Colour management issues

Hi there
I have a problem with the way InDesign displays the colours of photographs. I have created a book which contains lots of photos. The oringinal RAW images were exported from LR4 as ProPhoto RGB files, opened in PhotoShop CS5 (working spaces: ProPhotoRGB and Blurb icc profile). The files were then converted to the Blurb (an online book publisher) CMYK profile and saved as new files.
The InDesign document has the same colour management setting as I used for PS CS5 i.e. RGB colour space: ProPhoto and CMYK colour space: Blurb.icc profile. When I place the files into the document they become noticeably over saturated. When the book was finally printed the images were not the same as the InDesign document or print ready PDF. BUT were a perfect match with the CMYK images opened in PhotoShop. I'm using a calibriated Eizo monitor, so should not be any issues there.
Has anyone experienced this issue before or can anyone provide a possible explanation?. Any advice gratefully received.
thanks
Jan

When I place the files into the document they become noticeably over saturated.
Select the image and check the ICC profile in the Links panel link info. Make sure its profile is the expected blurb CMYK profile. If it's Document CMYK check the document CMYK profile in Edit>Assign Profiles... and make sure it is the Blurb profile. The assigned profile can be different than the Color Setting's working space profile.

Similar Messages

Colour Management Issue with PS CS3 and Leopard 10.5.2

Hi Everyone,
Since I have installed Leopard I am having colour management issues with Photoshop CS3 and my Canon i9950 printer.
My screen is calibrated with a Spyder and I used to ask Photoshop (in 10.4.11) to manage colour when printing and used the Spyder profile. Everything came out as I saw it on screen.
Now in leopard when I do the same thing everything comes out too yellow on the print. If I ask Photoshop to let the printer manage the colour it is too red. If I use the default colour management (photoshop managing the colour and it choosing the colour space it is better, but still too yellow).
Photoshop gives the hint to turn off colour management in the printer but there is no option for this and it also said the same thing before of course (when it worked in 10.4.11).
Any ideas?
Thanks.

>It was working perfectly in Tiger with the monitor profile.
You were lucky.
the monitor profile is so Photoshop can display your images correctly.
the working space is Adobe RGB, sRGB, BruceRGB, ect... these are all known color spaces so when the file goes to another computer there is a consistent color space for reference. If you use your monitor profile as a working space then nobody else knows what is going on with your file.
when you print you need to use the printer profile for the type of paper you are printing on this is supplied by the printer manufacturer. you can also have custom profiles made.
you need to read up on color management:
http://www.gballard.net/psd.html
http://digitaldog.net/

Colour Management issue With Leopard and PS CS3

Hi Everyone,
Since I have installed Leopard I am having colour management issues with Photoshop CS3 and my Canon i9950 printer.
My screen is calibrated with a Spyder and I used to ask Photoshop (in 10.4.11) to manage colour when printing and used the Spyder profile. Everything came out as I saw it on screen.
Now in leopard when I do the same thing everything comes out too yellow on the print. If I ask Photoshop to let the printer manage the colour it is too red. If I use the default colour management (photoshop managing the colour and it choosing the colour space it is better, but still too yellow).
Photoshop gives the hint to turn off colour management in the printer but there is no option for this and it also said the same thing before of course (when it worked in 10.4.11).
Any ideas?
Thanks.

You need to use the correct printer profile for the paper you're using. If the printer didn't come with any pre-built profiles, check Canon's web site to see if they have any profiles available for your printer that you can download.
Printer profiles are very specific. You can't take take a profile for glossy Epson paper and expect it to work very well for Canon glossy paper.

Colour Management Issues with Leopard and Photoshop CS3

Hi Everyone,
Since I have installed Leopard I am having colour management issues with Photoshop CS3 and my Canon i9950 printer.
My screen is calibrated with a Spyder and I used to ask Photoshop (in 10.4.11) to manage colour when printing and used the Spyder profile. Everything came out as I saw it on screen.
Now in leopard when I do the same thing everything comes out too yellow on the print. If I ask Photoshop to let the printer manage the colour it is too red. If I use the default colour management (photoshop managing the colour and it choosing the colour space it is better, but still too yellow).
Photoshop gives the hint to turn off colour management in the printer but there is no option for this and it also said the same thing before of course (when it worked in 10.4.11).
Any ideas?
Thanks.

I'm having exactly the same problem, only my printer is a Canon Pixma iX4000. The colour is all bleached out, it looks exactly like when you've accidentally printed an RGB file on a CMYK printer, and at first I thought that was what I had done, but it isn't. This is very frustrating, I've spent all day going through the manuals, recalibrating etc, but no luck. This is a brand new Mac Pro and printer, but if its not going to print what I see on screen it's just expensive junk.
I wasn't sure if the problem was Leopard or the printer or CS3...

WARNING: Canon Pro Printers and CS4 – Serious Colour Management Issue

Over the last four days (and over fifty prints) I have undertaken extensive and meticulous tests to identify the cause of a problem; namely that targets for profiling a new printer (a Canon Pro9000), printed with ‘no colour management’, were printing far too dark and with what appeared to be a colour cast.
I have conclusively eliminated the printer, the printer drivers, the Mac OS, corrupted preference files, corrupted user accounts, incorrect Photoshop settings, incorrect printer driver settings, the ‘sticky settings' issue, and user error as possible causes of the problem.
I can say with 95% certainty that my tests, conducted using Mac OSX 10.4.11, have proved the following:
That, printing to a Canon Pro9000 or iP4500, Photoshop CS4 does not print accurate targets suitable for producing profiles. This applies to both the No Colour Management (NCM) and the Printer Manages Colour (PMC) settings.
Photoshop CS and CS2 are not effected.
I did not test CS3.
Furthermore, colour managed prints (using the same accurate profile made in CS2), printed in CS2 and CS4, show subtle differences. This may not be an issue except in the most critical applications.
It is likely that the problem will not be confined to the two Canon printers above since many other Canon printers share the same driver architecture.
Reading posts and discussions on other websites would seem to indicate that this problem is also manifest with some Epson printers and may also effect Mac OSX 10.5.
I have to conclude, therefore, that Photoshop CS4 cannot be replied upon to print targets of sufficient accuracy to produce reliable profiles for a colour managed workflow.
The fact that this is only just being reported can be attributed to four factors:
That many CS4 users are continuing to use profiles made under older versions of Photoshop and have yet to make new profiles using CS4.
Some users may not immediately notice a problem, or may ascribe it to other causes.
Some users may take the line of least resistance and use a previous version of Photoshop to work around the problem.
Some users are still using the older versions of Photoshop not effected.
Eric Chan (of Adobe) has stated on another website that CS4 implemented some new APIs for printing and that this has given rise to some "minor glitches". If Eric Chan is correct, and Adobe changed the APIs in Photoshop CS4, this begs question of whether Adobe sufficiently tested CS4 before release ? If Adobe did not test their software, and therefore failed to identify this critical problem, this would suggest negligence on Adobe’s part. If Adobe identified the problem but then did not inform users that a potentially serious colour management issue existed this would suggest wilful or gross negligence.
It is not good enough to say that Adobe simply followed the ‘conventional’ path and ‘followed the rules’ regarding API implementation. The experience of end users does not correspond to a “minor glitch” and, in my case, has been extremely costly in terms of time (over five days in all), lost revenues, and materials. Furthermore, why should Adobe's customers be forced to use their valuable time diagnosing problems clearly of Adobe's creation – and actually admitted.
In UK law providers of goods and services (and this includes software) have to supply them as “fit for purpose”. Clearly, in terms of colour management, CS4 is not fit for purpose. Neither can Adobe hide behind its labyrinthine licensing terms since any exclusions would be ruled unlawful under the UK’s ‘Unfair Contract Terms’ Act.
My strong and unequivocal recommendation is that representatives from Adobe, Apple, and the printer manufacturers meet together – with the utmost urgency – and provide a rapid and complete solution. It is simply not good enough to pass this ‘over the wall’ saying “it’s not our problem”. It is. Adobe's, Apple's, and the printer manufacturers'. Please solve it. And quickly.
Identify the problem clearly, make it and the solution/s public; and publicise it widely and thoroughly.

Dear DYP.
Thank you for your concern.
"What fixes have you tried?"
If I may quote from my post above:
"I have conclusively eliminated the printer, the printer drivers, the Mac OS, corrupted preference files, corrupted user accounts, incorrect Photoshop settings, incorrect printer driver settings, the ‘sticky settings' issue, and user error as possible causes of the problem.
I can say with 95% certainty that my tests, conducted using Mac OSX 10.4.11, have proved the following:
That, printing to a Canon Pro9000 or iP4500, Photoshop CS4 does not print accurate targets suitable for producing profiles. This applies to both the No Colour Management (NCM) and the Printer Manages Colour (PMC) settings.
Photoshop CS and CS2 are not effected.
I did not test CS3"
These tests took place over three weeks and involved over five days of work and the replacement of the printer on Canon's recommendation (although the printer is clearly not at fault).
Please note that I am using Mac OSX 10.4.11.
"What driver versions are you using?"
Pixma iP4500 6.9.3 (also 6.9.1, 6.9.2 and the driver supplied on the CD).
Pro 9000 4.8.7 (also 4.7.3, 4.8.4 and the driver supplied on the CD).
"Yes it is frustrating but in a lot of cases it is fixable as I and others have clear reported, on this and the LR forums."
I have not found any fix on any website referring to Canon printers, despite exhaustive searches (this includes Canon's European and US websites which are mute on the issue).
The ReadMe file supplied with the installation disc of CS4 refers to problems with "some Canon printers" when printing with the 'Printer Manages Color' but does not identify using 'No Color Management' nor Epson printers as having issues.
I hope this post answers your questions.
Clearly all users of CS4 need to be warned of this problem which is likely to effect other printers. I believe that I am assisting others by issuing this warning. It is done, not to cause mischief, but in the spirit of a public service. CS4 users can then treat their printing results from CS4 with caution, and then conduct their own tests. I have presented a workaround which is to use a prior version of CS4.

Colour management issues! help!!!

Hi,
I have just bought a new printer. an Epson 1430 artisan. And Illustrator won't let me print anything it comes up with an error about colour management being inconsistent.
Just wondering how I can fix this? I need this for my home business and need to use it ASAP.
Thank you

The monitor calibration becomes important when what you see on the screen does not match what you see in your prints. What system are you using PC or Mac? Your monitor may have some controls for such things as brightness. Check the manual to see how you can achieve a fairly decent brightness level ( depending on the screen itself ). Look for the monitor control panel on your computer and see if you can find "Display Preferences > Calibrate". If you have it there are several adjustments that can be made, including "White Point". As I previously mentioned, the Epson 1430 Artisan has a User's Guide that shows you how to access advanced settings in the Print dialogues. That printer, along with many others, is a photographic printer that can achieve a decent color gamut. You have to do some reading and some experiments to establish what works for your particular print application(s). You almost surely are not limited to photography because you printed using Illustrator. In Illustrator, you may want to match colors more closely than you would in a photographic environment like Photoshop. You have told us what type of business and/or what type of printing you do on a daily basis. Just that colors do not match from what look great on screen to what looks like crap in prints. Color management is a very sophisticate and complex issue that is not quite addressed properly by the average consumer. But, ask any professional photographer and they can rattle off their settings in a heartbeat. Open up Illustrator's Color Settings > Advanced dialogue and take a look at some of the work spaces you have to choose from. Look at things like "Rendering Intent" and "Black Point Compensation". I'm a graphic designer. I select and maintain ( in Illustrator ) Rendering Intent = Relative Colorimetric. I have "Black Point Compensation" selected or "ON". My RGB workspace is Adobe RGB; CMYK workspace is US Sheetfed Coated ( SWOP ) v2. My document color space is always CMYK. See if you get some better results using them. By the way, most, if not all, monitors are sold with a White point and brightness too high for Illustrator work.

ICC profiles- iPhoto colour management issues.

I read in one of the Mac magazines the following regarding the release of iPhoto 5.0.3 ...."images are no longer colour-shifted after editing;....". Does anyone know if this refers to a resolution to the long running problem whereby iPhoto would overide the embedded ICC profile when saving back into iPhoto after editng in Photoshop. I do hope so as this was an unacceptable major flaw in a programme from Apple - a firm which prides itself at being at the forefront of colour management ! I can find no reference to this is in any release notes on the Apple support site - anyone with 'inside knowledge" ?

When I place the files into the document they become noticeably over saturated.
Select the image and check the ICC profile in the Links panel link info. Make sure its profile is the expected blurb CMYK profile. If it's Document CMYK check the document CMYK profile in Edit>Assign Profiles... and make sure it is the Blurb profile. The assigned profile can be different than the Color Setting's working space profile.

CS4 Colour management issues

I am having problems colour managing images from CS4 photoshop through Espon 2100 inkjet printer. The same images behave more consistantly through iPhoto or aperture. I have tried letting the application control the image, and then the printer controlling the image. The latter is a better result though still a long way off. I always use epson inks and epson paper, and the printer heads/nozzles are clean. I have exhausted all options with the printing company! Thanks!

Thanks twenty_one, I do always do this. The best solution I have so far is to ensure the image opens up in p'shop where the rgb pref is adobe rgb, I then have p'shop set up to notify me if the profile is different to this and if so for the profile to be amended to aRGB. I then let the printer rather then p'shop control the printing, selecting premium semi gloss photopaper, and ensuring that 'no colour adjustment' is not highlighted, but 'colour control/or colour sync' are. This gets me fairly close, and I have to admit the iMac is not colour calibrated. If i send images off to a good printer I always receive prints that match my monitor so I know the calibration is not far off. Thanks for your feedback.

Colour Management - who does what - Some thoughts now the smoke is clearing

First up, thanks very much to everyone who contributed their ideas and expertise to my recent query here, when I was seeking help for a problem with colour management issues when printing a magazine I edit. I have a ton of suggestions to work through and study but the smoke is slowly clearing and it raises some interesting points which I think are worth recounting.
First of all, I have been editing short run magazines now for 25 years, at first part time and later on a professional contract basis. I am not a trained graphic designer nor a trained printer. I did start out training as a graphic designer, many years ago but gave it up for a career in IT (as a networking specialist). That was full time until 10 years ago, although I did some freelance writing and editing in my spare time.
And yes, I did start originally with scissors and cut and paste, and moved on through black and white with spot colour and Pagemaker software to full colour and InDesign today. One thing which may be different about my experience to most of yours is that I am a PC user and always have been. All my editing and graphics work has always been done on a PC - Pagemaker was our DTP package of choice for a long time and we supplemented this with Corel-Draw (which has a range of graphics handling options). All my software is legal and I always register it and keep it up to date. I have used the same graphic designer for quite a few years now and whenever we upgrade our software he goes and gets trained on the latest release.
Around 10 years ago I was offered the chance to edit a specialist short run magazine (not the current one). This was a chance I took and gave up the day job and became a full time freelance. Editing is not my main or only source of income. I am also a freelance writer and photographer and heritage consultant and I have a specialist image library.   I sell my own sell my work - articles and pictures - to the national and local press. I also write books (non fiction) on commission. The magazine editing is really an extension of my interest in historic landscapes. I have never had any complaints, or problems, with the freelance work, photos and archived images I sell. Clients include national newspapers here in the UK, national magazine groups and my books are available in national bookstore chains. I supply my work digitally, naturally, and it includes photos I have taken myself and items which I have scanned into my library of historical images and store on line. No reported colour management issues there.
I have always enjoyed a good relationship with my publishers and printers because I seek to be as professional as possible, which means delivering my stuff on time, to the required standard so that minimum intervention is required from them. This does assume that I have a clear brief from them on what they need from me.
Recently this approach has not been enough to avoid colour management issues with the short run magazine I currently edit. I have been wondering when and where things went astray and date it back to the upgrade to InDesign two years ago. However it may have its roots in my earlier decision to use PCs not Macs for my work.
Until 4 years ago I had used the same printers for magazine editing for many years. They were a well respected firm specialising in short run magazines. They were not far from where I live and work and if there was a problem I would go over and discuss it with them. They were happy, and competent, to handle Pagemaker files generated on a PC and convert my rgb images to cmyk if there was any concern about the colour balance. On a few occasions I paid them to scan a photo for me. However 4 years ago the owner decided to retire and shut up shop. I needed to find a new printers and it had to be someone who specialised in short run magazines and could meet the budget of the charity I edit for. Also someone who could handle copy generated using Pagemaker running on a PC. I chose a printers I had used briefly in the past where I knew some of the staff and was promised PC based Pagemaker would not be a problem. I even got this in writing. I started to send them proofs generated using Pagemaker v7 on my PC.
I soon found that although they had agreed they could handle Pagemaker on a PC in fact they had only a few PC based clients and were using a single ageing PC running Pagemaker to proof their work. In fact nearly all their jobs were Quark based. I was also told we had to supply CMYK images although not given any further requirement so I now did the conversions from rgb to CMYK using my PhotoPaint software. (There are quite a few settings in Corel for the conversion but there was no guidance by the printer on which to use so to be honest it did not occur to me that it might be a problem).
Now of course I understand that the drive to get customers to supply CMYK images was a Quark driven requirement back in the late 1990s. I did not and do not use Quark so knew nothing for this. I did have some early colour problems and font incompatibilities with the new printers and was pressured by their senior Graphic Designer (who designed for their own contract clients) to upgrade to InDesign and provide them with a .pdf, which I was assured would solve all my problems. The .pdf would be the same as the final printed magazine because "it would not require any further intervention by the printers".
I expect you are collectively throwing up your hands in horror at this point, but I think he was speaking genuinely. The creation of a .pdf using InDesign, is widely promoted as the ultimate answer to all printing issues.   I have encountered it recently with a lot of printers' salesmen and my friend, who edits a learned journal, has just been told the same thing by her printers, to get her to upgrade to ID. Incidentally she also uses a PC.
So we upgraded our design process in house to InDesign and our graphic designer went on a course, two courses in fact. When we came to produce our first .pdf using ID, the printers' Senior Graphic designer came on the phone and talked our designer through the ID Export function. I think he may at that time have told him to create a preset profile with MPC and the defaults, but to be honest I don't recall. We were never sent anything in writing about what settings we needed to match theirs. I continued to have intermittant colour management problems but put this down to my photos. Things came to head with the most recent issue where the colours were badly out on the cover, supplied by a press agency and taken by a professional photographer. The printers seemed to have little or no idea about possible causes.
Initially I thought that part of the underlying cause must lie in some mismatch between what I was sending the printers and what they expected to receive so I asked them to specify what I should send. All they said was use Profile preset as MPC setting and accept the defaults which accompany it.
So I came on here looking for a solution. A lot of people were keen to offer their own experience which I really appreciate. However the messages could be conflicting. Some of you suggested it was the underlying cover photo which was at fault, some that it was my monitor which needed better calibration.
Many of you here said that part of the problem, if not the whole problem, was the way I was generating my CMYKs for the printer and I should use Photoshop to do this. You also mentioned a number of possible colour management settings which I should try.
At times the advice seemed to change tack. There were suggestions that the colour management issues I had were nothing to do with the printers, that it was up to me not them. Quite a lot of you said I needed to be better informed about Colour Management issues. I agree, but I had never had any previously (maybe good luck, maybe good support from my previous printer) so I was not even aware that I needed to be better informed. Some of you mildly chastised me for not finding out more and doing more to manage my own colour management with the switch to ID. To which I can only say if I had needed to train up, I would have done. I did not realise I needed to. Nor was my designer aware of the issues as colour management was not really covered on his ID courses which were about typesetting and design.
Some of you even seemed to hint that unless I was prepared to use an expensive high end printer or effectively retrain as a print specialist or get my graphic designer to do so, then I probably shouldn't be in the magazine editing game at all. OK maybe that is a bit harsh but you get the drift.
The fact is that printing is much more accessible these days to all sorts of people and in particular to people with PCs. My brother lives in a large village in an isolated area and produces a village magazine which has been a great success. It is in black and white with spot colour but he would like to move to an all colour issue. He is a bit nervous of the colour management issues as he has no experience of graphic design and is his own designer using a low end entry level design package. He too uses a PC. The printers reps all tell him the same thing they tell me, that all he needs to supply is a .pdf using InDesign.
Somewhere I feel a black hole has developed, maybe back in the 1990s with Quark 4.11. A lot of printers standardised on that, and set up a work flow and prepress dependent on CMYK images as provided by the clients. They assumed the the clients would doing their own colour management. This approach also assumes everyone is using Quark on a Mac with the full range of Adobe software. When it became possible to generate .pdfs using InDesign, this was held out to users as the Holy Grail of magazine printing, even though their workflows and prepress were still based on Quark 4.11 principles. Any underlying colour management issues the clients now have to tackle themselves.
So now we have the situation in which I find myself, having to learn from scratch a good deal about colour management issues so that I can tell the printers what is needed for my magazine. Meanwhile all the printing salesmen, the ones I encounter anyway, are still busy pushing the InDesign to .pdf as the "be all and end all" solution. Some re-education is needed for all parties I think.

I am glad to see that the sun is peeping through the clouds.
I apologise for my Aussie-style straight talk earlier, but as I said before it was not directed personally at you but in the direction of others whom you epitomize, repeating a conversation I have had many times over the last 10 years or so where respectable, well-meaning photographers, designers and other contributors refuse to accept that colour management is being thrust upon them.
It is a simple fact of life, there is this 'new' thing that has butted into the very root of our trades and changed the most basic principles of printing and photography. We expect that this kind of thing does not happen but the industry we now work in is not the same one we trained in twenty years ago.
Many printers are still struggling with the same conflict, so many tradespeople cannot accept this change.
This is exacerbated by the fact that colour management is so complicated to learn and implement and confounded by the fact that the default settings and a clumsy workflow often yield acceptable results with incorrect, generic settings, hence the old 'use InDesign and make a PDF and it will be ok' route.
When the chain of colour management includes the photographer, the photographer's client, the designer, the other designer maybe, the prepress person, and the platemaker, and a single incorrect click by any one of those can kill the CM it is not surprising that in the end when someone is looking back to see where it fell over they usually never find out.....   They will meet someone who says ' I never touched it, I simply opened the file and scaled it and closed it'. And that person will be a reputable photographer or designer (and CLIENT) who has no idea they just broke it. So what do we do? We go with the generic setting that seems to yield adequate results therefore avoiding the confrontation.
You need to understand the situation of the printer who took his business through the 'early' days of colour management, we had all kinds of very reputable sources supplying incorrect files, we did not have the expertise yet to be able to address the entire workflow, it would have meant training photographers and designers all through the best design houses and national institutions, because they blamed the printer. Only in the last few years have I seen these people coming around to the fact that they bear responsibility for implementing their own cm and maintaining it through their own work.
Sadly, many high end sources are still not there, and I mean HIGH end! Probably the ones that don't even visit this forum because they want to keep blaming the printer... They tend to live with the poor quality reproductions and just pull up the worst ones and fiddle with those and try to avoid the 'elephant in the room'.
I am sorry to say that it was not practical for a printer to reject mismanaged files for fear of losing clients who would happily accept less than perfect results in order to avoid the painful truth that was being told to them. The best thing we could do was to gently make those clients aware that their workflow was imperfect and hope to show them how we could help... Many print shops do not have someone knowledgeable enough or patient enough to do this, or the boss does not understand the issue either and tries to work around it to keep his jobs flowing in the expectation that all those experts in the chain will eventually tame the thing.
The many experts on this holy forum are waaaaayyyy ahead of the printing industry in general and photographers and designers in general in their understanding of colour management workflow. I have seen first hand how reputable local industry people and trainers alike are spreading misinformation and bad techniques, when I discovered these forums back in about 2002 I found that they opened up a whole new galaxy of knowledge and facts that actually worked and made sense, unlike what I had been told locally.... This forum taught me what the Adobe text books did not, the Tech' teachers did not, local 'experts' did not!
I tell all interested people to join these forums and learn to discriminate between the good and bad information.

Colour Printing issue

Hi all,
Hope someone can help. We are running Indesign CS3 and have encountered a recurring problem when printing from our laserjet. We generally use indesign for assembling presentation docs. We are 3D designers rather than graphic designers so only use Indesign in a fairly rudimenatry manner.
The issue lies that we sometimes create a coloured back ground, on a page, using the box tool and then place images (from a CAD rendering programme or photoshop etc onto this back ground) the images placed would either have the white background made transparent in photoshop then inserted into indesign as a TIFF or we would match the RGB/CMYK in the original programme to the colour of the box so that the bounding box of the inserted image does not show. Generally on screen everything looks ok until we print whereupon the bounding boxes of the inserted images tends to show through as a slight colour discrepancy (whether it was transparent or the same colour as the background box). This problem happens when printing direct from In design and also if we turn the doc into a PDF. In both cases the doc looks ok on screen.
I'm sure we are doing something fundamentally stupid and wonder if it is an RGB/CMYK issue between images inserted and the doc itself.
Thanks for any help

Hello,
From what you've described it's a colour management issue and your cmyk profiles are likely to be different, what i'd suggest is do the following:
Check your colour suite settings (photoshop, indesign, illustrator etc), these should be the same throughout (syncronised) so you've got consistant colour management throughout and assign the right colour profile to your images.
Check your images are CMYK if you're matching the sliders, not RGB - most rendering engines will do RGB as standard so you might need to change the colour mode.
Are you using spot colours? if you are, convert them to cmyk as you're more likely to get transparancy issues.
Hope that helps!

Printing Colour Issues - colour management settings

Hi there
I've been having some serious printing problems recently when I print from InDesign CS5 and also from Acrobat when printing PDFs exported from InDesign.
All of the print out colours a wrong (such as Blacks printing as pink)
I have tried changing several settings, but nothing seems to be fixing it.
I've replaced all my inks and I can print fine when printing in other programs such as word, so its not an ink issue.
My printer is a Canon MP540
I'm using a Mac, on OS X Lion.
I think i'm using the default colour management settings, however could this possibly be the issue?- which settings might work?
I would REALLY APPRECIATE any help with this issue!
Many Thanks

if I look at the same image in the default 'Preview' on Mac, the
colours look different to what I see in PS
First, that would clearly indicate your image does not have an embedded profile, or Ps is being told to ignore the embedded profile — Ps is applying a different profile (or it may have been dinked around with in its Edit> Color Settings> More Options> Advanced Controls).
It is best for most people not to dink around with Color Settings> More Options...to get back a Default starting point, just select a preset like North American Prepress 2.
I know there are a million posts and articles on this complex subject
You only need one good article to grasp the basic issues.
The short answer is you are either missing something in scenario One, or you are hitting a bug.
When Photoshop setups a correct SourceSpace-to-PrintSpace Conversion the Epson will print your file faithfully if your Source Color is within print gamut and your Print Space reflects an accurate ICC profile to the specific printer-paper-ink you are printing to.
I would recommend testing with a known good file like the download Photodisc PDI test image (so bad files don't confuse the process)...

Photoshop CS6 Colour Management Printing issue

Hi,
We use Photoshop and 2 x Epson 9800 printers to print our images, we used to use CS4 and have recently upgraded to CS6.
We are having a problem with the “Colour Management” settings in the Printer Settings window. We choose for Photoshop to Manage Colours and select our ICC profile and Rendering Intent and Black Point. Our problem is that these settings reset each time we switch between our 2 printers back to “Photoshop Manages Colours” so we have keep selecting the same settings over and over again. This never happened on CS4.
How do we save these settings so that they do not reset each time we switch between printers.
I don’t think it has any relevance but we have our printer’s settings set to “No Colour Management” as the warning states.
Kind Regards
Steven

You possibly need to add the profiles for your printer first.
In LR select 'other' in the profile dropdown for the color managment. In the list check all the profiles you need for your printer.
When you select a printer profile in LR and let LR manage the colors make sure to turn off the color management in your printer driver settings.
HTH
Franz

How do I fix colour picker to work across different colour-managed monitors?

Hey everyone!
I'm assuming this problem I'm having stems from having colour-calibrated monitors, but let me know if I'm wrong!
To preface, this is the setup I have:
Windows 7
3 monitors as follows, all have individual colour profiles calibrated using the Spyder 3
Cintiq 12WX
Dell U2410
Dell 2409WFP
Photoshop CS6 - Proofed with Monitor RGB, and tested with colour-managed and non-colour-managed documents
I usually do most of my work on the Cintiq 12WX, but pull the photoshop window to my main monitor to do large previews and some corrections. I noticed that the colour picker wouldn't pick colours consistently depending on the monitor the Photoshop window is on.
Here are some video examples:
This is how the colour picker works on my Dell U2410: http://screencast.com/t/lVevxk5Ihk
This is how it works on my Cintiq 12WX: http://screencast.com/t/tdREx4Xyhw9
Main Question
I know the Cintiq's video capture makes the picture look more saturated than the Dell's, but it actually looks fine physically, which is okay. But notice how the Cintiq's colour picker doesn't pick a matching colour. It was actually happening the opposite way for a while (Dell was off, Cintiq was fine), but it magically swapped while I was trying to figure out what was going on. Anyone know what's going on, and how I might fix it?
Thanks for *any* help!
Semi-related Question regarding Colour Management
Colour management has always been the elephant-in-the-room for me when I first tried to calibrate my monitors with a Spyder colourimeter years ago. My monitors looked great, but Photoshop's colours became unpredictable and I decided to abandon the idea of calibrating my monitors for years until recently. I decided to give it another chance and follow some tutorials and articles in an attempt to keep my colours consistent across Photoshop and web browsers, at least. I've been proofing against monitor colour and exporting for web without an attached profile to keep pictures looking good on web browsers. However, pictures exported as such will look horrible when uploaded to Facebook. Uploading pictures with an attached colour profile makes it look good on Facebook. This has forced me to export 2 versions of a picture, one with an attached colour profile and one without, each time I want to share it across different platform. Is there no way to fix this issue?
Pictures viewed in Windows Photo Viewer are also off-colour, but I think that's because it's not colour managed... but that's a lesser concern.

I think I've figured out the colour management stuff in the secondary question, but the weird eyedropper issue is still happening. Could just be a quirk from working on things across multiple monitors, but I'm hoping someone might know if this is a bug/artifact.
Going to lay out what I inferred from my experiments regarding colour management in case other noobs like me run into the same frustrations as I did. Feel free to correct me if I'm wrong - the following are all based on observation.
General Explanation
A major source of my problems stem from my erroneous assumption that all browsers will use sRGB when rendering images. Apparently, most popular browsers today are colour-managed, and will use an image's embedded colour profile if it exists, and the monitor's colour profile if it doesn't. This was all well and good before I calibrated my monitors, because the profile attached to them by default were either sRGB or a monitor default that's close to it. While you can never guarantee consistency on other people's monitors, you can catch most cases by embedding a colour profile - even if it is sRGB. This forces colour-managed browsers to use sRGB to render your image, while non-colour-managed browsers will simply default to sRGB. sRGB seems to be the profile used by Windows Photo Viewer too, so images saved in other wider gamut colour spaces will look relatively drab when viewed in WPV versus a colour-managed browser.
Another key to figuring all this out was understanding how Profile Assignment and Conversion work, and the somewhat-related soft-proofing feature. Under Edit, you are given the option to either assign a colour profile to the image, or convert the image to another colour profile. Converting an image to a colour profile will replace the colour profile and perform colour compensations so that the image will look as physically close to the original as possible. Assigning a profile only replaces the colour profile but performs no compensations. The latter is simulated when soft-proofing (View > Proof Colors or ctrl/cmd-Y). I had followed bad advice and made the mistake of setting up my proofing to Monitor Color because this made images edited in Photoshop look identical when the same image is viewed in the browser, which was rendering my images with the Monitor's colour profile, which in turn stemmed from yet another bad advice I got against embedding profiles . This should formally answer Lundberg's bewilderment over my mention of soft-proofing against Monitor Colour.
Conclusion and Typical Workflow (aka TL;DR)
To begin, these are the settings I use:
Color Settings: I leave it default at North American General Purpose 2, but probably switch from sRGB to AdobeRGB or ProPhoto RGB so I can play in a wider gamut.
Proof Setup: I don't really care about this anymore because I do not soft-proof (ctrl/cmd-Y) in this new workflow.
Let's assume that I have a bunch of photographs I want to post online. RAWs usually come down in the AdobeRGB colour space - a nice, wide gamut that I'll keep while editing. Once I've made my edits, I save the source PSD to prep for export for web.
To export to web, I first Convert to the sRGB profile by going to Edit > Convert to Profile. I select sRGB as the destination space, and change the Intent to either Perceptual or Relative Colorimetric, depending on what looks best to me. This will convert the image to the sRGB colour space while trying to keep the colours as close to the original as possible, although some shift may occur to compensate for the narrower gamut. Next, go to Save for Web. The settings you'll use:
Embed Color Profile CHECKED
Convert to sRGB UNCHECKED (really doesn't matter since you're already in the sRGB colour space)
and Preview set to Internet Standard RGB (this is of no consequence - but it will give a preview of what the image will look like in the sRGB space)
That's it! While there might be a slight shift in colour when you converted from AdobeRGB to sRGB, everything from then on should stay consistent from Photoshop to the browser
Edit: Of course, if you'd like people to view your photos in glorious wide gamut in their colour-managed browsers, you can skip the conversion to sRGB and keep them in AdobeRGB. When Saving for Web, simply remember to Embed the Color Profile, DO NOT convert to sRGB, and set Preview to "Use Document Profile" to see what the image would look like when drawn with the embedded color profile

How to turn off printer colour management in LR 5.7?

Using an EPSON R3000 with bespoke profiles and getting a magenta colour cast. It seems there is some double profiling/ conflict at work. I don't seem to have an option to turn off colour management - like this:
For my system, the colour matching is greyed out and I can't change anything. When it's greyed out, does it mean it's automatically turned off?
Does anyone else have this issue? Everything works wonderfully in CS6, no issues printing with ICC profiles from there. Using MacOSX 10.8.
Thanks!

The behavior in screen capture two with the two radio buttons grayed out is correct. You cannot turn off color management anyway. The magenta cast is another problem.

Colour management warning for dual display users

For those of you who require a colour managed workflow and have more than one display, be very careful in Mountain Lion. It appears to have a bizarre bug where images loaded and shown on the primary display (e.g. in Preview) are initially rendered with the colour profile from the secondary display, or something along those lines. Dragging the display window to the secondary display and back again sorts things out. I've filed a bug report.
If your two (or more) monitors have the same colour profile, you won't have a problem. The only workaround I can see is to set your least important display(s) to all have the same profile as your (probably calibrated, if these things matter to you) primary display, at least until (if?) the bug gets fixed.
If you want to see it for yourself, set your two displays to differing profiles - e.g. NTSC (1953) on the primary and Wide Gamut RGB on the secondary. Then load an image into Preview - something with lots of shades of red "works" well for the colour profiles mentioned. Take a screenshot of the Preview window as a reference. Move the window to the secondary display; note the colour shift as it gets re-rendered. Now drag it back to the primary display. It'll look quite different compared to the screenshot you took earlier, despite the fact it's the same image being shown by the same application on the same display in the same window... All you did was drag the window between two monitors and back again.
It doesn't seem to matter if the image in question has a colour profile embedded in it or not. When comparing with your screenshot, feel free to drag the screenshot between the monitors too - after all, it'll be suffering the same rendering bug! You'll still see a different result; in fact it may even be magnified by the accumulated rendering errors.
Preview isn't the only application affected; I've seen identical issues under harder to replicate circumstances in Safari, for example.
Given this fault and others I've seen with colour rendering in Lion, plus several new bugs found in Mountain Lion, I'm afraid that if a colour managed workflow is important to you - well - Snow Leopard or Windows...?! Ugh, what a mess

I've encountered many of the same woes with color management being a graphic designer, but here's my issue:
Have a 15" (Early 2011) Macbook Pro. It is turned on with me hooked up to my Dell U2410 and display open for a dual display configuration. The Dell is my primary monitor.
I then unplug my MBP to use it around the house. I go to plug it back into the Dell for my dual monitor. I notice that the color on the Dell looks good, but now the MBP has a very blue color temperature. Like moving from the preconfigured 'Color LCD' profile to 'sRGB' which definitely shifts to a blue color on the MBP.
I check the color profiles in System Settings and the Color profiles are correct. 'Dell U2410' for my Dell and 'Color LCD' for my MBP. But as I said, it's much bluer than standard. I try to change the color profiles around on the MBP and no matter which I select it's always the same color with no shifts I would expect to see.
Only solution I have found is to restart my computer. Upon restarting all is well again in the world.
It's pretty annoying having to restart my computer everytime I plug it back into my workstation with Dell and keyboard.
Related note: USB does not work when I plug things back and again have to restart to fix this.

Colour management issues

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