Color management setting wont stay set?

Running Acrobat Pro 9.4.1 in conjunction with CS5 Design Premium. Not only does the color management setting in Acrobat not change when set and synced from Bridge. The setting wont stick when set directly in Acrobat. Does anybody have a similar issue or a solution? I run Europe prepress 3 in bridge which has no effect on Acrobat but if I select Europe prepress 3 directly in Acrobat it will stay on that setting until I quit Acrobat then when re-launched it will be set to Europe Prepress 2! Any help or explanation much appreciated.

Guys I appreciate your help but nothing is working.
I tried deleting the preferences file and the same thing happened again anyway.
I then uninstalled the whole Creative Suite and deleted all files associated with it and all entries in the Windows Registry related to it.
I then reinstalled everything ( spending the hours it took) and it is doing the same thing again. I can not think of anything that has changed on the machine at all and I have never had this happen before in the years I have been using Premiere.
Everything used to work fine and Captures would go without a hitch even if they took hours as long as the Preferences were set to “None” on Device Control. But now it just won’t stay set, even after reinstalling everything. The Capture Window Device Control will stay set to “none” but not Preferences regardless of what I do.
I tried changing other Preference Settings and they stay changed but not device control. And it is the same regardless of whether the ADVC-300 is on or off. I even tried deactivating the Firewire Port in the Bios just to see what would happen and it made no difference.
Does anyone have any ideas?
My last option is to reformat my drive and reinstall everything from scratch but that will take me a day and a half.
I can not understand what is making it do this when it never did it before.
Here is what I am using:
Premiere Pro CS4 with a Canopus ADVC-300 Capture Box. It is installed via Firewire and goes to the Firewire Port on the Motherboard.
I am using XP Home SP3 on a Core I7 Computer with an Asus motherboard.
If no one has any ideas do me one favor. Go into your own Preferences file and set Device Control to “None”, close the panel and open it again to see if it is still set to none.
It may help me feel a little better about reinstalling all my software and spending the day and a half doing it if I know it is something with my machine and not the program itself.

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We have 100 people in our office. Currently, in order to enable color management, we have to go into each person's Bridge Center Color Management Color Settings panel, select our custom color settings file and hit apply. That takes care of 1 out of 100 people.
How can we automate this process...
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Thanks,
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Dan,
Did you ever find such a mechanism? I am looking to do pretty much the same thing. I can get the .CSF file to the workstations no problem, but I need to set the apps to look at it for their Color Settings. My guess is that there is a registry settings somewhere, but for the life of me I cant find it.
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Device Control wont stay set to none

I am using Premiere CS4 with a Canopus ADVC-300 capture device.
I have used this for years and never had a problem with Premiere providing I set Device Control to “none” both in the Preferences and the capture window.
My problem is I can’t get the Device Control in the Preferences box to stay set to “None” any longer. I can set it and then close the window and check back and it insists on going back to the “DV/HDV” setting. I have changed it to none at least a dozen times and it keeps setting itself back to “DV/HDV”.
This crashes the capture every time.
Any ideas on how to get it to stay where I set it?
It stays set to “none” in the capture window but I can not make the preferences menu do the same.
I can reinstall the program but that is a last resort due to the time it takes.
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Guys I appreciate your help but nothing is working.
I tried deleting the preferences file and the same thing happened again anyway.
I then uninstalled the whole Creative Suite and deleted all files associated with it and all entries in the Windows Registry related to it.
I then reinstalled everything ( spending the hours it took) and it is doing the same thing again. I can not think of anything that has changed on the machine at all and I have never had this happen before in the years I have been using Premiere.
Everything used to work fine and Captures would go without a hitch even if they took hours as long as the Preferences were set to “None” on Device Control. But now it just won’t stay set, even after reinstalling everything. The Capture Window Device Control will stay set to “none” but not Preferences regardless of what I do.
I tried changing other Preference Settings and they stay changed but not device control. And it is the same regardless of whether the ADVC-300 is on or off. I even tried deactivating the Firewire Port in the Bios just to see what would happen and it made no difference.
Does anyone have any ideas?
My last option is to reformat my drive and reinstall everything from scratch but that will take me a day and a half.
I can not understand what is making it do this when it never did it before.
Here is what I am using:
Premiere Pro CS4 with a Canopus ADVC-300 Capture Box. It is installed via Firewire and goes to the Firewire Port on the Motherboard.
I am using XP Home SP3 on a Core I7 Computer with an Asus motherboard.
If no one has any ideas do me one favor. Go into your own Preferences file and set Device Control to “None”, close the panel and open it again to see if it is still set to none.
It may help me feel a little better about reinstalling all my software and spending the day and a half doing it if I know it is something with my machine and not the program itself.

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So this is weird: I'm using CS6 Extended and Lightroom 5 on a Windows 7 Pro machine, printing to an old Canon Pixma Ip5200R. When i print from Lightroom, i am using a special printer profile for the pixma and my photopaper, so color management is switched off in the printer driver. The photos print fine.
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Now, this is getting weirder: Only the color management settings don't stick. I can change other settings like print quality and the stick.
But - how do i get rid of this? The culprit seems to be photoshop, not the printer driver. If i print from lightroom, i can change the color management settings in the (very same) printer driver and they stick. When i set the photoshop print dialogue to "printer manages colors" i can change the color management settings in the (very same) printer driver - and they stick! So this looks as if photoshop stops me intentionally from using the correct printer driver settings, that is from switching off the printer drivers color management if it is set to manage colors.
I have already resetted my personal photoshop preferences, but this changed nothing. What am i missing? What is going wrong? Your help is very appreciated.
Tobias

Hi all, Just to let you know that I finally solved my problem myself.
Essentially what had occurred was that I had updated my Epson driver for my printer , but it hadn't installed, despite informing me that it had! To cut a long story short when I checked in System preferences the older driver for Leopard O/S was still the current driver. I proceeded to ask Epson support for assistance, bu despite their efforts I could not immediately resolve the problem. They were directing me to my Utilities program to remove all traces of my current driver from Printer Utility which did not exist. When I queried this they stated it was not always visible and I should proceed to the next step then install the new driver. Problem was they required me to access this invisible utility in order to complete this process, and yes before you ask I had informed them I was using an Intel Mac with Snow Leopard 10.6.2 O/S. Finally I ignored their advice and took the following steps:
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4. I restarted my Mac Pro.
5. I reinstalled my new printer driver which I had previously downloaded from Epson Support.
6. I restarted my Mac Pro and found that the new driver had installed correctly and full functionality had been returned to the Print Features Dialogue box i.e I could now turn of color management and access advanced features to set the quality of printing using the full spec of the R2400.
Hope this post will be helpful to others if they have a similar problem
Regards Denis
Message was edited by: Denisimo
Message was edited by: Denisimo

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OK, I know this topic is like fingernails on a chalkboard, however I have not been able to understand or solve my issues after months of trying.... I have a very simple setup (and also very simple needs...):
PE 5.0
Epson RX-700 printer
Colorvision Spyder2
Nikon D70
I can NOT get prints from any image that I modify in PE. In fact, the only time I can get a reasonably matched print is if I utilize the PhotoEnhance setting within my Epson configuration and no modification has been done within PE. All of my prints come out with an apparent 2-3 stop underexposure when I print a PE modified image. Modifications range from unsharp mask to a few layers, but nothing very fancy or involved.
My question:
1. There are many options for printer color space; sRGB, EPSON sRGB, NIKON sRGB, etc. Which would be optimal? My camera is set to sRGB, though I've tried Adobe RGB with the same results.
I would rather have PE color manage, but when I set the printer to do no color management, I get the above results.
Any suggestions on things to try, things I've overlooked, or anything in general?
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OK, I know this topic is like fingernails on a chalkboard, however I have not been able to understand or solve my issues after months of trying.... I have a very simple setup (and also very simple needs...):
PE 5.0
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Colorvision Spyder2
Nikon D70
I can NOT get prints from any image that I modify in PE. In fact, the only time I can get a reasonably matched print is if I utilize the PhotoEnhance setting within my Epson configuration and no modification has been done within PE. All of my prints come out with an apparent 2-3 stop underexposure when I print a PE modified image. Modifications range from unsharp mask to a few layers, but nothing very fancy or involved.
My question:
1. There are many options for printer color space; sRGB, EPSON sRGB, NIKON sRGB, etc. Which would be optimal? My camera is set to sRGB, though I've tried Adobe RGB with the same results.
I would rather have PE color manage, but when I set the printer to do no color management, I get the above results.
Any suggestions on things to try, things I've overlooked, or anything in general?
Any help is very much appreciated...
Dave

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Note, none of the profiles in that folder were copied there by me. All 31 were installed either by a printer driver installation, monitor installation, or installation of my Epson V500 scanner.
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We have 100 people in our office. Currently, in order to enable color management, we have to go into each person's Bridge Center Color Management Color Settings panel, select our custom color settings file and hit apply. That takes care of 1 out of 100 people.
How can we automate this process...
We would like to create a script that sends a custom color setting file to individual user's stations. Does anybody know the registry setting that controls synchronization of settings on a user level?
Thanks,
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Dan,
Did you ever find such a mechanism? I am looking to do pretty much the same thing. I can get the .CSF file to the workstations no problem, but I need to set the apps to look at it for their Color Settings. My guess is that there is a registry settings somewhere, but for the life of me I cant find it.
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In PS C6 I'm getting a warning that "No color management" setting for printer isn't supported. Why?

I'm using Photoshop Extended CS6. I'm printing to either an Epson Stylus Pro 9900 or an Epson SP4900. In the print dialog, I get a warning I haven't seen in a long time. It says the setting "No Color Management" at the printer is not supported. This is patently false. I am given a link to download the Adobe Color Print Utility (which gives abominable results; I know this from repeated uses in the past), and a service note saying this issue is for Photoshop CS5. Clearly there is a problem, possibly a bug.
I have never had CS5 installed on this machine. I do have PS CS5.5 and PS CS6 on this machine (I have used all versions of CS in various suites from the start of the product line).
Can anyone explain this annoying intrusion on my workflow? Of course "no printer management on printer/Photoshop manages color" works... There must be an explanation.
Thanks.

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.
Personally, I prefer working in Lightroom and in Photoshop in order to produce the image I would like to see in an ideal, if you like a Platonic, world. If what was on the screen could somehow be transferred magically to the surface of a lovely unsullied sheet of Arches cold press watercolor paper, 350g/m^2 coming out of an Epson 9900... (I've done it). Not so easy.
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.
One last thing, I produce what I consider a basic working image in Lightroom, add further effects using a battery of third party effects software (from Google Nik, OnOne, Imagenomic, AlienSkin, etc.) and then go to work further on the image in Photoshop, but I never save the image, except as a revised file, once I'm done with Lightroom adjustments (which are never applied to the RAW file, but kept as meta-instructions separately in the LR database). So any effects added produce a new file. Any changes in Photoshop produce a new file. And when I am working, finally on an image to make into a committed hard print, I NEVER save the settings I use to produce a print, including a print I deem acceptable for exhibition. If nothing else, I can honestly tell a print buyer they are getting a unique "hand-made" image. I don't feel I'm operating a factory after all, but a studio. Further, changes in technology occur dynamically and continuously. I don't know what I would do with the settings I derived from working solely in the "soft-proofing" mode you think you might prefer in your workflow, if a new paper or ink set, or printer came along that solved the problems I had to fudge around to get a decent print with the existing technology at the time. At least if I work solely in RGB trying to achieve an "ideal" rendition, I will always be able to start from that same point, the next time I want a print worth saving of that image.
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

Color management setting wont stay set?

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