Great explanations.

Can't I download the image to my local device?

Thanks for the video, very good explanation. If you want to print this photo what color profile do you chose ? How can we know if the printer supports this Nikon studio color profile ?

Very good explanation of color profiles. Thanks!!. A question - Do all display or printers faithfully reproduce sRGB (if they support it ). Are the colors consistent between sRGB monitor and sRGB printer output ?

It's a concept so hard to grasp for me as a photography enthusiat, this video really helped.

This is a really excellent video. It’s so good that I’ve shared with friends outside the print industry. I’ll try it on my kids next!

This was very good, thanks.

I started dealing with RGB > CYMK and the Lab colorspace model in the mid-1970s as a lab tech at National Geographic where I was a beta tester of the DuPont Cromalin pre-press proofing system. I continued to deal with RGB > CYMK color management as a production manager of web offset printing. The first magazine printer where I worked after NGS in the late 1970s was involved in formulating the SWOP CYMK ink standard for proofing and production. The situation then was a advertiser like Revlon hiring a ad agency to produce a lipstick ad for magazines. The agency would hire a photographer who would shoot on Ektachrome which would then be color separated into a CYMK dot pattern and proofed on a flat bed press one color at a time. The color separator wanting to please the agency and client would often “doctor” the proofing inks, especially the magenta in the case of lipstick ads to better match both what was seen in the Ektachrome and the actual product. The customer would approve the proof and CYMK halftone film for printing would be sent to printers along with a printed copy of the proof. The problem was that in most cases the CYMK inks used on the web press could not match the proof or the actual product and the customer seeing the results not meeting their expectations based on the “doctored” proof, would demand a free re-run in the magazine from the editor who would then demand a credit on the printing bill. What the establishment of SWOP (Standard For Web Offset Printing) did was force all advertising agencies and their color separators and proof printers to only use a set of proofing inks with the same color gamut and ink film densities as used on the production presses. This resulted in color separations which no longer were a close match to the actual products or how they appeared in the transparencies on a light table but gave everyone involved a realistic expectation of what the ad in the magazine would look like. To enforce the standard and keep the ad agencies honest our printing company would perform a QA check on all incoming advertising separations and proofs, measuring the ink densities on the proof and it’s dot gradient in each color vs. what was in the film to catch instances of the color separator piling on extra ink or sometimes adding a 5th color pass to the proof to please the customer. If we discovered “cheating” from SWOP standards we would reject the color separations for the ad. Part of my job as production manager was educating our clients, the magazine editors and production managers, about color management so they would understand why it was in their interest to insist that ad agencies conform to SWOP standards for proofing. SWOP Standard pre-press proofing systems like DuPont Cromalin and 3M Matchprint eventually eliminated the practice of press proofing in the magazine industry. We would swatch print books showing all the possible CYMK combinations so the magazine designers could visualize what colors were possible when designing things like color page backgrounds. Pantone also produced similar swatch “web safe color” swatch books. A similar customer expectation vs. reality of production occurred when clients started using computers to evaluate color in the late 80s and early 90s. It is physically impossible to duplicate the most saturated blue and purple colors even an sRGB monitor can produce on a CYMK press and yellow ink can produce more saturated yellows than the R+G combination of primaries on sRGB monitor could display. This can be seen in a 3D gamut evaluation tool like Color Sync Utility which is part of the MacOS operating system (in Applications > Utilities). Adobe addressed this problem in Photoshop in 1998 by introducing the AdobeRGB 1998 color space. Comparing sRGB vs SWOP in the Color Sync utility will show the blues and purples in sRGB which SWOP can’t match and the yellows which are more saturated in the ink than on screen. But when comparing Adobe RGB to SWOP it will be seen that the SWOP CYMK gamut fits inside of Adobe RGB, which means any high-end monitor which can display the entire Adobe RGB gamut can be used to accurately predict how the color will look on press, but only if the monitor is set in Photoshop or similar editor to limit the output of the monitor to the smaller and different shaped CYMK color space. These RGB > SWOP CYMK examples illustrate that the “big picture” goal is based on what the planned output medium is capable of reproducing. In the case of magazine production is SWOP CYMK which aren’t the most saturated inks available but are formulated based on requirements such as “trapping” (laying one wet layer of ink over the previously printed layers). Six and eight color ink jet printers used for printing photos will have a wider gamut capable of more saturated colors. In an entirely RGB workflow of camera > monitor the color editing decisions should not be based on what is seen on the wide gamut Adobe RGB gamut editing monitor but rather the lowest common denominator gamut of the viewer’s device, which nowadays is the screen of a phone or tablet after uploading and processing on KZfaq and other platforms. What color science and the use of ICC profiles allows when editing on a wide gamut monitor is to simulate what the final product will look like when viewed on a screen with less saturated pigments and less brightness.

Most Monitors do not cover Adobe RGB but sRGB. Therefore - if you work in Adobe RGB on one of these Monitors you can't see what you are doing as the color range is limited by the monitor. I recommend my students s-RGB always.

Very useful information. Thank you. 🙂

i dont know if you are still working on this app but i use an a7iv it shows up but says the camera is not ready please advise

Wondering how to save CS6 files that use mesh in CYMK. Adobe seems to be reverting to RGB, even files that once worked in CYMK (I've had this Illustrator mesh image printed several times) Once I've opened the file it seems to revert to RGB as default? Maybe I had a trick I used, that I've forgotten?

good job male, thanks!

i self taught myself photoshop cs6... i wish i knew about tNice tutorials when i was in the self teacNice tutorialng mood

Turns out they aren't for . SO I hear literally notNice tutorialng inside soft...

To download soft soft is the download free or do you have to pay for it?

It's so simple yet so complicated, it's perfect lmao

Do you have a video showing how to edit softs????

I'm too busy reading these comnts and not paying attention again.....and I'm Nice tutorialgh

This is the best free software Ive seen. Respect.

Why is colour management not automatic? This is crap. Good video on the fundamentals. Thank you very much.

This was correct for a decade ago, now most pro printers can print outside the Adobe RGB range on a good paper.

That's a great analysis. Answers a lot of my questions.

old but gold

Thank you very much!

Best video

Wow, this is the clearest explanation ever! Thank you so ooo much! I never knew the role of LAB until now.

Very very useful tutorial!! Very helpful! Very well explained about how to use the icc profile!! Thank you so much for sharing this!!

13:35 can you please explain a little bit more about how to do colour management from camera to LAB, from LAB to display?? Where is the table?

Is it a bad sign if I did not see color for even a sec in the example with the castle?

Thank you all this time later (10 years) for attempting to break this down for a new photographer. So, I'm not sure if you are still here answering questions, but I'm going to ask anyway. I understand that sRGB is the smallest "balloon" and Adobe RGB is a bigger "balloon" and Pro photo is the biggest "balloon" and that the space between a specific digital number (i.e. 255 of one color if far from it's "equivalent" value in another color space. It appears that the bigger the balloon, the more potential for obtaining certain saturated colors. I also understand from your video "what's the point" if your output device can not reproduce it. Now, my question: I'm not sure what fills (if anything) the balloon (i.e.just more distance between color representation?). Now, the killer question: If in 2022, the default for most output devices (WEB, TV) is sRGB (I don't know if it is), why do cameras still offer Adobe RGB as a color space offering (and some people recommend it). Is there any advantage between editing a photo taken in a high end camera in Adobe Raw to Lightroom or Photoshop using an Adobe RGB calibrated monitor, and then output the file as TIFF (for printing) or JPG for presentation (web, TV) vs. just doing the same in sRGB? Is Adobe RGB just all smoke and mirrors in the real world if your output device (i.e. printer/internet) doesn't support it? Any advantage at all or is there more color shift as you compress the image (which is what I think you are alluding to here).

Win 11. Lightroom editing. Spyderx Pro calibrator. High quality monitor. What specs could I add here in these comments that would enable you to advise me on why my print has a magenta cast with blues rendering as pink.

Very informative! Thank you

Brilliant clear explanation. Thank you

It puzzles me that the luminance level commonly agreed upon is as high as 120 cd/m2. It's a rather unpleasant light level for editing, especially when the ambient light is low. If everybody would agree upon a lower level, e.g. 90 cd/m2 I think the ultimate goal would be accomplished too. Am I wrong?

very good explanation. thank you

Thank you so much for this! It was really informative and easy to follow.

This is very useful. Thank you so much!

Still the best video on this subject

Unfortunately sir, it is quite ironic that your skin tone has too much red considering that your video is providing tips about colour management. I assumed it was my laptop screen not being calibrated properly, but it seems the issue persists on both my phone and oled tv too. I guess i can rest easy now, knowing there is nothing wrong with all my screens. I see your other videos don't seem to have this issue, but i can understand that this is an older video so it's not necessary to re-grade it. Thanks and godspeed!

its very helpful...thank u❤️

Very interesting ! I do see the circle with the same color hovever (the red and the purple ones)

mmmm very interesting and informative

Wow! 👍🏻

Excellent lecture on color profiles. The 3 dimensional model and the clear, concise explanation are invaluable !

I always thought the display manufacturer makes the icc profile specific for the display. Is this the case or do we make profile based on ambient lighting?

. Thanks for the great explanation. I have a question related to G7. What is G7 and why is grey is considered to be an important colours in G7 and why not other neutral colours like black or white? I’m very new to the printing industry and colour consistency is very important for me. Can you please explain in very simple terms and also a detailed information regarding G7? Thanks.

Best explanation I've ever seen.

Useful indeed. You explain what so many so-called professionals are not able to (or willing to) explain. Still, further questions: 1. Why is an ICC profile (which I understand is some kind of "colour dictionary") embedded in a file? Wouldn't it be reasonable to have this ICC dictionary ONLY in the colour engine, which then translates incoming signals to LAB and outgoing signals from LAB to whatever colour model a device asks for? 2. Why does the colour engine translate RGB to LAB from cameras, if it then translates LAB back to RGB for monitors? Isn't this useless? Wouldn't it be enough to translate ONLY if the outgoing colour model differs from the incoming colour model? Any knowledgeable answers are highly appreciated!

Very accurate and clear video ! Thank you very much !!