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Lightroom and Photoshop don't always play nicely together and there can be discrepancies after exporting.
A way to minimise this is to ensure you are viewing your images in LR appropriately.
I work entirely in sRGB, (let's not get into the discussions of which gamut is best), and so I need to soft proof or view my images in LR as if they were sRGB.
LR by default will show your images using a ProPhoto gamut. This is wider than any monitor or printer can handle, and whilst it is great for data manipulation, it's a bit useless for actually judging the image.
So for me, working in sRGB throughout my whole LR / PS process, I choose to view as if they were sRGB in LR.
In LR, you can choose to click the soft proof button at the bottom of the screen and then choose which profile (and conversion method) in the top right hand part of the screen in the "soft proofing" tab.
Or you can go to preferences > external editor and select your preferred profile there. (There are two editing sections, I forget which, so I've got mine set to sRGB in both).
Interestingly, in the "Soft Proofing" option, you can also choose the background "paper" brightness by right clicking in the area just outside the image.
I end up using both methods, as it is easy to forget to set soft proofing but I like the option of choosing the background brightness.
When it comes to Photoshop, ensure that you've set your desired colourspace in the settings, and ensure PS warns you if an image is being imported without or with a difference colourspace. (Make sure you always embed a colourspace when exporting from LR and PS or it's all going to go south.)
People often forget that converting from a larger gamut to a smaller gamut usually requires a choice in the method of conversion. For example, perceptual and relative can give different results, as can colourmetic and absolute. When printing, some of these methods bring into question the requirement for "black point compensation," when using the additional bit of fun that is printer profiling.
For me, I always choose perceptual conversion for any gamut conversions as I prefer the more natural and gentler approach, with black point compensation "on" and perceptual in my workflow for printing.
With all this of course it is essential that you have your monitor calibrated accurately. Of course, no end of calibration will help if you've not set up your initial workflow to allow everything to talk to each other properly.
Once you get your head around it, it is all very simple really and you wonder what all the fuss was about.
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