Colour Management Sites Worth Bookmarking

Came across this useful source of reference at Outback Photo ( via photo.net ) - it lists loads of sites dealing with colour management.
http://www.outbackphoto.com/tforum/viewtopic.php?TopicID=1930

Similar Messages

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.

A Colour Management tutorial from an amateur

Archiving at the end of a long project I came across a document I assembled at the start when I wanted to teach myself about colour management. I spent several weeks reading, experimenting and putting together these notes, but it all came to nought. To quote from the notes:
…I chose not to use colour management when printing my books on a Xerox iGen3. I converted the InDesign files to PDF with all colour management turned off, and asked the printer to print ‘direct’. The iGen RIP converted RGB images to CMYK, and CMYK images were printed as per the colour numbers. Using certain colour settings for my monitor, and for Photoshop and InDesign, I was able to obtain a very close match between what was on screen and what was on paper without the need for profiles…
I've asked a fair few questions here over the years, and this forum has been a great help, but I rarely offer anything in return. Well, here's a little something that some people might find useful. A mob of information about colour management, collated from various sources with my tuppence worth here and there to make it flow. It was put together before my InDesign days when I used Pages, so forgive the mediocre layout.
Colour Management (450k) can be downloaded here: http://www.mediafire.com/?86edp6742ac6zlv (If Peter Spier is reading this: Peter, that's a hot link now; I've upgraded my Mediafire account so there are no more banners).
If anyone visits here in the future and that link doesn't work (which will happen if I upload a new version), try this one, a link to the folder: http://www.mediafire.com/?an9n0o36nymwv
Please let me know if there are any gross errors in the PDF and I'll fire up Pages and correct them.

geoffseeley, Welcome to the discussion area!
1) amber light keeps flashing but internet works - is this a problem?
I believe that indicates that you do not have wireless encryption enabled. If you enabled wireless encryption, the light should turn green.
3) how does iTunes work through the extreme box? am i supposed to plug my home cinema into the extreme box somehow?
The AirPort Extreme base station (AEBS) has no special features to support video/audio directly. iTunes has nothing to do with the AEBS.
The AirPort Express (AX) has an audio out port for streaming music from iTunes.

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.

Perennial colour management question (browser srgb)

Howdy folks,
I wish I knew why my photos get banding and crushed blacks in the colour managed browsers, but the exact same image looks fine in the color managed applications - bridge and photoshop.
Chrome and firefox do this:
Eeek! Green in my skies!
Photoshop does this:
and IE displays the colours incorrectly but without banding!
I've wondered about this for year. I thought at one point it might be a monitor profile setup issue, but it happens on both my monitors, I've changed systems and graphics cards.
Heres the whole image:
Here in chrome that sky has bands of purple and green (or at least turquoise). Anyone else seeing that?

Hi again all,
I've finally found some time yesterday to investigate this further and re-calibrate my monitor.
I nuked the previously created ICC monitor profile (so that there was none applied) and set to work with my Lacie Blue Eye device and the Lacie Blue Eye Pro software package. I set my preferred settings to 6500K, Gamma 2.2, 120cd/m2 and put the monitor into 'Standard' colour preset. I ran a test on those settings and while the colour and gamma levels were close-ish, the Lum was in the mid-high 200s...way too bright. (No wonder I felt like I was getting a tan sitting in front of the monitor. LOL!) DeltaE scores were okay but not great... Time for the manual calibration.
Set the monitor into 'Custom' colour preset and fired up the Lacie calibration software for the full calibration. Can't remember exactly how far the brightness and contrast controls had to come down, but from memory it was about 30 and 50 respectively. The RGB levels ended up in the high 80s each from memory. Ran the calibration, applied the newly created profile (double checked it was applied in Control Panel | Colour Management). Ran another test report with the Lacie software and got colour, gamma and lum results 0-1% from target, and average dE scores of 0.4, max dE of 0.7.
RAW files in LR and PS CS4 appear the same, sRGB jpeg exports viewed in Windows Photo Viewer and Firefox appear the same, IE is still a bit out, but that's expected/known.
I took the (exported jpeg) images to another computer with a cheapy (uncalibrated) LCD monitor and the results were perfectly fine when viewed in Windows Photo Viewer.
Having greatly reduced the brightness of my monitor I should hopefully reduce the likelihood of having issues with prints coming back too dark. Of course I know I can get hold of the printer profiles from my lab and softproof the images in CS4 when it comes to that anyway.
Thank you all for your input and feedback on this matter. Everything seems to be resolved now.
Chris

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.

Snow Leopard 10.6.3 - Colour Management Fix ?

MacFixit has posted an article about the beta release of Snow Leopard 10.6.3.
http://reviews.cnet.com/8301-13727_7-10456820-263.html?tag=mostDis;di
Intriguingly, the article lists one "focus areas from this build" as:
• Improves printing reliability and compatibility with 3rd party printers.
Could this be the fix for printing non-colour managed files we are all hoping for ?

Hi Doyle.
You have but a short memory !
Can I suggest you go back and read all the posts on this and the Luminous Landscape sites. This will disabuse you of the notion that the issue only effects "some Epson drivers". At the present time I can categorically include Canon in this, there is some evidence (on web postings) to suggest that HP printers are effected, it clearly effects colour profiling software from Colorvison and X-Rite – and, I would suggest, (from what I have read) that most if not all Epson drivers are thus effected.
We all know that you say that your Canon printers can do no wrong but sadly this is not the same story for the rest of us unlucky users.
It is unclear whose problem it is (as no one has yet owned up) but the evidence would seem to suggest that it is common to all printers and profiling software that are using untagged files (files with no profiles) and need no colour management in the printing path. Adobe have stated that Apple changed the printing APIs and that the new printing path "will not permit" files without a profile attached. From here on in it appears that ColorSync (part of the Mac OS) starts introducing errors by attempting to colour manage the un-tagged file in some undiscovered way. Thereafter the whole thing becomes a mystery – and no one really knows what the printer makes of it all ! My observation is that the results always seem to be the same, a file which is printed too dark - once again suggesting a common denominator.
Will 10.6.3 fix this ? We will have to wait and see.

Hot and Controversial - Colour Management

Ok, having spent weeks, if not months, trying to get my head around 'colour management' (not easy at my age), I wonder if the entire subject has been overly complicated by the *experts* in this field and whether it really is as important as it is made out to be - to the average user that is.
I'll start with 2 assumptions - please correct me if I'm completely off-base here: (a) the strength of any chain is measured by the strength of the *weakest link* and (b) the facility of allowing me to choose sRGB or Adobe RGB within my camera (Canon 30D) is irrelevant having set my camera to shoot RAW as this format does not have an associated in-camera colour profile.
Having downloaded the RAW images from the camera to my computer my first visual sighting of them is as appears on the monitor. Now the importance of having a correctly calibrated and profiled monitor is clear to me, and in fact is something that I have done using the EyeOne display2. So far so good, but here now is what I perceive as the *weakest link* in the entire setup because the colour gamut of your average monitor (mine can be considered average) has no wider gamut than sRGB, and this is a physical characteristic of the monitor - I can't change it even if I wanted to. I believe there are monitors that will display a larger gamut than this but they are in the region of several thousand pounds sterling - way beyond my reach. The same reasoning, to my way of thinking, can be applied to the printer. Even using the correct printer profile to match the ink and paper in use, the output to the printer is still rendered to something approaching the sRGB colour space in your average printer.
So, we come to the crunch. When in Lightroom (or Photoshop for that matter) I look at the colour preferences I read the following when clicking on sRGB, 'the sRGB colour space cannot encompass the full range of colours available within Lightroom'. Well that's all well and fine, but if my monitor is unable to display let's say the entire ProPhoto colour gamut what's the point in choosing this option anyway?
As mentioned previously, the weakest link in my setup is the monitor. Wouldn't I be far better off setting up my entire colour management workflow to reflect this weak link i.e. setting the working space in both Lightroom and Photoshop to sRGB. To me this at least would maintain consistency. Is my reasoning correct, are the *experts* really making this subject more complicated than necessary for the *average* user not having monitors and printers costing 'X' thousands of pounds or am I really missing something - not seeing the wood for the trees so to speak?

>the colour gamut of your average monitor (mine can be considered average) has no wider gamut than sRGB
Very true. Most current LCD screens have a smaller gamut than sRGB indeed. There are wider screens approaching aRGB, but they are expensive. They are worth their price though.
>Even using the correct printer profile to match the ink and paper in use, the output to the printer is still rendered to something approaching the sRGB colour space in your average printer.
untrue. Almost all printers use a CMYK type color space and often they have a few extra inks making it wider. CMYK can reproduce many colors that sRGB cannot, such as (obviously) saturated yellow, cyan, and magenta. aRGB encompasses more of these colors, but only ppRGB encompasses all of the colors even a cheap inkjet can produce.
>So, we come to the crunch. When in Lightroom (or Photoshop for that matter) I look at the colour preferences I read the following when clicking on sRGB, 'the sRGB colour space cannot encompass the full range of colours available within Lightroom'. Well that's all well and fine, but if my monitor is unable to display let's say the entire ProPhoto colour gamut what's the point in choosing this option anyway?
There is no color space setting in LR, so I am not sure what you are talking about. You can choose a colorspace upon export, but I have not seen that dialog before. In PS you can set it. The point is that the colors that are outside your monitor's gamut are often simply more saturated versions of the colors on your display. You simply want to be able to print them and not throw the data away to start with. LR has a philosophy of not throwing anything away until you export, print, etc. It always keeps the data and reinterprets all the way from the RAW every time you make a change. This also means converting to your monitor's color space, be it sRGB or other, for display.
>are the *experts* really making this subject more complicated than necessary for the *average* user
? There are no shortcuts in getting correct color. Color vision is a rather complex problem. That said, getting correct color on the screen and on your output is not hard at all. LR makes color management extremely simple by not even giving you a confusing dialog such as PS does. On the Mac, this is completely transparant and on windows, the default sRGB monitor profile should get most people close enough. Most problems in color management come from people setting up PS incorrectly, or doing a half-baked monitor calibration. Also there is a widespread problem in bad printer drivers and bad printer color profiles. It also doesn't help that the most widespread browser is
color-stupid.

Yet another colour management question

Hi folks,
I've read several of the very detailed colour management posts/threads here already but haven't found the answer(s) I'm looking for. So I'm hoping that some of the experts might be able to spare me some time and input...
I am running a Windows 7 (32bit) environment with a Dell u2711 Ultrasharp display attached. I let the monitor warm up for close on 30 minutes and ran an 'Easy' calibration with a Lacie eye-one device using the Gretag Macbeth 3.6 software. (I guess I could have used the 'Advanced' calibration option but thought I'd save myself some time and was always pleased with the results on my older Sony CRTs.)
I'm running LR3.2 and CS4. Viewing RAW images in LR the skin tones are way too saturated, but when I export the images as sRGB JPEGs the results look very pleasing when viewed in Windows Photo Viewer (far less saturated). If I open the same image in IE, it looks identical to the way it looks in LR. (I don't have Firefox installed so haven't compared that). If I open the image in CS4 by default it looks the same as it does in Windows, but if I change the Proof Setup to Monitor RGB it matches what I am seeing in LR and IE.
I'm guessing this is somehow related to the new wider gamut range that this monitor can display (compare to my previous CRTs). I read in one of Jao's posts that LR is always right and other non-managed apps will do weird things on high-end displays. IE is not colour managed so why would it display colours very similar to what I'm seeing in LR, when the standard Windows image viewer is displaying colour far less saturated (which seems to be the opposite to what others are experiencing)?
I generally always export as sRBG jpeg as the images usually go online, but this set is going to a client who will most likely be taking them for printing as well as viewing on a PC.
Looking forward to your input on this.
Kind regards,
Chris

Hi again all,
I've finally found some time yesterday to investigate this further and re-calibrate my monitor.
I nuked the previously created ICC monitor profile (so that there was none applied) and set to work with my Lacie Blue Eye device and the Lacie Blue Eye Pro software package. I set my preferred settings to 6500K, Gamma 2.2, 120cd/m2 and put the monitor into 'Standard' colour preset. I ran a test on those settings and while the colour and gamma levels were close-ish, the Lum was in the mid-high 200s...way too bright. (No wonder I felt like I was getting a tan sitting in front of the monitor. LOL!) DeltaE scores were okay but not great... Time for the manual calibration.
Set the monitor into 'Custom' colour preset and fired up the Lacie calibration software for the full calibration. Can't remember exactly how far the brightness and contrast controls had to come down, but from memory it was about 30 and 50 respectively. The RGB levels ended up in the high 80s each from memory. Ran the calibration, applied the newly created profile (double checked it was applied in Control Panel | Colour Management). Ran another test report with the Lacie software and got colour, gamma and lum results 0-1% from target, and average dE scores of 0.4, max dE of 0.7.
RAW files in LR and PS CS4 appear the same, sRGB jpeg exports viewed in Windows Photo Viewer and Firefox appear the same, IE is still a bit out, but that's expected/known.
I took the (exported jpeg) images to another computer with a cheapy (uncalibrated) LCD monitor and the results were perfectly fine when viewed in Windows Photo Viewer.
Having greatly reduced the brightness of my monitor I should hopefully reduce the likelihood of having issues with prints coming back too dark. Of course I know I can get hold of the printer profiles from my lab and softproof the images in CS4 when it comes to that anyway.
Thank you all for your input and feedback on this matter. Everything seems to be resolved now.
Chris

Disable printer colour management

Hi
   I have just bought the above printer to replace a very simple Canon pixma. I use Windows Live editing and Photoshop Elements too.   To get the results required its suggested by Photoshop that the printer colour management is disabled to use Photoshops.This didnt seem to be possible with Pixma.     But expected a better printer to have this function
However Iaam getting the same warning box. Printing to non interpolative (spelling?) printer. The images iaren't printing asthey were when they left photoshop.
Can I do this with this machine or have I made a mistak in buying this machine. Its options seem limited for a machine worth around 60.00

Hello @Jenny105,
Welcome to the HP Support Forums!
I would like to assist you today with resolving the Photoshop Elements error that you're receiving when printing from your Windows 7 computer to your HP Envy 4500 All-in-One. I did some research into this error and found that the message "Printing to non interpolated printer" is a postscript error. This indicates that rather than just a colour issue, you have a settings issue under Photoshop.  Apparently this message is just informing you that you have Postscript settings and you are using a non Postscript printer. Postscript is a printer language. Consumer printers, like your HP Envy, are only PCL 3 for their printing language capabilities. If you need to use Postscript settings (such as halftone patterns, transfer curves, interpolation . . .) than you will need a Postscript capable printer, like a Laserjet, or commerical Inkjet. Also, because you're finding that the colours aren't printing correctly, you may need to adjust the colour profile information under Photoshop.
For instructions on how to adjust the colour profile settings, please click here. You can choose to either 'let Photoshop determine printed colours' or 'Let printer determine printed colours'.
Once you have adjusted the colour profile settings, please test printing again.
Please let me know if the colour profile adjustment resolves your issues. Best of luck!
X-23
I work on behalf of HP
Please click "Accept as Solution" if you feel my post solved your issue, it will help others find the solution.
Click the "Kudos, Thumbs Up" on the right to say "Thanks" for helping!

My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management

I have recently purchased a Mac computer (updated to Maverick) to go with my Epson Stylus Photo RX500 printer which has given excellent service with my old Windows computer. However, when trying to print pictures or photos via Photoshop Elements 11, the best results I can get are using the Colour Management and Epson Colour controls in the printing options box.
My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management, The only way I can reset the controls is to shut down the printer and computer and restart.
Could there may be a setting somewhere that I need to adjust please? I have been in touch with Epson and they say that the Epson Colour controls are part of the Photoshop Elements software but a post on the Adobe forum brought no results and I am unable to contact Adobe.
<Edited by Host>

Hello Garry. Thanks for the reply. I guess I should have used a different title from "How do I post a question?" That should come after trying to resolved the colour settings first. However, to answer your question, after experimenting with all the different settings in Photoshop Elements and Epson software, I now start with PSE11 Colour settings then click "no colour management" then after clicking Print, I choose "More Options/Colour Management/Colour Handling/Printer Manages Colour" then I choose "Page Setup/Layout/Colour Matching" which then shows Epson Colour Controls but I also choose "Layout/Colour Management" which then shows "Colour Controls/Mode" I then of course choose an Epson printer profile depending on the paper I am using. I get good results but as I said, the Colour Matching and Colour Controls are then greyed out. Hope that makes sense.

I am able to bookmark a site, but "Bookmarks" button does not appear.

HTC Evo 4G. Firefox mobile browser 20.0.1
Using Firefox browser, if I am at a website and press "Menu" on my phone I have the "Bookmark" option. Pressing it I get "Bookmark added" message.
But then when I press "Menu", it gives me the "Bookmark" option still (i.e., add a Bookmark), but it does not show me any of the Bookmarks which I have created.
Are "Top sites" my bookmarks?
I'm ready to go back to the stock Android browser if this and one other problem cannot be resolved with Firefox.
The other issue is that I press the Firefox icon on my home screen, and the browser initializes.
The address bar says "Enter Search or Address".
I press the address bar, and it now says "about:home", and the letters are white covered in orange.
But there is no keyboard.
I want to type an address in the address bar, but I cannot.
Pressing "Menu" on my phone does not give me a "Keyboard" option.
Below the address bar is listed horizontally "Top sites", "Bookmarks", and "History".
But no Qwerty keyboard.
NOTE - During the time I've been typing this, a QWERTY keyboard finally appeared.
But I want to see one at once, when I press the address bar and it turns orange over the address bar writing.
Why don't I see a keyboard?
I will go back to the stock EVO browser if these problems can't be solved.
I press the address bar at the top, and it turns orange.
But I do not get a keyboard.
Pressing menu, I also do not get a keyboard.
With the stock HTC EVO ANDROID browser, if I touch the address bar a keyboard appears.
If I press "Menu", I get "Add Bookmark" but also "Bookmarks" (my existing bookmarks).
This is wasting a great deal of time. Please help - I prefer to use Firefox, but it is unacceptable currently.

Regarding your first question about bookmarks, I think you discovered the answer in when you pressed the address bar. The second tab there has your bookmarks.
As for the keyboard, I'm not sure why your Firefox is reacting so slowly; mine seems to show keyboards even when I don't want them. If you have accumulated a lot of history, perhaps that's an issue?
Did you use any third party software to move your Firefox data from internal memory to the storage card?

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 do i turn off colour management in photoshop cc

i cannot make any sense of the 'help' on being able to see any display which allows me to turn off colour management in photoshop cc or in lightroom 5 when using my Mac 10.9.3

Good day!
What exactly do you mean?
Regards,
Pfaffenbichler

Managing Sites In DW CS3

I some how changed my settings and my local files address is
now preceded by ftp:// . I use to be able to see files in expanded
form for both Local and Remote files. How do I change back to what
I had before? My site's home page is now all messed up since some
of the links have been changed.

Since you use standard
http:// protocol, and since your online site can
be viewed properly, you are likely well-positioned for a full
recovery.
STEP ONE: If, as you have suggested, your local and remote
Dreamweaver folders appear identical, then everything that you have
online is likely also on your local hard disk. Just in case it is
not, you should back up your local folder before taking any further
action. Move it to a safe place and even change its name so as to
avoid confusion.
STEP TWO: After having backed up your local folder, delete
your site from your Manage Sites menu. This will destroy
Dreamweaver's record of your online site, so that you can start
over.
STEP THREE: Return to the Manage Sites Menu and click on New.
Make sure that you select Site and not FTP/RDS.
STEP FOUR: If you can understand the Advanced tab, use it to
create your new site. Otherwise, use the Basic tab and begin from
scratch. In either case download what is online back into your
computer, so as to be sure that everything on you computer is as it
appears online.
STEP FIVE: If there is anything missing in your newly created
local folder, then you can recover it by copying from the folder
that you backed up. Copy only content -- HTML, JPEG, and the like.
It is probably best not to copy anything created by Dreamweaver, as
you do not appear sufficiently familiar with the application to
know what could hurt or harm you.
Roddy

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