2 Replies Latest reply on Jun 17, 2010 5:24 AM by Lou Dina

    color management issues with colorsync utility


      hi all,


      I'm trying to properly color manage my workflow from camera to monitor to printer and I read through the entire manual on the "colorsync utility" which is supposed to do this.  That's an hour of my life I'll never get back.  Anyway the color is different on my camera's screen from my computer monitor and the final output is radically different.


      I've used the ICC profile for my camera (Canon Rebel XT) and I've visually callibrated my monitor.  I'm using a Canon IP 4600 with a continuous ink system (non OEM ink).


      What I need to know is how do I change the color space visually?  What I mean is without spending hundreds on colorometers etc.  I know how to manually callibrate my computer monitor, but how do I ensure that my camera matches my screen and how do I compensate for the non OEM ink?


      thanks for any help

        • 1. Re: color management issues with colorsync utility
          gator soup Level 4

          I like to make ColorSync irrelevant when using Adobe publishing software, use Adobe ACE CMS and target your Conversions to OSX and devices


          my best advice is to invest in a puck that will profile your monitor to rule that out


          using non-OEM ink and/or paper will no doubt require a custom profile as you are finding out


          but you probably know this, sorry


          check out


          • 2. Re: color management issues with colorsync utility
            Lou Dina Level 3



            Only an hour wasted? Lucky you. Color is an incredibly complex subject. First, forget matching anything to the small LCD on the back of your camera. That's there as a basic guide and is affected by the internal jpg algorithm of your camera.


            2nd, you're not really takeing a color photo with your digital camera, but three separate B&W images in a mosaic pattern, exposed thru separate red, green and blue filters. Actual color doesn't happen until that matrix is demosaiced in either your raw converter, or the in-camera processor (which relies heavily on camera settings, saturation, contrast, mode, etc.)


            Having said the above, you can still get very good, predictable results in your workflow. I have a few color management articles on my website that you might find very helpful. Check out the Introduction to Color Management and Monitor and Printer Profiling. In my opinion, a monitor calibration device is the minimum entry fee if you want decent color.