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First, I recommend you buy a good book on color management and study it. Real World Color Management is a good place to start. It will answer most of the questions you are asking, but about general color management and application specifics.
Unlike Photoshop, which only involves one image at a time, InDesign has to handle multiple images in your document. Native ID components (lines, boxes, text, vector graphis, and other items created specifically with ID) are handled based on the default color settings specified in ID preferences, or the document color settings if you choose to use different color settings for a specific document.
Placed images, bitmap and vector, are handled individually IF the image is tagged with a profile and if that particular image format is recognized as color manageable by ID. For example, Photoshop Tiff, PSD, JPG and other formats can be color managed by ID. Some formats, such as EPS a more problematic, since they were not originally designed to be used in a color managed environment. Illustrator AI format (native Illustrator format) does fine in ID as long as the images are tagged and saved with a profile. When you place a file in ID, it recognizes the tag and will color manage those files based on the embedded tag in the image, but it will use the document rendering intent, unless you choose to override it. So, if the document intent is set to Relative Colorimetric, that is the intent used for all placed images, unless you select that image within ID and change it to perceptual.
If you place an UNtagged image into ID, the program will ASSUME your file is the same color space as specified in the document color settings.
You can have many different placed images with different embedded profiles (ie, sRGB, Adobe RGB, US Web Coated SWOP, etc) and ID will handle each one separately in the background. I wouldn't normally recommend that approach, but it does work. It is normally advisable to edit your images in PS to your intended output intent and keep them all consistent, then place those images into ID.
Real World Color Management, though a bit outdated, is still very valid and goes through most of these scenarios.
thank you, lou!
now i understand
i want ask you 1 last qustion:
i shoot from my camer whet raw fill an profille sRGB
then i open in ACR and convert to profille aRGB and open in PS.
awter this i shoot again whet profille aRGB an open in PS -
it's aseme away?
Are you preparing those raw images ( sRGB ) for outside vendor processing or are you printed those inhouse in a closed-loop workflow? If you are processing the sRGB's in-house on your output device, you may want to keep them sRGB. I find that when I RIP + PRINT raw camera images as sRGB, they reproduce better than converting them to AdobeRGB. Your rendering intent and black point compensation will also affect the final prints. If you plan on sending the raw images to a printer to have them printed using their equipment, you may want to keep the original sRGB's, but make a copy using what the vendor recommends and supply them the copies. I recommend you always keep the original raw images intact.