Press colour profiles / ink density

I am setting up press. I have been given colour profiles. I go edit convert to colour profile. I save the file and place in indesign. I make a high res pdf set to 2001 and this colour profile and my ink density is still too high.
Am I not converting the colour correctly?
I have a lot of press to get out, each with bespoke images and not much time to do it.
Please help. Thanks!

Hello
The colour profile was supplied by the newspaper.
The tac max was stated by the newspaper.
I checked the tac in acrobat > output preview (same as you use)
The image showed up bright green areas showing that the ink density exceeded limit requested.
I must be doing something wrong just not sure what it is?

Similar Messages

Colour Profile Question - Press PDF

Hi
I've got a quick question regarding colour profiles.
I've designed an A5 flyer for a client and I have my CS3 suite colour settings set to Adobe 1998 for RGB and Euro Coated for CMYK. The client has decided that this flyer is now to be printed on uncoated paper. So, should I be converting or assigning the working/document CMYK profile to Euro uncoated?
Also on output for press I have a PDF export setting which I use for creating press pdf's which is set to 'No Colour Conversion' and 'Don't include profiles', so in fact does the above matter at all?
I'm totally confused, any help appreciated!
Thanks

I think you are guessing correctly, they may have some control which will work ok for them at a certain level.
You could convert in ID, which will alter the appearance and that will change the output file. Or you could manually adjust the colour/saturation to taste and let the printers go through their usual process and end up with better job.
They probably 'run to density' on press, so you are taking some of their control. Most printers at least calibrate their equipment to a standard, such as Euroscale and then suggest that clients use that when preparing files. That is what I guess when a printer does not have a custom profile.
What they are saying to you is that they are calibrated and their approximate appearance is based on Euro Coated on coated stock at a particular ink density measured at the press.
Uncoated stock looks desaturated, so if you increase your saturation and reduce your Total Ink, you can control the look at their desired press density.
This is not correct colour management, but reflects real world conditions in many commercial 'jobbing' printers in my experience.

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

Photoshop custom profile / max ink density not working ..

I'm trying to get a photo's ink density down below 225 with the cheap and easy trick of converting to a custom cmyk profile and setting the max density at 225%. It's always worked for me before but since my office upgraded to CS6 i've been having some issues ...
I'll check the image out in Photoshop using the info palette, hover my cursor all over the place and it will tell me everything is below 225. BUT when I save the image and place in say ... illustrator or indesign ... the ink density is definitely NOT below 225.
I assume this is because I'm doing something wrong ... that's usually the case.
If anyone knows what I'm doing wrong or could help me with a workaround I would greatly appreciate it.
thanks for your help!
Sara

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

How do I "fix" maximum ink density

I'm working with a printer who requires a maximum ink density of 240%. They've just kicked back a file with deep purple hues, with the explanation that it's "difficult" to keep a cover like this within that range.
What tools or windows do I look at in Photoshop to see where the problem areas are, or what other steps do I need to take as I attempt to revise this file to their standard? (In other words, I can't have the purples I want, but I'd like to change them only as much as needed. How can I know what I'm doing so that they won't kick back the file again, and charge me for another proof?) Sigh.

Sorry, heres the full explanation (hopefully maybe others will chime in if ive missed anything)-
As Buko suggested in his first post ....you can change your Color settings to a Custom CMYK (edit/color settings - permanent in Photoshop until you reset them )- this custom cmyk will allow you to specify a "maximum Ink". Then just converting to Cmyk any time Image/mode/CMYK - will convert using the setting you have created. In your case provided you chose "Total Ink limit" 240% - It will not generate CMYK separations, where the total ink exceeds 240%
One problem with this - you have to remember that its set this way, so that it can be set back to something more sensible as your default. On some presses a total ink of 240 will look very washed out, and flat. So alternatively you can also convert using the less dangerous method I suggested - Edit/Convert to Profile/ Custom CMYK - you can record this as an Action.
Lets say you have a CMYK file already and you need to change it to a lower ink coverage - the best way is using Chris' suggested method of using a Curve to lower ink density. its more contollable. Heres how…
• Use a threshold adjustment layer to find out roughly where in your image the maximum ink coverage is.
• Place eyedroppers at these points.
• Change the readings in info panel to show Total Ink.
• Now use your curves to lower overall density - paying special attention to your Black (k) channel - best practice to lower K channel separate to the rest of the image. This is because K channel holds most of the detail in the image.

Do I need to set AI colour profiles for use in ID?

My previous set up:
Mac
CS2 (Illustrator, Photoshop, Bridge)
Quark XPress 7
My new set up:
PC (Win 7)
CS5 (Illustrator, Photoshop, Bridge, InDesign)
My problem:
I work for a company that prints newspapers, but my dept also does work for glossy sheetfed printers (magazines leaflets etc)
All my work is exclusively CMYK.
With my previous set up - I didn’t want to have to switch my colour profiles via Bridge as I was constantly juggling two types of jobs:
Our tabloid press - Profile - ISOnewspaper26v4 (CMYK)
Sheetfed Printers - Profile - ISO Coated V2 (Fogra 39) (CMYK)
So I set my CS2 Suite colour settings to ISO Coated V2 (Fogra 39) and set an action in Photoshop to convert jpegs / eps photos to ISOnewspaper26v4.
So my CS2 working space was set for Sheetfed glossy publications and if I wanted to set a picture to the correct profile for newsprint I just had to open the picture and hit the action that applied the ISOnewspaper26v4 profile.
Regarding Quark – I set up separate templates for each type of job:
One for Profile - ISO Coated V2 (Fogra 39) and one for - Profile - ISOnewspaper26v4.
Regarding Illustrator - I found that Quark 7 didn’t differentiate between Illustrator colour profiles, or if it did, it didn’t show up in ‘Usage’.
If I went to Quark Usage and went to ‘Profiles’ it only listed the Quark profile and any Photoshop profiles, not any Illustrator profiles.
So in Illustrator I just set colour profiles to ‘do not colour manage this document’. So that I only had to worry about changing profiles for Photoshop jpegs / eps’s.
So I had a good little system going that served me well and now my company decided to move us to PC’s and CS5; and I still have the same problem – juggling newsprint jobs and glossy magazine jobs and not wanting to have to synchronise my CS suite colour settings every time I switch between jobs...
So I was hoping to stick with my little system on PC / CS5.
So basically my question is, do I need to worry about Illustrator colour profiles if I am bringing Illustrator files into InDesign? (To clarify, my Illustrator files are always pure vector, so there is no chance of some rogue RGB jpeg sneaking through on a Illustrator file)
Im open to suggestions regarding my set up, but really would prefer not to have to keep switching my colour profiles.
Any help would be greatly appreciated.

First, I wasn't suggesting that your PDFs be exported to RGB, but it is a common workflow these days to keep photos in RGB until you convert them to the correct profile during the export process. This maximizes the potential for re-purposing your documents and allows you to use the same RGB photos for different output purposes without having to do separate CMYK conversions for each destination, so long as you don't need to do any tweaking after the conversion.
And to answer your question, if the .ai files have no embedded color profile they will ALWAYS be considered to use whatever the CMYK working space is in your ID file, so the numbers will be preserved. This means that there will be slight differences in color on output on different devices (the whole point of color management, after all, is to preserve the appearance of colors by altering the numbers for the output device).
Does the vector work you get from Thinstock come with an embedded profile? Is there any color that is critical for matching, such as a corporate color (which should be spot, but that's a different discussion), or do you use the same art in both the newspaper and magazine, and does the client expect a match (which we know isn't going to happen anyway)?
If there's no embedded profile when you start, there's no way to know what the color was supposed to look like, so color management is not possible, really. You can assign a profile, but you'd be guessing. Since the correct appearance at that point is unknown continuing with out color management shouldn't present a problem. The only case where you would need to manage the vector art would be if the color APPEARANCE is critical or you need it to match across different outputs, and in that case you would need to assign a profile and allow ID to preserve the profile on import and remap the numbers, which means you would likely get rich blacks someplace. Since it's unlikely that you can get a good match going from glossy to newsprint, I probably wouldn't even try -- you wouldn't want, for example, to tag the art as newsprint, and have it print subdued on the gloss if it would look better or more correct with the other profile. Color management would be much more useful if you were going from sheetfed to web on the same stock.

Can you use a photo lab's colour profile in Elements?

Using PSE 6, I want to use a printer profile from a digital photo processing lab, so as to get accurately printed images. (Additonally my monitor is calibrated by a Heuy Pro)
The profile is 'FUJI 570 Supreme Lustre' which I have downloaded from the lab and installed on my Windows Vista PC. Following PSE Help instructions, if I go to the print option then from the drop down Printer Profile list, I can see, choose and select the Fuji 570 profile.
The problem is that this process only seems aimed at then allowing me to click on cancel or print (there is no save option etc). PSE seems to assume that I am connected to the Fuji printer and want to print the image myself, which, of course, I don't but rather want to save this image with the correct profile for the lab's printer and paper-type, so as to send the file(s) for my colour managed image(s) to be printed.
Is there any way that you can save a PSE image file with a colour profile like this in it?
If yes, how is this done?
The lab provides instructions as to how to do this with Photoshop but they are unfamiliar with PSE. In the lab's instructions it refers to View/Proof Set up/custom and unchecking Preserve Colour Numbers, Paper White and Ink Black. Is any of this possible/necessary with PSE 6 (or any later version?)
I have tried to resolve this myself but come to a dead end. If anyone can advise me how to achieve what I want to do, that would be really great or if it can't be done using PSE, to know that would be a great help.
(I have used this lab before without the profiles and whilst the results were good in several respects, some colours, not surprisingly, were not very accuate with my calibrated monitor)
Thanks for reading and considering my posting on the forum.

Thanks for this further advice- much appreciated.
I don't think the Edit>>Colour Settings is going to work as this means that the monitor set up becomes the profile. In my case the Huey profile (which is confirmed as it shows in the print set up preference/settings boxes). Although the Huey profile is important for accurate editing, it will not fulfil the lab'sFuji printer/papers settings.
It looks like PSE does not have any way to save to file with the printer profile (unlike Photoshop). This is a real shame.
It's an interesting issue, as I can't believe that I am the only user ever wanting to use a lab's profile to get better colour management and to use a photographic lab rather than an attached printer.
Anyway, thanks again for engaging in this issue and for your thoughts and advice - much appreciated.
Should I find a way to resolve this, I will post it on the forum.

Help! How do I create a document with an imported PDF in 300dpi using a FOGRA27 colour profile?

I am a new Indesign user and I have been working with GIMP for the last year creating single colour print-ready PDFs. But now I need to create a document with a FOGRA27 CMYK colour profile and a resolution of at least
How do I create a document with an imported PDF in 300dpi using a FOGRA27 colour profile?
I can import the PDF by creating a new document and finding the PDF in places, but it's bad quality.
The only colour profile I can find under View - Proof Setup is FOGRA39, but I need FOGRA27!
Help help help, I need to get these files printed in two days!
Thanks so much..
xx

Proof Colors doesn't change the file's color management, it just lets you see what the color values would look like if they are printed unchanged on different output devices. If you want to actually convert the color from one CMYK space to another, it's probably better to do that in Acrobat—Tools>Print Production>Convert Colors.
There's very little difference between Fogra27 and Fogra39—Fogra27 allows more total ink 350 vs. 330.
There's nothing you can do to improve the quality of low res images

Colour profiling with Canon ip6600d

Hello can anyone please help me?
I am using the above printer on Canon Photo Paper Plus Glossy with Canon original inks.
If I let PS (CS6) manage the profile and set the printer driver colour correction to NONE the driver set itself back to Driver Matching setting straight away. The result is extremely saturated colours in some areas.
If I dont allow PS to manage the profile but let the driver do it automatically the colour results are much better but... surely it would be better to have PS managing the colour profiles.
Why does it keep changing the setting please?
Sorry if I have not explained this clearly.
Trish

That sounds like a bug in the driver -- when the application is managing color, the driver should disable it's color controls (and get out of the way).

Colour profiling

is it possible to use colour profiling on Elements 10? if so, how.

TILLYFRAN wrote:
Hello R Kelly,
Thank you for your interest in my dilemma.
Apparently “soft proofing” is an option, I simply want to edit-convert profile. I have been advised by my Photo printers that Elements does not support this facility and have suggested I try edit- export, but this is not highlighted under the edit column and hence is not supported either. I,m beginning to think that Elements 10 is the worst piece of software I,v ever purchased!. Again thank you for your interest, any help would be most welcome.
Let's be clear : you have been miguided.
CMYK is used in commercial offset printing. In my professional life, I have dealt with photographers, publishing agencies and printers (not only offset). The point is that to get good offset prints in CMYK, you have to know in detail the profiles needed for the process (paper...) We considered the conversion was the responsability (and the art) of the printer. (Anyway, the conversion to CMYK from pictures made in RGB is often a lossy one). I don't know of serious commercial printers who does not have the full Photoshop or similar.
For amateurs today, even for printing, RGB is becoming the required color space. Advanced home or professional printing process (photo books) is often made on hardware with 6 or more inks. If you provide CMYK, the pictures will be first converted back to RGB !

IPhoto Book Colour Profiles & File Sizes?

I want to make a book in iPhoto. All my images are Adobe RGB. Do I need to change the colour profile.
I have a Mac with and Apple flat screen that has been colour balanced. So all the images look good. I am just concerned that they will be printed in a different profile and look rubbish.
What is the smallest file size and resolution that will look good.
Any other helpful advice.

Here's what Apple responded with when I asked them about book material and print quality:
"Thank you for contacting the Apple Print Products Customer Service.
I understand that you would like to know the printing process that is used and the color mode the files should be in, so you can better advise users in the iPhoto forum.
iPhoto version 4 or later, allows you to import and print files through the Apple Print Product service as RGB, grayscale, or CMYK color space. JPEG files with *RGB color space are recommended for best results.*
While iPhoto 2 can import files of various formats, including RGB color, grayscale, and CMYK, this version requires JPEG files with RGB color space when printing photos and books.
For more information regarding iPhoto 2, please visit the following article:
iPhoto: Color, Black and White Prints Appear Garbled or Distorted
For more information regarding iPhoto 5, please visit the following article:
http://docs.info.apple.com/article.html?artnum=165501
Here are some of the technical specifications for the books, cards, and calendars. I hope this gives you an idea about their quality and form.
BOOKS
All iPhoto books are printed using acid-free paper for long-lasting image quality. The photos are printed at a high resolution (300DPI if you use iPhoto 6). There is no external modification--such as sharpening or contrast adjustment--of the photos; what you see in the application is what is printed in the book.
Hardcovers Books
The cover is hard-bound and covered in linen. You select the linen color during the book-ordering process. The hardcover books have a solid, stiff binding that is glued and crimped. The internal pages, measuring 8.5 x 11 inches, are printed on McCoy 100# Text Gloss paper stock.
Softcover Books
The softcover books come in three sizes:
- Large 8.5 x 11 inches
- Medium 6 x 8 inches
- Small 2.6 x 3.5 inches
All of the softcover books have internal pages that are printed on McCoy 100# Text Gloss paper stock. The large softcover book has a white cover (Kromekoteplus Folding Cover, 16 point) with a cutout on the front that reveals the cover-page photo in the book. The covers for the medium and small softcover books have the cover image and title printed directly on the cover. All of the softcover books have a glued binding and feature a thick cover of McCoy 100# Cover Gloss paper stock.
CARDS
All cards are printed on McCoy 120# Silk Cover paper stock. The postcards measure 4 x 6 inches, and the greeting cards measure 5 x 7inches.
CALENDARS
All calendars measure 8 x 10 inches and are printed on McCoy 100# Silk Cover paper stock.
To ensure the best print quality, we have chosen to use Kodak NexPress technology. The press uses a dry toner, which is fused to the surface of the paper. Please see NexPress' site for more information:
KODAK NEXPRESS 2500 Digital Production Color Press
I hope you find this information helpful in answering questions on the iPhoto forum."
As for file size, keep the pixel dimension of the photo the largest you can. That will convert to the highest resolution possible when converted to the pdf for uploading and printing. iPhoto will assign a warning flag to those photos that end up with a dpi of less than 180 when added to a particular frame in the book. When added to a smaller frame the warning flag may go away. I've printed books with that warning and was happy with the results.
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 08 libraries and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

Total Ink Density too high

We have a customer who likes to use a dark maroon color over dark background areas, using multiply to enhance the image visually. The problem is that since the transparency setting is 'multiply', The total ink density is around 350 or in some cases 380. Is there another transparency setting to use or anything else to get the same effect without causing such ink saturation?
Thanks!

You can set up a custom preflight profile. You have to go through the billion of options in the "user defined check-ups" (I'm not sure about the english name). The search box should be of help. Somewhere further down the list are some examples of TAC-check-ups (also not sure about that term and if it is used this way in acrobat: total amount of color). And of course you can modify the settings.
Cheers,
Alex

How do I load a custom colour profile in bridge CC to sync colour settings across whole suite?

How do I load a custom colour profile in bridge CC to sync colour settings across whole suite? I can't seem to load the colour profile sitting on my server within settings as I would have done in CS5. Need to crack this asap as magazine going to press!

See if this helps: http://help.adobe.com/en_US/creativesuite/cs/using/WS37C6D4EA-9407-4954-9A03-92735E070188. html#WSA0A53A1F-BF46-4624-82C6-340A70EFB8C4
Otherwise, ask in the appropriate forum: http://forums.adobe.com/community/bridge

Where do you put colour profiles ???

Hi I hope you can help me we have our own icc colour profile that i want to synchronise in adobe bridge to use on the whole suite. Can you tell me where i have to put the profile for it to appear in the list when i go to creative suite color settings in bridge. Hope someone can help me please this is driving me mad !!!!!!!!!!!!!
Many Thanks
JJK_Echo

You are right, that is not possible. Use Finder to manual copy the icc
profile to a place as described in a copy of a text from an Adobe Press
article that I pasted in this mail, choose which one you need.
Then in PS again go to color setting, under working spaces find the newly
added color profile in either RGB section or CMYK section and select it.
Also check the other settings you want to have active. Then save this color
setting with a clear and understandable name and hit OK. Then go to Bridge
color settings and now your newly saved profile is in the list and you can
choose it. Now you are done. You can also easily get it undone again by
checking an other one of the list.
Here is the copy of the text from Adobe Press:
Storing and Finding Color Profiles in Mac OS X
Mac OS X offers a bewildering variety of places to store profiles. You'll
find them in the System\Library\ColorSync\Profiles folder, in the
Library\ColorSync\Profiles folder, in the
Library\ColorSync\Profiles\Displays folder, in the Library\Application
Support\Adobe\Color\Profiles folder, in the Library\Application
Support\Adobe\Color\Profiles\Recommended folder, in the
Users\(username)\Library\ColorSync\Profiles folder, and in some cases,
buried several levels deep in subfolders in the Library\Printers folder.
Here's the deal: There are really only three places where you probably want
to store profiles. If you want to make a profile available to all user
accounts on a Mac, save it in the Library\ColorSync\Profiles folder. Don't
try to put it in the System\Library\ColorSync\Profiles folder, because
you're not supposed to manually edit the OS X System folderthat's why the
other Profiles folders exist.
If you want to make a profile available only to your user account, save it
in the Users\(username)\Library\ColorSync\Profiles folder. (If you're the
only user, you may as well save all your profiles there.)
If you want to make a profile available from the Color Settings dialog in
Photoshop when the Advanced check box is unchecked, save it in the
Library\Application Support\Adobe\Color\Profiles folder.
Hi when i go to color settings in Ps and try to load the icc profile from its
location it is greyed out and will not let me select it

Correcting Colour Balance and Density with Nikon D80

When uploading files to iPhoto6 created with a Nikon D80, I am noticing the colour balance and overall density of the files has changed from the thumbnails that appear on the camera. I find I have to make adjustments on many of the uploaded files as they invariably appear too dark on iPhoto.
Is there an incompatibility issue with Nikon's settings as recognised by iPhoto?
Any suggestions on how to tweak the settings on iPhoto to try to match
colour balance and density from the camera?
Macintosh eMac Mac OS X (10.4.9)

I'll look into this with Nikon and get back to you.
I wonder if this color sync issue would also affect the density of the files.
I notice they are about 25% darker than the originals.
When you have two devices there is always the
possibility that they will have a different
definition of what 'red' or 'yellow' is. To overcome
this apple developed ColorSync, a series of color
profiles, used to negotiate that issue. iPhoto
typically uses the sRGB profile. What does your
camera use?
Regards
TD

Press colour profiles / ink density

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