Color profile and 16 bit printing

I read a post that said sRBG was the best color profile for ibook. It is also the smallest gamut compared to Adobe 1998 or ProRGB. Is it really "the best" one to use? Also, can iBook printing support 16 bit files? If the answers are yes to sRGB and no to 16 bit, does anyone have a suggestion for someplace else to have only one book printed? Thank you.

I read a post that said sRBG was the best color profile for ibook. It is also the smallest gamut compared to Adobe 1998 or ProRGB. Is it really "the best" one to use?
Yes - that is the reason that it is recommended - user experience with Adobe RGB for example has been unsatisfactory
And note that iPhoto is a consumer product and the books are designed for consumers - I find them outstanding as do most users. Only you can choose what pleases you.
for more info on preparing your photo see - http://www.apple.com/support/photoservices/preparation_tips/
Generally you will find that doing less editing and doing it in iPhoto will produce the best (yes - best does mean best once again) results
Also, can iBook printing support 16 bit files?
No idea
If the answers are yes to sRGB and no to 16 bit, does anyone have a suggestion for someplace else to have only one book printed? Thank you.
Google is a wonderful resource for things like this
LN

Similar Messages

Color Profiles and Printing

Hi all, First timer here so please be gentle!
I have recently purchased LR3 (I know!) and having trouble printing from there.
I have a Spyder Express calibarted monitor and as instructed both in LR Help and elsewhere on the net, I select the color profile of my printer and paper (Canon MP990 with Plus Glossy II) from within LR and ensure color management is set to "None" within the printer driver. When doing this (with both Relative and Perceptual Rendering) I experience slight out of shift colors when printing. I understand I might expect this as the printer can never match what I see on screen 100% but here's the rub....When turning off the screen calibration profile using the Spyder utility on the toolbar, the colors displayed are near exact what I'm seeing on my prints. Also, I have been experimenting with many different options and when I select "Managed by printer" within LR, and then "Driver" Color Management within the printer driver I once again get near perfect match to what I see on screen using the claibrated monitor profile!??
I know this means I can just do one of the above to get prints matching what I see on screen but I also like to publish pics on the net and send some away for printing so how can I be sure which (if any) of my "workarounds" are valid or if there is some underlying problem somewhere which means that when following the instructions of LR, Canon, Windows and many internet guides, my prints do not match my calibrated monitor profile? And why is it that selecting "Pinter Managed" with "Driver" OR truning of my screen calibration and using the stated instructions result in better color rendition?
Apologies if this is not LR specific (guess could be a problem with Win, Canon or Monitor profile rather than LR) but my Google search led me here and there appears to be a wealth of expertise available here on such matters!

i once had to print on a epson P50 printer from my sister because my own printer was send in for service.
i have a full color managed system from monitor, scanner to printer.
but i have never managed to get good results with the P50 when i selected that photoshop should do the color handling.
the prints with the printer driver doing the color handling looked much better then the photoshop managed prints.
there are some ICC profiles for epson paper coming with the P50 and of course i used them (i was printing on epson premium semigloss) ..... but it did not help a bit.
and yes i know about disabling color management in the printer driver when PS does the color handling.
trust me.. there was no double color handling.
after some testprints i found out that i have to set the color handling to "printer driver" and change the color adjustment to "Adobe RGB" and "Gamma 1.8" in the printer driver.
that way the P50 produced good looking prints. not 100% perfect but much closer to my calibrated monitor display (i use a dtp94 for profiling).
that will not help you with your canon printer.. thought.. but i just want to tell you...your are not alone.
that said my Epson R2880 prints PERFECT when photoshop does the CM and i would never let the printer driver do the color handling on this printer.
i guess some printers are just not working well when photoshop (or lightroom) does the color handling.
especially cheap consumer models.
a friend had an epson R200 and complained about the same issues i had with the P50.
he always had to fiddled around in PS to adjust the images for printing and i don´t mean subtle changes.
i gave him my settings and his prints looked better, immediately with no need for PS adjustments.
i know that is against everything you might have read in books or heard in tutorial videos about printing. i wondered too and that was why i have done a few dozend testprints with the P50, trying all the different settings.
they always say that you have to let photoshop do the color handling... (and i can say it´s true for the R2880 or R3880)... but my experience with cheap epson models (R200, P50) tell another story.

Color Space and Bit Depth - What Makes Sense?

I'm constantly confused about which color space and bit depth to choose for various things.
Examples:
- Does it make any sense to choose sRGB and 16-bits? (I thought sRGB was 8-bit by nature, no?)
- Likewise for AdobeRGB - are the upper 8-bits empty if you use 16-bits?
- What is the relationship between Nikon AdobeWide RGB, and AdobeRGB? - if a software supports one, will it support the other?
- ProPhoto/8-bits - is there ever a reason?...
I could go on, but I think you get the idea...
Any help?
Rob

So, it does not really make sense to use ProPhoto/8 for output (or for anything else I guess(?)), even if its supported, since it is optimized for an extended gamut, and if your output device does not encompass the gamut, then you've lost something since your bits will be spread thinner in the "most important" colors.
Correct, you do not want to do prophotoRGB 8bit anything. It is very easy to get posterization with it. Coincidentally, if you print from Lightroom and let the driver manage and do not check 16-bit output, Lightroom outputs prophotoRGB 8bits to the driver. This is rather annoying as it is very easy to get posterizaed prints this way.
It seems that AdobeRGB has been optimized more for "important" colors and so if you have to scrunch down into an 8-bit jpeg, then its the best choice if supported - same would hold true for an 8-bit tif I would think (?)
Correct on both counts. If there is color management and you go 8 bits adobeRGB is a good choice. This is only really true for print targets though as adobeRGB encompasses more of a typical CMYK gamut than sRGB. For display targets such as the web you will be better off always using sRGB as 99% of displays are closer to that and so you don't gain anything. Also, 80% of web browsers is still not color managed.
On a theoretical note: I still don't understand why if image data is 12 or 14 bits and the image format uses 16 bits, why there has to be a boundary drawn around the gamut representation. But for practical purposes, maybe it doesn't really matter.
Do realitze hat the original image in 12 to 14 bits is in linear gamma as that is how the sensor reacts to light. However formats for display are always gamma corrected for efficiency, because the human eye reacts non-linearly to light and because typical displays have a gamma powerlaw response of brightness/darkness. Lightroom internally uses a 16-bit linear space. This is more bits than the 12 or 14 bits simply to avoid aliasing errors and other numeric errors. Similarly the working space is chosen larger than the gamut cameras can capture in order to have some overhead that allows for flexibility and avoids blowing out in intermediary stages of the processing pipeline. You have to choose something and so prophotoRGB, one of the widest RGB spaces out there is used. This is explained quite well here.
- Is there any reason not to standardize 8-bit tif or jpg files on AdobeRGB and leave sRGB for the rare cases when legacy support is more important than color integrity?
Actually legacy issues are rampant. Even now, color management is very spotty, even in shops oriented towards professionals. Also, arguably the largest destination for digital file output, the web, is almost not color managed. sRGB remains king unfortunately. It could be so much better if everybody used Safari or Firefox, but that clearly is not the case yet.
- And standardize 16 bit formats on the widest gamut supported by whatever you're doing with it? - ProPhoto for editing, and maybe whatever gamut is recommended by other software or hardware vendors for special purposes...
Yes, if you go 16 bits, there is no point not doing prophotoRGB.
Personally, all my web photos are presented through Flash, which supports AdobeRGB even if the browser proper does not. So I don't have legacy browsers to worry about myself.
Flash only supports non-sRGB images if you have enabled it yourself. NONE of the included flash templates in Lightroom for example enable it.
that IE was the last browser to be upgraded for colorspace support (ie9)
AFAIK (I don't do windows, so I have not tested IE9 myself), IE 9 still is not color managed. The only thing it does is when it encounters a jpeg with a ICC profile different than sRGB is translate it to sRGB and send that to the monitor without using the monitor profile. That is not color management at all. It is rather useless and completely contrary to what Microsoft themselves said many years ago well behaved browsers should do. It is also contrary to all of Windows 7 included utilities for image display. Really weird! Wide gamut displays are becoming more and more prevalent and this is backwards. Even if IE9 does this halfassed color transform, you can still not standardize on adobeRGB as it will take years for IE versions to really switch over. Many people still use IE6 and only recently has my website's access switched over to mostly IE8. Don't hold your breath for this.
Amazingly, in 2010, the only correctly color managed browser on windows is still Safari as Firefox doesn't support v4 icc monitor profiles and IE9 doesn't color manage at all except for translating between spaces to sRGB which is not very useful. Chrome can be made to color manage on windows apparently with a command line switch. On Macs the situation is better since Safari, Chrome (only correctly on 10.6) and Firefox (only with v2 ICC monitor profiles) all color manage. However, on mobile platforms, not a single browser color manages!

One again about color profiles and lightroom

I have wide gamut monitor (nec pa271w) and I tried to calibrate it. After calibration it created new color profile and make it default in windows color managment. But now all pictures in Lightroom are not so colourful as they were before. If I choose srgb(default profile for windows) the colors become as they were before calibration but in this case I see srgb color space and not full color that my monitor can produce. I read articles about calibration but didn't find how to solve the problem with lightroom.

You wrote
function(){return A.apply(null,[this].concat($A(arguments)))}
function(){return A.apply(null,[this].concat($A(arguments)))}But now all pictures in Lightroom are not so colourful as they were before.
This is probably the effect of your now calibrated monitor vs. the uncalibrated one.
Often uncalibrated monitors show highly over-saturated colors. It looks very rich and flashy and people are wowed.
But these over-saturated colors cannot be printed and do not reflect the true state of the image data.
When your monitor is calibrated properly it will display the colors as they should be.
When you chose sRGB all the colors - particularly the reds and greens - will appear more saturated. That is the effect of this color space that is much smaller than Adobe RGB or Pro Photo RGB.
LR will automatically find and select your calibrated color profile if it is saved in the right place / folder.
And you can't change that. There is no provision for a different color space in LR.
WW
PS: As Pete and other posters have said already: Set the white point of your monitor to 6500 - that is the accepted standard. Don't choose sRGB to make your photos look good. Rather work with a calibrated monitor and then edit your photos in LR to your liking. You seem to think that your photos are a given and you have to adjust your monitor to make them look good - that's not how it's done.
WW

Using Color profiles and exporting for web browsers

I've been trying to figure out the answer to this question. As I'm sure you're aware Safari supports color profiles while other web browsers like Firefox do not. I would like to setup Aperture so that it displays and exports images for the widest audience possible. Unfortunately it embeds a color profile and my images on the web only display correctly in Safari. I've tried changing the proofing profiles and export settings to no avail. I didn't seem to have this problem in iPhoto, a picture there looked the same on screen as it did in Safari and Firefox but I can't achieve the same with Aperture...

Thanks for that information, unfortunately I'm not really any closer to solving the issue since I've already tried that. 1) by default, doesn't Aperture automatically embed the sRGB color profile? 2) if I set view>proofing mode to sRGB shouldn't what I see on screen match what a "dumb" application such as Firefox does when it ignores the embedded profile and display sRGB? I've tried going into the preferences>export settings and changed everything to sRGB IEC61966-2.1 but I see no difference in the final image between that and the default setting.
I guess my question is more specific to Aperture since I don't have this problem with other applications. For example, in photoshop if I do Export for Web it strips out any embedded profile and when I open that image in Firefox and Safari side-by-side they are exactly the same. But not so when I export an image from Aperture, when opened in Firefox it is desaturated and flat and of course in Safari it honors the embedded profile and looks fine.

My screen went high-contrast. color profiles and calibration didn't help. It looks fine before I log in though!

My screen went high-contrast. color profiles and calibration didn't work well -
HOWEVER-
It looks fine right before I log in!
Is there a way to repair the color profiles or whatev?
I Installed Photoshop Elements and Premiere Elements a couple weeks ago that's when I think it began

I found it! "Enhanced Contrast" was set in the "Universal Access" control panel
Thanks, whoever posted that!

Can I share color profiles and distiller settings with all user accounts on my imac?

Everyone in our studio is on OSX 10.8.3 with adobe cs6 (not creativecliud version).
I have installed color settings and distiller settings on to the macs under the employees user profile.
All the machines also have a general user profile which anyone can use (setup mainly for use by freelancers).
Is there a space on the macs where i can install the color profiles and distiller settings so that all user accounts have them set up?
At the moment i am having to go into each user account on each machine and do it manually.
Also once i have installed distiller settings in one user account I can't install them on subsequent users.
I have tried placing the files in the
library/applicationsupport/adobe/color/
library/applicationsupport/adobe/adobepdf/settings
and
user/library/applicationsupport/adobe/color/
user/library/applicationsupport/adobe/adobepdf/settings
any help would be much appreciated.
Thanks,Russell

In that case, assuming your wife's XP User Account can access the D: drive as well, you don't have to bother with the To share your music with other accounts on the computer section of that article. That's already taken care of.
Just log into her account and head directly to the To listen to another account's music files section and follow those instructions.
If I had to emphasize one step to keep from stuffing it up, it would be:
4. Deselect the "Copy files to iTunes Music folder when adding to library file" option.
("Deselect" being a fancy way of saying "uncheck")

Need suggestion on Color Profile settings for printing image

I am trying to print the image below on a Xerox Docucolor 242. Im trying to get a better understanding of profiles and all that, which I THINK I do now.
Under Color Settings in Indesign, I have under Working Spaces, RGB is set to my monitor brand and type and CMYK is set to my exact printer. I have both of the Color Management Policies set to Off.
When I print the RGB version of this image, everything looks ok except for a very faded look. Probably noticed mostly because of all the black background that is used. When I print the CMYK version of it, it seems to print nice and dark but there is a strong white halo effect showing around both the flames which doesnt show on the screen or the RGB printout.
Anyone know what settings are causing the faded look in the RGB printout and the halo effects in the CMYK printout?

As others have said, this is a complex process, but one that is solvable.
I agree with others the RGB profile should NOT be the monitor but the profile of the original image. For most midrange cameras this will be sRGB or Adobe RGB depending on the settings in the Camera when the images was captured. It is NOT arbitary and choosing the wrong profile will have a large affect on the image.
The CMYK profile for the printer is more complex. There are two steps in calibrating and profiling a Xerox printer. First the calibration, or linearisation, sets the printer to a known state that can be repeated. This is best done with a spectrophotometer and not the CalorCal software provided by Xerox which uses a known colour chart scanned from the glass of the copier. The glass method of calibration does not calibrate correctly at the black end of the curve actually turns over reducing the available black, and is due to reflections from the glass. Calibration is normally done daily.
When the calibration has been completed a full ICC profile is created by printing a profile chart of some 2000 colours and reading this with the spectrophotometer. This is only valid for a calibrated printer and for the type of paper used. Different papers will require different profiles. It is a once only operation.
Another thing to watch out for is how your RGB images are being converted to CMYK. There is a setting both in the Creative suite and in the printer to set the black compensation. What you want to achieve is the same black as in the original image. In the CMYK case this will be printed as a combination of black toner pus a mixture of CMY to incread the density. The profile takes care of this for you.
Your description of weak blacks suggests that the black me be being printed as pure black toner.
Ian
NZ ColourManagement.

What color profile for digital printing?

Under color settings in InDesign i only find profiles for offset press but what color profile should i use if i want my document printed on a digital printer?

indewarry wrote:
i just find it strange that there is no 'standard' profile for printing for digital press. All profiles are for conventional press.
Like conventional presses, digital equipment uses a range of inks and papers, so there is no single profile that would always be correct, and the press operator can often calibrate the equipment to one of several differnt standards. I use a printer that offers both offset and digital (using an HP Indigo) printing, and all of their equipment is calibrated to GRAcol.
The fact that the printer couldn't tell you the correct profile is a big red flag shouting that they don't know anything about color management. Don't expect good color fidelity, and insist on a contract proof.

Color Profile and ACR 4.6 (Vista)

Hi,
My monitor is calibrated with Spyder3. I have set up my Photoshop CS3 so that the color management policies are disabled and the proof conditions are set up to the .icc profile produces by the calibrator. With these settings the files that I save in Photoshop look similar in Photoshop, Microsoft Office Picture Manager, IE and on paper.
But if I decide to open a RAW file, then it is opened in ACR and looks very different: all colors are over-saturated and totally unnatural. Nevertheless, clicking on "Save Image" without changing anything produces a jpeg, which, if opened in Photoshop, looks fine.
I played with this jpeg in Photoshop and was able to reproduce those unnatural colors of ACR in the following way:
- Go to Save For Web&Devices
- Open the Preview Menu
- Chose Windows Color
Normally I have Uncompensated Color chosen there and then it looks normal.
Here are the examples. First, how the file looks in ACR ad then in PS:
Does anybody know why this might happen?
Thank you very much,
Vera

vemina39 wrote:
Thank you Ramon,
Could you please elaborate? I have looked through the page you gave me a link to. I did not see much new there.
The problem I have is with proofing. If I switch to sRGB I have consistent colors through all my applications but they look very washed out and way too cold. If I then make my picture look "natural" (whatever that means) on my screen, it looks too saturated and too warm on most of other screens I tried. (And on paper too.)
Proofing under my .icc does not give that problem, but it has the other: ACR and Photoshop proof differently. So I cannot use ACR for conversion and have to use the Canon's software, which (I suppose) uses the monitor profile for proofing.
Are you OYing about the fact that I do not convert the profile of my pictures before sending them to the printer?
Vera
Vera,
If G. Ballard's excellent, clearly written pages did not help you, you can bet I won't be able to either.
No, I was saying OY! about your entire post!
Good grief! you're turning off Color Management in Photoshop (or you think you are, but you're not "turning it off", you're just messing it up) and you're massively misusing your monitor profile.
Honestly I don't have the time, strength or inclination to explain it to you step-by-step.
CAUTION: NEVER, ever set your working space to be your monitor profile!
In very broad strokes:
Calibrate and profile your monitor, use the resulting profile ONLY in your OS and nowhere else, not anywhere in Photoshop. Set your working profile to a device-independent profile such as ProPhoto RGB, Adobe RGB or sRGB, embed the same device-independent profile such as ProPhoto RGB, Adobe RGB or sRGB, in your file (that is called "tagging your file"), work with your file and save it.
• Then, for the web, Convert a copy the file to sRGB if it's not already tagged as sRGB, then soft proof (Proof) the file with the sRGB profile to see how other people who happen to have a calibrated monitor (less than 2% of all web viewers) will see it in a color managed application.
For heaven's sake DO NOT soft-proof with your gosh-darned monitor profile!!! You're just fooling yourself that way. No one else in the entire world will see the image the same way except by sheer serendipity.
—What kind of printer are you using? Are you talking about your own inkjet printer or a commercial printing press?
• If your own printer, then your file should be created in an Adobe RGB working color space (you can move up to an even wider space once you know what you are doing), tag your file with the embedded Adobe RGB profile, and then use your TARGET (paper) profile to soft-proof your image. The Target Profile, also called paper profile, MUST be specific to a particular combination of paper/ink/printer.
• If a commercial press, ask them to provide their own profiles for their print presses or devices so you can use it for soft proofing.
In both of these last two cases, use the paper target profile for soft proofing. NEVER your gosh-darned monitor profile!
Again: If G. Ballard's excellent, clearly written pages did not help you, you can bet I won't be able to either. I'm done here.

LR /Epson 3880 Color Profile / Monitor Calibration / Printer Calibration etc - X-Rite Color Munki

Looking for opinions on the X-rite product colormunki or spyder etc. to calibrate my monitors with the Epson 3880. My preview screen for printing in LR 5.7.1 looks VERY grainy (at times) and often the printer does not produce accurate color renditions of the monitor screen. Do folks have an opinion on this or a path they followed to produce the best prints having post processed in both Lightroom and Photoshop?

Excellent. Thank you. I did not realize that you were working with two sets of profiles, one for the monitor to ensure correct color/brightness etc that best duplicates what you will receive from the printer, and a second color profile that adjusts the printers interpretation of the print colors for the type of medium (paper, e.g., gloss, hot press, etc) that you are using to produce the product. This now makes sense to me. Therefore, if I am using the correct color management profile in the color management section of the LR print module, e.g. let's say an Epson Hot press paper, if my printed product does not render the colors in the same manner as I viewed them on the monitor, my next step would be to calibrate my monitors using a X-rite device or Spyder etc.
Going back to the X-rite Colormunki verses for example a spyder of x-rite i1Display Pro, I assume that the colormunki is able to create a profile for both a monitor as well as the paper you are using. The Colormunki is twice the price of the i1Display Pro. (I guess it scans the paper). Unless you are using a non-standard paper from a manufacturer that HAS NOT created a profile which you can download, you do not need a Colormunki and the i1Display Pro (or Spyder) to calibrate the monitor is all that is necessary.
Finally, your point about ensuring you do not "double" manage the color profile in the software (LR or PS) and the printer driver software is very helpful. The Epson 3880 printer driver allows you to turn off the color management by the printer but you also can set an input profile, printer profile, and a host of other settings etc depending on your production objective. You were correct in that, in some cases,I was double managing the color, hence, my product was much more accurate when I choose one or the other.
Thanks again for being so clear and taking the time to respond in detail. Much appreciated.

Color Profile and Color Shift Headache

I am having a terrible time trying to fix a color issue. I have seen suggestions in various discussions. Here's what I have tried:
Reset PRAM
Calibrate monitor
Double checked Univesal Access
Trashed preferences file
Tried using other profiles
Created seperate user account
I even tested to see if the video card or monitor was bad but when I plugged in a Viewsonic LCD display into the ADC port (using a converter) my Hitachi CM721F CRT monitor apparently "slaved" and mirrored off of the Viewsonic profile and everything was fine. When I disconnected the Viewsonic, the problem reappeared. Since then I have also had an Apple Cinema Display hooked up and there was no problem.
In fact, just this evening I was using iPhoto and all my photos had a red shift to them. Out of curiousity I played them as a slideshow and they looked fine. Additionally photo previews in the Finder, when set to column view look fine but when I open in preview I get a red color shift
What exactly is going on here?
Thank You
G4 Quicksilver Mac OS X (10.3.9)

HI
Even if bit depth and color profile aren't related, we can say that a small bit depth (8 bit) can have problems with posterization effects if a large (i.e. ProPhotoRGB) color space is used.
More colors can be "reached" in a large color space, so, if many of them are in a small range of RGB values (XYZ coordinates in color spaces are translated in RGB values at the end), some "near" colors could be "rounded", practically disappearing. So some "posterization" effect could be visible (posterization stands for colors that do not "fade" between them but are clearly separated at the eye).
So, in practical use, a 8-bit color depth is better used with sRGB and AdobeRGB color space, while larger color spaces like ProPhotoRGB need a 16-bit depth. Using "dithering" (random distribution of color pixel) technique can reduce the posterization effect (for Web image for example), but is better to keep the larger color spaces with large bit depth.
Hope it helps.
Massimo

LCD color profile and Keyboard shortcuts gets screwed up

My macbook pro is connected to a Dell flat panel to extend the desktop. Recently, and inconsistently, the color profile of my MBP's LCD will get screwed up when I exit from the Screensaver - the external display looks right. Just clicking on display in system preferences immediately corrects the color. But I would like to fix it from not happening every now and then.
Another problem I notice pretty much in the same sporadic way is that my keyboard shortcuts (F9 to F12) for dashboard and expose gets reset to none - I am not sure if they are even related as of now (can't reproduce it at will)
Has anyone experienced something like this? Any potential solutions?
Thanks!

My macbook pro is connected to a Dell flat panel to extend the desktop. Recently, and inconsistently, the color profile of my MBP's LCD will get screwed up when I exit from the Screensaver - the external display looks right. Just clicking on display in system preferences immediately corrects the color. But I would like to fix it from not happening every now and then.
Another problem I notice pretty much in the same sporadic way is that my keyboard shortcuts (F9 to F12) for dashboard and expose gets reset to none - I am not sure if they are even related as of now (can't reproduce it at will)
Has anyone experienced something like this? Any potential solutions?
Thanks!

Color profile and 2nd diplay

quite often, when I wake my PowerBook from sleep with an external screen attached, the PowerBook's display will show an incorrect color profile (I beleive it is taking the color profile of the external display).
When this happen, simply clicking "Display" in system preference will solve this without any further step.
This is annoying and it is still not solve in 10.5.4. I'm using the external display as the main display.
Is it just me or others are also experiencing this bug?

Let us know. It always hard to determined if the modification solve the problem since it isn't always showing up. There also a mention of video correction in the last security update... I must say that the problem haven't show up yet.
I just hope that this isn't related to the video chip recall...

Macbook Pro Color Profile and Calibration for Photo processing.

Hello Friends,
May be it has already discussed in many forums but somehow I got confused about different solutions of the questions and due to this asking once again here.
I am using Macbook pro of 2012 and there exist many color profiles in the Display settings.
I am a photographer who uses Photoshop for the editing as well as Canon Software.
To get the most accurate Monitor Calibration Should I use default "color LCD" profile ?
I am not using any External Calibration tool. I have manually calibrate the screen but somehow I am not 100% confident on that.
In that case should I go for default "color LCD" for my photo processing. I found some light yellow cast/warm color on that profile but I am not sure..
Any help/suggestion will be much appreciated.
I am using:- MacBook Pro + OS X Mountain Lion 10.8.5
Warm Regards,
Ari...

Which model MacBook Pro? [EDIT] my bad, didn't see it in your original post
You mentioned that there is no error message when you try to change the profile; something is probably being reported to console though. Open Console.app (in /Applications/Utilities/) and see if anything is reported to it while you're experiencing these problems. If so, please post it here and I'll take a look at it.
Are you using the default profile that came with the machine or did you create your own by using the Calibration Assistant?
You might try opening Color Sync Utility (in /Applications/Utilities/) and verify or repair (if necessary) your color profiles.
Hope this helps....
Dual 2.7GHz PowerPC G5 w/ 2.5 GB RAM; 17" MacBook Pro w/ 2 GB RAM - Mac OS X (10.4.6)

Color profile and 16 bit printing

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