Aperture colour management vs Printer colour management

I am quite new to both Aperture & Mac, having moved over from PC and generally Adobe software. I shoot RAW mainly, on a Nikon 200 and use a Epson R1800 printer.
I have used a Spyder 3 to calibrate my screen and I am happy with the on screen images. However I have used both Aperture 3 and the Epson colour management to print a few versions and am struggling to get the same satisfaction on paper. Previously on a PC (sorry for that) I had few problems with matching screen to paper.
Any thoughts or similar experiences would be most welcome
Thanks

I think you will find in the dialogues for printing the suggestion to turn off printer control of the color, and simply allow Aperture alone to control. This is recommended.
Ernie

Similar Messages

My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management

I have recently purchased a Mac computer (updated to Maverick) to go with my Epson Stylus Photo RX500 printer which has given excellent service with my old Windows computer. However, when trying to print pictures or photos via Photoshop Elements 11, the best results I can get are using the Colour Management and Epson Colour controls in the printing options box.
My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management, The only way I can reset the controls is to shut down the printer and computer and restart.
Could there may be a setting somewhere that I need to adjust please? I have been in touch with Epson and they say that the Epson Colour controls are part of the Photoshop Elements software but a post on the Adobe forum brought no results and I am unable to contact Adobe.
<Edited by Host>

Hello Garry. Thanks for the reply. I guess I should have used a different title from "How do I post a question?" That should come after trying to resolved the colour settings first. However, to answer your question, after experimenting with all the different settings in Photoshop Elements and Epson software, I now start with PSE11 Colour settings then click "no colour management" then after clicking Print, I choose "More Options/Colour Management/Colour Handling/Printer Manages Colour" then I choose "Page Setup/Layout/Colour Matching" which then shows Epson Colour Controls but I also choose "Layout/Colour Management" which then shows "Colour Controls/Mode" I then of course choose an Epson printer profile depending on the paper I am using. I get good results but as I said, the Colour Matching and Colour Controls are then greyed out. Hope that makes sense.

Switch off printer colour management

Hello,
I am on a Mac Snow Leopard 10.6.8 and using IDCS5 to print to a Canon Pro 9500 printer.
When I get to the print dialog, I can only select colour handling by indesign. There is no option for colour managed by printer which is fine because I would prefer to have indesign manage the colours.
However when I go to printer settings dialog I cannot turn off the printer colour management. There are two radio buttons only in the colour matching section. One is canon colour matching and the other is Coloursync from which I can select from various colour profiles.
I can't figure out how to disable colour mangement from the printer driver.
Can someone help me with this please?
Jach

I can see what you are saying about objects with different profiles in one indesign document. But the output has to be just one profile - in my case my custom built profile for the type of paper and my inkjet printer.
So if my understanding is right - Indesign takes the number colours from the various objects in the document and convert them to numbers that my printer will use for a particular type of paper. To do this conversion indesign needs a recipe, and that recipe is in the form of my custum built profile.
However, what is happening so far, is that indesign is converting the colours using my profile but then the printer driver is also doing some form of conversion which is messing up the colours.
What I did try is select the right profile in the indesign print dialogue and then went to printer settings and chose colour sync and the same profile from the drop down list. I was hoping that selecting the same profile in both indesign and printer driver would result in preventing double profiling. However the results were bad.
I am not sure how choosing DocumentRGB is going to help. Because my colour setting across the adobe suite is ProPhoto RGB for the RGB settings.
If I go to the drop down menu for printer profile, one of the options I get is "DocumentRGB - ProPhotoRGB". Wouldn't this be wrong if some of the images in my document are sRGB or some other colour space?

Disable printer colour management

Hi
   I have just bought the above printer to replace a very simple Canon pixma. I use Windows Live editing and Photoshop Elements too.   To get the results required its suggested by Photoshop that the printer colour management is disabled to use Photoshops.This didnt seem to be possible with Pixma.     But expected a better printer to have this function
However Iaam getting the same warning box. Printing to non interpolative (spelling?) printer. The images iaren't printing asthey were when they left photoshop.
Can I do this with this machine or have I made a mistak in buying this machine. Its options seem limited for a machine worth around 60.00

Hello @Jenny105,
Welcome to the HP Support Forums!
I would like to assist you today with resolving the Photoshop Elements error that you're receiving when printing from your Windows 7 computer to your HP Envy 4500 All-in-One. I did some research into this error and found that the message "Printing to non interpolated printer" is a postscript error. This indicates that rather than just a colour issue, you have a settings issue under Photoshop.  Apparently this message is just informing you that you have Postscript settings and you are using a non Postscript printer. Postscript is a printer language. Consumer printers, like your HP Envy, are only PCL 3 for their printing language capabilities. If you need to use Postscript settings (such as halftone patterns, transfer curves, interpolation . . .) than you will need a Postscript capable printer, like a Laserjet, or commerical Inkjet. Also, because you're finding that the colours aren't printing correctly, you may need to adjust the colour profile information under Photoshop.
For instructions on how to adjust the colour profile settings, please click here. You can choose to either 'let Photoshop determine printed colours' or 'Let printer determine printed colours'.
Once you have adjusted the colour profile settings, please test printing again.
Please let me know if the colour profile adjustment resolves your issues. Best of luck!
X-23
I work on behalf of HP
Please click "Accept as Solution" if you feel my post solved your issue, it will help others find the solution.
Click the "Kudos, Thumbs Up" on the right to say "Thanks" for helping!

Disabling printer colour management

Hi,
my prints are coming out very dark on my Epson 4400 from photshop CS6 on my Mac OS X10.8.5
In the print window it says to disable the printer colour management from the print settings dialogue box but I can't find this anywhere. I have seleceted Photoshop to manage the colours.
Any advice much needed!

It should be in your main Print window...Print > Color Handling. I have mine set for "Let Printer Manage Colors" because the Epson driver has a lot of options I want to take advantage of and is engineered to interpret application color settings accurately.

How do I turn off the printer colour management in printer drivers on my photosmart C7280

photosmart C7280
How do I turn off the printer colour management in printer drivers

HI whcotton,
You can click here to go to a post for help with disabling the printer color management for your printer. This person was having the same issue as you and the accepted solution worked for them. Hope you find this helpful.
If I helped you at all it would be great if you clicked the blue kudos star!
If I solved your post please mark it as solved to help others.
I'm a printer tech with HP.

Colour management of spot colour channels

Hello
I have some single layer images using cmyk (black only) + Pantone Process Blue U that will eventually be printed on a sheetfed offset press. A ballpark estimate would suffice for this low budget book, so I thought I'd give soft proofing a try. I'm therefore interested in understanding Photoshop's implementation of colour management for spot colour channels so as to have a less vague idea of the approximations this workflow involves.
Moreover, I'm stuck on exporting to pdf to let the client evaluate my conversions of the original rgb scans. Photoshop seems to layer an Euroscale Uncoated v2 overprinting image on top of a spot coloured image whose alternate colour space is "Calibrated RGB". What baffles me is that the pdfs display consistently in Acrobat 8 and 9 but rather differently from the Photoshop document.
Here come my questions:
1) Am I right in saying that these programs still don't support colour profiles involving spots? If so, are Adobe people willing to comment on the relevant intricacies?
2) Which colour profiles and colour conversions do Photoshop and Acrobat use to display such documents?
3) Which software tools will allow me to convert the Photoshop documents to an output profile for hard proofing?
4) Short of alternatives, when only K is needed and as long as each spot colour bears a decent resemblance to a cmy primary, how well will the profiling software deal with a cmyk target printed substituting the inks on press?
Thank you very much for your help.
Giordano

As far as I know …
1) Photoshop uses the Spot setting from your Color Settings (Edit – Color Settings) to display spot channels (and one can use gray-profiles or the K-channel of CMYK-profiles for that); the Solidity one can set manually, but one should bear in mind that even a 100% solid spot channel does not knock out the process channels.
As for the actual physical properties of the color and its mixing with the other colors I’m afraid Photoshop produces a pretty rough simulation – profiles for more than four colors are considerably more complicated and would, if I’m not mistaken, preclude much of Photoshop’s functionality.
2) If you pass unprofiled Files between programs they will be displayed using the programs’ respective Color Settings.
And your screen profile will be employed in the process naturally … but you might want to read up on color management if you want to know more about all that.
As to why the display differs between Acrobat and Photoshop it would appear that Acrobat use the RGB-setting for displaying spots and not an extra setting like Photoshop.
3) Photoshop is capable of separating files – but I may not understand what you’re driving at.
4) Epson-proofers using the latest generation of inks for example have a fairly wide gamut and should be able to simulate a lot of Pantone colors, so you might want to contact your provider to make sure if such a workaround is necessary at all.

Prints Managed By Aperture Too Dark/Red; Printer Managed Match Display

I did a Startpage.com search and found this archived discussion: https://discussions.apple.com/thread/1378192?start=0&tstart=0. It has lots of suggestions but before I tried any I did a little experiment: I told Aperture 3 to allow the printer software to manage the color.
The result: the print essentially matches my display. The Aperture-managed print is too red and dark. Go Figure...
I'm trying to understand why Aperture is botching the print job while the HP software gets it spot-on. Theoretically the Aperture color-managed prints should be better than the HP software-managed prints.
My hardware: Mac Mini and 10.8.3. HP Photosmart 8450 printer. NEC 2490WUXi2 display. I am using the stock NEC display profile because it is so darn good. My option is software calibration but nothing I have created has come close to the NEC profile. I have checked the NEC profile against various online display checkers and it looks good, so I see no reason to invest in hardware calibration. sRGB images exported from Aperture for Web use look good too.
When using Aperture 3 "Printer Managed" color management is automatically disabled. I select the proper HP paper profile. The image looks good on the display. The print looks not so good...
When using "Printer Managed" the only automatic setting that I had missed in the HP software was automatic sharpening; I'm going to disable it and see what happens. The only thing I change is the color setting from sRGB to Adobe RGB 1998. Otherwise I stick with the correct paper profile, select "Best" or "Maximum DPI" and hit print.
I would say that my test image is challenging to reproduce: skintones, light blonde hair, deep red/purple color in the clothes.
It's been a while since I printed from Photoshop CS3 but prints managed by that application look fine. I also use Nikon Capture NX2 but I don't recall using it to print. I'm going to test it later.
Any thoughts/feedback? At this point it looks like I should just stick with using the HP printer software. But the question remains: Why are the Aperture prints sub-par? Is it me or is it Aperture?

Honestly, it's probably your calibration. Saying it "looks good" with the software profile is completely subjective. If you don't measure the display, it's all guesswork.
Aperture can print fine, with its drivers. You do have to ensure you're not double color correcting (i.e. Aperture AND the printer drivers, which will double down the adjustments and make things look bad), but if you have stuff set up right and colors are bad, then you really can't go to step 2 without doing a hardware calibration.

Printing Colour Problems ...

I know this is a common cry for help, but I am having a dreadful time trying to understand colour profiles, despite spending a lot of time reading up on the subject. Here's my basic dilemma:
I have calibrated my display (Apple 23" Cinema). I am using an old Epson 830U for basic home proofs. I have set up my proofing profile in Aperture to match the printer and paper I'm using. When I print from Aperture I select my printer and paper in the colour sync profile, and in addition I ensure that the paper type is correctly specified in the printer's settings (and I also deselect colour managment in the printer settings).
Does this sound right ? I've noticed that even just a small mistake, e.g. forgetting to select the paper type correctly, can lead to extreme colour differences.
At the end of the day I'm not despertate for perfect colour in my home proofs, but I am trying to get them to look approximately right. It's not uncommon for me to end up with extreme colour problems. I can't print anything from iPhoto without it coming out too dark and with a blue tint. Luckily, printing from Aperture seems to produce better results (I just wish I knew why).
Surely it shouldn't be this hard to set up a basic Epson photo printer on the Mac.
If anyone knows of an idiot proof guide to home photo printing using high end applications on Mac OS X, feel free to point me in that direction.
Paul

I suspect it really is intricate as opposed to hard. But here's my "Dummies/Idiot's Guide ...." for you.
The difficulties start by reminding ourselves that color is perceptual. Our retina sends a signal to our brain, and our brain translates that to a color. But, who knows what color you perceive as blue compared with myself if we both stand side by side and look up at a blue sky. we've just been told since a baby that it's blue, but our brain does it's magic and we "see" what it tells us. This translation issue between retina and perceived image is behind much color-blindness ... a difficulty in perceiving a color difference.
Since we can't "standardize" our brains (well not anytime soon), what can we standardize that can reduce variance in our actual and perceived perception?
Perception is 9/10's of the Law:
Ever taken your laptop outside? When you can actually see the image due to the relative brightness of the outside to indoors, did you notice that colors seemed different? Your eye is adjusting to the ambient light, and your brain gets in on the act. Your brain decides that the brightest light source is essentially "white" and so tricks us. That's why we can take a photo inside under tungsten light, and what looked white to us as we took the shot comes out as yellow-orange. Quantum Physics time: Tungsten releases "light" (electromagnetic radiation) at this frequency when electrons that had been bumped up to higher energy states (by us supplying power from the on/off switch) fall back to a lower energy state and give off or 'emit" a packet of energy comprising the difference between those two states.
Halogen headlights look brighter, but also whiter than tungsten headlights. That's because the radiation they emit is somewhat bluer. Xenon headlights are even more blue biased.
The sun gives off light from a whole collection of different elements, but by and large it is yellow/red. However, there is lashings and lashings of it compared to a tungsten bulb, and our poor, overworked brain is left to cope figuring out brightness vs. whiteness. Our brains do OK, but they do it by tricking us rather than science.
Home is where the heart of the problem is:
So, OK, we've taken some photos, and pressed this button to "auto white balance" or selected a "white balance" that tells the camera that although white isn't really white, pretend that it is, since our brain is also pretending. Of course, if we forget to tell our camera this, we have to tell Aperture or PS CS2.
But, sat there in front of our screen, what are we really seeing? Well, we are not seeing just the displayed image, no oh no. That would be too simple! No, our brains are passionate about their environment. What's the lighting? Fluorescent (I hope not), halogen, tungsten? This matters as our eyes/brain will calibrate to more than just the on screen image. What wall colors exist? Blue, red, green, off-white? Those refceted colors are going to fool our brain into believing that the image on screen has a tint. This is why Aperture's window is all gray, and photo professionals strongly suggest image editing is performed in an all gray room, with as "white" a light source as possible (halogen vs. tungsten, tungsten vs. fluorescent). BTW. I dislike fluorescents as all the bulbs seem to have hideously different colors, and age badly across time. That plus the rather unattractive greenish tints they give skin tones puts me over the edge.
Oh, and no desklights with their nice pool of incident light or other effect lighting. Save that for the living room. This room is to reduce the trickery that your brain can throw at you. So, nice uniform, diffused lighting.
Watching you watching me:
But if we're now living in our nice gray world, ready to edit those wonderful images that we used the right white balance for when shooting, what next?
Calibrating your monitor means you standardize against those who wrote a color profile for the printer, the paper or who will be printing images for you. Your image should look the same on someone elses monitor as it does on yours. That's step 1.
However, displayed color is also perceptual. CRT's render color differently IMO to LCD's. Both are transmissive, but brightness differs and perhaps more importantly, what is color? Outside, our eye saw all the different wavelengths it was capable of sensing and passed the relative intensity values per wavelength to our brainiac computer. Not so in our digital scanner or camera. In computer technology, color is rendered as a triangular space represented by a dot at each apex ... one red, one blue and one green. Those point "phosphors" in CRT vary from manufacturer to manufacturer and to the standard required. Close but no cigar. The electronics and guns also do not track perfectly linearly from pure black (no signal) to pure white (max. output of a phosphor of equal intensity to the others). This is called gray-scale tracking and unless it is near perfect, you can see green or blue shifts in color at the black end or white end etc.
Uh oh, that white question again. Come to that, how do I know it's the same white that I set my camera to when I shot? Well, we don't really wiothout setting to some standard. It's not that each phosphor isn't emitting, it's the balance across them at our determined highest brightness (white) that needs to be set. D65 is often quoted in TV's, representing a color temperature of 6500Kelvin (deepest reds are low temperature emmissions and brightest blues are the highest temperatures).
Now LCD's don't have phosphors illuminated by a stream of electrons, and they came long after we had developed pretty decent CRT technologies. So being lazy humans, we lifted the ideas and terms No phosphors, but they do have red, green and blue LCD's (each a sub-pixel, and the three combined are a pixel)triggered by an electronic signal. so, why aren't they called LED panels? Well, LED's are not very bright, and we need a mechanism to make them brighter. Those quaint watches came to the rescue ... LCD's or Liquid Crystal Displays. You know, those ugly greeny/gray, low contrast watches. Yes, that's the one. Sandwich those colorful but dim LED's between an LCD, and use the LCD to switch on/off a powerful light ... rather light turbo charging a 4 cylinder motor to make it perform like a V8! The posh name was TFT-LCD (for Thin Film Transistor LCD). Now we have a bright, flat screen. Yahoo!
But backlighting of the panel is not always very uniform (look at colors around your screen for different flat colors at different intensities and you may see patchiness). Nor do LCD's behave exactly like phosphors from deepest black (impossible when you have to have a back light which is always on and which illuminates the whole panel of glass) to white. But why sweat this, when the LCD rarely conforms perfectly to the red, green, blue phosphor standards.
BTW, it is the backlight that kills laptop battery life, not the LCD's themselves. Turing your brightness down as low as possible helps .... but I digress.
So we buy calibration hardware and software, and calibrate our monitor to a ruler flat grayscale from pure black to pure white.
And it looks bad.
It is rather idiosyncratic of us that a perfectly linear gray scale can leave us perceiving a lack of contrast. So, we distort the "gamma" value to provide more punchiness. Apple vs. Windoze computers tended to have different gamma's out of the box. Apple uses a gamma of 1.8, a rather flater, more pastel effect that, if my knowledge is correct, translates/translated better to the characteristics of the professional CMYK (Cyan, Magenta, Yellow, Black) four color printing processes used by offset litho printers. Windoze uses a gamma of 2.2, a punchier, gutsy, in-your-face effect. Marketing? I don't know. But it does appear a better match for RGB (our computer friendly Red, Green, Blue) inks used in inkjet printers.
So we calibrate our monitors, and then deliberately decalibrate them (if you will) to correspond to our output destinantion.
A quick digression here.
If our output is destined for print, what dos that mean to us? Well, part is covered above. But what about web, or tv viewing from DVD? Ahh hah! Gotcha!
We can control our calibration. We can even calibrate ourselves to external print shops, knowing that our image will appear 99% or more the same on their monitors as it does on ours. And they will have calibrated their monitors to their printers and paper (more on this below). But what about Joe Public?
Back to that color space.
A 10 year old color tv, used moderately over the years, performs no way like a new color tv. The phosphors "age." even the backlights in LCS panels age. Age is represented by diminished light output, and grayscale tracking. So, our 10 year old tv cannot represent the wide color space it could when it was brand new. Worse, even if we'd left our 10 year old tv in its box and just opened it, it would not be as capable as a brand new design. TV's are actually held down to 1950's standards rather than up for this very reasson, but the same is somewhat true of computer monitors. We don't know the age, quality or even the color calibration and room environment of our web browsers monitor. So, a much smaller "web safe" color space (sRGB ... standard - or small - RGB) was introduced. This restricted space should be renderable on most old monitors, though gross end consumer calibration issues will obviously remain uncontrollable.
Meanwhile, we want to keep as big a color space as possible ... difficult to put back in what's been taken out. (Set your camera to "Adobe RGB" please right now.) Working in the biggest color space allows us to target any lesser color space with relative ease. And some of these restricted color spaces belong to printers ... which of course, differ from printer to printer, (probably more associtated with inks to inks) and paper to paper ....
More on this next
White points

Acrobat 9 Printer Color Management

Hello! Around 1 month ago I started work in a new printing house. In my old company I used Acrobat 7 for making post script files but here I have to work with Acrobat 9.
It is little confusing for me (I am not so familiar with the prepress matter maybe!) because in Acrobat 7 I had a "printer/post script color management" option and in Acrobat 9 by which now I make the ps files I find "printer color management" option without post script mentioned in it.
So I would wish to ask is this exactly the same option and is there some risk in using it in the same way I did it in the Acrobat 7? I fear some color changes or even objects losing on the paper next during the printing process...

It sounds to me like the same option. Perhaps it also applies to non-PostScript printers now. If the printer is capable of good colour management (many are not); and if the PDF is properly tagged with source profiles, no reason why results shouldn't be good.

Why are my identically coloured opaque images printing different colours? Is it a transparency issue

I have an object that is a plain white logo with a grey background - the file is a flattened psd file and has only the one layer.
when i place the logo into InDesign (CS5) onto a plain grey (the same colour as in the logo) background and print this simple combination, the grey background on the logo is a funny colour compared to that on the document background. they have the exact same RGB reference! they only appear different colours when printed; on screen they look great.
i thought that this was an issue with transparency and have tried playing around with having a transparent logo with no background and various transparancy flattener settings but nothings fixing the problem. the only thing that i managed to achieve was to make all of the grey one colour, but the funny coloured grey i was seeing just in the logo background!
when i go to window-output and check the flattener preview, i can see that i have no transparent objects whatsoever in my document.
any help on this matter would be greatly appreciated - its driving me MAD!
thanks,
becky

More to the point on this, I think, is that both RGB and CMYK values listed for any spot color are "best approximations" (many, perhaps most, spot colors have no good CMYK equivalent, and that would be true as well for some subset using RGB) using Pantone's unknown color space. Even in that space the probability of getting an actual match between the simulation and the true spot ink is close to zero. Using some other space makes things worse, and since there is no way to know the sapce in use at Pantone, you're kind of up the creek.
For CMYK converison you can do reasonably well by using the Ink manager to convert the spot to process and check the bok to Use Lab Values at the same time. For RGB, I have no idea how to come close, at all.

Cannot deactivate Printer color management (using ICC)

Hello.
Since i move to Windows 7 - 64bits version, i'm not anymore able to print correctly with Lightroom.
If i let the printer to manage completely the color, then it's fine. But in this case i have to use one of the paper recomended by HP.
Now, if i try to use some particular ICC profile (which give me very good result when i was with Windows XP), then the prints will have strange color.
In fact, i found that when i work like this, the color management is not really deactivated on the printer side (even if on screen it seems to be). So, ICC are applied twice each time (First by LR, and secondly by the printer driver).
My question is, what's wrong ?
Is it a LR issue or a printer driver issue ?
Note:
- I don't have this problem when printing from Photoshop CS5.
- The printer model is HP Photosmart Pro B9180 and i already install the latest driver available.
Thank you.
Re dy

If you can't disable colour management in the printer drivers for some reason, then let the printer manage the colour and assign the profile there.
The HP Printer Utility should contain a mechanism for adding custom paper types and their ICC profiles (at least it does on other high end HP printers)
Can't understand why you can't disable colour management in the printer drivers. I haven't used this particular model but on other HP printers I have used you could do this in the drivers.

Configure printer colour setting as grayscale

How to configure the Printer colour setting to grayscale as default option in workgroup manager, i am pushing printer drivers for client using workgroup manager but cant set the colour option

It really depends on the printer and the application used and the operating system. You might want to save some default layout configurations in the Page Setup and ask your users to use them when going grayscale. But since not all printer drivers behave the same way, and not all applications offer Page Setup, that advice is only partially true.

Print Color Management Problem w. Photoshop Elements and Tiger/Leopard

Has anyone tried printing with ICC profiles through Photoshop Elements 6 for Mac? Apparently, it does not work on Tiger nor Leopard? My prints look very dark and over-saturated.
The Datacolor folks, who make the Spyder3 calibrators I'm using, say my prints look like they are being "double color managed," possibly once by PSE and once by the printer driver (even though it's turned off).
Over at the Adobe Forums some say it's a problem with Leopard. I'm not so sure, because I found that printing color management works fine on a Mac with Photoshop Elements 4.01 and Tiger. Any comments? Thanks.

Aha! Got it. Adobe has confirmed that the problem is on their end. PSE 6 is double color managing the images. Here's what one user got in reply from Adobe on the subject. There are two separate answers:
Thank you for contacting Adobe Technical Support.
After consulting with my colleagues about the issue you raised, I can let you know the following:
The issue is both on our as well as the driver software side and the workaround we have given is the best available at this time. This issue is affecting all printers, not just Epson or Canon.
The soft proofing effect that you are seeing in the print preview is indeed an attempt at soft proofing. However since Photoshop Elements managed prints are incorrectly double colour managed it is not as useful as it was initially designed.
As to the exact details of why this occurred, we have no official information.
We believe that this will resolve the issues you are experiencing, however, should the reply not help solve the problem, please contact us again, quoting the case number given above, and we will re-open the case.
Answer # 2
We have had word back from our engineers regarding your issue.
The Photoshop Elements team are aware of the problem and are working with Apple and the printer manufacturers to get this to work correctly. In the meantime, the only workaround is to switch off colour management in Photoshop Elements and let the printer handle the colour management.
Unfortunately we can not make an estimation as to when a fix will be provided. We will close the case for the time being as there really is nothing more we can do about this issue besides offering the suggested workaround. Closing this case does not mean that the research will stop however and the engineers are working on a solution to this.
As the tech noted, let the printer handle the color instead. Tell PSE not to manage color so it is the step sending the data unaltered. When the print dialogue comes up, under the Color Correction heading, change the pull down menu to "ColorSync". In the menu below that, choose the correct profile for the paper you're using. If the Brightness menu is still active, look for any choice that allows you to turn it off. If none exists, leave it on Normal. If the options below that for Color Balance and Intensity are not grayed out, make sure they are at the center positions (no effect).
These steps are the same as before, except you're doing them in reverse. Photoshop is doing nothing and the print driver is handling the ColorSync chores rather than the other way around.

Colours do not Print correctly with Photoshop CS4

I am using the Adobe Master Collection CS4, and use an Epson RX650 printer, but for the life of me I cannot get Photoshop to print what is on the screen.
The prints are dark, and no where near the ones on the screen.
I am using genuine Epson Ink, and Premium glossy paper, so as to remove this issue, is this a case of my screen needing to be calibrated?
I have considered buying the Spyde Studio calibrator to ensure that this is correct, (do I need to?) and I have read as much as I can about setting up Adobe to manage the print settings and colours, but still no luck.
My current settings are as follows
In Adobe Bridge, my creative suit color settings are set to Europe General Purpose 2
The in Adobe Photoshop (version 11.0.1) I am selecting under colour management, Document Adoby RGB (1998), Photoshop handles colours, Printer profile is Epson sRGB Colour Space, Rendering intent is Relative Colourimetric, and I have ticked the following boxs, Blackpoint compensation, Match print colours, Gamut warning and Show paper white.
Can some one please advise me?

I too have had problems with prints being much darker than what I see on screen.
Below is my solution which works fairly well for color prints--not as well for grayscale.
I used the huey Pro monitor calibrator purchased only a couple of months back to make my prints look right and be consistent.
1.       Use the huey to calibrate the monitor
2.       From Photoshop (CS4), I select the ICC profile for my Epson 2200 printer and the paper being used. I then set up soft proofing in Photoshop (in the View menu) which allows me to see on screen how the image will be printed. Usually it is a bit darker than I like.
3.       so I adjust the brightness such that in the soft proof view, the image appears as I wish.
4.       There is more yet to do in that you have to set various settings for the print process like letting Photoshop manage colors, setting no color adjustment for the printer. And a few more minor settings regarding the printer
By the way, there is something wrong with the print driver for the 2200 in XP so that when you come to the last screen before printing, the print preview has a very red tint. You simply ignore that since the print has none of that. This is in XP. Possibly Windows Vista has a driver that doesn’t do that.
This has given me good quality consistent prints the first time they are printed—at least on the few I have done since getting the huey

Aperture colour management vs Printer colour management

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