Convert to Profile & Soft Proofing.

Hello,
Apologies if this has been asked and answered. Some answers on soft proofing searched on the forums helped, but didn't hit the nail on the head.
I'm grateful for ideas, instruction, pointers.
I. Per the instructions of the printer who's printing my work, I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen; and b) give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no? Do I have this wrong?
II. I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible, with allowances, of course being made for paper, ink, etc. The match has to be close. Is there a standard for softproofing that will allow me to see what's likely to appear on a given screen. A tall order, I know. Wondering if I should just inform the viewers to view the jpegs with their monitors set to a certain color profile--or if I should send them a monitor profile along with the jpegs.
Again, I'm grateful for ideas.
Best-
Gear: iMac 27"; Native Gamma 2.2; CS6.

I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen
if YOUR monitor profile is proper, Photoshop is 'accurately' displaying your image
to see your image the same, SHE (or anyone) will need to apply your source profile and also have a proper monitor profile
give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no? Do I have this wrong?
Gernot offers a good approach (what I would recommend):
"Leave images in sRGB (Working Space sRGB)
Modify by PhS until the appearance is nice
In Soft Proof choose your PP"
in other words, "Soft Proofing" (View> Proof Setup> Custom: Device to Simulate: the specific Epson profile) -- it doesn't make much sense to Soft Proof source DotGain20% to device DotGain20%
my question to her would be: is Dot Gain 20% the actual Epson Print Space (or does she use a specific printer-paper-ink profile that you can Soft Proof on your 'calibrated' monitor)
if she doesn't do any conversions to your DotGain20 file (it is the Print Space), then Photoshop is showing you the contract proof on your monitor when you open it (is my opinion)
I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible
here, i would Convert to sRGB and embed the sRGB profile -- short answer here -- that is the best you can do

Similar Messages

How do I get my .csf file setting to show up in the Convert to Profile or Proof as menu choices?

I received specific menu choices for Color Settings from a commercial printer I use. I went to Edit<Color Settings and saved them as a .csf file in User/Library/Applications Support/Adobe/Color/Settings. I named the .csf file after the printer. When I go back into Edit<Color Settings and open the Settings menu I am able to choose the settings I saved from the list of settings. Now I open an image in PhotoShop and go to Edit<Convert to Profile. In the dialog box I open the Profile menu, but the settings I saved in Edit<Color Setting are not one of the Profile choices. Am I confusing Setting and Profiles? How do I Convert an image file to the setting given me by the printer? I also wanted to proof as per the printer's settings. When I go to View<Proof setup<Custom I can choose Working CMYK Web Coated SWOP 2006 Grade 3 Paper, which is generally the profile this printer is using. But I can't choice my specific color settings saved under the printer's that I previously saved in Edit<Color Settings. In the Proof Setup dialog box when I press the load button I can navigate to the Settings folder where my .csf file is saved, but it is greyed-out so I can't choose it. Anyone know what I'm doing wrong? Please advise/help. Thank you.

"Am I confusing Setting and Profiles?"
Yes. A Color Settings File (CSF) will contain values for all the controls in the Color Settings dialog. One of these controls specifies the profile to be used for the CMYK Working Space. That profile will be used by default when you create a new CMYK document or convert an RGB (or some other colour space) document to CMYK.
The profile, not the CSF, will be at the top of the list of CMYK options in the Convert to Profile dialog, as "Working CMYK - <name of your CMYK profile>". However, you may want to skip that dialog and instead do Image > Mode > CMYK, which will simply raise a prompt asking you whether to proceed with the conversion to your CMYK Working Space profile.
In View > Proof Setup menu, item "Working CMYK" also will use the profile that's specified in Color Settings, then "Custom..." in the same menu will give access to options to simulate paper and black ink.

Changing color profile in Lightroom 5 Soft Proofing from ProPhotoRGB to sRGB is not showing any changes, changes in Photoshop CC are dramatic

I am working with the color profile ProPhoto RGB in both Lightroom 5 and Photoshop CC. In preparing for my first Blurb book I have tried to generate pictures in sRGB in Lightroom, using the Soft Proofing feature, but there are no changes at all. Then I transfer the same pictures into Photoshop, change the color profiles and the results are dramatically different.
What can I do to achieve the same results in Lightroom

With an average monitor what you see on-screen is already soft proofed to sRGB (or something very close to it), because that's all the monitor is capable of displaying anyway. So soft proofing to sRGB won't tell you anything. You won't see any difference.
In Photoshop it sounds as if you assign profiles. That's not the way to do it. If you convert correctly you won't see any difference. Same principle as above: there may be clipping in the process, but what you see on screen is already clipped, so no visual on-screen difference.
With a wide gamut monitor soft proofing becomes slightly more useful. But still you won't see any changes occurring outside Adobe RGB. You'll get a better idea by keeping an eye on the histogram. Ideally, all three channels should taper gently off towards the endpoints. If any one or two channels are backed solidly up against the endpoint, on either side, that's gamut clipping.
If Blurb gave you a real profile, one that reflected their actual printing process, you could soft proof to that. But apparently they don't.

Soft-Proofing with .icc color profiles

Hello!
I'm currently working on a book in InDesign. I've calibrated my monitor with X-rite, and have installed an .icc profile from my outside printer (Blurb Books). Of course when I use it to soft-proof, I see a change on my monitor, so if I dion't like what I see (how it will print), I would have to go back to my working space and make changes, etc and keep rechecking. This seems so weird to me yet nowhere in all the forums and internet have I run across an answer to my question:
Why not just work entirely in this .icc profile so one doesn't have to go back and forth? You'd see immediately what you're going to get, even though it may not look as pretty on the monitor set in another color space?
It seems so obvious to me that I know I must be missing something here (as I usually do the obvious), as no-one has addressed it that I can find, anywhere, even Blurb support. They don't even understand what I'm asking!
thanks!

In fact, that is one perfectly valid method of working, and I would not have a problem at all using that profile as the working space in ID (I have a number of printer supplied profiles that I rotate, depending onthe destination of the job). But there's a downside to working on images in a device-specific output space. It limits your ability to use the same image in multiple output scenarios, and many (most) output profiles have a smaller gamut (sometimes significantly smaller) than a device-independent RGB space like Adobe RGB, so you lose some colors. That's going to happen no matter what when you convert for output, but if you do your editing and save in the output space, those losses are permanent, even if you later want to ooutput on a different device with larger gamut capability. Profile-to-profile conversion never adds new colors.

Custom Profile to soft proof 10% Clip?

Thanks in advance!
I'm trying to set up an image to be used on a piece of packaging, which is supposed to be 'light and airy', and therefore uses pretty light colours thoughout. But I've been told that the image will clip any ink below 10% on the final output.
I've been supplied a generic ISO Coated FOGRA39 profile but that's it. So I'm trying to find a way of soft proofing to see where the clipping will occur.
I'd prefer to work in Adobe RGB for as long as possible rather that convert to the FOGRA309 profile and tweak the channels individually.
So can anyone give me some pointers on setting up a custom soft proofing profile?
Cheers! (I hope)
PS. CS3 10.0.1, OSX 10.5.8, 2x2.8 Quad

Thanks Buko.
But I think the FOGRA 39 profile was just sent as a general catch-all profile, and as such will not help me see the clipping below 10%.
The image has several areas of smooth gradient, hypothetically going from 100% of a channel to 0% of of a channel. This displays and prints smoothly (with the FOGRA 39 profile or without).
However I have been told that the final print will have worse tolerances, and areas below 10% af any particular colour will simply burn out, leaving a hard edge at the lighter end of the gradient.
It's these hard edges I'm trying to see, so that I can try and minimise the damage. I thought I may be able to create a profile to do this for me?

Soft Proofing: View Proof Setup Custom: Profile Disappears when Re-opened

Photoshop CS6 on Mac
Edit an image file and get it to where I like on the monitor
Duplicate the file and set the new file to the profile for the printer which will be used, by using View > Proof Setup > Custom and setting an imported printer profile for the printing company that I use.
As soon as you do that, the file looks like crap, so...
Edit the soft proof file to get it to where it looks good again.
Save off the file for the printer and also save the new PSD file.
Close the PSD file.
Reopen the new (soft proofed) PSD file.
Still looks good, but.... when you check View > Proof Setup it's now generally set to Custom: U.S. Web Coated (SWOP) v2 instead of to the imported printer profile which was set previously. WHY???? Where did the printer profile go? Is it supposed to do this?
If I then reset View > Proof Setup to the correct printer profile, the image goes to crap again.
Is this me doing something wrong, or is the PSD file not properly remembering the printer profile, or... what's going on here?
Thanks much!

None of what you write makes any sense whatsoever to me, sorry.
Let's start by using correct terminology. For the last time, you are not "importing" any freaking profile. Wrap your head around that once and for all, please.
Let me try once again, totally disregarding the scenarios you were unsuccessfully attempting to describe above. Forget all that mumbo jumbo for now, please.
You have not mentioned what your working space is, so let's assume it's Adobe RGB.
You have finished editing an image, so now you have an AdobeRGB-tagged image. Fine.
Now you want to soft proof it to see what it will look like in that FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper printer in Anchorage. (Made up names of course.)
So you make a duplicate COPY of your finished image file named BabyPictForPrint.psd. You're still in Adobe RGB, of course. You put the original away in a safe and forget about it—forever. That's like your negative in film days.
Now you soft proof the BabyPictForPrint.psd COPY by using the infamous FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper.icc profile the outfit in Alaska sent you.
When you soft proof it with that Alaska profile, you have not imported anything. Photoshop is simply using the profile you pointed it to to show you in your monitor what it would look like. Your pixels so far are untouched, yet yo see your image "die" before your very eyes. Ouch! Now you need to compensate for the effect of printing under those proposed conditions, so you set about the task of editing the copy accordingly. Remember, you're still in Adobe RGB.
Once you have the copy just the way you like it, YOU SAVE ALL YOUR CHANGES in that copy. Now you have a fully edited image file in the Adobe RGB space but tweaked to look fine when printed in the FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper printer.
At that point you are done! Finished!
Now you are faced with two choices:
A) Sending the finished, saved ADOBE RGB COPY to your printer if you consider him capable of knowing what he's doing. (If you think he does not know his business, look for another printer). Or…
B) Assume you're dealing with a moron on the other end who wants the image CONVERTED to his custom FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper.icc. If that is the case, then open your COPY in Photoshop, go to the Edit menu > CONVERT to Profile… and convert the copy to the infamous FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper.icc profile. It's critical to use CONVERT TO Profile, not "Assign Profile"!
At that point, under scenario B), you do not EVER want to return to Proof View / Soft Proof mode, ever, EVER again, because then you would be applying the profile doubly and you'd see your image die before your eyes once again, and if you edited it you'd have real elephant poop!
Hope that helps.

Soft proof blurb profile

I want to soft proof with the Blurb ICC profile. In LR4.0 beta I can only select from attached printers or display profiles.
OS10.6.8, I have stored the Blurb profile in root/Library?ColorSync/Profiles.
In Photoshop the Blurb profile is an option, so that location works for Photoshop (version 12.1)

Austerberry wrote:
That does answr the question, but what I wanted to do was to soft proof the output of the Blurb printers.
You can’t for several reasons. One, LR only handles an RGB path and the output device here (an Indigo) is a CMYK device. You could soft proof in Photoshop which of course supports RGB and CMYK.
But the other issue is, the ICC profile Blurb provides is a generic one that does not describe all the print conditions (all possible paper and print behaviors) so even if LR could use the profile, the soft proof would be inaccurate and of little use.
Third, if any print provider demands output in say sRGB (which is what LR feeds to Blurb), then a user has no control over the actual conversion process (control of Rendering intent, pretty darn important, Black Point Compensation etc). So in such workflows, having a profile you can’t use, being forced to send sRGB is kind of pointless.
What can you do? Well until Blurb in this specific case provides CMYK profiles you can actually use for conversions for all their possible print processes, nothing. If they did, you could soft proof and convert in Photoshop. But until LR provides a CMYK path (don’t hold your breath), you can’t use the CMYK specific profiles even if they were available (which thay aren’t).

SRGB or Blurb icc profile better for soft proofing prior to Book module?

As I understand it images destined for Blurb are converted by the Lr engine into sRGB behind the scenes. To achieve best chance of colour accuracy in the finished Blurb book, is it better to softproof using a sRGB profile or the icc profile* offered on the Blurb Support website. On the surface this icc profile is recommended (by them) for their Booksmart process. Anyone know if that is similar to the Lr Book module process? There is no mention of Lr anywhere on the Blurb color management pages.
It would be great to pin down the answer to this. I cannot find any recommendation for best work practice aimed at getting good colour reproduction in these books; and trial and error, whilst acceptable in making inkjet prints, is a very expensive route when applied to printing a Blurb book.
* And even then, as far as I can see, there is no method for differentiating between the Blurb papers. It is just one profile to fit all.

I tried using 'Export Book to PDF' in the LR Book module with 'Book' set to 'Blurb' and the PDF images are all tagged as sRGB profile and 8-bit color.
SUGGESTION
If you set 'Book' to 'PDF' under 'Book Setting' you can use Adobe RGB profile, 300 ppi, and your own Sharpening selection, which as Andrew Rodney mentioned is a better choice. You can submit the LR Exported PDF at Blurb's 'PDF To Book' upload page and they will do the proper CMYK conversion on their end. The only issue is that the images are still exported in the LR Book module as 8-bit color JPEGs. This may cause banding with a wider gamut profile, but that should be apparent when reviewing the exported book PDF.
Here are some comments from Blurb concerning using Blurbs 'PDF to Book' workflow, which is similar to what I just described:
From Me:
My Workflow Details:
My objective is to process all images in LR4 and then export them as 300 dpi, ProPhoto RGB profile, 16 bit TIFF images for layout in InDesign using Blurb's InDesign plugin (Blurb Book Creator CS6 v2.0.2.34d8). I will soft proof the placed images inside InDesign using its 'Proof Colors' tool and the Blurb_ICC_Profile.icc profile. Once the InDesign layout is complete I will do the RGB to CMYK Blurb_ICC_Profile conversion during the export to PDF process using the Blurb PDF X-3 Export Preset v1-1.
Blurb's Resonse:
Response Via Email(David) - 07/18/2012
Using InDesign and our Blurb InDesign Plug-in does mean you're using the PDF to Book Workflow. This is because your InDesign files will ultimately be exported/uploaded as PDF files.
Regarding, "Once the InDesign layout is complete I would like to do the RGB to CMYK Blurb_ICC_Profile conversion during the export to PDF process":
Unfortunately, there is no option for this and it's actually unnecessary during the export process. Our printers convert and process all images as CMYK using the Blurb ICC Color Profile, so even if you upload/export them with an RGB color profile, they'll be converted to CMYK for the production process.
My Response:
Customer By Email - 07/19/2012 05:10 AM Thanks for the explanation David. It sounds like I can just upload the PDF file using my ProPhoto RGB profiled PDF, but I would prefer to do the conversion from ProPhoto RGB to Blurb ICC CMYK profile. This way I can see the results before uploading the file to Blurb. Can I use the Blurb PDF X-3 Export Preset v1-1 with Output > Color Conversion to Destination > Blurb CC profile, and then upload the PDF file myself? If so please advise where I should upload the file on the Blurb website.
Blurb's Response:
Response Via Email(David) - 07/20/2012 03:49 PM Hi Todd,
If you do end up exporting your PDFs with the workflow you're referring to, you can upload your files here:
http://www.blurb.com/make/pdf_to_book
IMHO there's no reason why Adobe and Blurb couldn't work together so ProPhoto RGB 16-bit images can be used in the book PDF that gets uploaded (or exported!) to Blurb's website. Blurb then handles the CMYK conversion using full-gamut 16-bit images and not clipped sRGB 8-bit images.

Display profiles and soft proofing Windows RGB / Monitor RGB

This might have asked before, but I did not find any definite answer for this. Sorry this gets a bit long.
Short question:
What's the difference between softproofing with Windows RGB and Monitor RGB targets? I see differences in my image between these targets.
Long question(s):
Here's some reasoning.. let me know when I go wrong.
I have hardware calibrated my display Spyder 3 elite to sRGB standard. I have understood that the generated display profile contains a LUT table that affects gamma values for each RGB component, so that affects both gamma and color temperature. That table is loaded into video card when Windows starts. In addition to the LUT table, the display profile contains what? Probably information on what color space the display has been calibrated to. Does that matches directly with the LUT table information, but may deviate from sRGB in the case my monitor cannot reproduce sRGB 100%?
Now if I have image that that is in sRGB, but the embedded sRGB profile has been stripped away, should any non color management aware image viewer show the colors properly, if it is assumed that 1) my monitor can handle full sRGB space and 2) my monitor was succesfully calibrated to sRGB and the LUT table has been loaded into video card?
Or does it still require a color management aware program to show the image, which implies that the LUT table information alone is not enough and the display profile contains some extra information that is needed to show the image correctly? I would think this is true, as I needed to turn on color management in Canon Zoom Browser to see images in it the same way as in Photoshop.
Now to the original question, what's the difference in Photoshop when soft proofing with Windows RGB and Monitor RGB targets
I read from www.gballard.net that
Photoshop can effectively "SoftProof" our web browser color:
Photoshop: View> Proof SetUp> Windows RGB
Photoshop's Soft Proof screen preview here simulates how unmanaged applications, web browsers, will display the file on 2.2 gamma monitors, based on the sRGB profile. If the file is based on sRGB and our monitor gamma is 2.2 and D/65 6500 degrees Kelvin, we should see very little shift here, which is the goal.
Photoshop: View> Proof SetUp> Monitor RGB
THIS IS WHERE the color-brightness-saturation problem will repeat consistantly.
Soft Proofing Monitor RGB here strips-ignores the embedded ICC profile and Assigns-Assumes-Applies the Monitor profile or color space.
The color and density changes seen here show the difference between the monitor profile and the source profile sRGB.
I'm not sure how to read that. Assume here that my monitor has been calibrated to sRGB and the PS working space sRGB. Do in both cases photoshop strip away color profile from the image at first? What happens after that? Does in Windows RGB case Photoshop pass the color values as they are to display? What does it do in "Monitor RGB" case then? Does it assign my monitor profile to the image? If it does, does there also happen conversion from one color space to another? In either one conversion there must happen as the soft proofing results are different. Does either one cause "double profiling" to the image as the monitor is already calibrated?
Thanks

Windows defaults to sRGB if you don't calibrate your monitor so untagged sRGB files should display (more or less) correctly in applications that don't know about color management on systems with uncalibrated monitors.
When proofing against Windows RGB you're proofing against sRGB, it will show you how applications that don't know about color management on an uncalibrated monitor will show the image. This is what you proof against if you want to see how the image will display in web browsers.
When you proof against Monitor RGB, Photoshop will assign your monitor's icc profile to the image which tends to be utterly useless most of the time.

Lightroom 4 soft proofing doesn't show installed ICC profiles

If I go to printing options there are many paper profiles I can choose. However in the Other menu of the soft proofing tool, there is no profile except the visualization ones.
I have an HP officejet 8500 pro printer and windows 7 64 bit.

Disregard my second message about not understanding your email reply.
I thought I had to hit "H" to see a link -on the email- to confirm my registration.
I didn't realize it was your answer.
Since I had just installed my 3.4.1 update and the default on my installed version of LR, and since my 'pins' have never been hidden, the 3.4.1 default of hiding the pins was a problem and is likely to fool a lot of users that hadn't read about hiding those pins yet. Shouldn't the installation of -any- new version, pick up the defaults currently in LR? That is an issue.
We're good now.
Thanks for the response.
Michael

When Soft Proofing in LR4 most of my loaded printer profiles are not visible

I am running LR4 and CS6 on an HP desktop with 4Gig Ram, Win 7 Home, Profiled Monitor using DataColor
In CS6, all my loaded ICC printer profiles appear when setting up the soft proofing...
In LR4, most of the profiles do not appear...
The problem is that I print to an Epson 7600 CMYK printer with UltraChrome Ink and mostly on Canvas so I need to proof for that environment.
The problem is that I print to an Epson 7600 CMYK printer with UltraChrome Ink and mostly on Canvas so I need to proof for that environment.
Photos of the two different pull downs are attached.

dmcrescent wrote:
Not sure what makes you think the Epson 7600 is a CMYK printer, but it isn't. You may be running a CMYK RIP attached to it, but the printer accepts RGB data, not CMYK. The only reason I can think of needing to profile in CMYK would be if you were using profiles generated for a press. I'm sure there may be others, but can't think of one off the top of my head.
Well you can send either RGB or CMYK to the printer but you have to first setup the proper driver for either. Unless you are proofing (make my Epson simulate a press sheet), I can’t think of any reason to send it CMYK data. The limitation is the driver in terms of what you send it. With a 3rd party driver (might be a RIP, might not) it can be possible to send CMYK data to the Epson. Epson bundles the ColorBurst product for this purpose (press simulation, use of CMYK profiles).
Since the Lightroom path is solely RGB, it can’t do anything with CMYK data. So the profiles are filtered out of the list. And don’t expect this to change anytime soon or ever. If CMYK is your game, well you need Photoshop or some other application to handle this data. And you’ll need another driver. So in context of this post, CMYK is simply not a possibility and that is why the profiles are not accessible.

[LR 5] Soft Proofing - Monitor Gamut Warning vary with printer profile ?!?!

Hi,
There's something I can't understand when using the soft proofing feature in LR.
The Monitor Gamut Warning feature (top left icon in the histogram when soft proofing is enabled) is supposed to show us what colors in the current image cannot be reproduced on the display. Right ? If I understand well, the warning computation is made by comparing the current image (virtualized by LR in the Melissa RGB color space) to the gamut of the display (read from the active calibration profile).
So why does LR show different "out of gamut" areas for the display when I change the printer profile selected when using soft proofing? This doesn't make sense to me.
Did I miss something?
Thanks in advance.

indeed they are vague about this. My thought about this comes from conversing with Adobe folks here and elsewhere as I am pretty sure I'vce discussed this on the forum before. As far as I know the monitor warning is supposed to be calculated after the conversion to the printer profile so that you get an idea whether the soft proofed color is accurately displayed. That shoud be the correct behavior as proofing can actually take a color either in or out of the monitor gamut. I am not 100% sure on this though but it certainly explains how it behaves.
Also if you calibrate your display and write out a icc v4 display profile, the situation changes again as now the display profile can actually contain a perceptual rendering intent, making it even less precise and the assumption of simple one-to-one linear conversions between color spaces is invalid. Few calibration software packages do this though but there are a few exceptions.
If you only want to know whether your image is outside of the display profile, you can indeed trick the soft proof to allow you to select a display profile as the printer proofing profile. You can in principle select a standard working space such as prophotoRGB there and get results that make sense. But you definitely do not want to have a random printer profile selected for the reasons cited above. I guess they could add some smartness to detect that you selected the profile of the current display and not a profile of another random display and then collapse the interface but that is such an edge case that I doubt Adobe would prioritize this. It works fine if you simply realize that you selected your monitor profile as the printer proof profile.

How to use ICC profiles and soft proofing profiles?

Hi,
I got an Epson Stylus Pro 3880 and Epson Hot Press paper which, upon investigation, received great profeesional reviews and, having never printed digitally before, I don't know how to use profiles for soft proofing or printing.
I don't know where to go in Aperture or what to do. My driver is up to date and I downloaded the paper profile - not sure where it ended up. What's next?
So far as I know, soft proofing is about calibrating the monitor to the paper - am I correct?
Thanks guys,
Raphael

Raphael,
A good reply is going to require a full-size keyboard, which I don't have access to just now. Here are some starter pages:
http://www.cambridgeincolour.com/tutorials/soft-proofing.htm
http://www.luminous-landscape.com/tutorials/soft-proofing.shtml (a bit grumpy and out-dated)
Fwiw, I print to Epson Hot Press using a 3880. Imho, it's a _great_ printer, and that combination of printer and paper produced state-of-the-art results. (Not suitable in all cases, but if that is a look you like, the only thing that I've seen that surpasses it is the Epson 9900, and without looking at prints side by side you can not tell them apart.)
Your profile ended up wherever you have told your browser to save downloaded files. The Epson site should provide instructions on where to move the file. Once it is in the right Finder folder, when you next Aperture it should show in your list of profiles.
Keep in mind, though, that soft-proofing is useless without a well (read: hardware-calibrated) calibrated display.
HTH,
--Kirby.
(Sent from my magic glass.)

Does Photoshop support N-Color ICC profiles for soft proofing?

Hi All,
Does Photoshop support N-Color ICC Profiles for soft proofing? If yes, then can anyone guide me?
Thanks!

No, it does not.

OA2: Soft Proofing Profile for Apple Print

Hi,
Does anyone know what Soft Proofing Profile to use the Aperture 2 "built-in" Print & Book Services? Or perhaps where to get it?
Thanks
Message was edited by: styrvolt

Hi
This has cropped up a few times before, the general opinion seems to be to use Average McCoy Gloss for proofing Apples print services.
Check out this link : http://discussions.apple.com/click.jspa?searchID=9295427&messageID=6190046
for more info, David is still holding a copy of the profile at the link provided in the thread.
Good luck
FlatE

Convert to Profile & Soft Proofing.

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