printservice icc profile
Posted 03/12/2006 - 18:51
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Best is to convert to AdobeRGB (or 16-bit ProPhoto) from the RAW. Do your post-processing in PS and save.
You will find that their profile will (should) change over time and keeping your processed files in a standard profile will help - especially if you need to pass the images onto anyone else.
Then, just before saving the JPG for printing, use "Convert to Profile" in PS and use their profile. If you have CS/CS2 you can soft-proof to see what the effect will be before conversion (and check if there's anything out-of-gamut).
Matt
You will find that their profile will (should) change over time and keeping your processed files in a standard profile will help - especially if you need to pass the images onto anyone else.
Then, just before saving the JPG for printing, use "Convert to Profile" in PS and use their profile. If you have CS/CS2 you can soft-proof to see what the effect will be before conversion (and check if there's anything out-of-gamut).
Matt
Posted 03/12/2006 - 19:03
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so if I like this printer then it would allso be best to set my DS to use adobeRGB as well?
Camera:K20D|Ist*DS|Spotmatic II|MZ-10
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Takumar Lenses: SMC 55 1.8
Sigma Lenses: EX DG 50-500 'Bigma'|EX 50mm Macro
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Posted 04/12/2006 - 09:07
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If you shoot RAW, then it doesn't really matter what colour space your camera is set to.
The colourspace is used for JPG (and I believe the embedded JPG in the RAW too), so if you use a portable storage device (like the FlashTrax) then you're probably best leaving the colourspace in camera to sRGB as only the newest Epson device supports AdobeRGB.
FYI, AdobeRGB has a wider colour gamut compared to sRGB, and ProPhoto is even wider still (massively wide in fact which is why you need 16-bit per pixel, not 8 otherwise you risk posterisation). I'd advise using AdobeRGB if:
1. You intend to print (especially with Litho printing), and
2. You can get your head around colour management
(If you can't cope with profile conversion and selection, then just stick to sRGB )
Hope that helps!
Matt
The colourspace is used for JPG (and I believe the embedded JPG in the RAW too), so if you use a portable storage device (like the FlashTrax) then you're probably best leaving the colourspace in camera to sRGB as only the newest Epson device supports AdobeRGB.
FYI, AdobeRGB has a wider colour gamut compared to sRGB, and ProPhoto is even wider still (massively wide in fact which is why you need 16-bit per pixel, not 8 otherwise you risk posterisation). I'd advise using AdobeRGB if:
1. You intend to print (especially with Litho printing), and
2. You can get your head around colour management
(If you can't cope with profile conversion and selection, then just stick to sRGB )
Hope that helps!
Matt
Posted 17/12/2006 - 19:58
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another question about this, when I convert a picture to the profile supplied by the printshop I get a colourcast over the image. Is this normal behaviour when applying printshop profiles?
For those interested the profile in question is here: http://www.vakprint.nl/hst/v11p07d/vakprint.nsf/all/A00FDB47340DC686C12571F5003DEC6D/$FILE/NL_Befo_dlab2_CA-TypeII_21082006.icc
For those interested the profile in question is here: http://www.vakprint.nl/hst/v11p07d/vakprint.nsf/all/A00FDB47340DC686C12571F5003DEC6D/$FILE/NL_Befo_dlab2_CA-TypeII_21082006.icc
Camera:K20D|Ist*DS|Spotmatic II|MZ-10
Pentax Lenses: DA16-45|DA50-200|50A 1.7
Tamron Lenses: 28-200
Takumar Lenses: SMC 55 1.8
Sigma Lenses: EX DG 50-500 'Bigma'|EX 50mm Macro
Flashes: Metz 58 AF-1|Samsung SEF-36PZF|Pentax AF-220T
Pentax Lenses: DA16-45|DA50-200|50A 1.7
Tamron Lenses: 28-200
Takumar Lenses: SMC 55 1.8
Sigma Lenses: EX DG 50-500 'Bigma'|EX 50mm Macro
Flashes: Metz 58 AF-1|Samsung SEF-36PZF|Pentax AF-220T
Posted 23/12/2006 - 20:42
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I sent two images, one is standard sRGB, the other is converted to the colourspace of the printshop. Is it normal that you have to adjust the colours after converting to a certain icc profile? The pictures which are converted to the profile of the printshop have slightly more red in them so it seems.
If I look at the printed pictures and you pick which one looks the best it is the sRGB one and not the one which was converted to the icc profile of the printshop...
If I look at the printed pictures and you pick which one looks the best it is the sRGB one and not the one which was converted to the icc profile of the printshop...
Camera:K20D|Ist*DS|Spotmatic II|MZ-10
Pentax Lenses: DA16-45|DA50-200|50A 1.7
Tamron Lenses: 28-200
Takumar Lenses: SMC 55 1.8
Sigma Lenses: EX DG 50-500 'Bigma'|EX 50mm Macro
Flashes: Metz 58 AF-1|Samsung SEF-36PZF|Pentax AF-220T
Pentax Lenses: DA16-45|DA50-200|50A 1.7
Tamron Lenses: 28-200
Takumar Lenses: SMC 55 1.8
Sigma Lenses: EX DG 50-500 'Bigma'|EX 50mm Macro
Flashes: Metz 58 AF-1|Samsung SEF-36PZF|Pentax AF-220T
Posted 28/12/2006 - 12:34
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You shouldn't normally get any colour cast from a correct colour conversion. There are several "intents" for conversion from one space to another. Generally I use relative colormetric with black point compression.
In fact, in Photoshop you shouldn't even see any difference on screen when you convert between colour spaces.
The only possibilities are:
1) They assume sRGB if there is no profile attached in the JPG. In this case, make sure you save with profile attached (I reckon this is most probable)
2) Their profile is a bad one. If the lab is worth their salt, the profile should be up to date.
3) Your monitor calibration is out.
You can rule out 3 if the sRGB print looks the same as on screen sRGB in PS. As I said, it's probably option 1, and you can test this way:
* Convert to their profile in the normal way
* The assign to the sRGB profile (not convert)
If this shows the red-cast, then their equipment is expecting to see the profile
Hope that helps (a bit!)
Matt
In fact, in Photoshop you shouldn't even see any difference on screen when you convert between colour spaces.
The only possibilities are:
1) They assume sRGB if there is no profile attached in the JPG. In this case, make sure you save with profile attached (I reckon this is most probable)
2) Their profile is a bad one. If the lab is worth their salt, the profile should be up to date.
3) Your monitor calibration is out.
You can rule out 3 if the sRGB print looks the same as on screen sRGB in PS. As I said, it's probably option 1, and you can test this way:
* Convert to their profile in the normal way
* The assign to the sRGB profile (not convert)
If this shows the red-cast, then their equipment is expecting to see the profile
Hope that helps (a bit!)
Matt
Posted 04/01/2007 - 12:00
Link
I also find profiles a very confusing subject and after about 6 weeks have now got my monitor to the same colour as the printer.
I managed to do this by changing to Photoshop CS.
The issue with some versions is that no only does photoshop manage the print colours but the printer does as well. You therefore have to make sure that only one or the other does the colour matching.
I use the AdobeRGB to handle the on-screen colours and the printer to handle the print colours.
Be aware though that the type of paper you print on also has an affect because all paper adds its own unique cast. Just use one type and you should be able to match monitor to printer no proble.
I managed to do this by changing to Photoshop CS.
The issue with some versions is that no only does photoshop manage the print colours but the printer does as well. You therefore have to make sure that only one or the other does the colour matching.
I use the AdobeRGB to handle the on-screen colours and the printer to handle the print colours.
Be aware though that the type of paper you print on also has an affect because all paper adds its own unique cast. Just use one type and you should be able to match monitor to printer no proble.
Old wood best to burn, old wine to drink, old friends to trust, and old authors to read.
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1130 posts
20 years
Netherlands
They offer a icc profile on their website. Should I in this case embed this icc profile when doing the RAW conversion instead of the camera profile?
Pentax Lenses: DA16-45|DA50-200|50A 1.7
Tamron Lenses: 28-200
Takumar Lenses: SMC 55 1.8
Sigma Lenses: EX DG 50-500 'Bigma'|EX 50mm Macro
Flashes: Metz 58 AF-1|Samsung SEF-36PZF|Pentax AF-220T