ICC Profile Question.

I have PSE 13 on Windows 7. When I start to "save" an image I've edited it wants to save it using an outdated ICC profile. My most recent calibration was 01/12/15, but the "save" dialog is showing one of my profiles from 06/22/14. How do I get it to utilize my current profile?

Thanks mytaxsite. I had the "optimize for printing" selected. I changed it to "no color management" and the correct profile appeared, but the "use ICC" box was unchecked. I checked the box and saved it as a tiff. I then changed the color profile setting back to "optimize for printing" and reopened the same image and the correct profile was given as well. I'm thinking the original image was saved using the older profile, so that's why it showed up to begin with. I use a Spyder calibration system that gets automatically loaded into my system, so I would guess any new images will have the correct profile listed when i save an edit from now on. Thanks again for helping.

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Icc profiles on the mac questions

There seem to be multiple locations in OSX for icc profiles. I've found them in system/library/coloursync, library/coloursync and user/library/coloursync. Both display and printer profiles seem to be mixed up in these 3 locations.
Is there a preferred location for different profiles - or does Aperture/OSX find things as required (ie, it 'just works') ?
Also - my lab sent me its .icc profiles which I've copied into my system/library/colorsync/profiles directory. Aperture seems to find them okay. Are .icc files universal (ie, mac and PC) ? I didn't specify that I was a Mac user when I requested the icc profiles.
Paul

There seem to be multiple locations in OSX for icc
profiles. I've found them in
system/library/coloursync, library/coloursync and
user/library/coloursync. Both display and printer
profiles seem to be mixed up in these 3 locations.
Is there a preferred location for different profiles
- or does Aperture/OSX find things as required (ie,
it 'just works') ?
[snip]
I cant' speak as to whether display and print profiles should go in different places, or Mac vs. PC profiles, but the general rules for which Library folder to use are:
/System/Library: Don't mess with it. If an installer puts stuff there, that's fine, but the /System folder and all its contents should be considered hands-off at the user level unless you know what you're doing (the greatest ability to screw up the system comes from mucking around in the /System folder).
/Library: Files (in this case ICC profiles) put in this folder's subfolders will be available to all users of the computer.
/Users/Username/Library: Files put in this folder's subfolders will be available only to the user specified. Other users will not have access to them.
So basically, if you have multiple users on your Mac and you want them all to have access to the ICC profiles, put them in /Library/ColourSync/Profiles. If you only want yourself to be able to use them, they go in /Users/your username/Library/ColourSync/Profiles.
If you only have one user, and will never add any users to the computer, then placing things in /Library or /Users/username/Library will always yield the same results - you'll always have access to them.
You probably haven't broken anything by putting the other ones in the /System/Library/ColourSync/Profiles folder, but you may want to take them out and put them in the appropriate place, for consistency.
Also remember that the user's Library folder is checked by applications first, then the /Library, and lastly the /System/Library. That's the magic of how it "just works" no matter which Library you put the files in.

Possible solution for problems printing with ICC profiles - esp. R2400

(N.B. This is long because I've decided to go in to details about the background of the problem etc.. Also note that whilst my experience is with the Epson R2400, anyone with problems printing using ICC profiles in Aperture may find this post helpful, as will be explained further down the post.)
Ok, here's the situation. I've been an Aperture user for over a year, and an R2400 owner for half a year. In that time I have done a huge amount of experimenting, but I've never managed to get Aperture to work perfectly with Epson's 'premium' R2400 ICC profiles - the ones you can download from their site which are better than the ones provided 'in the box'. This hasn't been too big a deal because, in fact, the R2400 does a rather good job just set to 'System Managed' in Aperture and 'Epson Vivid' with a gamma of 1.8 in the printer driver. Nevertheless, it really annoyed me that something that should work wasn't, which is why I've spent a lot of time trying to figure out what's going on. Having said that, I have come across a method which will give you pretty good prints out of your Epson R2400 using the premium profiles in Aperture - it's not perfect, but it's the best you're going to get if you want to use those profiles in Aperture. I understand the words 'it's not perfect' aren't what photography experts would probably want to hear, however, I have seen a few anguished posts from R2400 owners in here before, so I think some people may find it useful.
The whole reason why Aperture is hopeless at using the R2400's premium profiles is because - unusually - their default rendering intent is set to 'relative colorimetric' rather than 'perceptual'. You might say 'but that's good - it means you get more accurate colours!', and if you do, you're right... however, there's a snag. To get an image to reproduce well using Epson's premium profiles and relative colorimetric rendering, you really need to use black point compensation. This is where the trouble lies: Aperture's black point compensation is diabolical to the point of being unusable when used with relative colorimetric rendering - I feel I need to be awarded compensation every time I've ever tempted to use the setting. So because BPC in Aperture is unusable, that effectively makes the premium profiles unusable too, because Aperture always uses the default rendering intent specified in the profile.
The solution? Use perceptual rendering instead. Ok, so you can't change the rendering intent in Aperture, which makes that sound a tad difficult. However, as I said in the above paragraph, Aperture always obeys the default rendering intent specified in the profile... so you can see where we're going with this: we need to change the ICC profiles' default rendering intent from 'relative colorimetric' to 'perceptual'. I did some digging around and found one or two expensive pieces of software that could do that... but then I found that, lo and behold, the Mac OS has a command-line utility which can do the job for us, for precisely £0.00. It's called SIPS or 'Scriptable Image Processing System', and you can find out some information about it here: http://developer.apple.com/technotes/tn/tn2035.html#TNTAG58 For those who don't like reading technical jargon however, here's what you need to do to convert a profile's rendering intent. First go to terminal, then type in the following command:
sips -s renderingIntent perceptual
Do not press 'enter' yet. Instead, add a space after 'perceptual', find the ICC profile you want to modify, and click and drag it into the terminal window. You should then find that your command looks something like this:
sips -s renderingIntent perceptual /Users/yourname/folder/RandomProfile.ICC
At which point you can then press 'enter', and the command will execute, giving you an ICC profile which will now make Aperture use perceptual rendering.
There is just one further thing to be aware of after doing this: for some crazy reason, you then need to turn on BPC in Aperture for the prints to come out as good as possible. Black point compensation shouldn't make any difference when using perceptual rendering as the idea of perceptual is that it takes account of things like that anyway, however, in Aperture BPC does make a difference, so remember to turn it on to get a half decent print. In general, I find that prints made using this setup come out pretty well; they almost perfectly match prints made using the profiles with a perceptual intent in Photoshop Elements, except for the fact that Aperture blocks up the shadows a bit more than Photoshop. However, if you can live with that, you might find this is quite a workable solution.
Now, I said near the beginning of this post that all the above can apply to other printers too. Most printer profiles have 'perceptual' set as their default rendering intent, in which case everything I've just said won't be of much help. However, If you are reading this because you're having problems with ICC profiles in Aperture, but you don't use an Epson R2400, find your problematic ICC profile, double-click on it, and take a look at the window that opens: specifically, at the 'Rendering Intent' the window mentions. If it doesn't say 'Perceptual' then it may well be worth trying the steps I've outlined in this post to set it to perceptual, to see if doing so produces an improvement when using the profile in Aperture.
Finally, just one note of caution: if you decide to try out the steps I've detailed above on a paid-for custom-made profile, please back your profile up before messing with it. I haven't experienced any problems when using SIPS to change a profile's rendering intent, but I obviously can't guarantee that it won't do something weird and corrupt your expensive custom-made profile.
If you have any questions, feel free to ask, although (contrary to any impression I may give) I am not a colour-management expert; I'm just someone who doesn't give up when they have a problem that should be solvable.
Thomas
Mac Pro 2.0GHz with 30" ACD; 15" MacBook Pro 2.0GHz Mac OS X (10.4.10)

Thomas
Wow - thanks for such a comprehensive post.
I have Aperture and a 2400 so this information is exceptionally useful to me.
Again - thanks for caring and sharing
Brian

Support for n-channel icc-profiles

I have recently attended a symposium where some speakers touched on Photoshop’s (or the whole CS’) lack of support for n-channel ICC-profiles.
And (while I have to admit that the ramifications may be beyond my comprehension) the point seems very much valid.
I suspect this issue might also concern the matter of the Spot Channels-and-Layers-situation that has come up in this Forum repeatedly and changing the current situation may well fall in the neighbourhood of Programming and Nightmare.
Moreover the question of who should or could provide those profiles in any quality regarding the overprint behaviour of the tints (and their possible combinations) would appear daunting.
Still, even a simplyfied physical model may be an impovement to the recent situation.
Plus, as the speakers pointed out, anything above a 7-channel profile is hardly realistic, anyway.
In all probablity Adobe is already aware of the matter through its contacts with/in ICC, FOGRA and other bodies concerned with printing-matters (and their representative at said symposium).
Nonetheless I would like to voice my support for the demand to see n-channel ICC-profile-support in Photoshop.
Edit: This might be especially beneficial with flexo-printing in CMYKOGB (CMYK + orange + green + blue) – I don’t have enough experience with flexo to judge this with any statistical relevance, but it seems to be fairly popular.

Thanks for Your answers.
changing to support an arbitrary number of channels of color data will require a huge number of changes to the application to make even common features work
Understandably.
But it would seem that this may be a solution to certain dissatisfactions with the Spot Channels’ behaviour that have come up in this Forum, too.
Well, not a straightforward solution, I guess, as one may not want to separate an image using the additional Channels but keep that in CMY(K) and only use the Spots for graphic elements etc. … and if Photoshop were to provide seven-Channels-Layers I suspect it wouldn’t be long until someone asks for eight.
The packaging-industry’s needs don’t seem to be met by the CS currently, but the cost-benefit-considerations are certainly valid.

Preview & ICC Profiles

Hello all,
I've been digging around here and elsewhere for a huge chunk of my day, and I'm having trouble concretely answering a question: Does Preview respect embedded color profile information? If so, why can I not get Preview to display a Photoshop PDF with the same colors? I know color profiling is a huge can of worms, and I know a decent amount about it. I have consistent success with various printing presses returning proofs that are very close to what I expect. I seem, simply, to be misunderstanding the manner in which Preview displays my colors.
My monitors are calibrated, and my colors are consistent outside of this issue. Using the built-in OSX PDF creation generates a PDF that shows the exact colors in Preview as I'm seeing in Photoshop. I'm certain I'm missing something obvious. Thanks in advance for any help. I'm tired of worrying myself over my file output every time I run a quick-check in Preview.
Thanks again.

So how does color managment work in FCP X when I can´t calibrate my monitor or use icc profiles from a calibration software?

ICC profiles for Epson R1800 and Lightroom - Mac Osx

Without trying to inflame an already heated discussion on prints that are too dark under my lightroom - printer - Mac Osx configuration. (Although I too am a sufferer of the darkness...!)
I have recently downloaded the latest ICC profiles for the R1800 directly from Epson to my Mac. There are three of them and for arguments sake they cover the paper type I want "Premium Glossy Photo Paper"
They download as a .sea file and not .icc as I expected.... My knowledge of Mac's doesnt extend to .sea files I'm afraid.
My question is what do i do with the file now that its downoaded?... Nothing happens when you double click on it and It doesnt appear to try to find where to install itself.
On another thread I read about dropping these files into Library - Colorsync - Profiles. They sit there happily but do not appear to show up in Lightroom when I wish to utilise the profiles.
All the original Epson profiles are there from when I installed the Epson Drivers (new and updated) but no new profiles are there. This is definitely the case as the profile "Premium Glossy Photo Paper" is still there but its name should be changed to "Premium Photo Paper Glossy" according to the Epson website... Besides.. If I delete the new files and go back into Lightroom nothing has changed.
Am i placing these files in the wrong area?
Many thanks for any replies

I suspect that some R1800 users have perhaps not tackled the issue of dark prints and may not be feel that they have an issue at all. I also believe that this particular issue only involves Intel Mac's which may not apply to some.
Your issue may have something to do with the printer driver as well... I made sure that I went and found the very latest driver that Epson has out (there is a new one specifically for Intel Mac's). I made sure that I deleted the driver that came with the original disk.... I did this via the "printer setup utility"... then downloaded and installed the new driver.
Only then did I go through the procedure for installing the new icc profiles as discussed...
The profiles should then automatically appear in Lightroom and in colosync in the "Finder" screen under:
" Users" > then whatever your computer name is > Library > Colorsync > Profiles
The new profiles should then be seen.
This is certainly the way I did it and perhaps the whole process has to be gone through for an Intel Mac.
Hope this helps... I am nowhere near a computer expert but it worked for me.

ICC Profiles: Why No Embedding Upon JPEG Export?

Hi all! I'm sure this has been discussed here before, but a forum search revealed many unrelated threads. So here's my question: why doesn't Lightroom support embedding ICC profiles? The lack of this feature seems more of a design issue than something they haven't had time to add, so I'm curious to know if anyone knows why Adobe has chosen to skip this feature. I'm no ICC expert, so perhaps there's a good reason, but it would be nice to have it as an option to get JPEG images that match the ICC profile of my monitor...
Anyone have any insight on this issue?

>What ICC profile does it embed then since it doesn't offer the user a choice?
It offers the user a choice between sRGB, adobeRGB and prophotoRGB. It always embeds the profile. You can tell whether the profile is embedded in lots of programs. One of them is preview in mac os X for example. Another is photoshop.
>let's say that I'm sending an image off to get printed at an online printer. What ICC profile would I want to have embedded in the JPEG?
You want to use a working space profile such as sRGB. your monitor's profile is only meaningful to you as there is no second monitor like yours in the world. If the printer is good, they will convert your image from your monitor's profile to their printer's profile, but very few online labs do this and it is usually a recipe for bad prints. Most just assume your image is in sRGB, whether it is tagged/embedded or not. Your safest bet therefore is sRGB. If the lab/printer indicates that they really color manage and they seem to know what they are talking about, you can try using a wider space such as adobeRGB or even prophotoRGB.

ICC profiles needed

Hi, I give up. I want to follow this procedure as found on the HP website:
HP Printers - Using ICC Profiles for Color Photos in Adobe Photoshop. However, after two days of searching I have been unable to locate the HP ICC profiles for my printer, paper and ink type, all HP products. They are not currently listed in the drop down profiles of step 3 in the above article. Some older deskjet models are all that are there. I am looking for the ICC profiles for:
Printer: HP Photosmart C6380
Paper: HP Premium Plus Photo Paper Soft Glossy Q5450A
Ink: HP Vivera Inks.
Does anyone have a link to where they are located? Thank you!!
This question was solved.
View Solution.

Creating Custom ICC Profiles for Color Photos
   1.
      Select File , then Print with Preview . (Photoshop 6 and prior: select File , then Print .)
   2.
      Select the Show More Options check box, and Color Management from the drop-down menu.
   3.
      In the Profile menu, select Same as Source .
The printer driver must also be configured to properly use custom profiles. Use the steps below to configure the printer driver.
   1.
      Select File , Print , and then Properties , Color .
   2.
      Select Managed by application from the Color management menu.
   3.
      Click on the Paper/Quality tab and select the appropriate paper type from the Type is menu.
   4. Click OK , and then OK again to print.
    NOTE:     The paper type must be selected in the printer software even when creating a profile. Maximum ink volume limits are determined by the paper-type selection, not through the ICC profile.
With these settings, a print without any color management intervention from either the printer driver or the application will be produced. This print is suitable for measurement and profile creation
                    OR
Using ICC Profiles for Color Photos in Adobe Photoshop
   1.
      Select File , then Print with Preview . (For Photoshop 6 and prior select File , and then Print ).
   2.
      For Photoshop 7 and CS, in the Print with Preview dialog, select the Show More Options checkbox, and Color Management from the menu.
   3.
      In the Profile menu, select the profile that corresponds to the printer, paper type, and ink set.
   4.
      Set the ICC rendering intent in the Intent menu. Most users will want to use the Perceptual intent to give the most subjectively pleasing color reproduction.
   5.
      Checking the Use Black Point Compensation box is also recommended.
The printer driver must also be configured to properly use the profile. Use the steps below to configure the printer driver.
   1.
      Select File , Print , and then Properties , Color .
   2.
      Select Managed by application from the Color management menu.
   3.
      Click on the Paper/Quality tab and select the appropriate paper type from the Type is menu.
   4. Click OK , and then OK again to print.
    NOTE:     If you select an ICC profile for your printer under Print with Preview in Adobe Photoshop that selection will be retained, even when later using the Photoshop Print or Print one Copy functions instead of Print with Preview . If you want to return to using the default sRGB mode after using ICC profiles, you must go back into the Print with Preview menu and select either sRGB or Same as Source as your printer profile. If the profile setting in Photoshop is not consistent with the printer driver settings, wrong colors will result.
All of my posts are my opinions.
In the HP Support Forums, clicking on the Kudos star is how you can appreciate.

ICC Profiles in the new Camera Profile Editor

Hi Folks,
I'm wondering if anyone knows why we aren't (yet) able to assign ICC profiles directly in the Camera Raw module, rather than working from the profile editor? Is this essentially a proprietary technology or trademark issue, and thus not something to be implemented into ACR in the future?
By all means, feel free to add any background to this conversation that you wish - I'm admittedly ignorant on the trade issues involved here, and certainly don't wish to add any ill will. Just looking to understand how these (still) emergent technologies are shaking out and interfacing with the ACR workflow.
Thanks

Ah, indeed. Thanks R.
And for those interested, here's a great response, courtesy of the one and only Mr. F:
http://forums.adobe.com/message/1210888#1210888
That said, all other follow-ups welcomed, though my own question is answered.

ICC profiles - never used what have I been missing?

Up until now I have never used separate icc profiles but have had to download all new drivers from epson to run my scanner and printer on new Intel Mac OSX 10.6. therefore it has given me the option to download the profiles.
Any advise for using them, can you turn them off - will i never want to turn them off?
What do they do exactly?
I may sound daft to many but unless I ask I dont learn, many thanks in advance.

Good advice so far and it is good that you ask these questions.
You asked earlier about your Epson printouts matching a print shop. It helps to understand color management as a communication chain. In the case of images, this is an ideal workflow:
1. Digital image is captured in RAW
2. Photographer converts RAW data into an RGB image. The result is referred to as a source image. It should have an embedded RGB profile, for example Adobe RGB 1998. To see if it has an embedded profile, look at the document title in the window. If you don't see # at the end, the image has a profile, which is good. If you do see #, you have a broken image, and it's up to you to get the derailed train back on track. If the image looks good to you (on a properly calibrated and profiled monitor) tagging an untagged image is an easy task. Edit: Assign Profile, and select your working RGB.
3. The source image gets converted to the printer's CMYK color space, also represented by an ICC profile. This should be supplied by the printer. You do have the option of leaving the image RGB and letting Quark do the conversion when you output. Quark color management is somewhat more complicated to setup than InDesign CM, let me know if you have questions.
4. To soft proof how the image will look on press, first calibrate and profile your monitor with the proper hardware and software. Then open the RGB image in Photoshop. View: Proof Setup: Custom, and select the CMYK profile supplied by the printer. The colors may shift some but that is to be expected, a CMYK color space is usually much smaller than most RGB color spaces.
5. To proof an image on your Epson that will closely match the press, you can calibrate and profile your Epson (best) or use the canned factory profile corresponding to the paper loaded in the Epson. This profile is actually an RGB profile (the printer is not RGB but the profile that describes it is). Open the RGB image. In the print dialog under Color Management, choose "Proof." Color Handling, "Photoshop Manages Colors." Printer profile, select the Epson profile. Proof Setup, select the CMYK profile supplied by printer. Check "Simulate Paper Color"
When you print, print Photoshop will perform two conversions behind the scenes. First your RGB image goes to the CMYK color space. Then the CMYK image is converted to the Epson profile using an Absolute Colorimetric rendering intent.
Unfortunately I don't believe Quark has the ability to perform two conversions on output. So if you need to proof a Quark page it's a matter of conversion to the printer's CMYK when you export the PDF. Then you can print the CMYK PDF to your Epson from Acrobat, using Acrobat Color Management and selecting the appropriate Epson profile.

Elements 7 (Trial) doesn't recognize ICC profiles in computer

I downloaded Elements 7 for a 30 day trial to see whether it does better than Elements 5 for my purposes. I have Windows XP. While trying to do a test print, in the Print Window I set Photoshop Manages Color under Color Handling. I then clicked the drop down menu for Printer Profile and that menu does not contain any of the ICC profiles in the Colors folder in my computer, but only has those profiles that must come with Elements 7. Do I need to do something to get this to work? Is it a problem with the trial version? Adobe Support will not answer questions over the phone for the trial version, although I asked. Any help would be appreciated. Thanks.

Dear John - You graciously replied to our thread last week about ICC profile
list in Elements 7. We were wondering whether you could help with another
more general problem we're having. We have not been able to get what we see
on our monitor and what we get out of our printer to reasonably match - the
prints are always significantly darker than the monitor. It makes working
on Photoshop Elements virtually worthless, as we can't rely on getting out
what we see after making adjustments to our photos. We bought a Colormunki
to calibrate the monitor and create paper profiles, but that didn't solve
the problem and we have worked with the Colormunki people for weeks and
haven't made any progress. We have an Epson Stylus Photo R2400 printer and
a Samsung SyncMaster 2253BW monitor. We think, at this point, that the
monitor maybe the problem - apparently it is known for its excessive
brightness - as even with the calibration set for very low brightness, the
problem remains. Anyway, our question is whether you can recommend a
monitor more likely to give us a reliable match to the printer - what
photographers/photoshop users use?? alternatively, any ideas where we can
contact people who might be able to help???? Thanks in advance for your
help.

2nd Monitor ICC profile in Acrobat 9

Hi,
I have problem with iMac24" dual monitor setup and Acrobat 9 Pro. I can't get the second monitor ICC profile applied to the pdf document when dragged to the the second monitor. Had the same problem with PhotoShop CS4. I spent several day to figure out why the second monitor looks totally over saturated with PS CS4 (looked fine with PS CS3) and yes indeed the solution was to turn OFF OpenGL in PS preferences. Still have the same problem with Acrobat 9 Pro. When the document is dragged to other monitor the ICC profile of that monitor is not applied. Any idea how to get that working as I can't find the OpenGL setting in Acrobat 9 . I have iMac24" and HP LP2475w as a secondary monitor which is wide gamut monitor which is far too over saturated without proper ICC. Any ideas?

Jao...
Does the secondary monitor always assume it will open in the monitor which WinXP defines in settings as '2'?
The reason I ask, is that if I have the secondary monitor open as "full screen" it opens on the 2nd monitor.
However, I have a slightly different set up. I have my primary LR space stretched some into the 2nd monitor, so that the right hand panels are on the second screen. This gives me a larger space to view the images on the main screen. When I open the secondary LR space, it is not full screen, but sized to just fit in the rest of the available space on the second monitor....and I usually use this space for the 'grid' of thumbnails.
My concern is that if the secondary LR space is even slightly larger than the available space on the secondary monitor, it will pop up in the middle of the primary monitor. After much trial and error, I found the sizing solution and it works....
However, since it seems to open either in #1 or #2 screen, I still have this nagging question....and there is no way I know to query LR to know what ICC profile is being used.
Thanks...JOHN

Icc profile locations inconsistent and confusing

I apologize in advance for this long winded post, but I really would like some help, if anyone is willing to indulge me. Ive done some searching on the forum, and got some info, but I feel Im still missing something.
My issue is with printer/paper profiles, and which to use to optimize print/monitor matching. A bit of background. I have not bothered until this morning to set up my Epson 2200 printer on my Mac Pro computer. Today, I finally did so. Im running an 8 core Mac Pro, 4 GB memory, and Lightroom Rev 1.1. I downloaded the latest Intel Mac printer driver from the Epson site, and installed the driver. In addition, I downloaded the paper profile for Epson Premium Luster paper for the Mac from the Epson site (I was surprised to note that the download was not just .icc profiles, but instead, a program that installed the profiles (though the program did not say where the profiles were going, or what the profiles were called).
Next, I followed the directions for printing in Lightroom that Scott Kelby included in Chapter 8, pages 272-277 and 290-295 of his The Adobe Photoshop Lightroom Book. I was able to find 3 profiles for Premium Luster Paper when I followed step 4 on page 291 of the book, when I used the other option for Profile under the Color Management pane. The profiles were called, exactly, SP2200 Prem.Luster 1440.icc, SP2200 Prem.Luster 2880.icc, and SP2200 Premium Luster PK, and I was able to select all 3 of them by clicking the checkboxes in front of the profiles and now they show up as selections for printing. Thus far, I have experimented with the 1440 and PK profiles, and printed images using both perceptual and relative rendering intents, and Ive found, to my poor eyes at least, using the PK profile, with perceptual rendering intent, yields the best printer/monitor match (yes, my Eizo ColorEdge CE240W monitor has been recently calibrated using Monaco Optix, in case you were wondering), not great, but marginally acceptable. So far, so good. Now, here are my issues:
I am trying to understand where the 3 profiles came from, since Im now paranoid about losing them, since I think Im headed in the right direction, at least. When I do a Spotlight search on my Mac, I have been able to find the SP2200 Prem.Luster 1440.icc and SP2200 Prem.Luster 2880.icc profiles under the Macintosh HD 1/Library/Colorsync/Profiles directory. However, the PK profile is not found by Spotlight. Instead, I seem to have located the PK profile by using the Colorsync utility, doing a repair profile, and then looking at profiles. The PK profile appears to reside under the directory Macintosh HD 1/Library/Printers/EPSON/InkjetPrinter/ICCProfiles/, however, it doesnt exist as a separate .icc profile, instead, it appears to reside inside a file called SP2200.profiles, which does not seem to be openable.
So here are the questions:
1. Which of these profiles were put into place when I installed the printer driver, and which were created when I downloaded and ran the paper profile for Epson Premium Luster paper program?
2. Is there a way for me to extract the SP2200 Premium Luster PK from that SP2200.profiles file and put it in the same location as the other 2 .icc files, or should I not care? Im particularly afraid of losing this profile, since its the one that is working best for me at the moment.
Thanks for any thoughts on this.

Ans to Q1 - Macintosh HD 1/Library/Printers/EPSON/InkjetPrinter/ICCProfiles/ contains installed with driver and Macintosh HD 1/Library/Colorsync/Profiles were installed by the download.
Ans to Q2 - Epson put them inside the "package" to keep them safe. You can access the package contents via the Ctrl+click or right+click context menu item labelled "Show package contents" (see attached screenshot), but I would
strongly urge you not to remove them from the package. You really don't need to care where they are because they're in the safest place. It's when folk try to get smart that the system bites them.

ICC profile for getting books/posters printer?

Hey all,
Before I start using Aperture for getting books and posters printed, I had a question on ColorSync/ICC profiles. I'm by no means a pro, but know enough to get my color workflow in basic order.
A large poster I ordered through iPhoto came back with massive red shifting and huge loss of detail in the darker photos (it was a collage). Is there an ICC profile available that can be used so that when I soft proof with Aperture, it will give me better feedback on what photos printed via the printing service (Kodak) will look like? I really don't want to go through the hassle of getting more refunds...
TIA!

If you are using an apple cinema display that has been color calibrated I think you will get the desired result. If you are not using an apple display then you will go in circles like it did.
I'd like to qualify this statement. You should have a new professional display and use software calibration like Monaco or Pulse Color Elite from Xrite to bring your display to standardized state.
My older 22" Cinema display (which has been demoted to my business machine) will successfully calibrate thru Pulse Color Elite, but the monitor is dim and yellow compared to a successful calibration on my new 30" & 20" Apple displays or my 20" iMac G5.
As I'm laying out a sub-portfolio book to be printed via Apple, I'm assuming the only differences in color and gamut of the finished books are going to be due only to the differences in the RGB & CMYK worlds because I'm working on a calibrated workstation. I hope I'm right.
Dual 2.5 G5 Mac OS X (10.4.4) 8 gigs RAM, 30" & 20" Cinema Displays

2nd monitor ICC profile?

When using the dual monitor support in LR2, if it is opened in the 2nd monitor, is it aware of the different icc profile for this monitor or does it use the profile of the primary monitor?
Can you manually change the profile used?
Can you interrogate LR (main screen and/or dual screen) to see what profile is being used?
I am using WinXP, but the video card I use looks like two cards and windows has a different default profile for each. Many cards do not do that, which is where being able to manually enter an icc profile would be useful.
John

Jao...
Does the secondary monitor always assume it will open in the monitor which WinXP defines in settings as '2'?
The reason I ask, is that if I have the secondary monitor open as "full screen" it opens on the 2nd monitor.
However, I have a slightly different set up. I have my primary LR space stretched some into the 2nd monitor, so that the right hand panels are on the second screen. This gives me a larger space to view the images on the main screen. When I open the secondary LR space, it is not full screen, but sized to just fit in the rest of the available space on the second monitor....and I usually use this space for the 'grid' of thumbnails.
My concern is that if the secondary LR space is even slightly larger than the available space on the secondary monitor, it will pop up in the middle of the primary monitor. After much trial and error, I found the sizing solution and it works....
However, since it seems to open either in #1 or #2 screen, I still have this nagging question....and there is no way I know to query LR to know what ICC profile is being used.
Thanks...JOHN

ICC Profile Question.

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