How to match image colors to printers ICC profile?

[Psychoses Art]

I have an otherwise finished image that I need to color/tone/brightness match to a printers ICC profile while soft proofing. The ICC profile was provided by the company I have make my prints. 

Basically, I work under Working CMYK and the printers ICC profile is custom to their equipment. When soft proofing under their profile, there's some significant changes to color/brightness/contrast/etc. that I want to change to bring the proof view version of the image back into line with my Working CMYK view version. Once that's done, I can switch off the proof view, save the edited image, and send that version to the printer so it hopefully matches better with what's seen on my monitor in my finished image.

The problem is I'm struggling to match the aforementioned details by hand. I have to work within the same tab, so I can't use Match Color to just match the colors up, which is probably prevented anyway by the proof view not really being "applied" to the underlying image, I.E. when editing it's the characteristics of the underlying image (my finished version) which are being changed, not the characteristics seen in the proof view. 

Is there an easier way to do this? How do you match an images characteristics when soft proofing on an ICC profile like this? I'm at a loss and I've already spent many hours trying to find a solution.

[Stephen Marsh]

I'm reading more and more about this idea of keeping things in RGB and only converting at the printing stage to cmyk or to the icc profile of the printer. I'm wondering though if this is a way of doing more appropriate for photographers and or designers working with images/photos?

By @ricardop64721395

A "late binding" workflow does make more sense for continuous tone raster images compared to vector, object based software such as Illustrator or InDesign.

Compared to colour pixels in a raster image, in layout or illustration software one often works with a limited range of unique/discreet colours (ideally defined as global process or spot swatches) and it is easy to modify these colour builds and the objects that they are applied to if output conditions change. By using CMYK builds for panels, text and other objects you have direct control of the CMYK values. You may not need this same level of control on a pixel-by-pixel basis in a photographic image. There are of course times when you may need specific control of an image, which is where working in CMYK has advantages. Some colour images may not even use CMYK, so a late binding workflow doesn't always make sense. It often depends on which area of the print industry you work, accepted practices and your level of knowledge and skill.

https://creativepro.com/import-rgb-images-indesign-convert-cmyk-export/

[PECourtejoie]

I wanted to add that I think that it is possible to open a new window of the image, set it next to the other one. (Windows>Arrange) and to set proof view on that new one, IIRC.

[ricardop64721395]

This is very helpful and the best way of doing this!

Thank you!

[Muhammad Rika363455840pt9]

To match image colors to a printer's ICC profile, follow these steps:

1. Calibrate Monitor: Ensure your monitor is calibrated to display colors accurately.
2. Assign ICC Profile: Assign the printer's ICC profile to the image in your editing software.
3. Soft Proofing: Use soft proofing to preview how the colors will appear when printed.
4. Adjust Colors: Make adjustments to the image as needed to match the printer's ICC profile.
5. Print Test Samples: Print test samples to fine-tune color accuracy.
6. Iterate if Necessary: Repeat the process until the printed colors closely match the desired result.

[Lumigraphics]

Well thank you for the regurgitated ChatGPT response. :eyeroll: