Questions

After the loss of Pantone colours from Adobe CC i signed up for Pantone Connect, which was working fine up until Christmas time.  After Updating Illustrator / Indesign etc (I assume it's the update that's causing it) I am not able to add any PANTONE colors (from Formula Guide Coated, spot color) into my colour swatches in Illustrator etc.  Is this a glitch / bug???   I am a premium user of PANTONE Connect. What to do now? Anyone else with the same issue?  I often have to use the convert function within Connect for get the Pantone colours from a CMYK split, but that won't work when i try to "Add to Swatches". Surely other have the same issue....??? Anyone else got the same problem?   Or a fix?  I use an M1 Max Mac by the way. But it doesn't work on my Intel MB Pro either.  

Hi there, Is there a simple (1 button click) way of editing a photo to sepia tone in any Adobe programmes? I can see the B&W option but not Sepia. Many thanks, Kerrie

I'm doing a series of digital paintings in Adobe Fresco that will eventually be printed in a book. I'm working on choosing key colors for the project that will print well once they're converted from RGB to CMYK. I prefer working with the HSB model within the RGB color space. I would work directly in CMYK, but Fresco only does RGB, so I know the final conversion is on me and I'm paying attention to gamut warnings by selecting colors in Photoshop first. Problem is, the colors I choose aren't "sticking!" For example, one of my desired key colors is Hue 189, Saturation 100, and Brightness 85, which is about as bright a teal as I can go before getting a gamut warning. I'll select those values in the color picker, paint, and then do something else, like erase or paint with a different color. When I again click on the teal swatch or sample the color I already laid down, I'll find the values in the color picker have changed! Again and again it will revert to something similar but just dif

Green blotches appear on the dark areas when printing from Photoshop (24.0.1) it does not show on the screen before printing. any ideas?

Hi, I have company stock (business cards, etc.) printed on uncoated paper. It has a very unsaturated silky look and we're totally happy with it. We now need to produce rollups and other products that have a coated surface and I am struggeling with the colors. I'm using pantone cmyk color guides to compare colors from uncoated to coated but can't find a match that's at least somewhat close. Same values naturally look completely different (pic attached) but I can't find anything in there that would be even close.  Any tipps are appreciated! Thanks

Hi all, does anyone please have a definitive answer on when Windows Photos got colour managed?  I believe Per B. pointed out the update here a while back, but I'm wondering if it may only apply to Photos within certain versions of Windows? Did it start with a particular version of Photos that we can refer to?  Is the newly minted CM savvy Photos version available to all Win users? It's hard to be clear on issues without this info to hand.   thanks neilB  

Hi all! I've seen a few threads that pose this problem, but none of the solutions seem to have worked for me. Problem: when I export an image from Photoshop (I use it for digital painting), the product comes out drastically darker/more saturated to the point where things are pretty much either black silhouettes or blown out highlights.I've tried toggling the export options "Embed colour profile" and "Convert to sRGB" in various different combinations (one, both, neither, etc.) under both "Export as..." and "Save for web". I've made sure my workspace is set up in sRGB, I've assigned colour profiles, converted colour profiles, turned on "Preserve embedded profiles" in my colour settings, played under the "proof setup" tab under the View menu. I have this painting I've been working for a really long time on and the deadline is fast coming up, I'm looking for a solution that will let me export it as it is now, that'll get the exported product to look how it does in Photoshop (if such

I've set the color settings many times and saved it as I've always do but in this version it retornes to the defauld settings

Using Photoshop 24.0.1 and Camera raw 15.0.0.1264 in M1 Pro Macbook.I’m facing issue with the colour. The colour of the photograph changes each time from camera raw to photoshop. Is this the issue with my Mac or software

hope someone can help, never had an issue im a basic user with little knowledge, i print photos to canvas on my wide format printer now the colours are coming out totally wrong, people look animated or hand drawn, ive not changed anything, all my printer is testing and printing perfect when i do all the diagnostic checks and prints, it seems to be something with photoshop, please help its driving me mad. i think some of the settings are wrong but cant findout what they should be, 

Does anyone know of a colour values tool that can automatically list all hex, rgb, cmyk values etc  for a single colour in Illustrator - the kind of list used in a brand guide? This'd save SO much time!

I am primarily a video editor. I received a PD2700U yesterday. It's currently sitting next to my SW2700 that I've used for years. I noticed right out of the box that in sRGB mode on the PD2700u the blacks were not black at all. They looked very washed out. If I switched to Rec709, it looked fine but I really wanted to be able to work in sRGB. I calibrated the monitors to match (ColorMunki Display) and I can say that in Rec709, they do but sRGB is worlds apart to the point that it's not even usable.Maybe there is a setting that I'm missing? Maybe I should just keep it in rec709? Should I be creating new profiles in the user mode and not using the factory modes at all?

Hi everyone. I have a real weird one for you. Windows user.I created an AdobeRGB color spectrum and an sRGB color spectrum for testing.On my calibrated wide-gamut monitor using a displaycal LUT + matrix, these spectrums look different in different color managed programs.In Photoshop and ImageGlass (my image viewer using my monitor profile), the exports are dark in the blacks.In Brave (a Chrome-based color managed browser) and Instagram (powered by Edge and also color managed) the images are darker than Photoshop/ImageGlass and have a smoother rolloff into black.In Lightroom, the exports are brighter in the blacks (slightly brighter than Photoshop, significantly brighter than Brave), to where they almost do not reach true black. It all goes away and matches perfectly when I return to the Windows default profile.I am extremely confused as to why this is happening. I've posted on Reddit, DisplayCal, DPReview and now here, but nothing has solved this problem so far. I r

I have photos of a dark teal scarf that I'm trying to edit.  I know for a fact that my white balance is correct, and the color looks perfect in the thumbnail, but I cannot get the color in the image that I am editing to match.  What setting do I need to change to make this match?I'm using the lateset version of Lightroom Classic, but tried to see if Bridge was going to give the same issue, and it does. 

Hi All I'm new to the forum, and relatively new to colour profiles for print. The problem I am facing is inconsistent printer output between OS (operating systems) between a Mac (using latest updates: MacOS Monterey v12.6) and a Windows 10 PC. The ICC colour profile is developed for an Epson Printer (ET15000) using a specific paper and Adobe PhotoShop, with installation instructions provided for a Windows PC. The results on the Windows PC are consistent, and appear to be correct (i.e. the final printout once sublimation printed and heat pressed) matches well with the onscreen picture I am replicating.(Sidenote:  I have noticed that the same ICC profile for Adobe Illsutrator gives a slightly darker shade than for Adobe Photoshop on the same PC and all settings exactly the same). I have followed (and checked and re-checked) the Colur profile installation instructions for Mac, and the profile is available and is working on my Mac for Adobe products.  (I

Some people claim that the color management in all of the Adobe apps should be set to Adobe RGB (1998), cause this profile has a wider color gamut and its for professionals. Some people don't even think about it - if its set like that by default, they just leave it that way. But is that a right thing to do? Most of the time they work with sRGB content, not with Adobe RGB content. Most of the images on the web or in our PCs, cams and phones are sRGB. If an RGB image is untagged, the safest bet is that it is sRGB. So these people are seeing wrong colors all the time, am I correct? When you view untagged sRGB images with your color management set to Adobe RGB, they look more vibrant, which is cool, but is it accurate? Were these images originally meant to look like that? If the camera that took them was set to sRGB, why you look at them 'through the prism' of Adobe RGB? I'm confused here. And now comes a related question: is it very wrong to intentionally assign wrong

Hi, folks! We're facing a color profile issue in the company I work at.Currently we have around 20 designers which create graphics for many channels as social media, e-mail marketing and our mobile application. We almost never create anything for printing as 99.99% of our work is for digital media. Naturally, we work on the RGB color space on a daily basis but when it comes to color profiles, the whole thing get a bit tricky. As you may have imagined, with lots of different team members, working with different devices and channels, we get lots of inconsistencies too. Sometimes our color palette looks a bit dull or even oversaturated in some users screens and most of it happens because we don't have a consistent color management pipeline.About 2 years ago the team has elected Adobe RGB as our main color profile for creating graphics. We didn't do much of a researching job to get to this conclusion. People just filled two photoshop canvases with ou brand color (#ff7a00), one co

In the document that I'm planning to print in offset there are some color pages (sRGB), but the rest is in grayscale (sGray). The printer told me that the colors must be converted to Fogra52. When I asked about the gray content, they told me to convert it to Dot Gain 15%. But it sounded more like a recommendation than a rule. I wonder is this a normal practise? I have an impression that they know more about working with colors than with grayscale content. They also told me that I can do the gray-to-gray conversion in Acrobat with the "Preserve Black" option checked. I also don't understand which simulation profile should I rely on when evaluating the gray content: Fogra52 or Dot Gain 15%? I guess that the K channel of Fogra52 will be used, cause that's what this printery is profiled for. Subjectively speaking, the Fogra simulation seems a bit dark to me, but when I switch to the Dot Gain 15% simulation, it looks fine. Now I'm not sure which one of the

Where is Colorsync in Monteray ?In other words:Where do I install color profiles in Monteray ?Everywhere I read Colorsync folder is under Library/Colorsync/Profiles FolderIn the iMac the folder Colorsync is absent however, in the MacBook it is there ! Both machines are updated.Any help would be appreciated !

Confusing problem. I use a calibrated monitor and have always proof matched paper via View>Proof setup>Custom>icc profile of a particular paper, then used adjustment layer to get a better match. This is now not getting me close to what is coming out of my printer. What I have now discovered is that if I go to EDIT> Assign Profile>Profile (icc of the paper), the monitor and print are a VERY close match.I have always been told that Edit asign profile should be the original colorspace the image was captured in ie Adobe1998. This ensured that what came out of the camera and what was on the screen would be a close match.What has gone wrong? Is it User error or has PS changed?I use Win 10, PS CC ver 23.4.1

Hi - I'm having some issues with gamut/proof and printing. In the first image, I have my proof setup to simulate my Canon Pixma ix6850 printer (using glossy paper) - so using the Canon iX6800 series GL2 (for Glossy paper). In the second image - you can see the colour #E0Ef53 - a yellow-ish colour on the screen - and NO gamut warning (so I'm assuming in line with my printer profile, it should print ok?). In the third image - you can see the colour #FFFF00 - pure yellow on screen - and a Gamut warning. So I'd assume that wouldn't print ok. The fourth image is a camera photo of the print. Showing the E0E453 colour printing out in a wishy washy green colour (but did not trigger the Gamut warning). The FFFF00 colour however, which did have the Gamut warning, has printed our perfectly. Have I misunderstood Gamut - in that if it flags in the colour picker, then it will NOT transform correctly from screen to print? Thanks for any help, Mark

I have an epson 2760 that has been converted to sub printing. I'm using most recent version of illustrator on a MacBook (Mac OS Monterey version 12.4). I reached out to manufacturer ofyink and they sent me an ICC profile which I have downloaded to computer. I've read multiple instructions and watched videosand I can find the downloaded profile when going into my hard drive >library>color sync> profiles. BUT, when I go to print, the recently downloaded profile is not listed under color management. Can someone help meplease?  I've been messing with this for 9 hours today. I've also uninstalled andreimstalled printer/print driver multiple times. Very frustrated. THANK YOU IN ADVANCE. 

I'm looking to upgrade my old Dell monitor that apparently was never suited for photo editing.Can someone recommend the best/ideal monitors for professional photo editing?

I noticed this when trying to set night photos as deesktop backgrounds.When I open JPGs in windows "photo" app they appear normal (brightness level as I wish). When I hit "edit" in this app, they darken significantly.When I open them in photoshop, they appear normally (as I wish and as in windows preview).Same phenomenon occurs when I try to set them as my desktop background: they appear much more dark than I wish, untrue to preview image (see screenshot comparisons).Note, even when I open these screenshots after taking them, they appear much brighter when viewed as new JPG screenshot files than they did on screen when I took them.I tried saving the original file (IMGP4677-* variants attached) with various assigned color profiles, and no difference is seen anywhere except within the windows photo preview.Same darkening issue and untrue screenshot brightness phenomenon occurs.I am using a microsoft surface laptop connected to a Dell ultrasharp monitor (displays "generic PNP monitor" und

Hi, I think I've stumbled across a bug in the way that Bridge v10.01.126 previews images edited in ACR. First of all, I can confirm Bridge is reading all embeded color profiles correctly.  If a series of identical unedited test images are tagged with sRGB, A98, ProPhoto, or WhackedRGB, etc. they will all look identical. See first attachment.  Secondly, I have Bridge set up to display HQ previews.  ACR uses A98 as a working space.I have a wide gamut profiled monitor.     Issue:  After editing raw files (or even tiffs and jpegs captured in A98 color space) in ACR v14.3, Bridge previews the edited image in sRGB and not whatever profile is embedded in the image.  I only discovered this after editing some images that had colors that were towards the edge of A98, and definitely outside sRBG.  The Bridge preview is muted in the extended colors while ACR (and opening is PS) shows the full color gamut.  Sure enough, if I convert t