Canon ICC profiles and color printing issues

I use two Canon printers -- an all-purpose MP460 and a iP4000 for photos.
I use Canon's Photo Paper Plus Glossy II paper and Canon inks.
I print with color management off in the "Print Settings" and by selecting the ICC profile from the drop down in the Aperture print window.
Since updating to Snow Leopard, the MP460 prints images that are consistently dark using the "SP" ICC profiles.
The iP4000 has an issue in that it prints images from Aperture with magenta cast in areas of yellow to orange tones.
I have had prints made through online services that have come back accurate, so I am wondering . . . is this a Canon profile or driver issue? I haven't tried printing from Photoshop or Photoshop Elements as of yet.
Any suggestions?
It is very, very frustrating since prints from these printers were fine before Snow Leopard.

I have a Canon IP5200 and had numerous problems with Aperture printing from OS X10.6.2.
In November Canon came out with new print drivers. With SNL 10.6.2 update and new canon drivers my prints come out pretty well using canon's ICC profiles. I use the PR3 canon ICC with Costco (Kirkland) paper and am pleased with the results. Hope that helps

Similar Messages

  • Blue prints purple with Canon ICC profiles

    Hi,
    I am printing a "printer evaluation image" (http://www.outbackprint.com/printinginsights/pi049/essay.html) with my Canon Pro 9000 (Mk I). When selecting System Managed on the ColorSync option in the print dialog everything prints perfect. (Of course I have selected the correct paper under media in the driver)
    When selecting the paper ICC profile in the ColorSync option blue turns into purple in the printer dialog image, same things goes for the print (at least it matches...). All other colors, skin tones etc looks perfect.
    So it seems to me like everything is ok as long as the printer handles the color management, but when Aperture 2 handles it something goes wrong.
    I have spent several hours googling the problem, as well as double checking all setting, driver version etc. I have tried different papers and the problem is consistent. Both OSX and Aperture version is up to date.
    Anyone with similar problem? Is it an Aperture problem or is it the Canon ICC profiles?
    Thomas

    Hi,
    Here is an update for those who are interested:
    I believe I have been able to isolate the problem to Aperture. This is what I did:
    Step 1). Used Keynote to make a 100% Blue square and exported that to a 16-bit TIFF.
    Step 2). Imported the TIFF into Aperture, used the DigitalColor Meter utility to ensure it was 100% Blue. Print: Selected the Canon Pro9000 PR1 Profile, In the print settings selected Photo Paper Pro II and set quality to high. Preview is purple AND print is purple.
    Step 3). Then imported the TIFF into Pixelmator, again with DigitalColor Meter utility ensured that it was still 100% Blue. Print: Under Color matching menu selected Color Sync and Canon Pro PR1 Profile, under Quality and Media menu selected Photo Paper Pro II and set quality to high. Preview is Blue AND print is Blue!!
    To me this seems to indicate the following:
    1). The Canon driver is good - Works perfectly with Pixelmator
    2). The Canon Pro9000 PR1 profile is fine - works perfectly with Pixelmator
    3). The Printer is fine - again... Pixelmator
    4). Even though my system is not color calibrated, it is quite good - Preview match print with Pixelmator.
    That leaves Aperture and how it handles ICC profiles with the Canon Pro9000 driver...
    Anybody else able to confirm this?
    Thomas

  • Help me solve color and dark print issue with a new monitor recommendation!

    I know, I hate "surveys" too. I'm thinking of attacking my color and dark printing issues w\LR and CS4, by investing in a new monitor. I currently have an 20' early edition Apple Cinema Display. The monitor is the last hardware (software) item in my current upgrade cycle. From those folks who are NOT having color or print problems, what displays are you using (or would recommend)? Ah, and price is an issue. Apologies in advance to those who think this is not appropriate use of the Forum.

    Monitor calibration is the first port of call. Sometimes changing one item in a system is enough to show up a colour management issue. You suggest that the monitor is the last item in your upgrade cycle, what all have you changed? Computer, printer? There may also be a setting you have failed to set when you installed the new software, eg. have you remembered to set relative colorimetric with the black point compensation box ticked, disable colour management in your printer driver and put an appropriate colour profile for your monitor onto the new computer? You also need the correct profile for your printer/paper combination set up in Photoshop.
    If you haven't calibrated your monitor, that on its own will give you poor prints, but all the other bits are needed also.
    Jo

  • ICC profile conflicts when printing from Aperture?

    I have worked with Aperture now for two years, and I still have problems printing anything that is close enough to what I see on my calibrated screen. And believe me, I have done some reading on color management and ICC profiles. I suspect that Aperture pulls in ICC color profiles in a way that doesn't allow reproducing what I see on the screen. I wonder if these problems are related to the Registered ColorSync devices: opening ColorSync Utility under Devices reveals a bunch of default printers with a diversity of profiles, even if I have no access to these printers (in part these are network printers of my previous employment). I cannot figure out how I can delete these entries: I tried to find remaining printer profiles of these printers in my files, but could not find anything. How can I delete these entries, and can these entries cause color profile conflicts?
    More specificially: I work with Aperture 2.1.3 and view my photos on a calibrated 23" Cinema display, run from a MBP with 2.16 GHz Intel Core 2 Duo, 10.5.6, and 2GB of memory. My monitor is calibrated with a Spyder for D65 and gamma of 2.2. I print with an Epson 3800 on Epson paper.
    Here is my problem: despite calibrated monitor I don't get the prints to look even remotely close to what I get on my screen. Of course, I use the correct ICC profiles for my papers, and of course I have Aperture (and not the printer) run color management. It seems, however, that my prints resemble my monitor more if I use strange profiles such as "Wide Gamut RGB" or "ProPhoto RGB" as my monitor's profile instead of the calibrated D65, gamma 2.2.
    In detail, here are my regular print settings in Aperture:
    Print Mode: AccuPhoto HD
    Color Mode: Off (No Color Management)
    Output Resolution: SuperPhoto - 1440 dpi
    Advanced Color Settings: Epson Driver Color Management is Off.
    In the Aperture Print menu I use under Printer Selection:
    ColorSync Profile: for example, Pro38 PGPP, when I use Epson Premium Photo Paper Glossy
    Black Point Compensation checked.
    Gamma: 1:00
    Under Layout Options I use Print Resolution: Use Best DPI
    With these settings the prints look significantly colder than what I see on the screen. Of course, a certain amount of the warmth of the screen colors comes from the calibration to D65 and gamma of 2.2, but shouldn't this give me the best correspondence between the calibrated screen and the print (using of course the color management of the application with ICC profiles, not the printer driver color management)?
    I tried the same in CS4 and Lightroom, but no difference. Again, the problem is not that the prints are terrible: they are just not very close to what I see on the calibrated screen.
    Where do I make a mistake? All suggestions are very welcome! This is driving me crazy. Many thanks for your help!
    Best,
    Kai

    While the technical aspects of color management are complex, they are largely irrelevant for users.
    The following steps have worked well for me:
    Step One: Calibrate your monitor. I use the Datacolor Spyder. This produces a monitor profile. Use System Preferences to set your monitor to use this profile. Don't use this profile for anything else and give it a clear name so that you don't confuse it with a printer profile.
    Step Two: Download and install the latest drivers for your printer. Buy a small box of photo paper (gloss, semi-gloss) from the manufacturer of your printer. Make sure that you have the correct ICC profiles for this paper and printer. You are trying to establish a baseline.
    Step Three: Pick an image with a reasonable range of colors and exposures. (Don't start with a "difficult" image.) Turn soft proofing off and adjust the image as desired.
    Step Four: Send this image to the printer. Load up the manufacturer's paper.
    Step Five: In the "print" dialog, go to the "Printer Settings" sub menu and select the correct "Quality and Media" and the appropriate setting for "photo" quality. Make sure that all of the color options are neutral. Save.
    Step Six: Back on the "Print" dialog select the correct ICC profile for your paper/printer. (Careful, DON'T use the calibrated monitor profile!) Adjust other settings as required. Save and name the preset.
    Step Seven: Print and Pray. (And pray I haven't missed a step - sorry I'm not at my Mac. From your initial post, it sounds like you know how to do all of this.)
    The results should be reasonably close. (That is why you should use the printer manufacturer's own paper and profiles as a starting point.)
    If you are happy, great - get a beer. If not, try the following, making only one change at a time:
    == Turn Soft Proofing on using the profile of the paper/printer. (Don't select the profile for your monitor, or any other.) Do the screen and print match now? If so, then you know to do your adjusting with soft proofing on. Remember, soft proofing is not exact - it is merely an attempt to make your screen look like the combination of paper and printer.
    == If Soft Proofing makes your monitor look LESS like the print, then don't don't use Soft Proofing.
    == If the results are close, you can make fine adjustments using the "Printer Settings" sub menu and saving presents. For example; I use a lot of CostCo paper in my Canon Pixma Pro9000. CostCo says that their paper mimics Canon's Photo Paper Pro, so I use the settings and profile for that paper, but I tweek the cyans and reds a bit in printer settings.
    I have found that Red River profiles are a very good match for their papers.
    Hope this helps. Good luck!

  • ICC Profiles and PSE3.0 - How to Needed?

    I recently bought a monitor calibrator, and I am quite satisfied that what I see on the monitor is the way I should be seeing it. I've printed a few prints with my Canon Pixma 4000, and the prints are almost exactly the same as what I see on the monitor. So, as far as using my printer, I am pretty satisfied with the workflow/color management.
    As a test, I sent a photo to Adorama, and I chose to use no ICC profile or color correction. I just picked up the print from them, and it is noticeably different from my other prints and the monitor. Basically, it appears to be darker, which of course renders the colors slightly different shades and the saturation different than what I started with. It is a nice print, but not true to my original.
    So, I assume the missing ingredient was the ICC Profiles I could have downloaded from them; a different one for each of their paper choices. Please help me understand when I embed this profile in my workflow, and how it works. Can I do this at all in PSE 3.0?
    Does it get embeded early in the process, in which case what I see on the screen is different than if I didn't use a profile; or, is it embeded in the end of the process, and only used as a set of instructions for their printer?
    I think I'm oh so close to understanding this process.

    Steven,
    Most photo labs are set up to process sRGB images, NOT Adobe RGB images. In
    fact, most commercial printers either do not read embedded profiles or
    ignore them.
    If you are going to send an image to a commercial printer without using the
    labs custom icc profiles you should be working in sRGB and send them an
    sRGB image. If you do want to use the labs custom icc profiles, you must
    have software that can convert the image to the selected profile. Elements
    cannot do that.
    I'm going to give you a link to Dry Creek Photo
    (http://www.drycreekphoto.com/icc/using_printer_profiles.htm) that has some
    pointers for using custom profiles with commercial labs. Especially read
    the info at the bottom under "Example color managed editing and printing
    workflow". They also have pointers to some utilities that can do the
    conversion.
    Dry Creek Photo creates custom profiles for commercial printers and, in
    fact, lists Adorama in their profile database. Here's the entry:
    a.. "Adorama Pro-Lab Inc.: 42 West 18th St., New York, NY 10011 Phone:
    888-216-6400
    a.. Store info: Noritsu 34-Pro, Kodak papers.
    b.. Royal Glossy paper profile, June 26, 2006
    c.. Endura Lustre paper profile, June 26, 2006
    d.. Royal Matte paper profile, June 26, 2006
    e.. Mac OS 9 format version (both profiles) See usage note.
    f.. Note: This printer uses our enhanced accuracy custom profiles.
    g.. Note: Adorama has multiple printers. Specify that your profiled
    prints run on the Noritsu 34-Pro.
    h.. For more information, please contact Adorama Pro-Lab "
    Using custom profiles or not using them and using just sRGB should only make
    subtle differences. Gross changes would suggest that you have something
    wrong in your settings and/or calibration. You have a calibration device,
    which is good, but what are your Elements color settings? While you can
    never get a perfect match between monitor and print, you should be able to
    get a reasonable and consistant match. It's also possible that Adorama is
    doing something that's affecting the print. If you are sending an sRGB
    image that views ok on your system using something other than Elements and
    it comes back from Adorama significantly different, it could be on their
    side.
    Bob

  • Need help understanding profiles and color management

    I made the big leap from inexpensive inkjets to:
    1 Epson 3800 Standard
    2 Spyder3Studio
    I have a Mac Pro Quad, Aperture, PS3, etc.
    I have a steep learning curve ahead, here's what I've done:
    1 Read a lot of books, watched tutorials, etc.
    2 Calibrated the monitor
    3 Calibrated the printer several times and created .icc profiles
    What I've found:
    1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
    2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
    3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
    4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
    5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
    So, why am I confused?
    1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
    2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
    I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
    Any help is greatly appreciated.

    Calibrated the printer several times and created .icc profiles
    You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
    So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
    The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
    The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
    By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
    You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
    The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
    The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
    If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
    The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
    You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
    As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
    Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
    If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
    The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
    You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
    So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
    As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
    There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
    Hope this helps,
    Henrik Holmegaard
    technical writer
    References:
    http://www.adobeforums.com/webx?14@@.59b52c9b/0
    http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

  • Windows 7: not all ICC profiles appear in print setup. [was: Photoshop CS6]

    Although they are in the correct folder in Windows 7, not all my ICC profiles appear in print setup.
    eg I have recently installed one for a Museo paper but it does not show in the list.
    I use the Canon Pro9500 Markll.
    Has anyone any idea to fix this?

    Thanks for your reply.  I have been using this printer for some time but with a much earlier version of Photoshop.  With that combination, all of my Hahnemuehle papers (profiles downloaded from them) were listed. 
    I can't understand why a more recent Photoshop should have fewer settings. Should I  remove the profiles from the spool>drivers>color folder & download them afresh, perhaps?

  • Invalid Page Fault Error Messages - ICC Profiles and Fonts

    Possible causes of these error messages include bad ICC profiles and/or bad fonts. See below for corrective measures

    Q: Message reads:
    PHOTOSHP caused an invalid page fault in module
    KERNEL32.DLL at 017f:bff7b9f5. Registers:
    EAX=796692e0 CS=017f EIP=bff7b9f5 EFLGS=00210202 EBX=00d0fe28 SS=0187 ESP=00c10000...
    A: You have an incompatible or corrupt ICC profile in your
    Windows/System/Color folder (win 98/98SE/Me) or ./system32/spool/drivers/color (win2k).
    Make a temporary folder, ICMs, under and move all the
    ICM and ICC files to that folder.
    Start PS and make sure it restarts OK.
    Now move back JUST THE PROFILES YOU NEED to Windows\System\Color (win 98/98SE/Me) or ./system32/spool/drivers/color (win2k)
    Also see: http://www.adobe.com/support/techdocs/1c4f6.htm

  • Recently upgraded to a Canon Mark 3 and now having issues with my RAW files in Bridge and Photoshop. I am operating with CS4. Photoshop produces an error " Could not complete your request because photoshop does not recognize this type of file"

    Recently upgraded to a Canon Mark 3 and now having issues with my RAW files in Bridge and Photoshop. I have operating with CS4. Photoshop produces and error " Could not complete your request because photoshop does not recognize this type of file"

    Assuming you mean 5D Mark III, Photoshop CS4 cannot directly open raw files from your camera.
    Generally speaking, Adobe stopped updating older versions to be able to read raw files from newer cameras when they released a new major version of Photoshop. Photoshop CS4 is no longer receiving Camera Raw updates.
    You can double check this yourself:
    First you need to determine whether Adobe has released support for your new camera in your version of Photoshop. To do that, look at these two pages. You'll want to find out the earliest version of Camera Raw that can support your camera, then what version of Photoshop can run that version of Camera Raw.
    Camera Raw plug-in | Supported cameras
    Camera Raw-compatible Adobe applications
    If you find your camera is supported by your version of Photoshop, you need to download the latest update for Camera Raw. There's more information on how to do that here:
    Keeping Photoshop Up-To-Date
    If your version of Photoshop cannot support your camera, you can download and install the latest version of the free Adobe DNG Converter, which can take your raw files as input and put out DNG format files, which your version of Photoshop can open.
    Photoshop Help | Digital Negative (DNG)
    The DNG converter DOES work, but if you want maximal quality from your raw files (not to mention the convenience and ease of use of directly opening your raw files) you'll want the latest version of Photoshop. Adobe has made substantial improvements in raw conversion quality in recent years.
    -Noel

  • I am using Aperture 3 to edit RAW and JPEG photo images on my Macbook.  I am having color printing issues with my Canon MP640 Pixma color printer.  The image I see on my macbook is not reciprocated in printing from my printer?

    My issue is that I am not getting print quality compared to the image I see on my screen.  Just recently it has been very wishie washie.  My printer is supposed to be excellent for producing color prints
    I have contacted Canon support but they told me that the signals that are sent to the printer originate from an Apple product, therefore, it is an Apple mac problem not there's.  I am wondering if my on screen proofing and/or printing profiles are correctly set.  I notice that in 'print profiles' there are nine different options for printing from my particular printer.  How confusing is that? 
    I have also found that when I choose a high standard print option my photo print comes out very red. 
    Can some kind person please help me?  I don't seem to be getting any help from anyone else!  Thanks in anticipation.

    You didn't mention any color calibration being done on your monitor.  This is an essential part of any color-correct workflow.  What are you using to calibrate your monitor (and your printer)?
    Print profiles (for soft-proofing as well as printing) are for specific combinations of paper & printer.  The nine you have are each, most likely, for a common paper (perhaps mfr'd by Canon) to be used with your printer.
    I don't know what you mean when you say "I choose a high standard print option".
    Have you read the User Manual chapter on printing?
    Printing Your Images
    There is also a good appendix on calibration:
    Calibrating Your Aperture System

  • Color Printing issue on Canon MP600 Printer and Mavericks upgrade

    I realize that some people have been having problems scanning with the new upgrade on their printer, however, I am have trouble printing in color with the new Mavericks upgrade. Black and white is fine, but if there is any logo or color fonts, they are distorted. How do I go about fixing this?

    I too was having the same issue where I was unable to print in color on my MP600 with Mavericks. It printed incorrect font, colors and distorted the size and placement on page .  I followed the above instructions to download the MP600R via the Canon UK website and it has solved my problem. 
    If anyone is as computer illiterate as I seem to be: After downloading the MP600R driver and installing it, I went to System Preferences>Printers and Scanners> delete the printer currently listed>add a new printer and select the MP600R from the list of software to choose.
    I have yet to delete any software/driver files related to the old printer, so I was able to correct the problem simply by downloading the new driver, deleting the current printer, and adding a "new" printer selecting the MP600R.
    So happy it is now resolved as this has been driving me crazy for months!

  • Where are ICC profiles stored in Aperture? Formerly they were stored in the home map. I make my own ICC profiles, with  Color Munki. I can't find them back in  the /library/colorSync/Profiles. I'm using a Canon printer iPF5100

    ICC profiles
    Formerly ICC profiles where placed in the Home map: library/colorcync/profiles. But the home map does

    Kees, the color profiles are still stored in your user library in
    ~/ColorSync/Profiles/
    I can't find them back in  the /library/colorSync/Profiles.
    Are you looking in the System Library folder /Library/colorSync/Profiles  at the top level of your system drive?
    As you probably know, your User Library is hidden since Mac OS X Lion.
    You can reveal it from the Finder's "Go" menu in the main menu bar:
    Finder > Go
    Then hold down to options-key ⌥, until Library appears in the drop-down menu. Select it and open the Library.
    Regards
    Léonie

  • Very odd problem with Canon Pixma i4300 (color printing issue)

    My printer prints black text fine, including colorful illustrations. Also eg. test photo like http://printermaster.dk/TEST/Color_Print_Test.pdf are completely fine. BUT - when I print real photography on Glossy photo paper, in approximately 1/3 of the picture I got aprox. 1 cm pinker/whiter stripe. I did all sort of cleaning, including removing and flushing print head and nothing helps. When I'm printing the same on the normal paper, I got stripes randomly in the picture - eg. 3 stripes / 3 cm long / 5mm wide. When I print without borders, the symptom again changes - the upper 3cm seems to be fine, then I can observe some horizontal lines, then again a pinker/whiter stripe and then the bottom seems to be again fine. I did all sort of recalibration, printer head alignment, different sort of paper - the result is still the same. Any idea please ? Is it time to throw it away ? Also here are some results of the alignment, it looks very strange (vertical lines?!). Head alligments / service info prints / etc. : http://s000.tinyupload.com/index.php?file_id=06883978457109160756

    Hi sharksys! Welcome to The Canon Forums, and thank you for your post!
    We appreciate your participation, however we need to let you know that the Canon Community Forums are hosted and moderated within the United States by Canon USA. We are only able to provide support for Canon products manufactured for and used within the US market.
    If you live outside the United States, please click here and select your country or region for your support needs. You're free to discuss Canon products sold outside of the United States, but please be aware that you will not receive support directly from Canon USA.

  • PLEASE HELP! Canon MG2120 Black Color Print Issue...

    please email me at [MOD NOTE: e-Mail removed per FORUM GUIDELINES] if you have a solution I rarely check my comments. I have ran all troubleshooting diagnostics that the canon software offers. when i print a test page (as shown in video) it works fine. but when I print anything else that requires black ink....just watch the video please. Thank you.
    https://www.youtube.com/watch?v=lcYzIiYGYlU

    Hi JDeitrich,
    Performing a print head alignment on the printer should resolve the misalignment issue.  To perform the print head alignment, please follow the steps located at the link below:
    PIXMA MG2120 Print Head Alignment
    If you still experience difficulty after performing an automatic and manual print head alignment, please call or email us at one of the methods on the Contact Us page for further assistance.
    Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

  • O.T. iMac and Epson Printer Issues

    I have just set up my new 20" iMac running OS 10.5.6 and have been testing my various peripherals.
    Printing old saved PSE3.0 images on my Epson 1290 (1280) they are coming out noticeably darker than when printed under OS 10.3.9. I deliberately did nothing with the saved files in PSE,just clicked print to avoid introducing any screen calibration issues,and the correct .icc profile had been added to Library/Color Sync/ Profiles for the paper I was using (and have always used).
    Is this a known problem with an iMac running Leopard ?

    Perhaps I should have done this before starting my thread,but who wants to reinvent the wheel !
    Having spent many hours this morning,and even more sheets of paper to resolve this problem,I have come to the following conclusions on printing an image from PSE3 in Leopard :
    USING THE EPSON PRINTER DRIVER -
    Leave the printer manage colour - color controls - photo realistic - gamma 1.8
    USING GUTENPRINT DRIVER (http://gimp-print.sourceforge.net/MacOSX.php)
    Make no changes to Color Sync use Automatic
    Do not change the .icc profile (although I did leave it set in PSE3).
    Adjust print quality to max possible.
    Both these options give acceptable prints, Epson perhaps a shade darker.
    I preferred the colour representation in Gutenprint,but that is obviously a personal thing. Whether they'd satisfy someone making a living from photography is another matter.
    In the future I will probably tweak the lightness in PSE to compensate for the slight darkening in the print process,but probably leave the colours alone.
    Two other points -
    The Gutenprint driver seems to print more quickly.
    Adobe and Apple don't seem to care.

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