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?

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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.

Color management settings for the best print output

Color Management while Printing has been one of the challenging areas which has been discussed a lot over user forums and has been a painful area in terms of clear understanding while taking print outputs.
Here is an easy-to-understand KB (Knowledge Base) article ‘Color management settings for the best print output’ to help you get the best from your printers using PSE and bridge that knowledge gap.
This article explains color management in Photoshop Elements, how to get better prints, and addresses some of the following issues like horizontal/vertical streaks in print output, too dark or too light print output, ICC profile problems and Color differences between prints from PSE and other applications.
Thanks,
Garry

Thanks Noel.
Yes have shared in PSE forum as well. But I usually drop such posts on PS General forum so community moderators as well as our power users who mostly use both PS or PSE or are aware about can communicate to their students, audiences etc.
The idea is to reach out the message to as many as folks via relevant forums. Most of my otehr posts have found mentioned only on PSE forum.
Thanks for the feedback Nice to hear such a great feedback within 5 mts of publishing
Regards,
Garry

I've just installed OS 10.6.8. Now I can't get my HP LaserJet 2200 printer to work.

I've just installed OS 10.6.8. Now I can't get my HP LaserJet 2200 printer to work.

Check out the following & do the necessary:
http://support.apple.com/kb/HT3669 Printer and scanner software available for download
What to do when you can't print
Sometimes, installing the GIMP drivers help with printing issues: http://gimp-print.sourceforge.net/MacOSX.php
HP Support

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.

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/

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

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.

Lightroom won't recognise all my colour management profiles

I can't get Lightroom to recognise all the colour profiles I have saved in the Library profile file. I have downloaded them from a printing service and Lightroom is only picking up a random 6 out of 13. I am trying to do this in the color management section by clicking on profile then other. The problem is that only 6 profiles are showing in the choose profile dialogue box. I've tried closing Lightroom down and starting it again several times and also deleting the profiles and reinstating them. I have also recently deleted the preference file in the Library in case there are any general problems going on. Thanks in advance for any help.

abihedderwick wrote:
As far as I'm aware, none of the ones I've downloaded are CMYK profiles -
Profile have to be downloaded and installed. And the installation has to be done in a certain folder, or Lr and other programs cannot find the profiles.
But if you can see the profile in Photoshop but not in Lr, then nothing is wrong with your installation, and the only conclusion left is that it's a CMYK profile.
In Windows color profiles have to be installed in this folder: C:\Windows\System32\spool\drivers\color.

Can't install drivers from HP for laserjet 1022 printer on my new computer with Windows 7.

I have a laserjet 1022. I can't install the HP drivers provided on the HP website onto my new computer. When it asks me to connect the printer, the printer is recognized, however the message continues to say waiting for the connection. I have tried all of the suggestions listed on the forum by both HP and other individuals, including down loading the drivers from other countries. Other attempts when downloading the drivers ends up with a message saying that the download could not be completed. I have tried other USB cables and that doesn't work. I love HP products but I really need help on this one. HELP!
Regards,
Day Trader
This question was solved.
View Solution.

Hello DayTrader,
When you connect the printer and if the message continues to say "Waiting for Connection", please try the below step..
Go to Device Manager, ( to do so , Right click on Computer icon, Select Manage, from the left pance m click on Device Manager , which would display the Device Manager on right pane.)
There should be Yellow bang entries ( Yellow ! mark ) with printer name on it.
Right Click on each of them and select Update Driver.
Select "Browse my Computer for driver software "
Click on Browse button to point to the CD ( if you are using the CD to run the installation ) else copy the path where the drivers have been extracted if you had downloaded it. Usually it will be in folder with name starting 7z... under TEMP folder .
Then Click Next button .
Regards,
Jabzi
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Regards,
Jabzi
Give Kudos to say "thanks" by clicking on the "thumps Up icon" .
Click "Accept as Solution" if it solved your problem, so others can find it.
Although I am an HP employee, I am speaking for myself and not for HP.

Colour management on a HP DeskJet Printer 895Cxi

We have just done a test to see if the colour on the printer is ok and found that it is not printing the colour yellow. We have changed the colour cartridge and also the black and white and it has still not printed the yellow. Could you advise what to do.

This issue is typically caused by a very old #23 cartridge. If these are HP cartridges (not refill/reman) then check the cartridge "install by" date on the package, your cartridges are probably well beyond their rated life. Alternately, check the warranty date printed on the cartridge as shown here.
You can verify the cartridge is the issue by gently blotting the printhead on a damp tissue. You will only have a stripe of cyan and magenta, a fresh cartridge would have cyan, magenta and yellow.
Soaking the #23 printhead in 1" of very hot water for about 10 minutes may recover the cartrdige. If not get a fresh (check the date on the package) HP 23 cartridge.
Bob Headrick, HP Expert
I am not an employee of HP, I am a volunteer posting here on my own time.
If your problem is solved please click the "Accept as Solution" button ------------V
If my answer was helpful please click the "Thumbs Up" to say "Thank You"--V

One month for LaserJet 1006 printer driver

Just spoke with HP support using online chat.
Was informed that it would be a month before a printer driver for the LaserJet 1006 will be available.
I find this hard to believe.
Alan

HP Printer Driver update (version 2.2) is available through Apple Software Update or directly via download from Apple.
I just downloaded and it works fine with my P1006.

Wired LAN for Laserjet P1100 printer?

I have a Laserjet pro P1100 printer that was connected to my iMac desktop via USB.We've moved and our new house has wired LAN outlets which I'd prefer to use rather than USB or wireless connections. Is there a way to adapt a standard RJ45 ethernet cable to the USB port on my printer?

Hey @drmac1 ,
Thanks a lot for the question, now lets get you an answer!
Unfortunately that is not possible.
Sorry for the inconvenience. Have a great day!
I worked for HP.

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.

SCOM management packs for POS, wireless, printer, scanners

Hi,
We are looking for a solution where we want to integrate monitoring of various devices, that might be used in a typical Retail Store operations, into System Center Operations Manager 2012.
Please let me know how SC OM can support monitoring Point of Sales devices, wireless devices, printers, scanners etc.
Thanks.

A lot of it depends on the architecture of your systems, obviously there is the functionality that comes out of the box, but you can extend this by developing your own monitoring. I find mapping out the system in something like visio helps you identify what
needs to be monitored. Generally if you can script some sort of check then you’ll be able to use this to feed into SCOM (using a variety of methods such as the event log, text files or event custom data sources).
It’s difficult to be specific without knowing how the various components make up your system.
I'd map out the system and then post anything you're struggling to monitor.
Hope this helps

Colour management profile for LaserJet 2200 printer?

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