I also prefer the workflow suggested by Joanna,
Just remember after step 9 (convert back to RGB) that you need to repeat step 5, select Proof Colors menu item ticked in the view menu, if you want to see the result in the paper profile.
I also prefer the workflow suggested by Joanna,
Just remember after step 9 (convert back to RGB) that you need to repeat step 5, select Proof Colors menu item ticked in the view menu, if you want to see the result in the paper profile.
Thanks Francisco, I forgot about that bitOriginally Posted by Francisco Disilvestro
Quick question for Stephen
Is there a way to profile papers in LAB?
If so how do they stick in both modes?
Is this why you recommend Lobster ?so to keep in RGB.
My original question refers to a very small contrast shift when back in RGB which to date I do a slight curve tweak to correct.
When in LAB I am mainly concerned with the L channel for most images. I am not using the A or B other than a few colour corrections.
I think this is what I am noticing with mode changes.
No matter which mode your file is in, you should neither convert to or assign the paper profile to the image whilst editing. The correct way to see the anticipated results is to use the Proofing Setup which doesn't affect the file but does change the on-screen appearance of the image to match the paper.
But, as Francisco reminded me, after changing modes to or from LAB, you need to reset the View|Proof Colors menu item to be ticked so that you are seeing the effect of the print profile.
Are you assigning your RGB color space or converting to your RGB or LAB space? What color space are you starting from?
Bob, to be clear, I have no idea how you arrived at your workflow nor any desire to pick it apart, I was only addressing the one conversion step that did not meet your expectation.
As others are pointing out, the bigger picture is an entirely different and bigger can of worms....
Good luck,
Tyler
I am starting in Adobe 1998 colour space , starting in RGB mode, then I am changing modes to LAB mode to make adjustments, then back to RGB for final tweaks.
Tyler
I am not taking any offence to any reply's . my original question was basically based on an observation of mine that perplexed me regarding what happens after one moves from one mode to the other.
I am going to follow through with Joanna's and Fransciso's suggestions that may help clarify my original observations.
I do think the answer is basically that LAB will not retain a profile assigned.. simple as that.
Stephen has mentioned Lobster to me before and I have never followed through with his advice other than downloading the manual.
I am thinking by staying in RGB , some of what I see would not happen, but I love the flexibility of Lab for control of contrast and sharpening. *I do not like building contrast or sharpness on the colour channels but rather work on the L or K channel. I feel less artifacting and halo's are prevented this way.
We all come at this from different perspectives and learning curves, I am hoping that by asking the question maybe a light will click on that I may have missed.
My workflow may be different from others , but I am sure this could be said about anyone of us.
Just a side note,, ink printing is a very small part of my duties, I am mainly the file editing operator, then sending files to secondary computers to load up the printers. Therefore the actual mechanics of an inkjet machine is not a strong skill sets of mine, I do though operate the Lambda which is a 8bit RGB printing device.
I have thought about putting a 24inch ink printer in my room so I can proof , before going to the larger machine, but not there yet.
What I am seeing is a huge circle of steps that when connected truly wonderful prints are being made.
Working with multiple printers and medias just increase the amout of steps that need to be connected and fully understood.
My next big can of whoop ass is going to make an ICG scanner work in all of this workflow.
QUOTE=Tyler Boley;506331]Bob, to be clear, I have no idea how you arrived at your workflow nor any desire to pick it apart, I was only addressing the one conversion step that did not meet your expectation.
As others are pointing out, the bigger picture is an entirely different and bigger can of worms....
Good luck,
Tyler[/QUOTE]
It is my understanding that LAB mode is device independent (the purpose of profiles is to make them device dependent) so you cannot have a specific profile in LAB.
If your output device is RGB then you should have a profile for it in the RGB space
According to some authors*, if you only edit the L channel, you should be able to get almost similar results with a curves adjustment layer with blending mode set to Luminosity
*Chavez, Conrad & Fraser
I think Bob's problem was that he didn't understand what was happening when he changed from RGB to LAB and back again. As you correctly said, after changing mode, you need to re-apply the printing profile in the Proof Colors item of the View menu.
As long as Bob doesn't change the working space profile, switching from RGB to LAB and back again should leave him back in the same profile he had before changing to LAB mode.
Bob, changing to LAB mode doesn't "lose" a profile, it carefully converts from the ProPhotoRGB profile to the LAB profile; just as changing back from LAB to RGB will carefully convert from the LAB profile back to the ProPhotoRGB profile.
Just remember to switch the printing profile back on in the Proofing menu
As to you doing the editing and then passing on the file to others for printing, it is very important that you don't convert the file to any print profile; that is the job of the printing operator when they choose which paper to print to.
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