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Book Review: Color Confidence by Tim Grey
Monday May 24, 2004
by IR Staff

IR Staff reviews Tim Grey's new book Color Confidence. Included is an excerpt from the book, Chapter 3, which deals with choosing and calibrating Displays.

Creating Panoramas
Monday May 10, 2004
by Ellen Anon

Ellen Anon illustrates the creation of Panoramas in Photoshop.

Working with Pressure Sensitive Tablets
Monday May 3, 2004
by Katrin Eismann

Katrin Eismann outlines the use of pressure sensitive tablets in image processing.

Book Review: Mastering Digital Photography and Imaging(Updated)
Monday April 26, 2004
by IR Staff

IR Staff reviews Peter K. Burian's latest book, "Mastering Digital Photography and Imaging."

Digital Workflow for RAW Processing: Part IV - Batch
Thursday April 1, 2004
by Jeff Schewe

The fourth in a five part series, Jeff demonstrates the application of settings from one image to a series of images within Photoshop.

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Software > Inside Photoshop > Softproofing in DETAIL

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AuthorSubject: Softproofing in DETAIL   [Go to Bottom of Page]
Richard Southworth
Posted on Mon Dec 8, 2003 10:05 AM

How about a really precise definition of softproofing in Photoshop? I'm obviously looking for a validation of my own understanding from the experts. Assuming an image working space of Adobe1998 (D65 white point), D65 monitor profile, D50 printer profile, Photoshop CMM PCS D50 LAB (true?), and a Perceptual rendering to the printer, here goes:

1. Image color RGB to XYZ space within Adobe1998;
2. Adobe1998 XYZ to Photoshop CMM PCS with a chromatic adaptation from D65 to D50;
3. Photoshop CMM PCS to Printer LAB, slight chromatic adaptation to match paper white even though both spaces are D50;
4. Printer LAB to Printer RGB proof space, Perceptual rendering intent;
5. Printer RGB proof space to Printer LAB, Absolute rendering intent;
6. Printer LAB to Photoshop CMM PCS, I assume no chromatic adaptation since we're trying to come back to the monitor with "honest" colors;
7. Photoshop CMM PCS to Monitor XYZ, Relative rendering intent with chromatic adaptation from D50 to D65;
8. Monitor XYZ to Monitor RGB.

I'm not sure I have the Photoshop CMM represented correctly, could use some guidance here.

I've read several books/articles that describe the transfer from printer proof space to monitor space as Absolute; however, it appears to me that it has to be broken down into two transfers, as described by (5) and (7) above. I believe EVERYTHING that goes to the monitor in Photoshop is Relative, therefore the proof space to monitor space transfer is only half Absolute. To keep things simpler, I'm leaving out Black Point Compensation, Paper White and Black Ink.


... this thread contains expert advice from Andrew Rodney and Bruce Fraser.




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