Display Color Shift/Imperfections

Suggestion for everyone, change your desktop background to a Solid Color, preferably Grey, now open a solid color photo or graphic or even open the application Stickies. Now drag that solid color/graphic/sticky note across your display and tell me if you too have issues with equal perfect color rendition and constant shading across the display!?!? I took my 2 year old iMac display in when I first noticed a well defined line in the middle of my display in which the left side was much darker and dimmer than the right side...
The next 2 LCD screens I received were better, but far from the perfection I expect with Apple products! All genius bar employees that worked with me as well as roommates of mine could see the unequal color/grading of the screen. I received a new iMac and this one too has the same issue albeit not as bad as the defining left/right dark/bright problem. This computer screen's left side is more grey and it's right side more yellow (again were talking about very fine detailed color shifts). Although these are subtle things, I don't see how professional photographers/videographers/editors and others involved in an industry which deals with such fine detail and relies on accurate color rendition can handle this problem?
I still love Apple, and I am very pleased with their support, but what is going on here?

Mac OS X (10.6.8)
If your profile is correct, you should re-post in the Snow Leopard forums instead of Mountain Lion's.
If profile is incorrect, please correct so that you will get the proper troubleshooting solutions.

Similar Messages

My display color shifts to a blue tint when opening photoshop and bridge with Yosemite

The display on my mac book pro color shifts to a blue tint when opening Photoshop CS6. Any suggestions on how to maintain the current color profile? My photography work is dependent on proper display calibration. Thank you

First open the Universal Access preference pane and in the 'seeing' tab, make sure that the slider for 'enhance contrast' is all the way to the left. Next, open the Displays preference panel and click on the 'color' tab. The click the 'calibrate' button. This will take you through a color/brightness/contrast set up procedure that may eliminate the problem.
There are two options in the calibration process, standard, which is the default option and has fewer adjustment screens, and expert, which is selected by checking the box for it on the first calibration screen and offers more adjustments. You can't do any harm with either since any settings you create can be discarded, or profile(s) you save can be deleted or ignored if necessary.
This won't necessarily resolve the problem, but if not, then it would indicate that there's an issue with the hardware - possibly just the connector on the back of the system, which needs to be fastened really tightly. If you can't readily resolve this, since your system is so new, I'd then suggest you call Apple.

Odd color shifts when changing displays

Ever since I upgraded from Snow Leopard to Lion, I've experienced some weird problems with colors appearing not right when I disconnect my MBP in closed-clamshell mode from a 27" LED Cinema Display and simply use it with its built-in display (1600 x 1050), or later connect it to a 1024 x 768 LCD projector. In many cases, it suffices to go into the Displays preference pane and change the color sync profile to something else and then back, but not always. The color shifts look like this:
or much worse:
Is this a bug in Lion, or something else? Is there a workaround or fix? The only true fix I've found is a restart.

OK, more on this oddity: why do I have so many identically-named colorsync profiles?

PLEASE HELP - COLOR SHIFTING PROBLEM on output NTSC monitors

http://www.smmlv.com/testproject/
Above is a link to a layered photoshop file that has a USA map and over a dozen network overlays used in a section of our video. I animate each layer on sepeartely in the video and have noticed a major problem recently, the color of the art does not hold true to placement. I created the art originally in Illustrator and then converted the file to Photoshop at 640x480, 72dpi. This has always worked perfectly in the past to display and animated artwork in FCP.
Right now, in FCP I am using the NTSC DV 3:2 frame size, and the compressor of DV/DVCPRO - NTSC. I have a JVC Profressional DV deck that hooks up through firewire and sends S-Video to my monitors. This setup has always given me a great picture even though it is not completely upcompressed. Using these settings and this art, the color lines on this map in red, light blue, yellow and purple all have a "color shift" to the left about 5 pixels. It makes it appear that the line is where it is in the file, but the color overlaying the line is offset to the left 5 pixels and transperant to about 50%. This occurs only when viewed on some TV's and NTSC monitors and projectors. The strange thing is, some monitors display the color aligned almost perfectly on these maps and other monitors and projectors show this "digital halo" of color shifting really bad. If I take the layered network overlays in these colors and color tint them to black or grey, white, light green, or even light orange, they no longer have the color shifting and the detail is perfect.
Is there any way to fix this problem? I have tried duplicating the sequence and setting the compressor to 8bit Uncompressed, and while my captured footage is not this compression, in theory the art should render at this higher resolution setting. This did nothing to solve the problem.
I also have tried using different Broadcast safe and Y/C corrector filters with different results. The Y/C filter allowed me to reposition the color problem and thus removing most of the problem, but also removing most of the color. Nothing else has allowed me to seemingly move the color into the proper possition.
What is causing this color shift on the displayed NTSC image?
In FCP 4.5 I can see my rendered video in the program viewer screen and besides the pixel compression appearing on the lines, overall the video looks great paused or even better when playing. Then you view it through my deck onto my Pro Sony NTSC 19" color monitor and it also appears great, with a slight color halo to the left of these colors, but the color in the lines are there. If you are a few feet from the screen and know what you are looking for you might see it, but doubtful. Then you view it using the same signal on a 17" Samsung TV and the color shifting makes the map and other art, like the clients blue logo, look horrible, with each color line appearing twice and offset left from each other as if you had double vision. Normally I would think it is the TV causing this, but then we tested this same movie on 2 differnt projectors. The $700 Epson projector displayed everything beautifully, again with only the slightest color halo to the left, but then the Panasonic $4000 projector made everthing in these colors look double vision again. What is going on???
One more thing to keep in mind, my color bars also show this problem with these colors as well as shot footage of these facilities. There are tall red poles in the shots and everything displays fine except for the red pole color looks like it's glowing off the pole to the left.
PLEASE tell me there is a solution to this.

I have tried Degaussing, using filters, changing cables, and testing other monitors and systems on these monitors, everthing I can think of to solve the issue. Is it FCPo or is it the monitors?... or is it a signal strength thing. Can monitors and projectors shift color when the signal is read from a DVD or Mini DV Deck? Is there a fequency difference (Ie: 75mgz or 80 mgz) that might be causing the shift in some monitors and not so badly in others. But if this was true, how would some DVD's (like Baby Einstein DVDs that use really bright colors) display red and blue perfect using these same player and monitor, while my projects is shifting color? Doesn't that rule out the signal from the DVD player if other DVD's do not have this issue?
I have uploaded the original art used, an exported .jpg file from the FCP timeline and sample photos of 2 different monitors to show to show this problem as best I can. http://www.smmlv.com/testproject/
Someone out there must have had this problem before. There's no way a color shift problem like this with Mini DV has gone on this long without someone seeing it.
One last thing about what I have tried... I do understand that with editing in Mini DV instead of uncompressed or HD video I lose a bit of resolution (4:2:2) and I see this compression occuring in some of the areas in the video where these problems persist. But, I did remake the art and rerender this project in an 8bit uncompressed settings and then displayed that up on the screen and I get the same color shift. I keep going in circles trying to find the culprit that is causing the delema.
PLEASE HELP! There are large tours going through our facilities daily and the large screen projector is displaying this problem as well. Let's just hope they don't notice and that their TV's at home or office does not display it on our final DVD's made.

OS 10.4.6 is causing color shift in prints

Since I updated to 10.4.6 My prints have a severe red cast to them. All perameters used in printing are the same as previous and my Epson 2200 is working properly. I have color managment turned off in the driver and am using the correct prifiles fo the paper. I saw another post where others were having display problems but my images display fine but print badly.
Anyone else have this problem or a suggestion.
Thanks
Craig

Grrr!
I'm having the same issues as people above and as on some similar threads.
First, I've color managed for awhile. Beginning with calibrated monitors, Photoshop's "View" menu settings, my color space ...
I know not to double color manage, and I choose to manage through Photoshop. I've reinstalled everything and read these boards and other threads on the web.
Here are my problems.
I am getting severe color shift and cannot get an accurate print. I've spoken with Epson ($$) and Adobe. All fingers point to Apple. Going through the printing process, everything is fine until soft proofing before hitting the final print button. That preview ALWAYS shows a shift in color if any color management has been applied. (I just tested an image without any color management and there still is a shift.)
Today I trying to print blue hydrangeas for a town project; they are shifting toward magenta. Last week I worked on a town-wide Relay for Life (ACS fundraiser); night-time images with candles ... shifted green. (Again, my with calibrated monitors.)
Ironically, when I was on 10.3.7 I didn't have any trouble. After that it's been roulette. I have an Apple Care contract and called Apple. Understanding that not every rep knows the ins and outs of color management, I asked him to forward an email to someone who can help me.
Grrr. I was told that since Photoshop and Epson are not Apple products they can't help me. Surely, web searches show that this is known problem. (Some suggest trashing Apple's Generic RGB profile ...)
Can ANYONE at Apple help? Please? Isn't that what an Apple Care contract should do?
I have 20 (different) prints due to a family by tomorrow. I have an additional 150 prints due by Thursday. Am I expected to borrow someone's Windows PC and use it to send the image to my printer?
(Also, I've installed several icc profiles in the past, but can't install any currently. I'm trying to install Museo and Arches profiles.
What is happening? Newer profiles don't show up in the print driver's "Print Settings," "Media Type" pull down menu, no matter where I try to load the newer icc profiles.)
G4 - 1.5 GHz Power PC Laptop Mac OS X (10.4.7) OS 10.4.7; Epson 2200; Photoshop CS2; plus other peripherals not relevant to this issue.

A different take on the "Save For Web" color shift issue...

Ok, everyone who has fussed much with photoshop and "Save For Web" knows about the color shift issue. If you want your colors to look right after you "save for web", you have to work in the sRGB colorspace, and have Proof Colors checked (soft proofing on) and the proof color setup set to Monitor RGB, otherwise what you get looks terrible when displayed in a browser.
But of course if you are editing for print, this is exactly what you DON'T want to do. Well, I work in both. In fact, often the same images, and I want them to appear as close as reasonably possible in both print and web formats, and without a lot of fussing on my part. And I'm pickiest about the print mode, since I have the most control there, so that's the way I want to edit by default.
Nothing new here.
Now comes the interesting part (in my mind, anyway). Obviously there is a known remapping -- because PhotoShop DOES it when you select Proof Colors. So the inverse mapping must also be known (with some gamut issues, but I'm not concerned with those, because, after all, I'm VIEWING it on a monitor anyway!). What I want is a plug-in that automatically applies that inverse mapping so that, when I do a Save For Web, I end up with the colors I've been viewing all the time when setting the shot up in print mode. Then, too, I don't have to worry about what mode I'm in when I'm editing -- it just fixes it when doing a save-for-web.
Again, I want to edit in my normal print mode (typically ProPhoto colorspace, and with soft-proofing off or set to the printer/medium combination I expect to use), then do a single operation (might be a multi-step action) to "screw up" my colors so that when I then do a "Save-For-Web", the resulting image, when viewed on the average color-stupid browser, looks like the image I've been seeing in Photoshop.
Anyone know of such a beast?   I would gladly pay for a plug-in that really works and fixes the problem.
And if you have other solutions, I'm interested, but the absolute requirement is that it I do one single edit pass for my colors for both print and web use, and I get what I see on the screen in PS on both the prints and on the web display (i.e., working in sRGB/Monitor RGB mode all the time won't cut it). And PREFERABLY, let me do all my editing work in the ProPhoto (or at least AdobeRGB) colorspace so I have a gamut closer to what the printer can do.
Anyone got a decent solution for this?

Sorry, I think I'm being unclear. This has nothing to do with individual monitor profiles. In Proof Setup, "Monitor RGB" amounts to turning off ALL color management, and simply letting the monitor do what it will. It is what the vast majority of web browsers do (even if the operating system provides color management, the browsers don't take advantage of it), so that is what you need to consider for images that will be viewed on a web browser. If you convert your image to sRGB, select Monitor RGB in Proof Set up, and turn on Proof Colors, you will see the image as it would appear on a web browser (after you save it as a jpg or use "Save For Web/Devices" to save it as a jpg).   Since almost everyone is running different uncalibrated monitors, there will be lots of variation in how it will look to them, so precise control of the color is unimportant.
That said, I would expect the color on a calibrated monitor (such as the one I use when editing) to be reasonably close to the colors I am seeing while editing in PS. To the extent a monitor deviates from "calibrated", those colors will vary, but a good monitor should show good colors.   Unfortunately, this is NOT the case, as my previous post shows. The colors produced by the steps above are oversaturated and significantly shifted in hue. There is, to my mind, anyway, no reason for this. Adobe clearly knows what the mapping is between the colors as it displays them in PS and the un-controlled "Monitor RGB" -- that is, it is the color map they are using during normal editing display. If they were to reverse-apply that map prior to saving it as a jpg, then the image would appear on a browser on that same (presumably calibrated) monitor very similar to what you set up when editing. Anyone else viewing the image on a web browser with a calibrated monitor would also see good colors. To the extent other viewers' monitors are out of calibration, their colors will suck, but there's nothing you can do about that.
I guess in some sense I AM "asking for a Color-Mamangement-solution for a "non-Color-Management-situation", but specifically I'm asking for PS Color Management to do the best it can for non-Color-Managed situations that we all face every day.
Does that make more sense?

Looking for a better solution to the "Save for web" color shift issue

Ok, everyone who has fussed much with photoshop and "Save For Web" knows about the color shift issue. If you want your colors to look right after you "save for web", you have to work in the sRGB colorspace, and have Proof Colors checked (soft proofing on) and the proof color setup set to Monitor RGB, otherwise what you get looks terrible when displayed in a browser.
But of course if you are editing for print, this is exactly what you DON'T want to do. Well, I work in both. In fact, often the same images, and I want them to appear as close as reasonably possible in both print and web formats, and without a lot of fussing on my part. And I'm pickiest about the print mode, since I have the most control there, so that's the way I want to edit by default.
Nothing new here.
Now comes the interesting part (in my mind, anyway). Obviously there is a known remapping -- because PhotoShop DOES it when you select Proof Colors. So the inverse mapping must also be known (with some gamut issues, but I'm not concerned with those, because, after all, I'm VIEWING it on a monitor anyway!). What I want is a plug-in that automatically applies that inverse mapping so that, when I do a Save For Web, I end up with the colors I've been viewing all the time when setting the shot up in print mode. Then, too, I don't have to worry about what mode I'm in when I'm editing -- it just fixes it when doing a save-for-web.
Again, I want to edit in my normal print mode (typically ProPhoto colorspace, and with soft-proofing off or set to the printer/medium combination I expect to use), then do a single operation (might be a multi-step action) to "screw up" my colors so that when I then do a "Save-For-Web", the resulting image, when viewed on the average color-stupid browser, looks like the image I've been seeing in Photoshop.
Anyone know of such a beast? I would gladly pay for a plug-in that really works and fixes the problem.
And if you have other solutions, I'm interested, but the absolute requirement is that it I do one single edit pass for my colors for both print and web use, and I get what I see on the screen in PS on both the prints and on the web display (i.e., working in sRGB/Monitor RGB mode all the time won't cut it). And PREFERABLY, let me do all my editing work in the ProPhoto (or at least AdobeRGB) colorspace so I have a gamut closer to what the printer can do.
Anyone got a decent solution for this?

Chris
I spent all day Googling and doing side by side comparisons of my old and new systems.
My display is a Dell U2410. It has several presets, including sRGB and Adobe RGB. I've been using sRGB.
On my OLD system, (Win XP, PsCS2, DwCS4) there seems to be no distinction between color managed and non color managed apps, even on this wide gamut display. I could capture (digital camera) in Adobe RGB, open and edit in PsCS2, save as .psd, convert to CMYK for print, or convert to sRGB for SFW. All images looked identical and they printed and displayed perfectly. I thought this was normal, and seemed logical. This also seems to be the source of my incorrect assumptions. I was trying to get my new machine to behave like my old one.
So I get this new machine (Windows 7, PsCS5, DwCS5) and now (still in sRGB display mode) all color managed apps appear de-saturated. Non color managed apps are OK. If I switch the display to Adobe RGB, color managed apps are OK, but non color managed apps are way too saturated. From my investigation, I believe this is normal behavior on a wide gamut display. I've tried changing the Control Panel > Display > Screen Resolution > Advanced settings > Color Management options, but to no avail. Either I'm missing something, or Windows 7 is doing color management differently.
It seems my only option now is to use Adobe RGB display setting for Ps, etc. and switch to sRGB for Dw and non color managed apps. Or, have 2 separate files for print and web. I've Googled 'til my eyes are numb and still not sure I'm getting this. Any enlightenment would be greatly appreciated.
Finally, I don't see an edit function here, so I can't remove my previous incorrect reply. Moderator, please feel free to do so.
Thanks

Save for web color shift - only on images smaller than 150x150px

I'm getting a color shift only on small images (150x150px or smaller) when I save for web in Photoshop CC and CS6. That's very weird as it doesn't happen to images larger than 150x150px! That issue happens with images with different measurements as well (e.g. rectangle), the small looks dull and the larger display the right color.
My Color Settings are set to "Monitor Color". Under save for web I have the following options not ticked: Embed Color Profile and Convert to sRGB. (viget.com/inspire/the-mysterious-save-for-web-color-shift)
I'm running the OS X 10.8.4 on a macbook pro, I tested that on both, Safari 6.0.5 and FF.
The squares in the screenshot were saved exatly the same way. The largerer displays the right color #FFCB32, but the smaller displays the color wrong.
I appreciate your help.
Cheers
P

JPG & PNG = Color Profile "Don't Color Manage this document". Save under save for web I have the following options not ticked: Embed Color Profile and Convert to sRGB. (viget.com/inspire/the-mysterious-save-for-web-color-shift)
Resizing in photoshop (Image Size), but the color shifts even with cropped image after save for web.

Premiere Pro CS6 and Media Encoder CS6 Color shift on export

Hello,
I am working on an early 2008 Mac Pro with 2 X 3.2 GHz Quad Core Intel Xeon Processors 32 GB of RAM a NVIDIA GeForce 8800 GT 512 MB Graphics Card and I am running OS X 10.8.2.
I have the updated Version of Adobe Premiere Pro CS6 and Media Encoder CS6 through the awesome Subscription program that Adobe has started.
My footage is shot with the Canon 1D Mark IV shot 1920X1080 at 24 FPS
I am importing the camera files and then exporting them after I cut them up in to Quicktime Pro Res 422 HQ files
With the technical explination out of the way here is my problem. I have color right from the camera files that I like. and with out doing any thing to change the color I export the footage and get a dramatic color shift. The exported file looks desaturated and slightly green.
I have tried using Media Encoder CS6 to export my footage and that has the same result.
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I have attached three screen shots that show the color shift exactly. Now what I need is a solution. What I am not seeing is color settings for Premiere. I am totally open to any suggestions on what I might be doing incorrectly.
Ben

Benjamin Peterson wrote:
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I've been doing this for a few years now, and have come to some conclusions. Basically, the difference between still photography and video is like the difference between playing the trumpet and the sax. What you bring to the sax from playing trumpet is your ability to read music, what you know about composition, blending while playint with others, ect. But playing trumpet tells you nothing about how to physically play a sax. So it is with still photography and video.
For starters, your carefully calibrated computer monitor is just that, a computer monitor. It doesn't display the correct working space for video. What you need for WYSIWYG in video is a monitor that can show you the Rec.709 working space. Rec.709 has a different gamut, a different gamma, probably a different white point (D65), different phosphor colors, etc., etc., etc. Enought differences that it's difficult to make a computer monitor that can successfully display Rec.709. Yet there are a couple of computer monitors that can do this (a few Eizos, one HP). The vast majority of people doing serious color correction work in video use a production monitor for just this reason.
But a production monitor isn't enough. You also have to make sure that the signals you're sending the production monitor are correct. There's a sub-industry making signal converters for signals from NLE video cards (usually RGB based) -> signals for production monitors (usually YUV based).
That said, it is certainly possible to get a very good match between your NLE suite and a DVD / BD as displayed on an HDTV. But it's not as simple or easy as a calibrtated computer monitor for still photography use.
This is probably part of your problem. But Quicktime is probably the root of it. Quicktime is, well, I guess the polite way of saying it is that Quicktime is problematic. It gives all kinds of problems. Most people have abandoned it. You should too.

Color shift printing from Lightroom 1.3

Windows Vista, HP officejet Pro L7580 printer, Lightroom 1.3, Photoshop CS3. All that being said and having used Photoshop since ver 5 with a variety of printers I find myself stumped with my latest soup of hardware and software. Screen colors do not print out anywhere close on paper when I try to print from Lightroom. Move the file over via "edit in Photoshop" and print from there and everything is fine. In Photoshop, whether Photoshop or the printer controls the color there is no problem. In Lightroom, however I have no control that I can find. I have no additional profiles so the printer controls the color. Photoshop and the printer are both set to AdobeRGB1998.icc. Other then just printing from Photoshop what am I missing in Lightroom?
By the way Adobe, in the future think about either Lightroom or Bridge but not both.

Hi,
Just a reminder for those who missed that thread (I guess this fix also
applies to LR 1 although I didn't check):
[FIX] Darker prints and color shifts when printing from Lightroom 2
(this is for Windows - Mac users please look here for a similar fix:
http://www.computer-darkroom.com/lr_13_print/lightroom_print.htm )
The problem :
When printing RAW or TIFF files from LR2, you get a printer output that
is much darker than it should be and that presents various color shifts.
I'm using an Epson Stylus Pro 3800 with the latest Windows driver
(6.50 - which is rather old by the way). The workaround described below
works for me under Windows XP SP3. It should also probably work with
other systems/printers/drivers. Use at your own (minor) risk.
The "official" procedure for printing from LR is as follows:
1. Do not let the printer manage colors and select "Other..." from the
profile dropdown list and select the ICC/ICM paper/printer profile that
you want to use.
2. Click on Print... in LR which opens the Print Settings dialog.
3. Select the options you need and the paper you're using.
4. *Disable the color management from the driver's side* (in Epson's
drivers, "Mode | Custom | No Color Adjustments").
5. Print
Unfortunately, *this doesn't work* for many of us and this produces a
print that is dark and has color shifts as mentioned above. Note that
the same image prints correctly from QImage or Photoshop CS3 (that is,
the printer output corresponds to what you see on your calibrated
display).
Apparently, although color management has been (allegedly) disabled in
the driver, there's something wrong between LR and the driver which
makes that both LR and the driver are still trying to manage colors. In
other words, the "No Color Adjustements" option of the driver doesn't
seem to work with LR.
The workaround (found after hours of hair pulling and paper and
expensive ink wasting):
In step #4,
1. Instead of selecting "No Color Adjustments", set Mode to "Custom |
ICM
2. Click Advanced...
3. Check "Show all profiles".
4. Select Driver ICM (Advanced)"
5. Set *both* the "Input profile" and the "Printer profile" fields to
the very same profile that you specified in LR.
That is, if you specified Pro38 PGPP (Premium Glossy Photo Paper) in LR,
then also select Pro38 PGPP in both "Input Profile" and "Printer
Profile". This has actually the same effect has disabling color
management in the driver (what "No Color Adjustements" should normally
take care of).
That's it. When printing, you'll get exactly the same color results as
when printing from QImage or Photoshop. No more dark prints. No more
color shifts.
One might think that the bug is in the Epson driver but in that case,
QImage would have the very same problem. So I tend to think that the bug
is on the Lightroom side.
Hope this helps.
Patrick

[FIX] Darker prints and color shifts when printing from Lightroom 2

Hi,
The problem :
When printing RAW or TIFF files from LR2, you get a printer output that
is much darker than it should be and that presents various color shifts.
I'm using an Epson Stylus Pro 3800 with the latest Windows driver
(6.50 - which is rather old by the way). The workaround described below
works for me under Windows XP SP3. It should also probably work with
other systems/printers/drivers. Use at your own (minor) risk.
The "official" procedure for printing from LR is as follows:
1. Do not let the printer manage colors and select "Other..." from the
profile dropdown list and select the ICC/ICM paper/printer profile that
you want to use.
2. Click on Print... in LR which opens the Print Settings dialog.
3. Select the options you need and the paper you're using.
4. **Disable the color management from the driver's side** (in Epson's
drivers, "Mode | Custom | No Color Adjustments").
5. Print
Unfortunately, **this doesn't work** for many of us and this produces a
print that is dark and has color shifts as mentioned above. Note that
the same image prints correctly from QImage or Photoshop CS3 (that is,
the printer output corresponds to what you see on your calibrated
display).
Apparently, although color management has been (allegedly) disabled in
the driver, there's something wrong between LR and the driver which
makes that *both* LR and the driver are still trying to manage colors.
In other words, the "No Color Adjustements" option of the driver doesn't
seem to work with LR.
The workaround (found after hours of hair pulling and paper and
expensive ink wasting):
In step #4,
1. Instead of selecting "No Color Adjustments", set Mode to "Custom |
ICM
2. Click Advanced...
3. Check "Show all profiles".
4. Select Driver ICM (Advanced)"
5. Set **both** the "Input profile" and the "Printer profile" fields to
the very same profile that you specified in LR.
That is, if you specified Pro38 PGPP (Premium Glossy Photo Paper) in LR,
then also select Pro38 PGPP in both "Input Profile" and "Printer
Profile". This has actually the same effect has disabling color
management in the driver (what "No Color Adjustements" should normally
take care of).
That's it. When printing, you'll get exactly the same color results as
when printing from QImage or Photoshop. No more dark prints. No more
color shifts.
One might think that the bug is in the Epson driver but in that case,
QImage would have the very same problem. So I tend to think that the bug
is on the Lightroom side.
Note: Although Photoshop CS3 produces a correct printer output, it
demonstrates the same problem as LR when using the "Match Print Color"
option for soft proofing. But in that case, only the preview colors are
wrong. The printer output is ok. Which also tends to demonstrate that
Adobe has the problem, not Epson. Or maybe both... :-) .
Don't ask me why some users have the problem and other don't.
Hope this helps.
Patrick Philippot
MainSoft Consulting Services
www.mainsoft.fr

A sincere thank you for your reply, Michael. Sorry about the "it just doesn't make sense" shortcut. I have been trying to solve this issue since LR 1.1, spending dozens of hours on different trials and digesting everything written on this forum and the B9180 forum about color management and double profiling. My shortcut was a summation of my experience (and my frustration) but doesn't really advance the conversation. Here are some data that should be more useful in diagnosing the problem.
I am running Windows XP SP2. I calibrate my monitor monthly with the Spyder. The reason I suspect this may be an issue of double profiling is because the results (moderately strong magenta overlay plus an increase in contrast) match what more knowledgeable people than I on this forum describe when double profiling occurs. Perhaps I shouldn't presume it is double profiling, and follow Patrick Philippot's lead in naming the problem "color shifts." Patrick does refer in post #2 of this thread, however, to obvious double profiling.
I certainly do have a successful and consistent print method. With PS CS3, and either my Epson 1280 or my HP B9180, the output is almost always dead on. Here is how I do it. In PS from the print dialog box, under color handling I always choose "Photoshop manages colors." Then under printer profile I select the profile designated by the manufacturer for a particular paper/printer combination. Then in the printer driver I disable printer control of color. With the Epson I check the box "Off (No Color Adjustment)." With the B9180 I choose the option "Application Managed Colors." While I sometimes may tweak the final output, these procedures have served me well with PS for several years.
Contrasted with my positive PS experience, my experience with LR printing has been inconsistent. I regret having to be so imprecise but truly sometimes LR produces accurate results that match the calibrated monitor, but most of the time it does not. I use standard procedures with LR that parallel the PS ones described above. In LR's printing panel, under color management, I specify the correct profile, just as I did for PS. Then in the printer driver I use the same procedures I use with PS. Most of the time the prints have the magenta overlay and too much contrast.
BTW, the inconsistent LR printing only takes place with my HP B9180. I have never had any problem with off-color LR prints with my Epson 1280. Again, I emphasize that I have standard procedures that always work with PS (no matter which printer) and LR (but only with the Epson).
Unfortunately the LR printing problems are intermittent. Some of the time (perhaps 20%) LR produces fine prints in the B9180, indistinguishable from PS prints. When LR is printing well, it will continue to print fine until "something happens" and the output shows the color shift. This means I do not get a random sequence of good-bad-good-bad prints, but rather good-good-x factor-bad-bad-bad. Ths problem is that I do not know what this "x factor" is. Once, when LR was giving me accurate output, I simply changed the default printer (Control Panel-Printers and Faxes) from the B9180 to my Samsung 1430 laser; immediately afterwards the LR output colors shifted. Did LR react to this change in default printers? Another time I had good LR printing success with version 1.2 but ran into the problems described above when I upgraded to version 1.3.
Sorry for the long post. I am hoping that someone will see something that I am missing and provide a hint. I think, though, that Patrick is correct when he states, "I tend to think that the problem is with LR. After all, similar issues (obvious double profiling) are observed only in LR but with various printers."

20" ACD Color Shifting?

I have a question about my new 20" Apple Cinema Display.
I'm looking at this screen and one side has a slight cyan tint to it and the other side has a slight red tint to it. It really makes grays and whites look odd. Is this a defect or is this acceptable? Should it be one solid shad the whole way from left to right? If not, can I return it for another one?

Okay, I returned my Display for an exchange and the problem is still there but, not as bad so I think I'll keep this one. they didn't even plug it in and look at it... for all they know, it could've been perfectly fine. Anyways... it wasn't fine and I got a new one. This one is actually better, but the effect it still slightly there but, I'll keep it since it's not as apparent. I didn't see this effect happening on the 23" ACD but, the same thing was happening on the 20" Display Model they had out but, that one was worse than this new one. I think it's just how they come... or maybe a bad batch... I wouldn't really classify this as BAD because most people wouldn't even notice it to even care or even if their screen has it... they might not even know it. I think I said before that I work with photos at work and they need to be "color corrected" to be printed on a flexo press and my eyes have become very observant to every color shift such as being able to tell if something is too warm, too cold, too dark, too light and there's very fine adjustments that we do to them to make them look as good on press as they do on screen. Maybe that's why I criticize these displays. However, after all that, I must say that this is a very well built display and the hardware is amazing and the brightness is top notch... whites are very white (unlike my yellowish whites on the PowerBook) and overall I'm satisfied with this display as a whole.
So in conclusion... if you're thinking of getting a high quality widescreen LCD... definitely choose Apple for the most professional looking hardware and sharp image. Trust me, I looked all around for a third party display and they all disappointed me in one way or another. A lot of them felt cheesy or there was too much design to them or ugly buttons on the face of the display. On the other hand, Apple's displays are very sleek and beautiful as well as very very well put together with a nice aluminum case and that solid feel. Also, it's very easy to tilt the display up and down... you almost don't have to use any force yet when you're not touching it, it stays exactly in place. The brightness buttons are on the side and so is the power button (touch buttons). Lastly, there's 2 USB and 2 Firewire ports on the back and there's only 1 cable that pops out the back and it goes through the stand and splits into 1 connector cable and 1 USB cable and 1 Firewire cable (to make the ports on the display work) and the power cable that plugs into the power block which then plugs into the wall or powerstrip. There's my mini-review.
Quality: 10
Design: 10
Ease of use: 10
Ease of setting up: 10
Price: 5
Picture Quality: 8
Overall Rating: 9

24" brightness gradient, color shift, or both?

We all know about the "issue". We've all seen the pictures and seen them in stores. However, I think I'm a little confused. We talk about some machines having a brightness difference and a blue/yellow tint.
Which one was the most concerning problem? Is it the brightness difference everyone is upset over (like this: http://forums.dpreview.com/forums/read.asp?forum=1017&message=27915616), or is it the slightly bluer left portion of the screen (setting a grey background and seeing the difference on the left side or seeing a yellower patch in the middle)? Or, are these problems one in the same?
In my case, the brightness is even on each side, except the left side does have the ever-so-slight bluer tint to it on about 1/3 from the left (you can be picky and maybe detect a slightly brighter left side too on a couple pics, but then again, so does my buddy's ACD at work).
I'm mostly for keeping mine, but to be honest, want to see if these issues are separate or considered one issue (the more brightness difference, the more yellowing, etc). The issues don't bother me during normal use and have to look for them to see them.
BTW, I took a boat-load of pictures here: http://public.ryanpetersonline.com/imac/
So are these two separate issues? Thanks.

rpeters83 wrote:
The Dell is a PVA panel. It also costs 1200 bucks!
Yes, the 2405FPW uses a PVA panel (Samsung LTM240M1-L01), but these
are certainly no more expensive than S-IPS panels used in 24" iMacs. Much
of the Dell's high price tag was due to the numerous deluxe features having
nothing to do with the LCD panel (multiple inputs, universal USB memory
card readers, 5-year warranty, etc.) Pretty good value compared to a 23"
S-IPS Cinema Display -- $1000 (including AppleCare) for ONE video input
and exactly ZERO features.
BTW, the current 24" Dell 2408WFP sells for $620 -- with an S-PVA panel
(Samsung LTM240CS05) and all the bells and whistles of the 2405 -- PLUS
HDMI, HDCP, and 110% color gamut. The ACD is a vastly overpriced fossil.
My main goal of this thread is to see if this type of mild color shift can happen
in LCD's other than the imac's. Perhaps the brightness of the machine brings it
out more than usual.
I've never seen a noticable color shift or brightness gradient in ANY of the
dozens of LCDs I've worked with. Pure speculation, but I wouldn't be at all
surprised if the problem is somehow related to Apple's irrational fetish for
"slim" profiles. Betcha a nickel Apple leaned hard on LG.Philips to invent a
thinner backlight/diffuser/inverter assembly. ...consequences be damned.
Looby

Ps CC: Color Shift On Second Monitor When Using FullScreen Mode

I have been suffering from a new issue since re-calibrating my external NEC Multisync monitor with an i1 Pro calibrator.
Though colors across the system as a whole are improved over similar calibrations with a SpyderPro4, whenever I use the full-screen mode in Photoshop CC (using the F key), the color shifts radically red.
I have tested the other solutions of disabling graphics processing and OpenGL/OpenCL to no avail.
Some testing has revealed that in full-screen mode the colors most-closely resemble the profile for the connected Macbook Pro Retina.
Is Pshop loading the wrong ICC profile just when switching to Fullscreen? I can usually get the correct profile back if I command-tab to another program and back again, but this is an unnecessary workaround.
Any advice would be much appreciated.
Alex

this kind of thing just cannot happen with a high-end Eizo or NEC PA - with these units, there is no video card calibration LUT at all, because it's handled internally in the monitor.
Dag, that's what we expect. But why are the LUTs on the graphics card slightly modified?
The programs Display Profile, Calibration Tester (and Calibration Loader) belong to the GMB ProfileMaker package.
Best regards --Gernot Hoffmann
P.S.:
Perhaps it works like this:
In advance to an actual calibration by ColorNavigator, the program writes these modified values with
equal "deviations" for R,G,B into the graphics card LUTs. Either as a marker or as numerical preparation
for the hi-res correction in the monitor itself.

Color shift between Library and Develop module

Hi,
I recently noticed a color shift between in the image when going from the library to the develop module. Yes, I know this is mentioned in the FAQ, but I did not find the solutions given there to be satisfactory.
Let me explain what happens: I have taken Photos with my Canon EOS 300D, in Jpeg mode with Color Space in the Camera set to AdobeRGB. The photos I am talking about were taken with Tungsten light with auto white balance and have a distinct orange color cast. I use Windows XP and view my Photos on a LCD Display calibrated with the Pantone Huey system. The Lightroom Library Module and Photoshop CS2 both display the original image almost identically (there are no changes applied inside Lightroom or Photoshop, I view the original image in both applications). Photoshop is set to use the Adobe RGB Color space as its working Color space, Softproofing is switched off. However, when I switch to the Develop Module, the colors (especially the orange hues) shift very noticably toward pink. I can only assume that the Colorspace conversion or maybe some implicit soft proof used differs between the modules. So, to restate the problem: If I switch back and forth between Library and Develop, without changing anything and in 1:1 view to avoid errors introduced by different zooming methods, the colors shift quite drastically back and forth.
I have to say that this is really quite annoying. The whole point for me to use the develop module is to use it to make adjustments to the colors, and for this to work properly I have to see the same colors in both modules and in Photoshop. There is no point in correcting a pink color cast away in Develop that is not even there in either the library module or Photoshop (and that would then have a stronger orange tint because I tried to counter the pink tint in develop).
So this leads me to the final question: Is it possible to tell Develop to use the exact same color settings as the Library Module? Or is there another way to compensate for the color shift?
I hope I was clear in what happens and what I tried to do. If it helps I can gladly provide a sample photograph that clearly illustrates the point.
Thank you in advance for your help,
Daniel

Thanks for your comments, Don and Fred. I hope that this issue will be worked on soon.
Fred, I have set the Preview Quality to High, but it doesn't seem to make any differences concerning the color shift. I have investigated this matter further by now and made the following observations:
*The color shift is a lot less noticable on my laptop (the laptop screen is also color profiled). On my laptop the change is more of a subtle shift in contrast than in color. This might be caused by the smaller color gammut of my laptop display though.
*I have uploaded a testimage so that others can check if this shift occurs at their workstations too - after all, it might be a misconfiguration of my color management software, though I doubt that (because Adobe already states that library and develop render different previews). I would be interested if the color shift I describe is noticable at other workstations too. The link to the testimage: http://www.danyx.com/colorshift.jpg (permission to use the image to test the color reproduction is of course granted hereby).
Thanks for your help, I hope Adobe will listen soon,
Daniel

Display Color Shift/Imperfections

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