Copying or installing paper specific colorsync profiles for my canon ip4300

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

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

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Where are the printer profiles in Mt. Lion 10.8.5? I want to install paper manufacturer's profiles.

I want to install paper manufacturer's profiles. All of my existing profiles were carried over when I upgraded to 10.8 but i do not find anything like the previous Color Sync folder. Where do I put the new profiles? And why can't Spotlight find the existing ones? BTW, I can't find them on my iMac running 10.7.5 either.

Where are the rest?
Depends. For Epson printers, they're in the /Library/Printers/EPSON/ folder, and that itself varies. For the Stylus Pro 4900, they're in that folder, and then another couple of subfolders deep in InjetPrinter2/ICCProfiles. Sometimes they're tucked away in a .plugin or .framework file within the EPSON folder, or one of its subfolders. In short, they're not always easy to find. At least not with Spotlight.
To make your search way easier, download the free EasyFind. Turn on the check boxes to look within Package contents, and Invisible Files & Folders. There's nothing on the drive that can hide from you. Then do a search for .icc .
But unless your objective is to remove a long list of profiles you'll never use, there's no need to find these other obscure locations OS X lists profiles from. Just put the ones you want to use in either the /Library/ColorSync/Profiles/ folder (if you want all users of that Mac to have access to the profiles), or the ~/Library/ColorSync/Profiles/ folder (the tilde means your user account). Only you will have access to the profiles if placed there.

Lens correction profile for the Canon 18-135 STM lens in Lightroom 5 ?

How or where can I get the lens correction profile for the Canon 18-135 STM lens in Lightroom 5 ? In effect he is not available in my list of correction lens so my lightroom is up to date apparently :/
Thanks in advance for answer.

There are two types of Lens profiles - raw and JPEG. It looks like you are trying to process a JPEG image and Adobe has only provided a raw lens profile for the 18-135mm IS STM lens.
You have four options:
1) Check for available lens profile using the Adobe Lens Profile Downloader. I checked and a JPEG lens profile is NOT available for the 18-135mm lens.
2) Follow the procedure outlined by Steve Sprengel in this post:
http://feedback.photoshop.com/photoshop_family/topics/lr_5_lens_profile_not_applied_for_jp g_captures_only_for_raw_captures
More detailed instructions here for a Pentax lens example:
http://www.pentaxforums.com/forums/post-processing-articles/176761-creating-adobe-lens-cor rection-profiles-jpgs-raw-ones.html
This allows using the available raw lens profile with JPEG images. To my knowledge Canon DSLR cameras do not apply distortion correction to JPEG images, so the raw profile should work well. You can check this by shooting raw+JPEG and comparing the two images inside LR
3) Create you own lens profile using the Adobe Lens Profile Creator. (A complicated process, but it can be done!).
4) Start shooting in raw mode or raw + JPEG mode, which will allow you to extract the most benefit from LR's processing controls.

Printer profile for non canon paper

Is there a list of profiles for Epson, Kodak, OfficeMax, etc photo papers?

You would get custom profiles from the paper manufacturer website, or, if they don't have custom profiles the recommended Canon profiles to use (I am assuming you are using a Canon printer.)
John Hoffman
Conway, NH
1D Mark IV, Rebel T5i, Pixma PRO-100, MX472

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.

Lens profile for the Canon 24-70 II?

There isn't any Lens Profile available for download for the new 24-70 II and the 5D III.
Has anyone used the profile for the Mark I? And, how long before new profiles usually show up at the Adobe site?
Thanks
Mark

It's now in the LR 4.3 release candidate
I installed the release candidate on a separate PC, found the lens profile file in the install folder and copied tge file to the appropriate folder in my 4.2 install.

Hello, Can you tell me where I can found the lens profil for the Canon 500MM F4 Mark II

Can some one tell me where I could find this lens profile for Lightroom 5.4.
thanks

Given the 600mm F4 IS II (February 2011) lens profile hasn't been created yet it may be a while (if ever). I wouldn't worry about it since the lens profile only corrects distortion and vignetting. There is virtually no distortion with either of these lenses and vignetting is within 0.2EV using the 600mm profile, which you can set as the "default" profile. Personally I think people put too much emphasis on the need for "automatic" lens profile correction. All my lens profile defaults are set to Distortion = 0 and Vignetting = 50. I change the setting only when an image appears to need more correction. WHY?
REASON
Distortion correction crops part of the image and increases "edge" stretching with wide angle lenses–It's a trade-off for straight lines in the image. IMHO-If it's not visible in the image you don't need it. 100% Vignetting correction setting can look un-natural and amplifies lens aberrations and softness in the corners, which is where vignetting correction is applied the most.
My 2 cents worth.

Lens correction profile for the Canon 18-135 STM lens?

How or where can I get the lens correction profile for the new Canon STM lenses?

I see that lens listed in the release notes for the final Lightroom 4.2 update that just came out a few hours ago, so it looks like the answer is to download the update.
http://blogs.adobe.com/lightroomjournal/2012/10/lightroom-4-2-now-available.html

Anyone working on a profile for the Canon EF 16-35mm 2.8 Mk11 lens?

Is anyone working on a profile for this very popular Pro Canon lens?

Is there a date on ACR6.1
I'm brand new to this having jumped from CS2 to CS5 but have printed out the charts and am swotting up. MY bodies are aging (the cameras that is but...) and tend to be ignored as everyone is assumed to buy the latest in hi-tech land. My16-35 will be first on the tripod but it is the original Mk . I love the lens but people on the ends of line-ups don't benefit in the waistline area: Most of my work there's no time to fix such things - but faster computers mean that shooting in RAW can actually save time as files just need a quick bash in converter- colour and lens profiling are just wonderful aids - much more exciting than content aware watermark remover in my opinion.

Does the lens correction profile for the Canon 24-70 eliminate all distortion?

The new Camera Raw seems excellent in the Lens Correction...I will be photographing dancers and will have only 9 feet to work with. I would like to use the widest lens I can with lens correction. The question is whether this new program will flatten out the 24mm lens or if I should use the 35.
Roger Minkow

To add to Eric's great explanation, the corrections here are for barrel and pincushion distortion. That can be present in a lens of any focal length.
What isn't corrected is the effect in wide angle lenses where there is spreading of the image of three dimensional objects away from the center of the field. It happens at any distance, not just close up. It is caused by the extreme angle of projection from the back of the lens to the flat film/sensor plane. Think of a straight on photo of a building that has equal size columns across the facade with a wide angle lens. The columns at either end of the image appear wider than the (same width) columns in the middle. Retrofocus design wide angle lenses help a little bit (the rear of the lens is further from the focal plane than in a standard wide angle), but the distortion is usually there.
There is also distortion from being too close to the subject. Focal length doesn't really matter in that, except that longer lenses don't have the field of view to take in the close subject and can't usually focus that close. So we associate this distortion with wide angle lenses. This sort of distortion would be that where a person's nose in the middle of the frame looks very large and there is quick falloff in size to the eyes, ears, background. I think of this as more an issue of perspective, and this is controlled by camera placement, not by focal length or lens design.
Another good page on Paul Van Walree's site is http://toothwalker.org/optics/misconceptions.html
John

Is there a lens profile for a Canon ef 38-300 f/3.5-5.6L is usm lens?

I do not see one in the drop down list in lens correction set up. Is there another lens that is close on the list?

It is included in the LR 3.3 Release Candidate -- see the list of lens profiles here:
http://blogs.adobe.com/lightroomjournal/2010/10/lightroom-3-3-and-camera-raw-6-3-available -on-adobe-labs.html

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

Where do i have to i put my custom colorsync profiles

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

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

Need Better Profiles for HP B9180

Hi all,
Like others, I find that my HP Photosmart Pro B9180 produces prints that are 20-30% darker than the image on my calibrated monitor. I am running CS3 on my Mac OSX Leopard system. I am trying to print on HP's Advanced Photo Glossy paper.
My color settings are along the lines of those recommended by Scott Kelby (Adobe RGB workspace and prolife; and I allow PS CS3 manage colors and not the printer).
I've experimented with other printer profiles provided by HP, but nothing delivers a good print. Has anyone found a good ICC profile that will work with this printer/paper combination?
Thanks, in advance, for any help you can offer.
Best,
Tracy S.

Ok, you caught the typo. I actually went back to his book to find the proper page citation to support my statement, until I realized you were having a bit of fun. Just so the record is clear, I have no knowledge as to whether Mr. Kelby is or is not prolife.
Anyway, on to your advice....
"You need to calibrate and profile your particular monitor, then use the resulting profile as your MONITOR PROFILE. (DEVICE DEPENDENT.)"
Did that, as I mentioned in my original post.
"Finally, your target profile has to be a specifically calibrated profile for the particular combination of paper, ink and printer. (DEVICE DEPENDENT)."
Yes, that is the essence of my message in which I am asking for assistance in locating a better ICC profile for my printer (HP B9180) and paper (HP Advanced Photo Glossy) combination. The stock ICC profile from HP is generating poor results. Short of printing off target sheets and sending out for a customized profile, I thought I would see if anyone else has tumbled to a better profile. Others have encountered a similar color and tonal shift in their prints using the same set up as me, so someone may be able to point me in the right direction.
Also, I did review the site to which you directed me. As Mr. Ballard points out:
"The problems users have with Photoshop, and color managed applications are:
1) They break the Color Management System CMS, by attempting to turn it off -- when in fact they can't!
See: Turn Color Management on And Honor my Embedded Profile, Please gballard.net
2) They have bad profiles...."
My problem is precisely the one he identifies as point (2) -- I have a bad output device profile and I wish to correct that.
Anyone out there with a good HP B9180/Advanced Photo Glossy ICC profile out there??
TS

Create a specific user profile to Material master data

Dear colleagues.
We need create on R/3 4.6 a specific user profile for material master data, to create or modify (MM01/MM02) only the following views: 'Sales org. data 1', 'Sales org. data 2' and 'Sales:General/Plant data'. The problem is that when I use the SAP gui functions, I can create the profile, but also with the views 'Foreign trade: Export data' and 'Sales text'. Someone know how create this profile without this last two views? Thanks.

See:
http://technet.microsoft.com/en-us/library/cc262327(v=office.15).aspx#create
And a more complex, in-depth example leveraging MMS:
http://www.sharepointsteve.com/2010/10/making-custom-user-profile-properties-searchable-in-sharepoint-2010/
Trevor Seward
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This post is my own opinion and does not necessarily reflect the opinion or view of Microsoft, its employees, or other MVPs.

Copying or installing paper specific colorsync profiles for my canon ip4300

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