Photoshop 7 Colour Management Problem (WinXP)

Hi,
I just a problem studio while swapping over 2 Windows XP machines, having swapped over the 1st PC Photoshop 7 lost it's colour management settings.
All images viewed now appeared hazey to the user. So we swapped the PCs back to the original monitor however the colour settings we are prompted for
when opening Photoshop 7 have now been lost..
We tried alll the colour management templates listed but these are not right.
Is there away we can restore the original settings? Could these settings be saved in a file somewhere on the PCs hard disk?
Thanks in advanced.

The color settings should be in C:\Documents and Settings\Anita\Application Data\Adobe\Photoshop 7\ somewhere or they are in Photoshop's program directory under a Presets\Color folder
Mylenium

Similar Messages

  • Help diagnosing colour management problem - windows 7, CS3, Eye-one display 2

    Hi,
    I had my colour management all set up and working on my old laptop then I foolishly got a new laptop and am completely failing to get things straight.
    The new laptop (Asus N56VM with Nvidia GT 630M) is running Windows 7.. I've calibrated the screen using my Pantone (X-Rite) eye-one display-two and straight away it looks much better to the eye. I calibrate to native white point which I always do with laptops.
    I've used the following procedure to make Windows 7 load the profile at startup and removed the GretagMacbeth tool which attempts to do the same:
    http://www.laszlopusztai.net/2009/08/23/stop-losing-display-calibration-with-windows-7/
    Everything looks great except when I attempt to use anything with colour management.
    Eg. All my old photos looked great  in Adobe Bridge until I activated Color Management via it's settings and suddenly they look awful - sky blues turn turquoise.
    If I open an sRGB tagged file in photoshop it looks the same - awful (using Preserve Embedded Profile and with a working space of Adobe 1998 in Color Settings)
    Only way I can get images to look normal in Photoshop is to open them then ASSIGN the monitor profile to the image (I know this makes no sense to do and is in no way a workaround)... and it looks great.
    Something's not right somewhere but not sure where to start looking since there are so many variables. Can anyone suggest a route to investigate based on what I've said so far?  This is driving me nuts!

    Ok, I use the same tool and software to calibrate my monitor. I disagree with Lazlo p about resetting Color Management. What you should have is under Devices>Display, click "Use my settings for this device". (You will have to go to the place you checked Windows display calibration and uncheck it first.)
    When I first started using Win 7, I did not have either checked, (I didn't know about Windows Display Cal) and had fits. Then I checked "Use my settings..." and it ran fine.
    The reason the Gregg MacBeth Calibration Loader tool is needed has to do with their reluctance in updating the software completely to run in 64 bit. The Calibration Loader has always been a part of their software and for at least, XP, has run seamlessly. I now have the icon for Cal Loader in my tray, and after reboot, I'll click it to be sure the profile has loaded. Most of the time it has.
    I verified it with the support group who verified the need to use that tool in 64 bit. The workaround? An entirely new software package at a considerable sum!
    So I did what Lazlo suggested, and when I had completed the changes, I clicked the cal loader icon in the Tray.
    The display changed!
    I trust the Cal Loader.
    I do not grasp what MS implies in their discussion of WCS vs ICC, especially with respect that WCS is better.
    Finally, I am doubtful that you should be using native white point. It's not simply a choice available to laptops, but to all LCD screens (AFAIK!). There is a huge difference between 6500K and native white point on the Dell u2412,so much so I dismissed it out of hand and tweak the colors in RGB during calibration. Your laptop may not offer that path.

  • Colour Management problems - media AE to Encoder

    I have noticed that Adobe Media Encoder Doesn't seem to cater for colour management. Or make mention of how applies gamma adjustments to the content it encodes. Flash in particular.
    1. I'm working in colour managed environment in AE (eg. Adobe 1998),
    2. I export my final master animation with an associated Output profile suitable for the media - like sRGB (web & Flash), or Rec 709 for HD TV.
    3. So, If I use Media encoder to export Flash FLV, the final output is grossly over-saturated, because (I think) MEcoder has applied a second 2.2 gamma curve to the file.
    That would be ok, if a little annoying - but worse still, if I use Media Encoder to create a mpeg DVD encode - it does respect the  colour intergrity of the Master AE render.
    Anyone else notice this?
    So it appears that if you use colour managed workflow - rendering a master out of AE with you working profile attached to it is necessary, because ME is going to gamma correct it to sRGB it when it encodes - like it or not!

    Hi blabber,
    Can you give me more info about step 2?  I would like to repro exactly what you are seeing here at Adobe.  How are you exporting your final animation?  What format, codec, etc...  Also small sample projects with single frames etc would be very useful.
    Thanks
    David McGavran
    Engineering Manager

  • Adobe Bridge colour management problems

    It appears that jpeg images, converted from Neffs, are not being displayed correctly in Bridge, V2.1.1.9. They display overexposed and open from Bridge into Photoshop CS3 overexposed (faithfully overexposed to Adobe Bridge's representation) and yet shift clicking, or opening in Photoshop CS3 directly from the file the images display correctly. I have tried purging the cache for one of the offending folders but this has not resolved the issue.
    I have also Optioned clicked, on launch, and cleared all prefs - this rectifies the problem but once Adobe Bridge is relaunched the files initially preview correctly but then Bridge decides to amend (I can see this happening) and display overexposed thumbnails once again.
    It appears that all Canon jpegs saved from RAW (.CR2) files are okay. All Nikon NEFF files display correctly, as do Tiffs saved from the NEFFS, the error appears to be restricted to jpeg images saved from NEF files.
    I am using Leopard MacPro 2.8 quad - all Adobe and Apple software up to date, freshly installed and monitor calibrated - correct monitor profile being used, not hosed, as CS3 is good. I am not running the CS3 suite just Bridge, ACR and CS3.
    I didn't suffer from this problem on my previous PowerMac G5 (it recently died hence new MacPro), with the same images, using Tiger, Adobe Bridge and CS3 - could this be one of Leopard's many teething problems?
    I have some low res screen grabs to demonstrate the problem but I am not sure if, and how, I can upload them to this forum?

    PROBLEM SOLVED, sort of any way.
    I figured out my problem and it really has nothing to do with Bridge.
    Basically my D300 along with other digital cameras is adding additional information into the RAW format that Bridge and other programs like Apeture and Lightroom ignore. Stuff like D-Lighting, Color settings and other information that can make the picture look a specific way is simply dropped at import when opening in bridge because those certain settings are specific to Nikons RAW NEF files. Canon does the same thing on their RAW files as well.
    The reason people see the graphics change is because Bridge and other programs usually use the camera's JPG preview with all tweaks to first pull up the thumbnail image in Bridge. When the user clicks on a thumbnail to view the RAW file info or import it into Photoshop, Bridge interprets the RAW info as it can and opens the file. The extra information that helps the photos look a specific way are simply dropped because Bridge does not know how to apply that information.
    So unfortunately for now, I guess I am stuck with Capture NX from Nikon if I really want to see the image as it was taken originally without having to do extra work inside of ACR. And before anyone says it, I know you can build profiles that will import the RAW files the same way every time, but so far I have not been able to tweak the settings where the images look exactly the same to this point. It also looks like Nikons software does a much better job of importing the RAWs with less color noise. Too bad their program is slow and completely crappy to use. Kinda sucks, but I guess that is the name of the game right now.
    Laters,
    Joel

  • Colour Management Problem - Please Help!

    I am using Photoshop CS3
    I have edited a portrait image in Camera Raw.
    From Bridge I have used Tools -> Photoshop -> Web Photo Gallery
    I have taken one of the resulting JPEGS out and it displays absolutely fine in Microsoft applications, and skin tones are perfect.
    I have opened the same edited image in Photoshop to do some minor localised editing.
    I then saved it as a JPEG
    It is now extremely red when viewed in Microsoft applications.
    From Bridge I have used Tools -> Photoshop -> Image Processor
    I then converted it to a JPEG
    It is now again extremely red when viewed in Microsoft applications.
    Please can anyone explain why the JPEG created from the Web Photo Gallery is absolutely fine, but when created through Photoshop of the image processor the image is extremely red and not usable. Any ideas will be greatly and gratefully appreciated.
    Thank you

    Web Photo Gallery might make a conversion to sRGB?

  • Colour Management - who does what - Some thoughts now the smoke is clearing

    First up, thanks very much to everyone who contributed their ideas and expertise to my recent query here, when I was seeking help for a problem with colour management issues when printing a magazine I edit. I have a ton of suggestions  to work through and study but the smoke is slowly clearing and it raises some interesting points which I think are worth recounting.
    First of all, I have been editing short run magazines now for 25 years, at first part time and later on a professional contract basis.  I am not a trained graphic designer nor a trained printer. I did start out training as a graphic designer, many years ago but gave it up for a career in IT (as a networking specialist). That was full time until 10 years ago, although I did some freelance writing and editing in my spare time.
    And yes, I did start originally with scissors and cut and paste, and moved on through black and white with spot colour and Pagemaker software  to full colour and InDesign today. One thing which may be different about my experience to most of yours is that I am a PC user and always have been. All my editing and graphics work has always been done on a PC - Pagemaker was our DTP package of choice for a long time and we supplemented this with Corel-Draw (which has a range of graphics handling options). All my software is legal and I always register it and keep it up to date. I have used the same graphic designer for quite a few years now and whenever we upgrade our software he goes and gets trained on the latest release.
    Around 10 years ago I was offered the chance to edit a specialist short run magazine (not the current one). This was a chance I took and gave up the day job and became a full time freelance. Editing is not my main or only source of income. I am also  a freelance writer and photographer and heritage consultant and I have a specialist image library.   I sell my own sell my work - articles and pictures - to the national and local press. I also write books (non fiction) on commission. The magazine editing is really an extension of my interest in historic landscapes. I have never had any complaints, or problems, with the freelance work, photos and archived images I sell.  Clients include national newspapers here in the UK, national magazine groups and my books are available in national bookstore chains. I supply my work digitally, naturally, and it includes photos I have taken myself and items which I have scanned into my library of historical images and store on line. No reported colour management issues there.
    I have always enjoyed a good relationship with my publishers and printers because I seek to be as professional as possible, which means delivering my stuff on time, to the required standard so that minimum intervention is required from them. This does assume that I have a clear brief from them on what they need from me.
    Recently this approach has not been enough to avoid colour management issues with the short run magazine I currently edit. I have been wondering when  and where things went astray and date it back to the upgrade to InDesign two years ago. However it may have its roots in my earlier decision to use PCs not Macs for my work.
    Until 4 years ago I had used the same printers for magazine editing for many years. They were a well respected firm specialising in short run magazines. They were not far from where I live and work and if there was a problem I would go over and discuss it with them. They were happy, and competent, to handle Pagemaker files generated on a PC and convert my rgb images to cmyk if there was any concern about the colour balance. On a few occasions I paid them to scan a photo for me. However 4 years ago the owner decided to retire and shut up shop. I needed to find a new printers and it had to be someone who specialised in short run magazines and could meet the budget of the charity I edit for. Also someone who could handle copy generated using Pagemaker running on a PC. I chose a printers I had used briefly in the past  where I knew some of the staff and was promised PC based Pagemaker would not be a problem. I even got this in writing. I started to send them proofs generated using Pagemaker v7 on my PC.
    I soon found that although they had agreed they could handle Pagemaker on a PC in fact they had only a few PC based clients and were using a single ageing PC running Pagemaker to proof their work. In fact nearly all their jobs were Quark based. I was also told we had to supply CMYK images although not given any further requirement so I now did the conversions from rgb to CMYK using my PhotoPaint software. (There are quite a few settings in Corel for the conversion but there was no guidance  by the printer on which to use so to be honest it did not occur to me that it might be a problem).
    Now of course I understand that the drive to get customers to supply CMYK images was a Quark driven requirement back in the late 1990s. I did not and do not use Quark so knew nothing for this.  I did have some early colour problems and font incompatibilities with the new printers and was pressured by their senior Graphic Designer (who designed for their own contract clients) to upgrade to InDesign and provide them with a .pdf, which I was assured would solve all my problems. The .pdf would be the same as the final printed magazine because "it would not require any further intervention by the printers".
    I expect you are collectively throwing up your hands in horror at this point, but I think he was speaking genuinely. The creation of a .pdf  using InDesign, is widely promoted as the ultimate answer to all printing issues.   I have encountered it recently with a lot of printers' salesmen and my friend, who edits a learned journal, has just been told the same thing by her printers, to get her to upgrade to ID. Incidentally she also uses a PC.
    So we upgraded our design process in house to InDesign and our graphic designer went on a course, two courses in fact. When we came to produce our first .pdf using ID, the printers'  Senior Graphic designer came on the phone and talked our designer through the ID Export function. I think he may at that time have told him to create a preset profile with MPC and the defaults, but to be honest I don't recall. We were never sent anything in writing about what settings we needed to match theirs. I continued to have intermittant colour management problems but put this down to my photos. Things came to head with the most recent issue where the colours were badly out on the cover, supplied by a press agency and taken by a professional photographer. The printers seemed to have little or no idea about possible causes.
    Initially I thought that part of the underlying cause must lie in some mismatch between what I was sending the printers and what they expected to receive so I asked them to specify what I should send. All they said was use Profile preset as MPC setting and accept  the defaults which accompany it.
    So I came on here looking for a solution. A lot of people were keen to offer their own experience which I really appreciate. However the messages could be conflicting. Some of you suggested it was the underlying cover photo which was at fault, some that it was my monitor which needed better calibration.
    Many of you here said that part of the problem, if not the whole problem, was the way I was generating my CMYKs for the printer and I should use Photoshop to do this. You also mentioned a number of possible colour management settings which I should try.
    At times the advice seemed to change tack. There were suggestions that the colour management issues I had  were nothing to do with the printers, that it was up to me not them. Quite a lot of you said I needed to be better informed about Colour Management issues. I agree, but I had never had any previously (maybe good luck, maybe good support from my previous printer) so I was not even aware that I needed to be better informed.  Some of you mildly chastised me for not finding out more and doing more to manage my own colour management with the switch to ID. To which I can only say if I had needed to train up, I would have done. I did not realise I needed to.  Nor was my designer aware of the issues as colour management was not really covered on his ID courses which were about typesetting and design.
    Some of you even seemed to hint that unless I was prepared to use an expensive high end printer or effectively retrain as a print specialist or get my graphic designer to do so, then I probably shouldn't be in the magazine editing game at all. OK maybe that is a bit harsh but you get the drift.
    The fact is that printing is much more accessible these days to all sorts of people and in particular to people with PCs. My brother lives in a large village in an isolated area and produces a village magazine which has been a great success. It is in black and white with spot colour but he would like to move to an all colour issue. He is a bit nervous of the colour management issues as he has no experience of graphic design and is his own designer using a low end entry level design package. He too uses a PC. The printers reps all tell him the same thing they tell me, that all he needs to supply is a .pdf using InDesign.
    Somewhere I feel a black hole has developed, maybe back in the 1990s with Quark 4.11. A lot of printers standardised on that, and set up a work flow and prepress dependent on CMYK images as provided by the clients. They assumed the the clients would doing their own colour management. This approach also assumes everyone is using Quark on a Mac with the full range of Adobe software. When it became possible to generate .pdfs using InDesign, this was held out to users as the Holy Grail of magazine printing, even though their workflows and prepress were still based on Quark 4.11 principles. Any underlying colour management issues the clients now have to tackle themselves.
    So now we have the situation in which I find myself, having to learn from scratch a good deal about colour management issues so that I can tell the printers what is needed for my magazine. Meanwhile all the printing salesmen, the ones I encounter anyway, are still busy pushing the InDesign to .pdf as the "be all and end all" solution. Some re-education is needed for all parties I think.

    I am glad to see that the sun is peeping through the clouds.
    I apologise for my Aussie-style straight talk earlier, but as I said before it was not directed personally at you but in the direction of others whom you epitomize, repeating a conversation I have had many times over the last 10 years or so where respectable, well-meaning photographers, designers and other contributors refuse to accept that colour management is being thrust upon them.
    It is a simple fact of life, there is this 'new' thing that has butted into the very root of our trades and changed the most basic principles of printing and photography.  We expect that this kind of thing does not happen but the industry we now work in is not the same one we trained in twenty years ago.
    Many printers are still struggling with the same conflict, so many tradespeople cannot accept this change.
    This is exacerbated by the fact that colour management is so complicated to learn and implement and confounded by the fact that the default settings and a clumsy workflow often yield acceptable results with incorrect, generic settings, hence the old 'use InDesign and make a PDF and it will be ok' route.
    When the chain of colour management includes the photographer, the photographer's client, the designer, the other designer maybe, the prepress person, and the platemaker, and a single incorrect click by any one of those can kill the CM it is not surprising that in the end when someone is looking back to see where it fell over they usually never find out.....   They will meet someone who says ' I never touched it, I simply opened the file and scaled it and closed it'.  And that person will be a reputable photographer or designer (and CLIENT) who has no idea they just broke it.  So what do we do?  We go with the generic setting that seems to yield adequate results therefore avoiding the confrontation. 
    You need to understand the situation of the printer who took his business through the 'early' days of colour management, we had all kinds of very reputable sources supplying incorrect files, we did not have the expertise yet to be able to address the entire workflow, it would have meant training photographers and designers all through the best design houses and national institutions, because they blamed the printer.  Only in the last few years have I seen these people coming around to the fact that they bear responsibility for implementing their own cm and maintaining it through their own work.
    Sadly, many high end sources are still not there, and I mean HIGH end!  Probably the ones that don't even visit this forum because they want to keep blaming the printer... They tend to live with the poor quality reproductions and just pull up the worst ones and fiddle with those and try to avoid the 'elephant in the room'.
    I am sorry to say that it was not practical for a printer to reject mismanaged files for fear of losing clients who would happily accept less than perfect results in order to avoid the painful truth that was being told to them.  The best thing we could do was to gently make those clients aware that their workflow was imperfect and hope to show them how we could help...  Many print shops do not have someone knowledgeable enough or patient enough to do this, or the boss does not understand the issue either and tries to work around it to keep his jobs flowing in the expectation that all those experts in the chain will eventually tame the thing.
    The many experts on this holy forum are waaaaayyyy ahead of the printing industry in general and photographers and designers in general in their understanding of colour management workflow.  I have seen first hand how reputable local industry people and trainers alike are spreading misinformation and bad techniques, when I discovered these forums back in about 2002 I found that they opened up a whole new galaxy of knowledge and facts that actually worked and made sense, unlike what I had been told locally....  This forum taught me what the Adobe text books did not, the Tech' teachers did not, local 'experts' did not! 
    I tell all interested people to join these forums and learn to discriminate between the good and bad information.

  • My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management

    I have recently purchased a Mac computer (updated to Maverick) to go with my Epson Stylus Photo RX500 printer which has given excellent service with my old Windows computer. However, when trying to print pictures or photos via Photoshop Elements 11, the best results I can get are using the Colour Management and Epson Colour controls in the printing options box.
    My problem is that after printing the first photo or picture, when I come to print a second, both the Colour Management and Epson Colour Controls are greyed out and showing No Colour Management, The only way I can reset the controls is to shut down the printer and computer and restart.
    Could there may be a setting somewhere that I need to adjust please?  I have been in touch with Epson and they say that the Epson Colour controls are part of the Photoshop Elements software but a post on the Adobe forum brought no results and I am unable to contact Adobe.
    <Edited by Host>

    Hello Garry. Thanks for the reply. I guess I should have used a different title from "How do I post a question?" That should come after trying to resolved the colour settings first. However, to answer your question, after experimenting with all the different settings in Photoshop Elements and Epson software, I now start with PSE11 Colour settings then click "no colour management" then after clicking Print, I choose "More Options/Colour Management/Colour Handling/Printer Manages Colour" then I choose "Page Setup/Layout/Colour Matching" which then shows Epson Colour Controls but I also choose "Layout/Colour Management" which then shows "Colour Controls/Mode" I then of course choose an Epson printer profile depending on the paper I am using. I get good results but as I said, the Colour Matching and Colour Controls are then greyed out. Hope that makes sense.

  • Trouble with photoshop(cs4) manages colours

    Hello there. I have callibrated my printer, and have callibrated my monitor monthly over the three months since I purchased my Color Munki. I have set up a printer profile that I want to use.  I have CS4 and using a "two up view" for soft- proofing, the copy to be printed (on screen) was at first rather  dull with a green cast and with blacks greyed off compared to the master copy and very difficult to match the master even closely. The prints were passable after a lot of fiddling but not as good as I had hoped even compared to prints I produced  before I used my own printer- paper profile .. However recently  the prints have got even worse. They are really, really dark when printed even though they dont look so on screen.They also still have the colour cast etc. I have been selecting "no color management' in the printer dialogue along with the printer- paper profile. I have had to resort to using "Printer manages colour" and a generic printer paper profile  again as I used to do.  I am  getting far better prints with  good colour matches this way so it would seem that there is nothing wrong with the printer.  I have concluded that it must be a problem with the colour management in my CS4 Photoshop. I have an Epson Stylus photo 1410 printer, a Dell flat screen U2410 monitor and a nikon D90 camera. I feel so disappointed after forking out for the Color Munki etc hoping to get really top class prints. .I would really appreciate some advice.

    You have to make sure you have configured everything to work together - i.e., to make the printer driver expect that Photoshop is going to do the color transform.
    However, there were some posts last year implying people with Epson printers were seeing "double profiling" - meaning somehow two color transforms were being invoked, and they couldn't turn the behavior off.  I think at least some people just broke down and bought new printers, as Epson apparently would not fix the drivers to work properly with Photoshop CS5.
    I don't know whether yours might fall under the same issue, but you could double check with Epson.com and see if there have been any newer drivers released for your model.
    -Noel

  • Colour Management Issues with Leopard and Photoshop CS3

    Hi Everyone,
    Since I have installed Leopard I am having colour management issues with Photoshop CS3 and my Canon i9950 printer.
    My screen is calibrated with a Spyder and I used to ask Photoshop (in 10.4.11) to manage colour when printing and used the Spyder profile. Everything came out as I saw it on screen.
    Now in leopard when I do the same thing everything comes out too yellow on the print. If I ask Photoshop to let the printer manage the colour it is too red. If I use the default colour management (photoshop managing the colour and it choosing the colour space it is better, but still too yellow).
    Photoshop gives the hint to turn off colour management in the printer but there is no option for this and it also said the same thing before of course (when it worked in 10.4.11).
    Any ideas?
    Thanks.

    I'm having exactly the same problem, only my printer is a Canon Pixma iX4000. The colour is all bleached out, it looks exactly like when you've accidentally printed an RGB file on a CMYK printer, and at first I thought that was what I had done, but it isn't. This is very frustrating, I've spent all day going through the manuals, recalibrating etc, but no luck. This is a brand new Mac Pro and printer, but if its not going to print what I see on screen it's just expensive junk.
    I wasn't sure if the problem was Leopard or the printer or CS3...

  • Print Color Management Problem w. Photoshop Elements and Tiger/Leopard

    Has anyone tried printing with ICC profiles through Photoshop Elements 6 for Mac? Apparently, it does not work on Tiger nor Leopard? My prints look very dark and over-saturated.
    The Datacolor folks, who make the Spyder3 calibrators I'm using, say my prints look like they are being "double color managed," possibly once by PSE and once by the printer driver (even though it's turned off).
    Over at the Adobe Forums some say it's a problem with Leopard. I'm not so sure, because I found that printing color management works fine on a Mac with Photoshop Elements 4.01 and Tiger. Any comments? Thanks.

    Aha! Got it. Adobe has confirmed that the problem is on their end. PSE 6 is double color managing the images. Here's what one user got in reply from Adobe on the subject. There are two separate answers:
    Thank you for contacting Adobe Technical Support.
    After consulting with my colleagues about the issue you raised, I can let you know the following:
    The issue is both on our as well as the driver software side and the workaround we have given is the best available at this time. This issue is affecting all printers, not just Epson or Canon.
    The soft proofing effect that you are seeing in the print preview is indeed an attempt at soft proofing. However since Photoshop Elements managed prints are incorrectly double colour managed it is not as useful as it was initially designed.
    As to the exact details of why this occurred, we have no official information.
    We believe that this will resolve the issues you are experiencing, however, should the reply not help solve the problem, please contact us again, quoting the case number given above, and we will re-open the case.
    Answer # 2
    We have had word back from our engineers regarding your issue.
    The Photoshop Elements team are aware of the problem and are working with Apple and the printer manufacturers to get this to work correctly. In the meantime, the only workaround is to switch off colour management in Photoshop Elements and let the printer handle the colour management.
    Unfortunately we can not make an estimation as to when a fix will be provided. We will close the case for the time being as there really is nothing more we can do about this issue besides offering the suggested workaround. Closing this case does not mean that the research will stop however and the engineers are working on a solution to this.
    As the tech noted, let the printer handle the color instead. Tell PSE not to manage color so it is the step sending the data unaltered. When the print dialogue comes up, under the Color Correction heading, change the pull down menu to "ColorSync". In the menu below that, choose the correct profile for the paper you're using. If the Brightness menu is still active, look for any choice that allows you to turn it off. If none exists, leave it on Normal. If the options below that for Color Balance and Intensity are not grayed out, make sure they are at the center positions (no effect).
    These steps are the same as before, except you're doing them in reverse. Photoshop is doing nothing and the print driver is handling the ColorSync chores rather than the other way around.

  • Photoshop CS6 Colour Management Printing issue

    Hi,
    We use Photoshop and 2 x Epson 9800 printers to print our images, we used to use CS4 and have recently upgraded to CS6.
    We are having a problem with the “Colour Management” settings in the Printer Settings window. We choose for Photoshop to Manage Colours and select our ICC profile and Rendering Intent and Black Point. Our problem is that these settings reset each time we switch between our 2 printers back to “Photoshop Manages Colours” so we have keep selecting the same settings over and over again. This never happened on CS4.
    How do we save these settings so that they do not reset each time we switch between printers.
    I don’t think it has any relevance but we have our printer’s settings set to “No Colour Management” as the warning states.
    Kind Regards
    Steven

    You possibly need to add the profiles for your printer first.
    In LR select 'other' in the profile dropdown for the color managment. In the list check all the profiles you need for your printer.
    When you select a printer profile in LR and let LR manage the colors make sure to turn off the color management in your printer driver settings.
    HTH
    Franz

  • How do i turn off colour management in photoshop cc

    i cannot make any sense of the 'help' on being able to see any display which allows me to turn off colour management in photoshop cc or in lightroom 5 when using my Mac 10.9.3

    Good day!
    What exactly do you mean?
    Regards,
    Pfaffenbichler

  • Deleted Colour Setting in Bridge, but Photoshop wants to Colour Manage every time I open a file.

    I installed a Colour Setting in Bridge as per a printer's instructions. After I did this, every time I open something in Ps, It asks if it can colour manage the file and gives a few options. I deleted a Creative Suite Colour Setting from finder Bridge, but Photoshop still generates the popup every time. This interferes with Scripts in Ps and it's very annoying.

    Deleting something in Bridge certainly won't help.
    Change the color settings in Photoshop...

  • Color management problem-Photoshop 7

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    Your list appears incredibly short compared to what I see, missing whole sections...
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    -Noel

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