Colorsync Profile for exporting to print

Hi All,
What Colorsync Profile should I use for a generic printing service? I know I should work in / export in sRGB for the web but what about if I am getting prints done from a local photo lab?
Cheers,
W00DY

Absolutely use the calibrated profile. sRGB originated as an approximation of what most CRT monitors could display. But it was just an approximation and differs quite a bit from Color LCD or any calibrated profile. Color LCD for MacBook Pros is actually quite a bit smaller than sRGB and reflects the fact that laptop LCDs can't display the same range of colours as, say, and Apple Cinema Display. Have a look at the different profiles in ColorSync Utility to get a feel for what they all look like. Select a profile and then rotate the 3-D map of the profile in the right-hand side pane.
If you have calibrated your monitor and they came out with a green tint I would suggest that the problem is more likely with the printer rather than your monitor. (You are way ahead of 95% of people - myself included - by using a hardware calibrator; nonetheless, you could do the calibration again and compare the resulting profiles by, say, switching between them and seeing how that affects your colour display on your monitor or by comparing them in ColorSync Utility.)
To isolate the problem - try using a different printer for your next run and compare. Indeed, if you have the time and care enough, try sending the same file to various printers to see the variation. Pick one you are happy with and then stick with them.

Similar Messages

Copying or installing paper specific colorsync profiles for my canon ip4300

I have the specific colorsync profiles for the various types of paper loaded for my canon IP4300 on one of my imacs that i moved upstairs. I have one of the new 2.8 C2D 24inch imacs now connected and i want to print from it to the Canon. the problem is that i do not recall how i got the profiles onto the other mac. i want to copy the profiles and get them onto the new imac. I cannot seem to find them after looking at EVERY library file on the system and searching for the profile names etc. Please help me know where to look and how i can get them moved over or get the profiles from somewhere and install them. they are not on the disc that came with the printer.
As a side i know i can print across the network but it requires that i go up and down the stairs and across the house to check output.

Normally, they would be in the /Library/ColorSync/Profiles/ folder. They may also have been installed in the Profiles folder of your user account, but not as likely.
Sometimes though, they are buried in with the printer drivers themselves. As an example, the Epson 4000 we use copied all of the profiles it came with into the /Library/ColorSync/Profiles/ folder. We didn't want to use the provided profiles, so we deleted all of them. To our surprise, they all continued to show up in the lists of profiles. Turned out they were also in a package file named SPro4000.plugin in the /Library/Printers/EPSON/ folder.
Have you contacted Canon to see if they could help you locate them?

Color profile for export in Aperture 3.0.3

Hi
What is the best color profile for exporting in aperture 3.0.3 (specially, if the pictures are used for stock). I normally use the export version TIFF or PNG original. Is ADOBE 1998 or sRGB or something else? In Photoshop I have sRGB.
Thank you for your advice.

Colour Profiles don't have a best one. It is a way of matching colour produced by one type of device so that it is reproduced by another type reasonably well. Allan

Which Color profile for softprofing to print to Apple's book services?

I'm looking for a simple, specific and official answer as to which specific ColorSync profile should I choose for 'Onscreen Proofing' in Aperture? My intended output is Apples Print Services (Hardcover book).
I've crawled the web looking for this simple answer with no luck.
It seems to me that this profile (ie an accurate characterization of Apple's Printing Services) should be at the top of the list (in View/Proofing Profile/). Instead all I could find are discussion forums which hint or guess as to which profile to use.
Alternatively. It should be documented in the manual or the "How to create great looking books?" articles something like: "If you are going to order a book from Apple, then choose the sRGB profile for onscreen proofing. Apple's services are calibrated to this profile and guarantee consistent results". <-- Something like this appears nowhere!
So again. I'm printing my books ($$$) on Apple. Which Proofing profile should I choose?

I'm looking for a simple, specific and official answer as to which specific ColorSync profile should I choose for 'Onscreen Proofing' in Aperture? ... Alternatively. It should be documented in the manual or the "How to create great looking books?" articles something like: "If you are going to order a book from Apple, then choose the sRGB profile for onscreen proofing. Apple's services are calibrated to this profile and guarantee consistent results".
Not sRGB, argghhh -:)
In a colour matching conversion, you have a source colour space (in this case, your ICC type MNTR Monitor profile for your RGB working space) and a destination colour space (in this case an unknown ICC profile, probably of type PRTR Printer).
Your aim in the ICC architecture is to capture into and correct in as large a source colour space as is necessary to contain the colours you can render on the largest colour spaces of displays, printers and presses. This excludes sRGB as source by definition.
The sRGB colour space is the colour space of an HDTV cathode ray tube. This colour space cannot hold colours a lot of output devices can render, including the pure cyan of an ISO 12647 offset printing condition on art paper, and for inkjet sRGB is even worse as source.
Open the Apple ColorSync Utility, select sRGB in the RGB profiles list, click the Disclosure (triangle) icon in the CIELa*b plot, and select Hold for Comparison. Then pick an inkjet profile in the RGB profiles list or a large gamut offset profile in the CMYK profiles list, and turn the 3D graphic to see what can be matched directly and what can be matched only by reshaping the colours.
PDF printing masters can either have only the source ICC profile(s) embedded or both the source and destination ICC profiles. In the former case, the colour matching is done at runtime and you have to wait to see what prints.
In the latter case, you embed the destination ICC profile as OutputIntent and submit PDF/X-3. Since you are allowed to embed either type PRTR Printer or type MNTR Monitor profiles as OutputIntent, and since both are bidirectional for printing as well as for proofing, you have a contract proofing condition.
But in order to work with PDF/X-3 you need to know enough about rendering intents and gamut mapping behaviours that you don't set the wrong rendering intent per object in the page. So a runtime rendering workflow ensures that you get to draw to the maximum gamut available in the printing service, without giving you advanced controls.
/hh

Embedding ICC profiles for third party printing?

Hi,
This is a question regarding Elelments 11 and embedding ICC profiles. I have succesfully set up a colour balanced system for printing on my own premises. At the time of printing I select the relevant ICC profile for the printer/ink combo I am using. However I need to send files way for larger sizes and want to ensure colour correct prints that match as closely as possible the prints I produce in my own studio.
How do I embed the third parties provided ICC profile in the file before sending to them?
Any help on the correct process would be appreciated,
thanks
Andy Martin

Not sure the following answers your question, but have a look here:
http://www.drycreekphoto.com/tools/profile_converter/

Colour management profile for LaserJet 2200 printer?

I am reasonably familiar with the basics of colour management. My monitor is calibrated, I use Epson's standard colour profiles for my Epson 3800 inkjet printer and what I see on the screen is more or less what I get out of this printer. However, I am having less success in controlling the printing on my HP LaserJet 2200 of monochrome images contained within an InDesign CS4 document.
The obvious answer would appear to be to use a purpose-designed printer profile for the HP LaserJet 2200 but, so far, I have failed to find a source for such a profile. Can anyone help?
David

When you save a grayscale (if you save in grayscale mode and aren't just saving a completely desaturated or otherwise made to look like grayscale RGB or CMYK mode image) in Photoshop you should be saving with a grayscale profile like Dot Gain 30% of Gamma 2.2 or something else from the list. These profiles are designed to match printing conditions of various types or different types of monitors (and I'm not going to go into a lot of detail here).
Photoshop understands grayscale profiles, InDesign does not, so it looks at the numbers and says these are all black, so they belong in the black channel, and I'll put them in that channel in the current document CMYK working space. Different CMYK profiles behave a little differently when you print, but to be perfectly honest, I've never really investigated the consequences of choosing one over another for printing grayscale, because all the information is already black and I don't think assigning a new profile would change anything (though CONVERTING to a new profile might well take your grayscale and make it a 4-color image).
Dot gain is the amount of "spread" that happens to each halftone spot wne the ink is absorbed by the paper, and the number is usually defined as the amount of gain for a 50% dot. Dot gain causes images to print darker. For a classic illustration, think of using an eyedropper to drop a single drop of ink onto a sheet of tissue paper, and you'll get the idea. Coated papers usually have better ink "holdout" (they are less absorbent) than uncoated papers, and thus lower dot gain.
Laser printers don't use liquid ink, but they do have gain. The toner is melted and gets absorbed into the surface of the paper as it goes through the fuser which is what keeps it from falling off as a pile of dust.
So how do the prints look now, and what are the settings you are using in the print dialog?

Recommended sRGB profile for export - use in browsers

Is there any recommended sRGB profile for use in internet presentation? Below you find the same picture displayed in chrome (left) and internet explorer (right). Colors look quite different, the chrome version appears to be much more natural, the saturation of the ie-version seems to be higher. I know that color management capabilities of different browsers are different. Is there ICC profile recommended that does not show these effects?
The picture was generated using the LR export function. File Format JPEG, Colorspace sRGB.

I see you have a wide gamut monitor...which means the first thing you must learn is to forget IE and deny its very existence . It's useless.
There is only one sRGB, that's not your problem. The problem is IE not converting that sRGB source profile to the monitor profile for display.
They botched it completely with IE. Instead of a normal color management chain - converting source data to your monitor profile - IE converts everything to sRGB and passes that on to the display. What a brilliant idea that was...this way they made absolutely sure, with 100% certainty, that it will never display correctly - especially vividly demonstrated on a wide gamut monitor. Yes, that was sarcasm.
A wide gamut display requires fully color managed software to work as intended. You also need a valid monitor profile for that software to use. These are absolute requirements, no exceptions.
You need a web browser with full color management in all scenarios. The only one that qualifies is Firefox, with color management set to mode 1. This assigns sRGB to all untagged material, honors all embedded profiles, and converts that to your monitor profile for display. No other browser delivers on all counts.

Icc profiles for aperture book printing...

Do the Aperture Book Printing folks provide icc profiles so I can soft-proof the images beforehand?

Please note that monitors provide fairly accurate color when the images are saved in an sRGB color space, however, presses are not as reliable...
Well, Mike, thanks for sharing the info here.
At one point, in Mark's email to you, as mentioned above in his email from Apple, I have to say I am a little surprised about his statement re: monitors provide fairly accurate... when the images saved in an sRGB colour space...
It is very tricky statement where it depends on how we define the term "fairly accurate" in monitors. What we don't know if Mark meant by when monitor has been "properly" set up as profiled and calibrated with high-grade calibration hardware. Unless IF the monitor has been proper profiled and calibrated, then his statement would be correct. But IF not profiled or calibrated at all, I am afraid that his statement is incorrect.
Now these days with newer monitors and newer Apple laptops with better monitor technology, it is still need to be properly profiled and calibrated. It just depends on individual's preference, desire and the purpose of such project whatever someone is working on. While majority of Aperture users' are probably mostly professional photographers or those who are into photography savvy, then colour-managed workflow is a norm. For me, it IS absolute A MUST colour-managed workflow.
Although, I do a heavy post-production workflow on MacPro where I always have my monitors calibrated. I don't typically calibrate my laptop, though. Because sometimes I forgot to turn off the automatic ambient light in System Preference in Display section. It is a little inconvenience in that case. Unless if I am being away on photographic trips far from Canada abroad, then it is a different story. But not always bring my calibration device with me. Too inconvenience to haul it around at the airports etc. So colour-managed workflow is a must with MacPro in my studio.
However, other individuals have their own preference, comfort zone and the purpose of such project. Perhaps their workflow set up differently than yours or mine, that is ok.
But in that email you received from someone at Apple didn't make it clear about that statement about 'fairly accuracy'.
Then something else is something else actually--when Apple guy said presses are not always.... Again, that is why it is important that you get monitor properly profiled and calibrated. Once it is done properly, then it is all good. But remember, you need to re-calibrate monitor once a week or every two weeks or once month. In order to get pretty close to printed output, always a good idea to soft proof. If needed to make slightly conservative adjustments to your satisfaction or level of expectation, the output would be fairly close to what it is appeared in monitor. When I mean "fairly close" in comparing the output to what you are seeing in monitor with these post-production images used in that output, in fairness, I would estimate fairly close in terms of anywhere in range between 92 to 95 percent - that is very fair conservative perspective on how close in the output vs monitor. It is truly, really, truly rare to get the output 100% as obvious and precise as you are seeing in monitor. If that is the case, and if that is true FOR that person achieved this, this probably means takes that person many years to perfect his/her colour-managed workflow for that matter. Never has been that pretty close, but I'd be shocked if I see mine aced right on spot. I'd be lying to you if I get all output perfect as appeared in my monitors. If I did, that would be incorrect statement.
It seems a lot of factors and things to do and things need to require in a thoroughly colour-managed workflow production, it is how it is done. But this can also means save money, effort and time if done properly right from the beginning.
In fairness, I would really wish that guy from Apple should have said a little more obvious and precise with his definition of fairly accuracy with monitors. It doesn't says what kind of monitors he refers to. Low quality, cheap monitors deliver good results? Lot of factors need to be looked at for consideration for yourself.
Of course, as you can tell that colour management topic is pretty heavy, highly technical and everything in deep thinking with world of colours. It takes years for an individual (both pros and non-pro individuals) finally understand what it is all about. Again, technologies evolve rapid for the better in many cases for new monitors, commercial print equips, advanced ink technology, advanced paper production technology... That goes on effortless endless, actually.
Hope some of thoughtfu perspective and experience be of some interest, and it is obvious that this discussion probably will attract some more excitement discussion, the more the better. So that every other Aperture users who have the similar issues, they'll definitely want to come to here... And learn and share.
I also use Blurb too. They are getting better than it was once a couple years ago when Blurb first started. As they add more variety of book sizes, types of paper stock and things like that. This also give someone some flexibility in choosing workflow production using Blurb software or online bookmaking or using PDF to Book service for those who are advanced users that use InDesign layout design app. In that case of PDF to Book, the advanced users would need to download Blurb's preset plug-in to put in InDesign in order to export the PDF output to meet and integrate into Blurb's Preflight Checklist at the time of upload. I use PDF to Book service with InDesign, etc. It is fairly self explanatory and easy to follow steps. Also slightly off topic, but when making Blurb book, to get most out of their product and service with Blurb, in that case, they came up with brilliant resource called Colour Resource Centre designed for making more beautiful books. In that resource centre, it is easy to read and follow.
I would think this probably shed some insights and understanding the basics of colour management, the whole thing all about this, that and the other all together.
I would also want other high-powered hard-core Aperture users share their experience with Aperture Book printing service. I'd be happy to share my experience about making Aperture Book vs. Blurb Book through PDF to Book service. However, I would think the export to PDF from Aperture probably has it's own different setting or slightly different configuration inside the PDF engine on Mac for Blurb book. There has been some discussion about wanting a Aperture Plug In for Blurb Book. blurb has been quiet on it, I take that they probably will not develop a special plug-in for Aperture Users. Sorry if it is a little off topic. But somehow someone in the discussion mention Blurb. so...
Anyhow, hope that helps.

Missing Grayscale profiles for export

I have began to use LR2 for my scanned B&W images. When I export them, the only profile choices are color profiles. So I click Other..., a window pops up with the text "Choose profiles to appear in Custom Profile popup:"
But there is no way to choose profiles - the only option is "Include Display Profiles", which is not what I want - I'm looking for Gray Gamma 2.2.
So I have to export with a color profile, then convert back to Gray 2.2 in Photoshop - not excactly non-destructive.
I'm not sure if this is a bug or a feature? Or am I missing something?

> ... Am I correct, from your postings that you must export in color to Photoshop CS3, ...
You can create the grayscale image in Lr, but realise that it is still a RGB image, and only Ps can convert it to a "true" grayscale" image. Also realise, that the 2 are entirely equivelent, even if the RGB image file size is 3x larger. Therefore, a RGB grayscale with sRGB embedded is absolutely equivelent to a grayscale image with the "gray 2.2" profile embedded.

Color profiles for web and print

Hi,
I am editing photos from my DSLR. They were shot as jpg in Adobe RGB. I am editing photos for both web and print at the moment and was wondering if there is a way to do that so that I would be able to edit for both simultaneously in the Photoshop process.
Here are the details for what I normally do:
For print, I would work photos over in AdobeRGB while the Proofing option is set to Working CMYK (usually SWOP, depending on what printer I use). Then I'd flatten the artwork, resize and sharpen, and change the color mode to CMYK, save as TIFF.
For web, I usually edit while RGB Color Settings are set to sRGB IEC61966-2.1, and Proofing is set to Monitor RGB. I flatten, resize and sharpen, and Save for Web.
Is there any way I can edit a single photo (shot in Adobe RGB) so that they can be used for BOTH print and web? I know CMYK vs. RGB would mean that they would end up looking different in the end, but is there any way I can have a single Photoshop file for a photo and go through the necessary steps to make it ready for print and for web... or is it that due to color profiles and proofing options, there's nothing I can do but to edit each photo twice?
Thanks in advance to anyone who might be able to help.

karoleend wrote:
Thanks for the advice. I'll try that out.
I posted my second question before I read your response, but yes, it does seem the best choice to convert to sRGB when Saving for Web. And you say you place your .psd file into an InDesign document? Do you do that if you only wish to save as a pdf... what do you personally do when saving as TIFF for print?
I don't save Tiffs for print. I use PSDs. I don't ever give ID files with all linked files to the printer only PDFs. If i'm working on something like a coffee table book I would do the conversion in Photoshop. but most magazines and newspapers, CD covers, posters, brochures everything stays aRGB until I make the PDF.

Colorsync - how do I create a profile for HP printer

Help. I have a new printer (HP Photosmart C4750), and it's profile doesn't at all match my onscreen colors. I need to create a colorsync profile that will address this, but am having NO success with the information I'm finding. Anyone?

Your best bet (cheapest) is to look on HP's site and see if they have profiles for that model printer. You may also find them on the disks the printer came with.
Be aware that printer profiles are very specific. The exact same model of printer must be used when creating one, and the exact same paper. When you're done, that profile is only good for the paper used as glossy paper will give you completely different results than plain paper. It's also brand specific. If you used HP glossy paper, you can't substitute Epson glossy paper, or even a different type of HP glossy paper. Color will come out different.
So if HP does have any profiles you can get for your printer, they should also be noted as to what paper they are for.
Next least expensive is to have an outside service create your profiles for you. They would send you target images to print, which need to be printed in a very specific manner. You then send the printed sheets to them and they create a profile from them to be emailed to you upon payment.
Here's one place which can do that. You can find a few more by looking through these links.
After that, you need to shell out some bucks. Least expensive is an X-Rite ColorMunki at about $320 at various online stores. I've tried them, and while they work, they don't produce very good printer profiles. What I use is Monaco (X-Rite) Profiler with a DTP-70 auto reading spectrophotometer. However, this type of setup will set you back about $4,500.

Where do i have to i put my custom colorsync profiles

Where do i have to i put my custom colorsync profiles for illustrator (mac osx 10.9). I can't acces them from the color management print menu.

You should ask in Illustrator
The Cloud forum is not about using individual programs
The Cloud forum is about the Cloud as a delivery & install process
If you will start at the Forums Index https://forums.adobe.com/welcome
You will be able to select a forum for the specific Adobe product(s) you use
Click the "down arrow" symbol on the right (where it says All communities) to open the drop down list and scroll

Colorsync profil files in folders-?

from canon … or to resolve the folders into ~/Library/ColorSync/Profiles ? What is to do with .icc files packed into folders, please?

If you put all of the profiles for your Canon (printer, I assume?) in the Profiles folder of your user account, only your account will see them. No big deal if there are no other user accounts on that Mac.
What is to do with .icc files packed into folders, please?
Not sure what you mean. Where else would you put them? .icc files are profiles, so they naturally belong in a Profiles folder.

ICC profile for Aperture books?

All-
I've looked around Apple's web site and have not been able to find an ICC profile for soft-proofing a book. Does anyone know of a source for such a thing?
Thanks,
Andreas

Having watched an Apple video detailing the benefits that Aperture offers in terms of on-screen colour proofing I found it strange that there is no profile for Apple's book printing partner in Europe (or the US).
Wouldn't it be useful for Apple to include a profile for the own printing partner 'in the box' so that users can on-screen colour proof their book before sending. After all, this is supposed to be one of Aperture's main features. I can't understand why they don't. At least they could expand on the reasoning behind this.

Profile for Aperture books

( we calibrate our screens ) but our books come back slighly darker - we use SRGB

Having watched an Apple video detailing the benefits that Aperture offers in terms of on-screen colour proofing I found it strange that there is no profile for Apple's book printing partner in Europe (or the US).
Wouldn't it be useful for Apple to include a profile for the own printing partner 'in the box' so that users can on-screen colour proof their book before sending. After all, this is supposed to be one of Aperture's main features. I can't understand why they don't. At least they could expand on the reasoning behind this.

Colorsync Profile for exporting to print

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