Colors fade on export

I've been using Aperture for over a year and have never noticed this problem before. I was editing some photos today and choose "Edit with Photoshop", and when the image opened in PS the colours were noticeably desaturated. I had only applied a small increase of 1.1 to the saturation slider, and even if I export an image with no adjustments, the colours still looked faded in Photoshop and in Preview. It doesn't seem to matter whether they are tiffs or jpegs, or the colour space.
I tried it with several images and they were all desaturated.
Here's a screen grab that shows the same image in Photoshop and Aperture:
http://arossphoto.com/filechute/aperturefade.png
Any ideas why this would be happening? I profiled my monitor this morning, so everything should look fine.
Thanks,
Andrew
Message was edited by: andrewross

I don't know what was going on, but I just rebooted and now everything seems okay. Perhaps the new monitor profile I created today wasn't being applied properly, and in Aperture the images appeared over saturated.
The ICC monitor profile is the destination ICC profile concatenated in the ICC matching session whose output you are seeing. If you see a side-by-side difference between any two ICC-enabled applications on the same display using the same ICC monitor profile, the ICC monitor profile is not the cause of the difference.
In order to work with the ICC architecture, you will want to know that you capture and correct once and once only. This produces the digital original, that is, your colourants plus the ICC profile for the colour working space that describes the colours they should form in the colour connection space.
Typically, the colour working space would be a linearised space and it would be as large as necessary to hold any colours that output devices could be capable of reproducing. It would be expressed as an ICC monitor profile, but it would be larger than a physical monitor's profile.
The idea is that if the digital original is placed in different ICC-enabled applications, they will use the embedded ICC colour working space profile as source, include any intermediate ICC profiles for colour devices to simulate, and match to the destination ICC monitor profile.
They will concatenate these ICC profiles using the rendering intent settings for these ICC profiles. In principle this gets rid of the pre-ICC problem that people were manually changing the colourants to match across applications, chaotifying colour communication (and degrading image quality).
The replacement problem is that of configuring for compatible assumptions across ICC-enabled applications. The wrong way is to tweak the image in one to match it to another (as before). The right way is to set the ICC profiles and rendering intent transforms the same.
Not that setting Photoshop is simple, unfortunately.
/hh

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