Color management problem when printing

(sorry for the double post, since the problem affect both illustrator and photoshop and in fact also indesign) in decided to repost it here in the photoshop forum. thank you for any help!)
hi ! im in charge of a big print lab in a university. All macpro quad running on 10.6.4, CS5 all updated.
i have a major problem when printing from all 3 CS5 apps : Illustrator (being the worst), photoshop and indesign : each one produces a different print even if i use the SAME color management options (the application manage color using my own color profile file created with a i-one tool from greta macbeath and using eye-one match 3). im printing on a XEROX 7750gx laser printer. very cool printer never had trouble with colors before with it, in any case it was always the software part that was causing color problems (like i suspect in this case).
how can 3 softwares under the same application collection and brand, using the same color profile and options (IDENTICAL ! it's triple check all the options!) can produce 3 different prints when printing the same image (it's a color psd created under photoshop CS5) ?!
i remember having some trouble like this when we first got CS1 in our lab, but not this bad... i've checked everything... i realy don't know how to fix this problem...
the best setting so far is in Photoshop when the application manage the color and using my color profile file in perceptual mode. best output so far, not the best i had in the past, CS4 was way more perfect with color management.
i realy need to find a solition 'cause the students expect the color to be almost perfect (and they almost were using CS4 in the past...
thanx for any tips & help !
+

many thanx for your reply & help.
i've just recalibrated everything in my workflow : my screen (perfect!), my xerox 7750 color laser printer. i've recreated a new color profile file for the xerox color. and the same thing is happening : a kind of pink color all over my prints and every adobe's applications is printing different results. in photoshop i can manage the problem when forcing to print in perceptual mode. not perfect but it's fine. and with the other software specialy like ACROBAT and INDESIGN there's no option like this so it prints very badly. only option is to print in adobe 1998 rgb or SWOP cmyk (depending of the color space of the image of course)... the image is use for my test is RGB. images in CMYK are doing the same exact thing.
by the way for calibration is use an x-rite (greta macbeth) eye-one tool with eye-one match 3.6.3. i calibrate the screens and create color profile with this tool since ADOBE CS1 and never had this much trouble with colors...
here's a capture from photostop CS5 print dialog. when using the option "match print colors" you can see the image with all the PINK NOISE when using the print in RELATIVE colormetric mode (at the bottom right). using perceptual is "fine" (not color perfect but OK).
http://i53.tinypic.com/qzge12.jpg
it's worst in Acrobat and Indesign since i can't use perceptual colormetric print mode...
im realy starting to think that i better uninstal CS5 and go back to CS4...
thanx for your help !

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I just installed Photoshop CS3 on my home PC, and seem to be having a problem with color management. When opening photos taken with my Canon G9, or even pictures downloaded off the web, in Photoshop they appear badly posterized. Viewing the same photos in the Canon ZoomBrowser, or with the standard Windows XP tools, they appear correct.
Obviously, my color management is not properly configured. I am using the standard North American defaults with sRGB for my RGB working space, and I've tried every RGB color management policy. My monitor is an older Dell 24" LCD (I don't have the model number in front of me right now). My monitor is not calibrated, but that would not account for the dramatic difference I see in Photoshop vs. other viewing applications.
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Your prints are too dark. So you need to either make your monitor darker,
or your prints lighter. Given that you are probably fairly happy with your
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To save paper and ink, I recommend that you print a thin strip at the top
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Here is a test strip that you can use, with a variety of blurred skin tones
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An excellent question, and worthy, in fact of an essay, if not a chapter in a book on color management and proofing issues. And as you suggested earlier, it's a philosophical question (not strictly conceptual to my way of thinking).
It's also a question I can't answer, in terms of practicality and a personal sense of efficacy in dealing with a monolithic process (producing a print). That is, I can't answer for you, or anyone else I'd venture to say.
Stepping back for the briefest of moments, we should remember we live, on computers, in a virtual world. Whatever we see is a simulation, or if you prefer a simulacrum. Plato would probably say, not much better than the play of shadows on the cave wall from the flickering flames.
It's called soft proofing for a reason. The only hard proof is a print. I am old enough to remember the days when producing a color print from a chrome (requiring an internegative) or even directly from negative images, was an art, best left to skilled technicians in a lab. And even then it was an iterative process. Making an image ready for accurate color rendition in lithographic reproduction was the same things, maybe times ten. And required sometimes a whole team of skilled technicians, the last of them being the press operator. You can't appreciate the full impact of these facts of life back then unless you have been "on press" in some plant, invariably in the hinterlands, looking at actual press proofs under 6500K calibrated proofing lights, comparing them against the original chrome, the separation proofs used to make the plates. You had to understand not only the physics (and biology) of RGB imaging, but the intricacies of subtractive technology, aka CMYK. As in so much else in life, less is more, and so you had to understand that sometimes the least adjustment was the best (because you were also dealing with the physical constraints of layers of ink on paper), so if an image looked too green on the press sheet, it might be best to throttle up on the magenta just a touch, rather than cut back on the yellow and cyan. You balanced one against the other, because of the possible effects on other parts of the image.
This long-winded, probably tiresome if not boring, anecdote is meant to be illustrative of the analogous situation in which we find ourselves printing images with digital technology, combined with electromechanical devices spraying pigmented fluids in drops measured in picoliters of volume on substrates of varying physical properties related to absorbency, refractive index, contribution to an arcane phenomenon known as metamerism.
We can't hope to see anything but a, pardon the expression, simulacrum of the combination of the effects of these phenomena (and other phenomena as a result of the interdigitation of these different technologies, at the software level, and even more so at the hardware level), at least not on a screen (which introduces a whole other set of variables). We can't see what we will get unless we actually go through the ordeal and expense of producing a hard proof. And then using our experience and deductive skills to make adjustments, not unlike maneuvering a rover on the moon from a control station on earth, that will produce the desired outcome within a very narrow (I assume) set of parameters.
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What the soft proofing capabilities of Photoshop are good for, from my point of view, is to show me how far off the image I am looking at as ideal will fall short on the intended target substrate. I must always remember, it is not a wholly accurate rendition of what the printer will do with a sheet of paper from a particular production run, with the particular combination of inks (with varying dates of origin of manufacture), never mind the vagaries of temperamental nozzles in the printhead, not to mention conditions of humidity, temperature, etc.
What the softproof tells me is that the red in that scarf on my subject really needs bumping up, if I expect the level of vibrancy I see I need in the ideal rendition. And I make the adjustment in the RGB representation on the screen, etc. When I have made my by guess and by gosh adjustments to all problem areas as suggested by the soft proof (it is only as accurate after all as the RGB image is in depicting any realistic expectation of a final result—the only assurance I have is that if I really want people to see my image as I see it on the screen I had better show them the screen...), I make a print. Sometimes I have to make two or three until I am satisfied this is truly the best I will get from the beautiful, but arcane, surface of the paper I have chosen.
In short, it's a risky business, and expensive.
If you want fast and affordable, frankly, stick to premium grade high gloss surfaces, preferably from Epson, in your case, or the manufacturer of your printer in general (Canon, incidentally, produces spectacular results on their Pixma Pro series printers and their own papers, especially the Pro Luster surface... I don't even bother with soft proofing... so there is an exception even to this rule I am taking a lot of time to point out to you). High gloss papers tend to have the widest gamut, give the deepest blacks, and the best renditions of saturated color, red and blue particularly, for some reason often the hardest spectral colors to render with the level of saturation you might like. Especially if you tend to shoot vividly colored subjects.
If you regularly use matte surface, or so-called fine art or watercolor surfaces, I think even if you adhere to the workflow implied in your question... Just set the computer and screen to "soft proof" in effect in Photoshop and work from their, and hope for the best... you are in for massive chronic dissatisfaction.
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We've gone, or I've gone, way off topic here, and I beg the indulgence of anyone else who might be reading this, hoping for a simple fix to the original simple problem.
H

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null

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: I have a problem when printing the "<" .It is always printed
as
: "<" in the HTML file.
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Oracle XML Team
http://technet.oracle.com
Oracle Technology Network
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