With RGB, when no light is emitted, you have black, while. Sometimes, if you're using a third-party paper, there might not be an ICC profile for that. Common questions asked about Color in Lightroom. Greetings, Color Management is part of Windows and I've noticed that I can override settings for print drivers, essentially giving them a CMYK(.icc) and ProPhotoRGB profile. I tweaked in EFI Fiery a.

Prophoto Rgb Icc Profile Download
Prophoto Color Space
Prophoto Rgb Icc Profile Download
Srgb Vs Prophoto Rgb

by Sandra Kehoe – August 29th, 2017

Guest blog by Photographer, Educator and X-Rite Coloratti Martin Bailey

Following the release of my video on soft-proofing, I received a few questions that helped me to realize that I need to spend a little time going over the reasons that we even need to use ICC profiles, and what they actually do.

I talked about using ProPhoto RGB whenever possible, and some viewers asked if they should use this for their computer display. I showed the ICC profiles for my two computer screens, and these were very different from my camera Profile, and my various print media profiles.

ProPhoto RGB is a much wider profile, larger than all of the other devices and media profiles that we might use. This is why I recommend using it when editing our images, but you don’t need to use this for your display, or when actually printing. This is because these modes of outputting our images have their own limitations, and it’s these very limitations that make ICC profiles necessary in the first place.

So, the first thing to remember is that the ability to reproduce color varies depending on the device or media on which we display or output our images. ICC profiles are used to translate the colors in our image to the ones reproducible by any given device or output media. Another way to think of this is the difference between human languages. If one person only speaks English, and another only understands Japanese, they have no way to communicate. For example, I understand the color red, and the word “red” to describe that color. Now, of course, you’d be hard pushed to find a Japanese person that doesn’t understand the word “red”. Nonetheless, assuming they don’t, when I say “red” to a Japanese person, they would not know how to process that information.

Another way to think of this is the difference between human languages. If one person only speaks English, and another only understands Japanese, they have no way to communicate. For example, I understand the color red, and the word “red” to describe that color. Now, of course, you’d be hard pushed to find a Japanese person that doesn’t understand the word “red” in English, but assuming they don’t, when I say “red” to a Japanese person, they would not know how to process that information. Likewise, assuming I didn’t understand Japanese, if a Japanese person said the word “akai” to me, I would not understand them either, and not be able to process that information. However, if we had a dictionary to map the color red to the Japanese word “akai” we could communicate. We’d both understand what red is and be able to visualize the color. On a very basic level, this is what an ICC profile does, but for millions of colors, not just one.

Let’s take a look at the problems we are trying to overcome in a little more detail. The core piece of information that we need to keep in mind is that every device capable of displaying an image has limitations on what colors it can display. These days, our computers understand millions of colors. They understand many more colors that they can display or print. You might think that’s strange, but this is the same theory as my reason for recommending that people work in ProPhoto RGB. We need to edit with more wiggle room than we need, and then adjust this to the output device when necessary. More on this later.

To illustrate the issues we face I created a Granger Chart in Photoshop. The chart below contains way more colors than our displays or printers have the ability to reproduce. That’s why there are some crunchy gradations in the chart, and those nasty steps in the gradations will change depending on the device on which you look at the image.

Granger Chart

Prophoto Rgb Icc Profile Download

Take a look at the image on two different displays, or on your phone or tablet, and you’ll see differences, ranging from very slight, to quite drastic, depending on the device. Note that I also use these charts in my printing tests sometimes, because they force the printer and media to very bluntly show us what they can and cannot do. More on that shortly.

Prophoto Color Space

I used ProPhoto RGB to create the chart, but I had to convert this to sRGB for the Web version, so the colors get scrunched a little during that process. This is one of the challenges we face. Although things are gradually changing, sRGB is still the standard color space for the Web. To really see the original chart, you’ll need to create one yourself. Then try moving it across displays, if you use a multi-monitor computer.

If we turn the clock back just 25 years, personal computers were just starting to be able to work in more than 256 colors, but a lot of technology was still restricted to just 256 colors. In Photoshop, using the Granger chart I created, I changed the Color Mode from 16bit color to 8bit, and selected Indexed Color, then chose to change the colors Perceptually, to at least give the image a chance to show us a few more steps, and I reduced the image to 256 colors. Here is the resulting image (below). The image looks so bad because it contains the full spectrum of colors, so when allocating these to just 256 slots, there’s no room to save the colors required to create finer gradations.

Granger Chart 256 Colors

My first PC that I bought back in 1994 was relatively advanced for the time, but it could still only display between 16 and 32,768 simultaneous colors out of a possible 4096 to 16.777 million. This depended on the video mode, and the imaging software available to me at the time was mostly restricted to only 256 colors. I recall displaying and even doing some early printing of these images, and I regularly used Indexed Color, because it would select the most used 256 colors in my images.

The photo below, I converted to Indexed Color with 256 colors, to remind myself of those days, and the limitations that we faced, and you can see how nasty the gradations in the sky and clouds become, as we force the image to display itself with such a small number of colors. It’s better than the 256 color Granger chart because there is a much smaller range of colors that need to be assigned to the 256 available slots.

Namibia Quiver Trees in 256 Indexed Colors

In printing, we can simulate the issues that we are working to overcome and prove how much ICC profiles help us, by printing that Granger Chart without any color management. I printed it directly to a matte media, which has a smaller color gamut (can reproduce a smaller range of colors). I also turned all color management off. This is what the print looked like (below). Compared to the image we looked at earlier, you can see that the colors are very different, and some even missing altogether.

Granger Chart Printed without Color Management

Then, I printed it again, with the color management turned on, and the ICC profile that I created for this media assigned. This is effectively telling the software how to interpret the image, to get it as close to the colors that the ICC profile tells the software that my printer can reproduce. Here is the resulting image (below).

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