Colors don't accurately print.

I am using Lightroom 5 with an HP 6510 printer.  I run everything with an iMac 10.7.5. My ink cartridges are full.  Whenever I go to print the colors are all shifted to the green.
Color printing works fine with other products like MSFT PowerPoint.
There seems to be an incompatibility between Lightroom 5 and my HP printer.
Any ideas?

I wonder if this could be a color management problem. I use a different HP printer, and I cannot disable color management on the printer. So I always have to disable color management in Lightroom. If both the printer and Lightroom are trying to manage the color it can cause the problem you are experiencing.

Similar Messages

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    I don't know the answers to the things you list, but I had a similar problem which I addressed by selecting all of the graphics the document at once and then adjusting the opacity to 80% before printing. When printed on white paper, it brightened the colors up considerably. It may not be the permanent fix for the issue, but it helped me get the work done.

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    (sorry for the double post, since the problem affect both illustrator and photoshop and in fact also indesign) in decided to repost it here in the photoshop forum. thank you for any help!)
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    +

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    Thanks, I look forward to hearing back from you.
    Please click the Thumbs up icon below to thank me for responding.
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    Please click “Accept as Solution” if you feel my post solved your issue, it will help others find the solution.
    Sunshyn2005 - I work on behalf of HP

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    An excellent question, and worthy, in fact of an essay, if not a chapter in a book on color management and proofing issues. And as you suggested earlier, it's a philosophical question (not strictly conceptual to my way of thinking).
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    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.
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    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.
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    H

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