No hair left .... Color management

Using Windows Vista SP1, Epson 3800
I have a decent monitor which is fully calibrated.
I have switched OFF color management in the printer driver.
In the Print Job setting I choose a printer paper profile.
When I print the colors a way off. I printing an image of some clouds on a
blue sky and the blue looks TOTALLY different between monitor and paper.
I don't need or expect an exact match but I do NEED a much better match.
How do I get this ?

Hi, I also have the 'random sunburn' issue with B9180 and XP Media Edition SP3 on LR2. B9180 has latest driver and is USB connected and is the default printer
The setup is fully colour managed with Spyder3 monitor and custom paper profiles, using Application managed colours and selecting the custom paper profile from LR2. Paper loaded from 'Specialty tray'.
I do still have LR1.4 and LR2 beta installed.
This problem is random but occurs every few prints; even when checking *every* setting between prints the *same* photo can first produce a 'sunburn' print, then a good print which matches the monitor and a 'sunburn' print immediately afterward (3 separate renderings, not selecting 3 copies from the same rendering).
The print driver dialog *as seen from LR2* seems to revert to the 'default' HP Advanced Photo Glossy paper intermittently, even if the desired custom paper and 'Application Managed colours' is set as the default in Control Panel>Printers & Faxes>Print Preferences.
The paper selection can change when moving between the Print properties dialogs seen from the 'Paper Setup' button and the properties seen from the 'Print' button and back. LR2 also intermittently selects 'Managed by printer' in the Print Job panel;
however all bad prints (occasionaly good ones too!) have occurred after setting and double-checking every setting.
I have had this problem since setting up this equipment; to start with I had the same custom paper profile as selected in LR2 associated in the printer driver with the custom matte paper in use, and assumed that I had some weird double profiling issue, so deleted the custom paper and re-created it without an associated profile, now just selecting the profile in LR2 Print Job panel with Appliction managed colours selected in Printer driver. All rebooted in between changes but the problem is still there.
I do not have any other version of Photoshop but could try with LR1.4 I guess; unfortunately that will not fix my problem of how to print 160 photos with LR2 adjustments on double-sided album paper!
From what I see in other forums this is a fairly common issue and seems to have been around in some shape or form since LR1.3.
I have wasted so much time, paper and ink on this that I am about ready to cut my losses - my LR2 trial has now expired and I am reluctant to buy the upgrade to go through more of this. In hindsight I should have tried exporting as Tiffs and printed these with LR1.4 but too late now!
Any rock-solid suggestions which will encourage me to purchase the LR2 upgrade, anyone?

Similar Messages

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    RIK,
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    >> First of all... I'm using an Adobe RGB image master... I open it and get the Profile Mismatch Screen... I choose Use Enbedded profile... all looks well. Next I go to Proof Setup > Monitor RGB... again all looks well, no change that I can tell.
    This has further confused the issue on several points, not the least of which version PS you are doing this with?
    >> AdobeRGB> Convert to Profile > Working Space sRGB-2.1... all still looks well... but now, when I go to Proof Setup > Monitor RGB... I see the insane oversaturated look that is driving me nuts.
    That is your strongest clue...it sounds like you have a bad system or bad monitor profile. To rule out the monitor profile: Set sRGB as your monitor profile in System Prefs> Displays> Color.
    >> Adobe RGB image master... I open it and get the Profile Mismatch Screen... I choose Use Enbedded profile... all looks well. Next I go to Proof Setup > Monitor RGB... again all looks well
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    MO,
    I think SFW is fixed under CS3 :) By default it Converts to sRGB and strips the profile.

  • Color Management Discrepencies Between Bridge, ACR & Photoshop

    Hi - I've had a color management issue I can't wrap my head around which is similar to this infamous thread: http://forums.adobe.com/message/3235601#3235601
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    No problem, thanks for the help! On my PC, screen capture using the Prnt Scrn button must be pasted into a program or taken/saved using the snipping tool. Either way the result appears to be untagged.
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    Secondary, laptop monitor (sample includes embedded profile) - Viewing WhackedRGB Sample w/ embedded profile:
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  • Color management detective needed!

    I need help with some color management issues I'm having.
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    Thanks to everyone for helping me figure this out.
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    The Aperture RAW and PS2 RAW look significantly different on my monitor too, not just on the web. I'm using the default ACR settings - do you think they need to be customized for my camera? I see what you are saying... the ACR RAW does look much brighter than the Aperture version and kind of washed out. Not sure how to fix that though...

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    A good place to discuss issues with Minefield 4 nightly builds and Firefox 4.0 beta builds is at the mozillaZine Firefox Builds forum.
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  • Color management in hp 8500 officejet premier pro so I can use Lightroom or Photoshop?

    When I print what I see on the Monitor is not what I get on printout.   I don't seen to be able to use the icc profile in either application.  If I let the printer manage the color, they are blue-green overtone.   

    Hi ssprengel,
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  • How do I turn off color management in Photoshop 5?

    There are three selections, only the first two clickable, in PS5 under Color Management in the Print dialouge:
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    I have researched the matter a lot and I, 
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    Color management is as simple in theory as Honoring a Source Profile and CONVERTING it to a Target Profile (monitor or printer) for Proofing.
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  • Color Management Confusion-Photoshop and monitors

    Ok, so I am asking this question because I am literally at my wits end with this color management stuff. I have become so confused in the past few days that I can’t even think straight. Anyway, I am hoping you all can help me “understand” how it all work. Let me start with some background information (since I know it will probably be asked)
    am a photographer, I utilize Lightroom 4 and CS3 (I know its old but I am planning on getting CS6 soon).
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    have a mac book pro that I work from.
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    I just am so nervous that I am going to create something that looks great in Lightroom or Photoshop but that looks awful on the browser, or worse, on a different monitor (standard monitor) and I would have no idea that it looked bad. Or, if I send something to a printer only to get a mess back.
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    I am seriously confused.. I would really appreciate the help.

    I am not surprised you are confused about colour management because its a confusing subject. Luckily you own a Mac so you can get to grips with what the problems that colour management solves using the "colorSync Utility" and you will find this in Applications >> Utilities >> colorSync Utility. If you own a windows computer then I am sorry but you will be out of luck here and you should know better when you buy your next computer!! I am not sure why Apple gave us this application but it is really useful and all will help you understand Color Management.
    1. Launch Applications >> Utilities >> ColorSync Utility.
    2. You will see a list of "Installed ColorSync Profiles". Choose Adobe RGB 1998 which I hope you have chosen in you camera preferences.
    3.You will see a 3D representation of the Adobe 1998 Colour space. This represents all the colors this colour space will hold.
    4. Top left hand corner you will see a little arrow pointing down next to "Lab Plot". Click on this and a drop down menu will appear.
        Choose "Hold For Comparison"
    5. Now somewhere in the "Installed ColorSync Profiles" list you will find the profile for you monitor. Choose this.
    6. You will now see a new colour space inside the Adobe 1998 Colour space. If you have a cheap monitor the colour space will be small
    inside the Adobe 1998 profile. This means that you monitor cannot show you all the colors that are missing.
    7. Now choose a printer profile say, if you use them a profile for an Epson paper or any printer profile you have and you will see another profile in the Adobe 1998 box which shows you the only colors that your printer can print. If you like choose your monitor profile then hold for comparison then the printer profile and it will clearly show the mis match between you monitor and printer.
    8. Now choose SRGB and this will show you what colors a person using an average Windows monitor can see, poor people.
    So this is the problem, all devises can reproduce only a certain range of colors. The adobe 1998 profile does not show all the colors our eyes can see " choose Generic Lab" profile, then "hold for comparison" then Adobe 1998 and you will see Adobe 1998 is a small profile but is a good average of our collective colour vision.
    So how to solve all these missing colour problems. Well if you think of each devise, including you camera as speaking a different language from you monitor and printer then it is easy to understand that you need some sort of translator so that they all know exactly what colour is being talked bout pixel by pixel in an image. This is held in the ICC profile, but an ICC profile has o do more than this.
    Say you camera can produce a specific red we will call for demo purposes "001" and your monitor cannot produce it, how do you solve this? Well it is very easy to fool our eyes. Our eyes work by comparison so if the profile maps red "001 to the nearest red that the monitor can show and then proportionally remaps all other reds to fit within the reds the monitor can show us then we actually think we are seeing a full range of reds. The problem comes if we use the wrong profile for this. The red 001 could be re mapped anywhere and could be outside what the monitor can show. Say that happens but the printer can reproduce that red 001. We would see an image on the monitor with not many reds and when we printed it we would be shocked to find reds on the print. Worst, we would see an image on the monitor without reds and would correct for this and end up with a print with heavy reds and would not be able to work out why.
    So to solve this we should:
    1. use the correct camera profile when we are opening "Raw" files.
    2. Make sure you have the correct monitor ICC profile selected in "System Preferences" >> Displays.
    3. In photoshop we should make sure that the " Edit >> colour settings " are set to Adobe 1998 for RGB.
    4. If you are going to print you own photo in Photoshop go to "View >> Proof Setup >> Custom" and a box will
    open. Choose the profile of your printer and paper and choose "Perceptual" for rendering intent and then " OK". If you cannot find
    a profile for you printer and paper go to the printer of paper manufactures web site and download the profiles and instal
    them.
    5. You can now adjust the colors and contrast and photoshop will simulate how the output devise will deal with this. If you
    are using an outside printing house, they will supply you with their ICC profile to download so just follow the same procedure and
    choose their ICC profile and and do you colour correction.
    If you have a cheap monitor you will still not get a 100% result but you will get closer. You really need a monitor that you can  calibrate
    regularly because generic ICC profiles are just that. They are made from the results of many monitors and so are 90% or worse accurate.
    If you want to see a flag ship monitor at work go to http://www.eizo.com/global/support/db/products/software/CG223W#tab02 and go
    to the bottom of the page and download the Eizo Coloredge CG223W monitor profile, instal it on your mac then open then ope
    Launch Applications >> Utilities >> ColorSync Utility choose Adobe 1998 the hold and compare it with the  Eizo Coloredge CG223W
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  • Color management in Aperture books

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  • Why use "Don't Color Manage This Document"?

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