using that profile, then use that same RR satin profile in the print dialog box.

Yes, that is correct.

[Greg Miller]

So what you are saying is edit in 1998 and if I want to print to say Red Rive satin, I should soft proof that and make whatever changes to the image based on how it looks using that profile, then use that same RR satin profile in the print dialog box.

Also, I should add that soft-proofing has limited value. It helps, but it will nenver look on paper like it looks on screen. You will get used to your printer/paper combination and will learn to expect how an image will render. But there's nothing like doing a real test print.

[Heroique]

At risk of repeating the useful tips above, here’s a simplified version of my work flow:

One should, of course, always be working on a calibrated monitor. I do it and forget about it, until it’s time for re-calibration. (BTW, a calibrated monitor will often appear a little darker/pinker than an uncalibrated one. That’s because uncalibrated screens look “brighter” on the store shelf and therefore “better” – but they don’t work so well when you’re trying to mimic on your screen the colors your printer will produce.)

So for any image, I use PS (on my calibrated monitor) to create a master image in a preferred “workspace” color profile, usually Adobe RGB. Once completed, this remains my master image for all time, or so I conveniently hope.

Later, for any printing job, I’ll pull up this master image for final preparations (tweaks) before printing it to the unique device I might have in mind.

More specifically, I’ll pull-up the master image, create a copy, and tweak this copy while viewing it in the appropriate, soft-proofing “device” profile (not my workspace profile) – ideally, this means I’m viewing the image as my desired device/ink/paper will produce it. As Greg points out, subtle differences sometimes remain but are easy to address.

Typically, I’ll save this tweaked copy for future printing on the same device/ink/paper. The master image, you’ll note, has remained unchanged, ready for future tweaking for a different device...