ICC Profiles and Aperture 3

There has been some discussion about Snow Leopard not recognizing Version 4 ICC Profiles. Although I am working with Leopard (10.5.8) I am having printing problems, prints that look as though they aren't profiled or double profiled. My custom profiles are Version 4. Does Aperture 3 recognize Version 4 ICC Profiles, or only Version 2?

Nevr mind. I built a version 2 profile and got the same bad results.

Similar Messages

  • Invalid Page Fault Error Messages - ICC Profiles and Fonts

    Possible causes of these error messages include bad ICC profiles and/or bad fonts. See below for corrective measures

    Q: Message reads:
    PHOTOSHP caused an invalid page fault in module
    KERNEL32.DLL at 017f:bff7b9f5. Registers:
    EAX=796692e0 CS=017f EIP=bff7b9f5 EFLGS=00210202 EBX=00d0fe28 SS=0187 ESP=00c10000...
    A: You have an incompatible or corrupt ICC profile in your
    Windows/System/Color folder (win 98/98SE/Me) or ./system32/spool/drivers/color (win2k).
    Make a temporary folder, ICMs, under and move all the
    ICM and ICC files to that folder.
    Start PS and make sure it restarts OK.
    Now move back JUST THE PROFILES YOU NEED to Windows\System\Color (win 98/98SE/Me) or ./system32/spool/drivers/color (win2k)
    Also see: http://www.adobe.com/support/techdocs/1c4f6.htm

  • Icc profiles for aperture book printing...

    Do the Aperture Book Printing folks provide icc profiles so I can soft-proof the images beforehand?

    Please note that monitors provide fairly accurate color when the images are saved in an sRGB color space, however, presses are not as reliable...
    Well, Mike, thanks for sharing the info here.
    At one point, in Mark's email to you, as mentioned above in his email from Apple, I have to say I am a little surprised about his statement re: monitors provide fairly accurate... when the images saved in an sRGB colour space...
    It is very tricky statement where it depends on how we define the term "fairly accurate" in monitors. What we don't know if Mark meant by when monitor has been "properly" set up as profiled and calibrated with high-grade calibration hardware. Unless IF the monitor has been proper profiled and calibrated, then his statement would be correct. But IF not profiled or calibrated at all, I am afraid that his statement is incorrect.
    Now these days with newer monitors and newer Apple laptops with better monitor technology, it is still need to be properly profiled and calibrated. It just depends on individual's preference, desire and the purpose of such project whatever someone is working on. While majority of Aperture users' are probably mostly professional photographers or those who are into photography savvy, then colour-managed workflow is a norm. For me, it IS absolute A MUST colour-managed workflow.
    Although, I do a heavy post-production workflow on MacPro where I always have my monitors calibrated. I don't typically calibrate my laptop, though. Because sometimes I forgot to turn off the automatic ambient light in System Preference in Display section. It is a little inconvenience in that case. Unless if I am being away on photographic trips far from Canada abroad, then it is a different story. But not always bring my calibration device with me. Too inconvenience to haul it around at the airports etc. So colour-managed workflow is a must with MacPro in my studio.
    However, other individuals have their own preference, comfort zone and the purpose of such project. Perhaps their workflow set up differently than yours or mine, that is ok.
    But in that email you received from someone at Apple didn't make it clear about that statement about 'fairly accuracy'.
    Then something else is something else actually--when Apple guy said presses are not always.... Again, that is why it is important that you get monitor properly profiled and calibrated. Once it is done properly, then it is all good. But remember, you need to re-calibrate monitor once a week or every two weeks or once month. In order to get pretty close to printed output, always a good idea to soft proof. If needed to make slightly conservative adjustments to your satisfaction or level of expectation, the output would be fairly close to what it is appeared in monitor. When I mean "fairly close" in comparing the output to what you are seeing in monitor with these post-production images used in that output, in fairness, I would estimate fairly close in terms of anywhere in range between 92 to 95 percent - that is very fair conservative perspective on how close in the output vs monitor. It is truly, really, truly rare to get the output 100% as obvious and precise as you are seeing in monitor. If that is the case, and if that is true FOR that person achieved this, this probably means takes that person many years to perfect his/her colour-managed workflow for that matter. Never has been that pretty close, but I'd be shocked if I see mine aced right on spot. I'd be lying to you if I get all output perfect as appeared in my monitors. If I did, that would be incorrect statement.
    It seems a lot of factors and things to do and things need to require in a thoroughly colour-managed workflow production, it is how it is done. But this can also means save money, effort and time if done properly right from the beginning.
    In fairness, I would really wish that guy from Apple should have said a little more obvious and precise with his definition of fairly accuracy with monitors. It doesn't says what kind of monitors he refers to. Low quality, cheap monitors deliver good results? Lot of factors need to be looked at for consideration for yourself.
    Of course, as you can tell that colour management topic is pretty heavy, highly technical and everything in deep thinking with world of colours. It takes years for an individual (both pros and non-pro individuals) finally understand what it is all about. Again, technologies evolve rapid for the better in many cases for new monitors, commercial print equips, advanced ink technology, advanced paper production technology... That goes on effortless endless, actually.
    Hope some of thoughtfu perspective and experience be of some interest, and it is obvious that this discussion probably will attract some more excitement discussion, the more the better. So that every other Aperture users who have the similar issues, they'll definitely want to come to here... And learn and share.
    I also use Blurb too. They are getting better than it was once a couple years ago when Blurb first started. As they add more variety of book sizes, types of paper stock and things like that. This also give someone some flexibility in choosing workflow production using Blurb software or online bookmaking or using PDF to Book service for those who are advanced users that use InDesign layout design app. In that case of PDF to Book, the advanced users would need to download Blurb's preset plug-in to put in InDesign in order to export the PDF output to meet and integrate into Blurb's Preflight Checklist at the time of upload. I use PDF to Book service with InDesign, etc. It is fairly self explanatory and easy to follow steps. Also slightly off topic, but when making Blurb book, to get most out of their product and service with Blurb, in that case, they came up with brilliant resource called Colour Resource Centre designed for making more beautiful books. In that resource centre, it is easy to read and follow.
    I would think this probably shed some insights and understanding the basics of colour management, the whole thing all about this, that and the other all together.
    I would also want other high-powered hard-core Aperture users share their experience with Aperture Book printing service. I'd be happy to share my experience about making Aperture Book vs. Blurb Book through PDF to Book service. However, I would think the export to PDF from Aperture probably has it's own different setting or slightly different configuration inside the PDF engine on Mac for Blurb book. There has been some discussion about wanting a Aperture Plug In for Blurb Book. blurb has been quiet on it, I take that they probably will not develop a special plug-in for Aperture Users. Sorry if it is a little off topic. But somehow someone in the discussion mention Blurb. so...
    Anyhow, hope that helps.

  • Canon ICC profiles and color printing issues

    I use two Canon printers -- an all-purpose MP460 and a iP4000 for photos.
    I use Canon's Photo Paper Plus Glossy II paper and Canon inks.
    I print with color management off in the "Print Settings" and by selecting the ICC profile from the drop down in the Aperture print window.
    Since updating to Snow Leopard, the MP460 prints images that are consistently dark using the "SP" ICC profiles.
    The iP4000 has an issue in that it prints images from Aperture with magenta cast in areas of yellow to orange tones.
    I have had prints made through online services that have come back accurate, so I am wondering . . . is this a Canon profile or driver issue? I haven't tried printing from Photoshop or Photoshop Elements as of yet.
    Any suggestions?
    It is very, very frustrating since prints from these printers were fine before Snow Leopard.

    I have a Canon IP5200 and had numerous problems with Aperture printing from OS X10.6.2.
    In November Canon came out with new print drivers. With SNL 10.6.2 update and new canon drivers my prints come out pretty well using canon's ICC profiles. I use the PR3 canon ICC with Costco (Kirkland) paper and am pleased with the results. Hope that helps

  • ICC profile for Aperture books?

    All-
    I've looked around Apple's web site and have not been able to find an ICC profile for soft-proofing a book. Does anyone know of a source for such a thing?
    Thanks,
    Andreas

    Having watched an Apple video detailing the benefits that Aperture offers in terms of on-screen colour proofing I found it strange that there is no profile for Apple's book printing partner in Europe (or the US).
    Wouldn't it be useful for Apple to include a profile for the own printing partner 'in the box' so that users can on-screen colour proof their book before sending. After all, this is supposed to be one of Aperture's main features. I can't understand why they don't. At least they could expand on the reasoning behind this.

  • ICC Profiles and Photoshop Elements 10

    Photoshop Elements 10 will not bring up any of the ICC Profiles downloaded for my Epson Stylus 1280.  I have photos of the PSE Screen shot showing paper types "NONE" under change settings.  And under Printer Settings:  Paper Type shows "UNKNOWN".
    Whats going on with my PSE 10 and RR ICC Profiles?

    Hi ,
    go to C:\Windows\System32\spool\drivers\color
    and copy icc profiles to  C:\Program Files\Common Files\Adobe\Color\Profiles
    Mac- \Users\Library\ColorSync\Profiles folder
    By this PSE will show the list of icc profiles.

  • Photoshop colour profiles and Aperture

    The local lab only has Photoshop colour profiles, nothing for Aperture. Any way to utilize these in Aperture?
    They recommend their PS RGB profile. If I can't utilize it, I can get an image that is closer to my screen display, if I onscreen proofed using Aperture's generic RGB or sRGB modes. My last print job did not utilize any onscreen proofing beforehand and it shows -- way too blue in the print. Onscreen proofing using either of these RGB modes gets me closer in colour balance to the last print job, but contrast and brightness is still an issue (print is darker and flatter).
    Any way to work with these profiles to produce my own custom one, based on a series of test prints?

    A colour profile is a colour profile. Photoshop is just an app that uses them - there's no such thing as a PS-specific colour profile.
    Copy the profile into either ~/Library/ColorSync/Profiles (specific to that user) or /Library/ColorSync/Profiles (all users) and it should appear in the lists for screen proofing and output profiles in Aperture.
    Ian

  • Icc profiles and 10.4.3

    Hi! I just bought the highly praised Epson Photo R2400 printer. This was my choice most of all because I´m into b&w photography - also as a professional. My problem seems to be getting the icc profiles for different papers to work properly with the printer driver and printing features in Photoshop CS2.
    However many profiles I install in the ColorSync-Profiles folder, not more than the four originals will turn up as choices in the driver dialogue. Can anyone help, please? I already got rid of the R1800 ...

    Hi, and thanks for your comment!
    The lack of matte paper alternatives in the driver obviously solves itself by exchanging the Photo Black ink for the Matte Black.
    Still my print´s quality haven´t improved much. Still working and testing. I´m told everybody else are satisfied, even HAPPY, so I guess I´m the stupid guy.
    Yours
    leif e
    (giving up on Epson soon)
    G5 2x2,0 GB & PowerBook G4 667   Mac OS X (10.4.3)  

  • ICC Profiles and PSE3.0 - How to Needed?

    I recently bought a monitor calibrator, and I am quite satisfied that what I see on the monitor is the way I should be seeing it. I've printed a few prints with my Canon Pixma 4000, and the prints are almost exactly the same as what I see on the monitor. So, as far as using my printer, I am pretty satisfied with the workflow/color management.
    As a test, I sent a photo to Adorama, and I chose to use no ICC profile or color correction. I just picked up the print from them, and it is noticeably different from my other prints and the monitor. Basically, it appears to be darker, which of course renders the colors slightly different shades and the saturation different than what I started with. It is a nice print, but not true to my original.
    So, I assume the missing ingredient was the ICC Profiles I could have downloaded from them; a different one for each of their paper choices. Please help me understand when I embed this profile in my workflow, and how it works. Can I do this at all in PSE 3.0?
    Does it get embeded early in the process, in which case what I see on the screen is different than if I didn't use a profile; or, is it embeded in the end of the process, and only used as a set of instructions for their printer?
    I think I'm oh so close to understanding this process.

    Steven,
    Most photo labs are set up to process sRGB images, NOT Adobe RGB images. In
    fact, most commercial printers either do not read embedded profiles or
    ignore them.
    If you are going to send an image to a commercial printer without using the
    labs custom icc profiles you should be working in sRGB and send them an
    sRGB image. If you do want to use the labs custom icc profiles, you must
    have software that can convert the image to the selected profile. Elements
    cannot do that.
    I'm going to give you a link to Dry Creek Photo
    (http://www.drycreekphoto.com/icc/using_printer_profiles.htm) that has some
    pointers for using custom profiles with commercial labs. Especially read
    the info at the bottom under "Example color managed editing and printing
    workflow". They also have pointers to some utilities that can do the
    conversion.
    Dry Creek Photo creates custom profiles for commercial printers and, in
    fact, lists Adorama in their profile database. Here's the entry:
    a.. "Adorama Pro-Lab Inc.: 42 West 18th St., New York, NY 10011 Phone:
    888-216-6400
    a.. Store info: Noritsu 34-Pro, Kodak papers.
    b.. Royal Glossy paper profile, June 26, 2006
    c.. Endura Lustre paper profile, June 26, 2006
    d.. Royal Matte paper profile, June 26, 2006
    e.. Mac OS 9 format version (both profiles) See usage note.
    f.. Note: This printer uses our enhanced accuracy custom profiles.
    g.. Note: Adorama has multiple printers. Specify that your profiled
    prints run on the Noritsu 34-Pro.
    h.. For more information, please contact Adorama Pro-Lab "
    Using custom profiles or not using them and using just sRGB should only make
    subtle differences. Gross changes would suggest that you have something
    wrong in your settings and/or calibration. You have a calibration device,
    which is good, but what are your Elements color settings? While you can
    never get a perfect match between monitor and print, you should be able to
    get a reasonable and consistant match. It's also possible that Adorama is
    doing something that's affecting the print. If you are sending an sRGB
    image that views ok on your system using something other than Elements and
    it comes back from Adorama significantly different, it could be on their
    side.
    Bob

  • ICC profile and ink density

    I'm working on a magazine. The printers have asked for all images to use the FOGRA27 profile, and that max ink density is 300%.
    When I check my images (placing them into Indesign and use the separations preview palette to highlight Ink density problems) it seems that the FOGRA27 profile does not limit the ink density to 300%. The limit is more like 340% (I'm not sure where to find out the exact figure??)
    Not sure where to go from here. Should I set up a custom profile, based on FOGRA27, but set the ink limit to 300%? or is there a way in Photoshop to set the max ink limit for an image to 300%, but keep the FOGRA27 profile? I've got to chaneg a lot of images, so doing each one by manually tweaking the channels is a bit long-winded.
    In case it matters, I'm using PSCS2 on a iMac, and have the rest of the CS2 premium suite.

    In article <[email protected]>,<br /> "CJC Williams" <[email protected]> wrote:<br /><br />> Not sure where to go from here. Should I set up a custom profile, based on <br />> FOGRA27, but set the ink limit to 300%?<br /><br />It sounds like you're asked to provide separations in accordance to <br />European standards.<br /><br />Got to the ECI website <a href=http://www.eci.org/eci/en/060_downloads.php> and <br />download the package <br /><br /><a href=http://www.eci.org/eci/downloads/ECI-en/icc_profiles_from_eci/ECI_Offset<br />_2007.sit><br /><br />or for PC<br /><br /><a href=http://www.eci.org/eci/downloads/ECI-en/icc_profiles_from_eci/ECI_Offset<br />_2007.zip><br /><br /><br />It contains a profile "ISOcoated_v2_300_eci.icc" that limits ink density <br />to 300%.<br /><br />-- <br />Cheers  Martin

  • Maverks 10.9.4 lost some ICC profiles and cant download new Epson ICC

    Just downloaded Maverks 10.9.4. and i can't print. reloaded epson 3880 print driver But I am unable to download the ICC profiles that seem to have gone missing. I want my ICC hot press natural BACK...help. Is it me or is it that Maverks thing???

    Do you have Time Machine enabled and have backups made before you upgraded to Mavericks?  If so do the following;
    1 - enter Time Machine.
    2 - go to the HD/Library/Printers/EPSON/InkjetPrinter2/ICCProfiles folder.
    3 - go back in time till just before you upgraded to Mavericks.
    4 - select all of the profiles in that folder (there were 176 in my folder) and click on the Restore button.
    5 - have them replace any existing profiles in that folder.
    6 - launch Disk Utility and repair disk permissions.
    7 - try to print again.

  • ICC Profiles and ACGetWorkingSpaceProfile

    Is there any way to override the default ICC profile that is returned by a call to ACGetWorkingSpaceProfile? The default profile returned for kACWorkingCMYK is "Acrobat 5 Reader CMYK". We would like to insert a custom ICC profile for the case where the working space is kACWorkingCMYK.
    I'm using PDFL 8.1 SDK on Windows XP

    PDPrefSetWorkingCMYK()

  • How to use ICC profiles and soft proofing profiles?

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

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

  • Icc profiles and optimum resolution

    hi all,
    i am interested in these iphoto books, but was curious if anyone had found a profile for the books so that images could be soft proofed beforehand in photoshop?
    i was also wondering if anyone had found what is the optimum resolution for these books? or what people are using for file sizes in the different books?
    thanks in advance for any answers! i appreciate the help!
    best,
    corey

    hendrix75:
    Welcome to the Apple Discussions. As far as the color profile is concerned I know that the sRGB is used by Apple for books and prints. How you might use that with Photoshop and the pdf's is not in my area of experience.
    In regards to the size of the image file for each picture it depends on the camera you're using. I try to use the maximum size which is 2272 x 1704. Since that's already at the recommended 4:3 ratio I don't need to do any cropping before using.
    We've learned to change the dpi setting for the pdf book that iPhoto creates for uploading and printing from the default 150 to 300. The easiest way to do that is as follows:
    Method to increase the print resolution for books:
    1 - download and run Pref Setter.
    2 - open the iPhoto preference file from within Pref Setter.
    3 - locate the Keys titled BookTargetMediumImageDPI, BookTargetSmallImageDPI and BookTargetImageDPI.
    4 - change their current values to 300.
    5 - save and quit Pref Setter.
    I've found that even with the increased dpi settings the medium books exhibit a pronounced halftone pattern in the images. For my intended use of the medium books I ordered that was acceptable. Maybe not for others. I've had very good results with the large, hardcover books both at 150 and 300 dpi. They must be using different presses, etc. on the large books as opposed to the medium and small ones.

  • How to apply ICC profiles on all the photos in preset before printing.   and user preset

    Hi,
    hope someone can point me to the right direction..  I have 2 questions about ICC profiles and settings in lightroom.
    1.)  I found that many photos that I have is a little two blue.  There are thousands of photos.  I would like to know if there is a way in Lightroom to "Autobatch" the changes to all those photos.
    The changes are under "white balance" -> "temp"  ->  (need to increase by 2)
    2.)  I will send out the photos to print .  According to the photo stores tech, I can apply their ICC (printer/paper) profiles before sending the files to them.  So, it will have better match how the photos come out. 
    Last time I printed some photos with them, many of the come out too dark.   But it looks fine on screen, and a little too red if I use my own inkject printer.  I hope I correct this.
    If it cannot be done in lightroom, it can only be done with Photoshop, please let me know.  I will try to use other computer with PS installed.   just let me know the steps.
    Thanks in advance.

    I would sugget two UI changes:
    1. The enable / disable is confusing - the toggle switch to turn it on, changes the button label to "Auto Sync" to indicate that it is on. But, this is highly un-conventional and confusing - usually a button label indicates what will happen when you click, not that it is on, and clicking it will actually turns it off - bass-freakin'-ackwards if you ask me!... (Add to it the toggle switch tooltip is the same in both cases - indicating that the switch will enable it, when actually, in one case it will enable, but in the other case it will disable...)
    2. Some simple UI difference that you can't ignore but doesn't bug the ship out of you either, when auto-sync is on: maybe a red-tint to the slider draggers or something...
    Summary: Once you use something other than the button label to indicate Auto-Sync is on, then you can change the button label to read "Auto Sync Off". And if the On indication has an "ommi-present" quality to it - so much the better.
    Rob

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