Color management with Aperture and HP Envy 110

I have an up-to-date version of Aperture and a new HP envy 110 printer. There does not seem to be the option to use any clor profile but HPs on the print menu. Th eproblem seems to be common to all other apps I use. Have I wasted my money?

Hi Melnee,
I see that you are having some scanning and eFax issues with the ENVY 110. I would like to see if I can help. When you try to scan from the front panel of the printer into the computer, what error or message do you get?
Although the 10.9.4 Operating System is not listed in this document, the 10.8 steps will be the same: A 'No Computer Detected' or 'Connection Error' Message Displays during Scanning.
Regarding the eFax issue, you would need to speak with the HP Cloud Support Team. If you live in the USA/Canada, 1-855-785-2777. If you live outside the USA/Canada, click HERE to find the Technical Support number for your country/region.
Let me know if the document for scanning has helped.
Cheers,
JERENDS
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.
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Similar Messages

External editor color space with Aperture and PSE 10?

Hi all,
I'm finally setting up Aperture to export to Photoshop Elements (10). In the Aperture preferences, I'm asking it to export to PSE 10 as 16-bit TIFF files. What color space should I indicate (if any)? It's currently set to "no profile selected." I'm not a professional; just an enthusiast. I print on an Epson RX580 Photo Stylus printer, if that matters.
I've searched on this forum and elsewhere, but haven't found a simple answer to this. All suggestions gratefully accepted. Thanks!

Can I suggest you buy Philip Andrews book, Advanced Photoshop Elements 10. he explains colour spaces and much much more very clearly and exactly what can be done with 16 bit files and what you then have to change to 8 bit to accomplish. He's written basic and advanced guides for Elements since day one. Usually available from Amazon for under £20.

Color management for web and print.

Hi there. I would like to post my images and have them print ready for clients. When I read about both of these I find one thing for web and one thing for print. I don't want to edit them twice. What would you suggest for easiest workflow? I like to post the images in an online gallery for my clients and if I really like them maybe use on my homepage. Do I have to edit twice or what is the optimal setting for a photographer. I do mostly portraits --family, baby, couples, etc.
I am pretty well versed in actual editing processes but my understanding in this portion is still lacking. I am trying prophoto rgb on photos today, but will this compromise my online quality?

brwmmw wrote:
…I knew of this option but did not know if it was optimal quality…
You define the quality of the saved image in the Save for Web and Devices dialog box.
brwmmw wrote:
…I have just been… using same files for web and print. I wanted to increase quality across the board in print and web…
That is absurd! (Sorry.) By doing that you are generating unconscionably and unnecessarily large image files. You're clients won't like that.
Remember that you have no control over how anyone sees your images on the web. Something like 97% of Internet users are running non-color-managed web browsers and uncalibrated monitor.
You and you're clients are best served when you stick to the lowest common denominator, namely sRGB images, for web.
brwmmw wrote:
…What mode do you use for prints?…
Personally, I like to stay in 16-bit ProPhoto RGB when I print my images myself. If sending them to a pro lab, I discussed it with the lab techs. But I have gathered a lot of experience by now. One really has to know exactly what one's doing to edit in ProPhoto RGB and stay in that color space. If sending my images to a cheap lab like Costco, I stick to 8-bit tagged images that I soft-proof with the specific printer profile that will be used by the local store.
You should—and probably do—know that ProPhoto RGB has a very wide gamut that includes colors that cannot be printed by many printers, and it's up to you to compensate for that. If you run into problems with ProPhoto RGB consider converting to Adobe RGB for print. Make sure the printer drivers that will be used to print actually support 16-bit printing, otherwise convert to 8-bit.
Since you're a pro, I would warmly recommend you watch the video tutorials comprising the "From Camera to Print - Fine Art Printing" series by Jeff Schewe and Michael Reichmann, that are/were available for download from the Luminous Landscape. They're working on a new 2011 edition, but the 2008 edition was just superb. Best $35 or so I've spent in a long time.
http://www.luminous-landscape.com/videos/camera-print.shtml
Wo Tai Lao Le (no connection to Adobe or Schewe/Reichmnan/Luminous_Landscape.)
我太老了

AE CS4 Color management with HDTV

Working with the Sony EX1 and EX3 which according to Sony engineers works in the 709 HDTV colorspace.
This space is about a dead ringer for sRGB when overlayed in Colorthink. The issue I am having is that if you actually assign the 709 or sRGB profile to a still image that is captured off a recorded clip, the blues are out of wack. I can export a single frame of the color bars from the Sony application, and the frame is tagged sRGB. Open the image in Photoshop CS4 or AE CS4 and use the embedded profile and the bars look purple. Apply no color management, and the lineup looks correct, nice and blue. Anyone know what is going on here?
I'm not exactly sure how to integrate AE sequences if assigning the 709 output profile is going to wack the colors.
Yes the monitor is calibrated, its the NEC 3090 (12 bit Hardware LUT) with Spectraview II.
TIA,
Cris Daniels

ok, I think I am onto something. My footage is 709, and my workspace is 709. It defaults to "none", but I change that to the 709HD profile. I am not checking any of the linear options because it is all 8-bit footage and if this is anything like Photoshop, 8-bit data in a linear space is a no-no.
Here is the $64,000 question, what the heck does the "Use display color managment" option in the "view" menu actually do?
At first I though that I should leave this on, but THIS option is what is wacking my footage. If I leave that setting off (unchecked), my colors look ok. Even if I leave this option on and set to "no output simulation" it changes the preview.
Right now I am a little confused as to exactly how that "use display color management" functions. It almost looks like turning it on is somehow double color managing my display and therefore the weird color shift. Is it safe to assume that AE is already using my colorsync profile like it does in Photoshop and that I do not need to check the "use display color management" at all?
For what its worth, the AE color when setup correctly (uncheck the display color management), matches the Sony HDCAM clip browsing and transfer software, and Photoshop. Originally I was comparing AE to Premiere Pro, and Premiere Pro doesn't match anything perfectly (grrrrr....) but at least I now have three apps matching up great.
Premiere Pro is weak on color management to say the least, and I've heard that it does not correctly display the Sony HD footage, so looking for a total match to AE is probably a dead end.
Anyway, if you can explain the display color management option I can get my head around that a little better.

Print quality with Aperture and Epson RX580

Hi all,
I feel like I've tried everything, but I just can't get Aperture (the latest version with all the updates) to print from my MacBook Pro on my Epson photo printer the way I could from other photo software on my old PCs. On my old PCs, when I would print a photo from Canon DPP or Capture One, or even the Windows photo management software, I get a rich menu of dialogue boxes for the Epson printer offering different qualities of prints, different papers to choose from, "photo enhancement," and lots of other options. Prints came out sharp, colorful, and just great.
When I print from Aperture, I get none of these options (I get color management and resolution, and that's about it).
When I print from Aperture, I get vertical lines in the prints, visible dots, and pixellation. So what I do is email the "exported" versions to my daughter's PC laptop and print from there -- and get good results. Boy, that's a pain.
Surely Aperture can do better than this. So what am I missing? Any ideas for what I should be doing?
Thank you.

Canon MP990 and Macbook pro (os X snow lep.. and Lion) - Lines in prints in Aperture.
While a bit vague I got there and found the distinction between the printer driver managing it and the printer managing the photo quality causing the issues.
I could only transfer the pic's to iphoto and print for ( admitedly about the same time of more than a year).
The FIX
in the first window after selecting print scroll down to rendering and select printer managed.
Select all the other settings you need then select print on the right bottom of this window.
This next dialogue box at the bottom is a show details button then a new set of menus are present (initial is layout in a pull down menu) select color matching then automatic ( you can change this but it worked so if it is not broken I'll play later ).
You should have clear prints with no lines...

Color management in Aperture books

After making a book, I should export it as PDF converting images to the color profile provided by
the print service. Which is the correct way to do it in Aperture 3 ?
Opening the print menu from inside an Aperture book we get the standard
dialogs under "Color matching" (where you can choose to leave the color
management either to the printer or to ColorSync) but there is also an "Aperture"
dialog where you can choose a destination color profile (and also whether to
apply black point compensation, but no option is left as regards the rendering intent).
Which is the difference between the two dialogs when printing the book directly to a connected printer ?
And which is the difference when saving as PDF ?
In a test done printing to PDF a small book it looks like that the "Color Matching" print dialog
seems to have no effect on the final PDF.
The "Aperture" print dialog does have some effect (depending on the choosen destination profile ) but
I get far big sizes for the PDF (example: 150 MB versus 23 MB for the PDF straight without using
the "Aperture" print dialog). I have no clear explanation for this huge size increase, but it surely
cannot be used to submit a full fledged book to the print server (it would give more than 1.2 GB
in a 40-page book).
Is there any resource dealing with the PDF export settings for books in Aperture 3 ?
Thanks,
Simone

It looks like this is driven by the content and might be browser dependent - http://www.adobe.com/devnet/flash/quickstart/color_correction_as3.html
However, I'd try disabling hardware acceleration to see if that makes a difference. I wouldn't be surprised if using the GPU altered the way this works.
How do I disable or enable hardware acceleration?

Printing with Aperture and HP B9100

I am new to Aperture. I just purchased the new 24" iMac and have installed Aperture and a new HP B9100 Pro Printer. I have been making test prints directly from Aperture with photos taken on a Nikon D80. None of the prints have come out anywhere near close to how good things look on my monitor. The prints are darker and lack the vividness and detail I see on my screen.
I got better prints from iPhoto and my Canon MP780.
Any suggestions? I apologize for being so green about this stuff.
Thanks.
Roger
24" iMac Mac OS X (10.4.8)
24" iMac Mac OS X (10.4.8)

I have the HP D7160 (uses six inks). I had the same problem, until I spent countless hours testing different parameters.
I had problems with Aperture printing too muddy/dark until I did the following:
On an HP Photosmart D7160:
In Aperture, I have the "system management" as my Color Sync preference. Printer gamma set to 1.25 Black comp "on"
In my printer dialog, there is a dropdown menu when you select "print". Under the printer presets, I select "Paper type/quality". In this dropdown, there is a selection for Paper: Color:- I select "Color Sync" (not the printer selected "ColorSmart/RGB")
I also go to the "Color Options" tab and decrease my magenta output to -5.
I saved this as a "HP D7160" preset, so whenever I print, it automatically changes these for me.
Works like a charm now, after a lot of trial and error.

Another problem printing with Aperture and Epson 2400.

Hi -
I posted this on photo.net a while ago and nobody could seem to figure this out. I've searched through here with no help either. Here is the original photo.net post presenting my problem:
I've been having a problem with my print workflow that started about 6 months ago but has only now gotten to the point that I really need to fix it.
My equipment: Epson R2400 with stock inks, Aperture (latest version), iMac 2.33Ghz fully loaded and updated. I typically print on Epson Premium Luster or Enhanced Matte (I change K cartridge accordingly).
Once upon a time, I had this workflow working perfectly. Prints were coming out exactly as I wanted them to, really better than expected. Then something changed, but it wasn't hardware. Somewhere along the line, I'm guessing in a software update, all my profiles changed. I typically do all my adjustments in Aperture, then in the print dialogs do the following:
+In the 2400 settings, I turn color management off, and in the Print Settings, I select my paper, switch to Advanced, and typically choose Best Photo or whatever quality I'm needing.+
+Then in the Aperture print settings I choose the ColorSync profile that matches the paper and quality I selected in the above Print Settings window, keep Black Point Compression checked, and I'm off. As I said - this has worked flawlessly up until recently.+
The one thing I noticed that has changed is the available profiles in Aperture's ColorSync Profile pulldown menu. It used to only show paper profiles specific to each paper and quality, ie. "SPR2400 PremLuster BstPhoto.icc". Now, it shows not only those specific profiles, but also more generic paper profiles, such as "SPR2400 PremiumLuster", with no quality specification.
The problem is this: When I now select the paper/quality-specific profile, as I used to do, the prints come out all washed-out and flat. It even shows this in the preview window. It's slightly better when I select these new generic paper profiles, but still not like what I had. This is true with both types of paper I use.
I've attempted all the usual fixes, such as trashing all my profiles and re-loading new ones from Epson, re-installing Aperture and Epson software, and trashing prefs. Heck, I've reloaded all software that even remotely related to photography so many times, I can't even count any more. Nothing - just washed-out, dead-looking prints every time. And it all changed when I noticed those new generic profiles mentioned above.
I did make one hardware change after I first started experiencing these problems. I went from a PPC Dual 2.8Ghz G5 to the iMac, but as I said, these problems first occurred on the G5 and continued with the new iMac.
Any thoughts?

Well, you could dump Aperture only to find that a 2.0 came along with OS 10.5 and fixed your problem, who knows.
And I wouldn't call 6 months of not being able to print anything at all from Aperture jumping to conclusions. When I press Apple P in any other application I get prints that even unprofiled will come out better than Aperture. It's serious. Not just sorta bad. The ocean looks like sewage water- not just mildly unappealing- sewage.
The solution for us, I suppose, is to buy calibrator hardware. I guess anyone who is professional should have one of these (and I do not) but I didn't buy Aperture to export for printing.
As far as how to get Apple to acnowledge this... I don't know. It seems as though they are tired of hearing me talk about this. This is the first post of recent about this that hasn't been deleted by an admin. Who knows? I'm just tired of having to buy all the hardware and all the software that is all supposed to work together and then once you pay, you find that you're up the creek for prints.
Don't get me started, or I'll start talking about how they don't support my camera make yet (or ever).... (Sigma). As you can imagine, I'm already IMPORTING 16 bit tiffs from my raw converter. I guess I need 3 copies of the same shot to do business in Aperture for now. I need some mylanta.
Otherwise, love ya Apple!
P.S. If you are looking for someone with the same hardware and problem as I, it's easy. Check out the print proofing podcast page on O'reilly "Inside Aperture". There's one there in the comments part (that I replied to). Others can be found on this forum.

Funky Banding Seen in PS CS5 Color Management with Some OpenGL Modes

While experimenting with gradients and large gamut color spaces in response to another post, I came across a peculiarity with displaying image documents in Photoshop CS5 that are using ProPhoto RGB when OpenGL is enabled.
The test is a simple radial gradient from black to gray using 16 bits/channel and the ProPhoto RGB document profile. In my test setup, I am using the standard Windows-supplied sRGB profile for my monitor, and the video card is an ATI Radeon HD 4670 running Catalyst 11.1 drivers. The following are screen grabs using the same technique and software in all cases.
Exhibit A follows: This is the display with OpenGL Disabled or Enabled in Basic mode. Note the perfectly smooth gradient.
Test 2 (below): Same document as above, OpenGL enabled in Normal and Advanced modes). Note the slightly colored posterization / bands in the display of the gradient.
This is not a limitation of my video card's OpenGL implementation, because on this very same system one of my own applications, using 16 bit color management and OpenGL (GL_RGBA16 format specifically) displays a smooth, clean gradient.
Here is the Photoshop file from which I generated the above displays. I'd be curious to hear whether you see something like the first or second image when you open it in Photoshop CS5.
http://Noel.ProDigitalSoftware.com/temp/TestGradient.zip
-Noel

Thanks for the responses, and thank you, Chris!
Just to clarify (I know Chris understands, but some of the other responses don't list the OpenGL mode)...
I see the problem:
With OpenGL Enabled in Advanced mode.
With OpenGL Enabled in Normal mode (i.e., what's shown when you click the [Advanced...] Button in Edit-Preferences-Performance.
I don't see the problem:
With OpenGL Enabled in Basic mode.
With OpenGL Disabled.
-Noel

RGB Color management between Illustrator and Photoshop

Hi,
I have a color management issue when exporting JPGs from Illustrator and opening them in Photoshop:
In Illustrator (file is in RGB mode), I have a logo which has the color RGB 0/0/153 and I export a JPG. When I open the file in Photoshop, the color is RGB 1/0154.
I have activated Adobe CC Color Manegement via Adobe Bridge (option "Europe, Universal 3"), which should produce consistent results in all Adobe applications.
So which is the color that is actually in the file? And what do I have to do to get the color I want (0/0/153) actually exported from Illustrator? I need this color to comply with corporate design specifications of my client.
Since I have to produce a lot of files it is not possible to readjust all colors in Photoshop ...
Thank you!
Michael

First, check to make sure that the RGB working colorspace is the same for both Illustrator and Photoshop.
When exporting the jpeg from Illustrator make sure the 'embed' color profile is selected, and it is the color profile that is required for your client. If this is for web use, then sRGB is your best choice.
When you open the exported image in Photoshop, make sure that the color settings for Photoshop are set to 'Preserve Embedded Profiles'. After you open the image in Photoshop, you can double check by going to Edit > Convert to Profile... The source profile should match the embedded exported profile from Illustrator. If these match, your RGB color values from Illustrator and Photoshop should also match.
If the source profile does not match, cancel out of the 'Convert to Profile" and go to 'Assign Profile". Assign the profile that you embedded when exporting from Illustrator. Now Photoshop should have the same values as Illustrator.

Color management with HP officejet 6500 E709 serie

Can you pls tell me what my color management settings should be set to on mty HP officejet 6500 E 709 series? It is connected to an HP Elitebook 6930p. All cartridges are new but none of the "red/pink" colors print. Thank you.

I have the same problem - no idea what to do to correct. Yesterday I replaced the magenta cartridge and within an hour it was telling me the cartridge was empty. Turned it off and today when I turned it back on it sees the magenta cartridge as full. Useless as it is tho, with the colors all pink.

Color Management, Photoshop CS3 and Epson Inkjet Printer

I have been down this road before but here goes again...
Im using Photoshop CS3.
Im printing on an Epson Stylus Photo RX680 using Photo quality inkjet paper.
I know this printer is capable of very good quality prints.
Thing is I can not figure out the correct combination of color management settings to get a decent print out of Photoshop or InDesign.
I have read that you are supposed to turn off all printer color management and let Adobe manage the color. Doesnt seem to work.
I just get overly magenta images that look awful.
If I let the Epson color management control color I can get a lot closer but the print out is far from accurate or high quality.
So what the heck IS the correct protocol for printing to an Epson inkjet printer from an Adobe app.
BTW, I do seem to get a fairly decent print out of something like a PDF which I understand does its own postscript conversion before hitting the printer.
Is this what my issue is?
Does Photoshop or InDesign require postscript ripper software to get decent results out of an inkjet printer?

Have spent hours with both Adobe and Epson support people. I've read several of these forums. Is there an insurmountable problem with CS3 and Epson (2200/2400 are mine)? I have the Leopard patches and upgrade 10.5.4.
With Photoshop managing the color I get prints that are slightly underexposed and carry a pink cast. Color management is off. With the printer managing the color I get prints that are too green and dark. Epson advice here is to have color management off. There are two other choices for management but to adjust a perfectly balanced print to the printer's whim seem like cruel punishment.
Have a calibrated monitor and my CS2 works beautifully. Perhaps the best idea is to just go back to CS2 until Adobe and Epson can decide what to do. According to Adobe people, the CS3 gives much of the management back to Epson. According to Epson -- with CS3, you should choose the printer to manage the color (since this seems to be the trend between the two companies) but we users are not happy with the results.
What is the solution for right now?

Color Management Confusion-Photoshop and monitors

Ok, so I am asking this question because I am literally at my wits end with this color management stuff. I have become so confused in the past few days that I can’t even think straight. Anyway, I am hoping you all can help me “understand” how it all work. Let me start with some background information (since I know it will probably be asked)
am a photographer, I utilize Lightroom 4 and CS3 (I know its old but I am planning on getting CS6 soon).
put my pictures on the web that I will assume will be viewed on multiple different browsers.
also will be sending my pictures to print at mpix or whcc. I may decide to print my own but haven’t really made that determination at this point.
have a mac book pro that I work from.
Ok, so I need to get a monitor to work with but I am unsure if I should just buy the thunderbolt mac monitor or get a wide gamut monitor. I have heard so many people say that the wide gamut monitors just messed them up. Also, I am bit confused on the nature of monitor profiles and how they work with photoshop and lightroom. I would assume the monitor applies a profile at all times? I also don’t understand the existence of the prophoto and wide gamut profiles for the mac monitors… they clearly are not wide-gamut monitors, so how do these profiles exist for them, and why would they be useful (if you set the profile to prophoto for example, it is all washed out as expected). Are these profiles “assigning” a profile to the color? I am assuming so because if they were converting them to just a standard rgb then you wouldn’t have the faded colors (correct?).
I just am so nervous that I am going to create something that looks great in Lightroom or Photoshop but that looks awful on the browser, or worse, on a different monitor (standard monitor) and I would have no idea that it looked bad. Or, if I send something to a printer only to get a mess back.
Also, please let me know if I correct in this. If I am in photoshop and I have an untagged image (send via a friend), and lets just say it is really a prophoto image (although my friend didn’t tell me) and I say to assign the prophoto profile (upon import to photoshop). If that truly is the correct profile, the image should look correct. Now consider two scenarios from there: 1) I embed that profile in the image, if I upload that to the web (I know to be cautious, you should always use srgb for web), if the person has a color managed browser, the image would properly appear, because the browser would recognize the profile (in this case “prophoto”) and convert it to whatever it needed to be. But, if it was not a color managed browser, I run the risk that the web browser will just assign a profile, which will wash the photo out most likely, correct? Ok… and scenario 2) after I get the image from my friend and assign the prophoto profile (since that is the correct profile the image was actually created in, although it was untagged when it was sent to me), the image will look correct… BUT, is photoshop displaying the prophoto profile, or is it converting to RGB for my viewing, or is my monitor converting it to rgb for my viewing? I guess I just don’t understand how the monitor fits into all of this. You HAVE to use your monitor to see your images, and since most monitors (including my current one are standard gamut) it would make sense that you actually can’t see anything in the prophoto profile, and you are truly looking at an srgb profile since that is all your monitor can display.
Oh ya, and what benefit is the color match rgb? It seems everyone speaks of the srgb, prophoto, and argb.. but never some of the others.. so maybe I am just lost. I would even appreciate a link to some tutorials if you think those would be helpful.
I am seriously confused.. I would really appreciate the help.

I am not surprised you are confused about colour management because its a confusing subject. Luckily you own a Mac so you can get to grips with what the problems that colour management solves using the "colorSync Utility" and you will find this in Applications >> Utilities >> colorSync Utility. If you own a windows computer then I am sorry but you will be out of luck here and you should know better when you buy your next computer!! I am not sure why Apple gave us this application but it is really useful and all will help you understand Color Management.
1. Launch Applications >> Utilities >> ColorSync Utility.
2. You will see a list of "Installed ColorSync Profiles". Choose Adobe RGB 1998 which I hope you have chosen in you camera preferences.
3.You will see a 3D representation of the Adobe 1998 Colour space. This represents all the colors this colour space will hold.
4. Top left hand corner you will see a little arrow pointing down next to "Lab Plot". Click on this and a drop down menu will appear.
Choose "Hold For Comparison"
5. Now somewhere in the "Installed ColorSync Profiles" list you will find the profile for you monitor. Choose this.
6. You will now see a new colour space inside the Adobe 1998 Colour space. If you have a cheap monitor the colour space will be small
inside the Adobe 1998 profile. This means that you monitor cannot show you all the colors that are missing.
7. Now choose a printer profile say, if you use them a profile for an Epson paper or any printer profile you have and you will see another profile in the Adobe 1998 box which shows you the only colors that your printer can print. If you like choose your monitor profile then hold for comparison then the printer profile and it will clearly show the mis match between you monitor and printer.
8. Now choose SRGB and this will show you what colors a person using an average Windows monitor can see, poor people.
So this is the problem, all devises can reproduce only a certain range of colors. The adobe 1998 profile does not show all the colors our eyes can see " choose Generic Lab" profile, then "hold for comparison" then Adobe 1998 and you will see Adobe 1998 is a small profile but is a good average of our collective colour vision.
So how to solve all these missing colour problems. Well if you think of each devise, including you camera as speaking a different language from you monitor and printer then it is easy to understand that you need some sort of translator so that they all know exactly what colour is being talked bout pixel by pixel in an image. This is held in the ICC profile, but an ICC profile has o do more than this.
Say you camera can produce a specific red we will call for demo purposes "001" and your monitor cannot produce it, how do you solve this? Well it is very easy to fool our eyes. Our eyes work by comparison so if the profile maps red "001 to the nearest red that the monitor can show and then proportionally remaps all other reds to fit within the reds the monitor can show us then we actually think we are seeing a full range of reds. The problem comes if we use the wrong profile for this. The red 001 could be re mapped anywhere and could be outside what the monitor can show. Say that happens but the printer can reproduce that red 001. We would see an image on the monitor with not many reds and when we printed it we would be shocked to find reds on the print. Worst, we would see an image on the monitor without reds and would correct for this and end up with a print with heavy reds and would not be able to work out why.
So to solve this we should:
1. use the correct camera profile when we are opening "Raw" files.
2. Make sure you have the correct monitor ICC profile selected in "System Preferences" >> Displays.
3. In photoshop we should make sure that the " Edit >> colour settings " are set to Adobe 1998 for RGB.
4. If you are going to print you own photo in Photoshop go to "View >> Proof Setup >> Custom" and a box will
open. Choose the profile of your printer and paper and choose "Perceptual" for rendering intent and then " OK". If you cannot find
a profile for you printer and paper go to the printer of paper manufactures web site and download the profiles and instal
them.
5. You can now adjust the colors and contrast and photoshop will simulate how the output devise will deal with this. If you
are using an outside printing house, they will supply you with their ICC profile to download so just follow the same procedure and
choose their ICC profile and and do you colour correction.
If you have a cheap monitor you will still not get a 100% result but you will get closer. You really need a monitor that you can calibrate
regularly because generic ICC profiles are just that. They are made from the results of many monitors and so are 90% or worse accurate.
If you want to see a flag ship monitor at work go to http://www.eizo.com/global/support/db/products/software/CG223W#tab02 and go
to the bottom of the page and download the Eizo Coloredge CG223W monitor profile, instal it on your mac then open then ope
Launch Applications >> Utilities >> ColorSync Utility choose Adobe 1998 the hold and compare it with the Eizo Coloredge CG223W
profile. This is not the top of the range Eizo monitors that we use but you will see that this monitor will show most of the missing colour you monitor does not. This is actually a good tip if you are buying a monitor. Download the monitors profile and see how good it really is.
The weak link still is printing. The colors you see in RGB on a back lit RGB screen are very hard to reproduce by CYMK inks on paper. Here you really should have a profile made for your printer and chosen paper. If you don't want the expense of buying a calibrator and doing it yourself, there are on line services that will do this for you.
One final point you must remember. If you are using soft proofing in Photoshop ( "View >> Proof Setup >> Custom" as explained above), when you print you MUST choose in "Colour Handling" "Photoshop Manages Colour" and in the next step when the printing box appears
you will see a drop down box with "Layout" in it. Click on this and choose "Colour Management and choose "Off No Colour Management". If you do not do this Photoshop will manage the colour then the printer will do it again and the print will be a disaster.
This is a starting point really. Colour management is difficult but just try to remember that you need a translator between each step in the process to make it work so you have to make sure the correct profiles are being used by you camera, the program you use for opening the Raw photo files (Please don't use jpegs straight from the camera, but thats another subject), the correct monitor profile and output profile. If you don't check these it is like chinese whispers and your picture will be printed in Double Dutch!!.
Hope that helps. I am on location In Italy for a couple of months so will be unlikely to be able to reply to any questions for a while. Will try to check back and see how you are getting on. Drop me a line at [email protected] if you have any questions. Good luck.
Paul Williams

All my prints using: Lightroom 5, printer color management turned off, and non-generic ICC profile (e.g. Epson Premium Glossy) have magenta tint or cast

I'm using PC with: Windows 8.1, 64bit, Lightroom 5.4, Epson R3000, 6.75 (latest) driver, color management turned off in printer settings, Lightroom configured to manage color. If I use a generic ICC profile such as Epson sRGB, the prints look OK. But when I use any ICC profile dedicated to my paper and printer combination, such as Epson Premium Glossy, or one created using ColorMunki print profile, the prints all have a medium to heavy magenta tint or cast. The effect can be seen before I even print in the Epson Print Preview. Yet when I soft proof, I don't see this effect. I suspect the problem lies somewhere in the CMM process, but I can't pin it down. Any tips or suggestions are appreciated.

Thank you kindly for your insightful response. As it turns out, the answer is half correct. I've found others who'll say the same thing, that double color management will lead to a very magenta result. I believe this was certainly the case when I first started playing with the settings, Where I went wrong, is that after I corrected my settings by turning off printer manages color and letting Lightroom do the color management, is that the Epson Print Preview was still showing magenta with certain profiles. Not wanting to waste more money on paper and ink, I used the preview to gauge whether I was going to get a normal print or not. Then one day I ignored the print preview's magenta cast as a 'warning' and I went ahead printed the photo anyways. Because I used a profile that I created with ColorMunki Photo, the picture came out perfect (i.e. a very good match to what I was seeing in Lightoom on my monitor). The lesson learned is that for judging the final color correctness, the Epson Print Preview can be way off target and your best bet is to ignore it.

Bug - Color Management Photoshop 11 and OS X 10.6 Dual Monitors

I need to know if it's just me, or others are seeing this.
Color management doesn't seem to work properly on dual monitors (MBP + Dell 2408) with Photoshop 11/CS4 and 10.6.
Each of my monitors is independently calibrated and all other apps work fine. For reference Lightroom 2.4/Preview 5.0/FireFox 3.5.2 all render properly across both monitors. Under 10.5 Preview 4.X did not render properly across two monitors, I was so happy in 10.6 it finally did, but PS is WAY more important so I'm kinda bummed.
Anyway, this seems to only happen on the 2nd monitor. If I move the menu bar (Prefs/Displays/Arrangement) to the external monitor making it primary monitor then it works for that monitor, but no longer for the laptop display. Photoshop render images on the 2nd monitor way washed out, but normally on the primary.
Photoshop 11.0.1 worked fine for me on dual monitors under 10.5.

So if you've read the links above regarding the "default monitor" issue, people have suggested that a potential workaround is to go to System Preferences>Displays>Arrangement>drag the menu bar from the first diplay to the second
Essentially you make your secondary monitor the default display.
For me what this does to PS is that it now displays the matching colors to Lr in the secondary display (which is now the default display with the menu bar at the top), BUT! when I drag the PS window back into my MacBook display it appears OVERLY saturated...
Strangely Lr appears the same in both windows, AND MORE IMPORTANTLY with the same colors, saturation, brightness, just as it did before I made my Dell 2405FPW the default display. Basically, Lr hasn't shifted in color from display to display or even from display to display after making the secondary monitor my new default display. It has retained the same integrity of colors through all these changes.
Which begs the question, if Lr can't handle dual displays and always uses the color profile of the display it begins in (starts running in), then why does it never shift in color and still look exactly the same after I've made my Dell 2405FPW my primary display?
And actually, if you look really really carefully, Lr DOES produce a color shift between displays as you drag it from one screen to the next. It's extremely fast and happens pretty much as you get 0.5 to 1 inch of the window into the secondary display. It's subtle on my monitor too, which leads me to believe that it performs this color correction properly, quickly, and seamlessly.
What if, my Photoshop 10.0 (old version of CS3) is not registering and understanding the secondary display's color profile correctly? What if it really is PS's fault because everything else looks right? Maybe the issue I'm having is different from what others are experiencing, after all we're in 10.6 now and most of these issues were reported in 10.4 and 10.5? I should probably upgrade my PS CS3 and see what happens?
jb, what version of PS do you have?

Color management with Aperture and HP Envy 110

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