Printer Profiles and Onscreen proofing

Is there a way to adjust the options for Onscreen Proofing with ICC profiles in Aperture?
I downloaded and installed the Premium ICC printer profiles for the Epson Stylus Photo R2400 printer and have noticed an issue when I use Onscreen Proofing with these profiles, especially the matte ones. The screen display is muted as if the contrast is lowered and the colors compressed. I viewed the same image in Photoshop with Proof Colors and did not see this problem until I turned Simulate Paper Color on in the Customize Proof Condition dialog. Then the image took on the same appearance. Interestingly, the problem does not occur when I use the Epson profiles that are installed by default with the software that comes with the printer. The images print fine in Aperture (better than from Photoshop) using either the premium or default profile. I just can't use the premium profiles for onscreen proofing.
The bottom line is that the Epson Premium ICC printer profiles appear to be incorrectly built and do not simulate paper color accurately. In addition, Aperture appears to simulate paper color by default and I can't find a way to turn it off. This is unfortunate since the default Epson profiles, which are less accurate for printing, provide more accurate onscreen proofing.
Dual 2.3 GHz PowerPC G5 Mac OS X (10.4.6) 2.5 GB DDR2 SDRAM, NVIDIA 7800GT

I'm having the same issue and would love here a solution.
Tim

Similar Messages

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.)

Epson Printer Profiles and Mac ColorSync

I have had a consistent problem with PS CS3 printing darker than my calibrated monitor despite everything that I do with softproofing etc. Interestingly, when I print the identical image from Lightroom 2.2, the paper print is a much better match to what I am seeing on the monitor. I am beginning to wonder whether the difference has anything to do with the way these programs interact with ColorSync on the Mac. I am using an Intel iMac running OSX 10.4.11 and print with an Epson 2200 using the custom Epson paper profiles available on Epson's website. In both the Lightroom 2.2 and the CS3 I leave ColorSync set to Standard and allow LR or PS to manage the printing (No Color Management); however, when I open the Mac ColorSync Utility and examine the printer profiles there, it is using the standard Epson profiles that came with the printer driver rather than the newer ones (e.g., SP2200 Luster_PK.icc rather than SP2200 Prem.Luster1440.icc). Could this "mismatch" of printer profiles be causing a different result in LR2.2 and Photoshop? Should I change the profile in ColorSync so that it points to the new profiles?
I'd appreciate anyone's help!!

Also try the Photodisc PDI target image download here
http://www.gballard.net/dl/PDI_TargetFolderONLY.zip
And remember:
The file (the document Source Space) is independent of Photoshop.
The Color Management System CMS, Photoshop, ONLY uses the monitor profile for one thing: To PROOF source file on the monitor (the monitor profile has zero to do with how the file prints).
The Color Management System CMS, Photoshop, ONLY uses the printer (target) profile Print Space for one thing: To PROOF source file on the paper (the printer profile Print Space has zero to do with how the file looks on the monitor).
In other words:
The printer can PROOF (print) the source file faithfully regardless of how right or wrong the monitor is set up, and
The monitor can PROOF (display) the source file faithfully regardless of how right or wrong the printer is set up.
COLORSYNC
Why/how are you using ColorSync in an Adobe-Epson print workflow?
DARK PRINTS EPSON
This has already been discussed here, might try adding dark to your search...

Display profiles and soft proofing Windows RGB / Monitor RGB

This might have asked before, but I did not find any definite answer for this. Sorry this gets a bit long.
Short question:
What's the difference between softproofing with Windows RGB and Monitor RGB targets? I see differences in my image between these targets.
Long question(s):
Here's some reasoning.. let me know when I go wrong.
I have hardware calibrated my display Spyder 3 elite to sRGB standard. I have understood that the generated display profile contains a LUT table that affects gamma values for each RGB component, so that affects both gamma and color temperature. That table is loaded into video card when Windows starts. In addition to the LUT table, the display profile contains what? Probably information on what color space the display has been calibrated to. Does that matches directly with the LUT table information, but may deviate from sRGB in the case my monitor cannot reproduce sRGB 100%?
Now if I have image that that is in sRGB, but the embedded sRGB profile has been stripped away, should any non color management aware image viewer show the colors properly, if it is assumed that 1) my monitor can handle full sRGB space and 2) my monitor was succesfully calibrated to sRGB and the LUT table has been loaded into video card?
Or does it still require a color management aware program to show the image, which implies that the LUT table information alone is not enough and the display profile contains some extra information that is needed to show the image correctly? I would think this is true, as I needed to turn on color management in Canon Zoom Browser to see images in it the same way as in Photoshop.
Now to the original question, what's the difference in Photoshop when soft proofing with Windows RGB and Monitor RGB targets
I read from www.gballard.net that
Photoshop can effectively "SoftProof" our web browser color:
Photoshop: View> Proof SetUp> Windows RGB
Photoshop's Soft Proof screen preview here simulates how unmanaged applications, web browsers, will display the file on 2.2 gamma monitors, based on the sRGB profile. If the file is based on sRGB and our monitor gamma is 2.2 and D/65 6500 degrees Kelvin, we should see very little shift here, which is the goal.
Photoshop: View> Proof SetUp> Monitor RGB
THIS IS WHERE the color-brightness-saturation problem will repeat consistantly.
Soft Proofing Monitor RGB here strips-ignores the embedded ICC profile and Assigns-Assumes-Applies the Monitor profile or color space.
The color and density changes seen here show the difference between the monitor profile and the source profile sRGB.
I'm not sure how to read that. Assume here that my monitor has been calibrated to sRGB and the PS working space sRGB. Do in both cases photoshop strip away color profile from the image at first? What happens after that? Does in Windows RGB case Photoshop pass the color values as they are to display? What does it do in "Monitor RGB" case then? Does it assign my monitor profile to the image? If it does, does there also happen conversion from one color space to another? In either one conversion there must happen as the soft proofing results are different. Does either one cause "double profiling" to the image as the monitor is already calibrated?
Thanks

Windows defaults to sRGB if you don't calibrate your monitor so untagged sRGB files should display (more or less) correctly in applications that don't know about color management on systems with uncalibrated monitors.
When proofing against Windows RGB you're proofing against sRGB, it will show you how applications that don't know about color management on an uncalibrated monitor will show the image. This is what you proof against if you want to see how the image will display in web browsers.
When you proof against Monitor RGB, Photoshop will assign your monitor's icc profile to the image which tends to be utterly useless most of the time.

Can one set up Lightroom to allow use of manufacturer's printer profiles and Advanced Color Settings

I like the effects that I can apply to my B&W images using Advanced Color Settings, but understand that I get best print quality using the manufacturer's paper profiles. However, I get locked out of Advanced Color Settings unless I choose "Managed by Printer". Can I do both - select a specific paper profile and use Advanced Color Settings? Thanks

I don't know what printer you are using. But if you want to use all of the controls in the Lightroom print module you need to let Lightroom manage the color. For my printer, this requires making that choice in Lightroom and then disabling color management in the printer driver. Then, using Lightroom, I am able to use all of those settings and choose the appropriate profile provided by the paper manufacturer.
With my printer, if I choose to let the printer manage the color, I can make all of those choices in the printer driver. But you cannot split your management between Lightroom and your printer. You have to go one way or the other.

Print Profiles and Packing Stations

How do I get print outputs from a Handling Unit Packing Station to de directed to the printers assigned in Print Profiles PRPHU?
The Handling Unit Packing Station is linked to the Print Profile through HUPAST_C and the Print Profile is linked to 2 outputs to 2 different printers. But it donu2019t work the way I supposed it to work - I get the message "No printer defined for output ZST1"

It may be helpful to you to know the logic which determines the printer that is used for output on the system. This is as follows :
1. the system will first check the output device specified in output record. The setting here has most priority.
2. system will read the setting in output type customizing double click the corresponding output type, find field "print parameter". Please see F1 help for this field.
3. According to the setting in point 2, system will choose output device either specified in trxn VP01 or trxn SU3.
Also, please be aware that if output is entered manually, then the printer is not defaulted. Print parameters are only defaulted when the output is determined by the system automatically.
Hope this helps.

"Preview" and print profiles

Hi. I was surprised and happy to see a list of print profiles in the Preview program where you can "soft proof" an image file. Is there any way to add additional print profiles for soft proofing?
Thanks!
Message was edited by: Randy Allen

Put the ICC file in this folder:
~/Library/ColorSync/Profiles/

How to set up Print Specs and Profiles in CS5 Suite

I am no color management expert but I do want to get my printer to print the same colors as my monitor displays in PSD, AI and InD applications.
My Intel iMac and Cinema Display running OS10.5.8 are both color calibrated with Spyder 3 Elite to achieve correct color reproduction.
After days of searching and testing, this is my solution which I offer to help those new to CS5.
1. Start: PHOTOSHOP:
     Set colour settings (Edit>Color Settings) as follows:
          RGB - Adobe RGB 1998
          CMYK - US Web Coated (SWOP) v2 (This setting does not effect printer).
          Leave Grey and Spot as default 20%
     Color Management Policys:
          RGB, CMYK, Gray; all set to Preserve embedded Profiles
     Conversions Options:
          Engine - Adobe ACE
          Intent - Relative colourimetric ( my choice for AI artwork. Choose Perceptual for photos in PSD).
     Go to Save, give profile a name, and note the Conversion intent so you can create another profile for Perceptual and PSD.
     (I called mine Epson R2400 and noted the Relative Colorimetric intent).
     Finally, Go to Settings at the top of the Color Settings dialogue and select the color profile you have just named and saved. Click OK
2. Go to Bridge>Edit>Creative Suite Color Settings. Find your saved profile and select it and click Apply.
     Now AI and ID have the same colour preferences.
     Users without Bridge will have to set these items in Color Settings for each Adobe application.
3.   Photoshop>File>Print: Color Management
          Color Handling - Photoshop Manages Color
          Printer Profile - Choose the ICC Profile to suite your printer and paper stock. I used Epson canned ICC SPR2400 Premium Glossy with great results.
          Rendering Intent - Relative Colorimetric for artwork or Perceptual for photos.
4. At top of Print dialogue box, select Printer (Epson Stylus Photo 2400 in my case).
     Below, Click and open Print Settings;
     Layout - select Paper Size and number of pages (copies). Layout is one of several items in a drop down menu.
     Open the next drop down item, Color Matching. Check that he two options, Color Sync and Epson should be grayed out.
     Move to Print Settings.
          Media Type - depends on your paper. (mine is Photo Quality InkJet).
          Color - select Color or Black
          Color Settings - OFF, This turns off color management in Epson Driver leaving Photoshop in charge!
          Mode - I chose Advanced to get fine quality print. Automatic OK for general use.
      Click Save. Click Print and you should get a print matching your Monitor.
ILLUSTRATOR CS5
Bridge will ensure that Color Settings match Photoshop as 1. above. If you don’t have Bridge Go to Edit>Color Settings and specify the same as      Photoshop. Note Settings, at top of Color settings dialogue box requires the profile you created in Photoshop.
     Go to File >Print. There are 3 steps to check.
     In the window at left are headings General, Marks and Bleed, Output, Graphics, Color Management, Advanced and Summary.
     These are self explanatory. If you do not use Bridge, check Color Management as below:
1. Printer: your printer. Color Handling: Let Illustrator determine colors. Printer Profile: select your monitor RGB icc profile.
   Unlike Photoshop, do NOT use printer/paper ICC. Rendering intent: to suit your image.
2. Bottom left of Print dialogue box is Page Setup. Set your size etc.
3. Bottom Left is Printer. MOST IMPORTANT. Here are the similar setting options as PSD 4 above which require different handling.
     Select Layout, go down to Color Matching>select COLORSYNC not Epson. This ensures Apple ColorSync does color conversion.
     Profile - Automatic should appear with name of your preferred Printer/paper ICC below. ( be careful here as I have found AI sometimes finds the wrong      paper icc. Close Print and start again).
     Move down list to Print Settings - Basic:
          Page Set up - Standard; Media type - Your choice, (Photo Quality InkJet for me).
          Color - Color
          Color Settings OFF to ensure Epson printer driver does not try to manage color.
          Mode - Advanced if you want fine quality print. Automatic is OK for general use.
4. Click Print to close Printer dialogue box. Click Print to close the Print dialogue box and you should get a print to match your on screen image.
INDESIGN and General Comments.
Always select your Printer first as settings vary according to printer type.
InDesign Print set up is very similar to AI. Select Color Management at left and the Printer, Printer Profile and Rendering Intent require identical settings.
Go to bottom left, Page Setup. Specify Printer and paper size. Select Printer and the settings required are the same as AI.
If you switch between these apps there is considerable danger that the different Profile choices will trip you up. Photoshop color management requires the Printer/paper ICC, AI and InDesign require Monitor ICC. My primary error was to select my professionally scanned printer/paper ICC profile which resulted in weird colours on AI and ID. The clue that led me to choose my Monitor ICC profile instead was the ColorSync option in Color matching in AI. I hope you will find printing runs a lot smoother for you and I heartily invite better informed users than I, can add to, or qualify this post.
May the Force be with you!

Regarding print brightness at output. The Settings of monitor calibration determine white point and black point. At the time you run Spyder 3 or whatever your monitor calibrator is, the software sets a white point of your choosing. current iMacs are far too bright and prints resulting from unmodified Mac monitors will appear too dark because of the excessive screen brightness. My iMac at lowest reading is 139 candelas. To get prints which match the screen I specify 80 candelas. The Spyder software also reads ambient light in the room and makes a calculation which effects the white and black points registered for both viewing and printing. Since paper reflects a light level according to lighting conditions, we each view prints in different conditions according to illumination source. This effects also effects screen viewing so conditions determine what we see.
In simple terms, ambient light reading also modifies the software calculations for colour output. If it is too high, prints are pale, too low and prints are too dark. If the Monitor calibration has been done properly there should be no problem. The point here is to make certain your calibration process is accurate. Personally I have calibrated in a dark room at night-time and I have calibrated In a shaded room at midday. Hugely different conditions. Under both circumstances I have found the calibration has resulted in good prints. So I suspect it is user white point settings or calibration error which results in prints being too dark or too light. I understand the data used by the calibration software applies to the ambient light reading to the monitor for reading conditions and uses other color gamut data for the printing process. So printing error must surely originate with the user.
I welcome comment from more experienced people in this matter.
Cheers,

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

Onscreen proof very different than photoshop.

I just installed the various ICC profiles for my new Epson R2400 printer that are available on Epson's support web site. When I display a photo and use one of these ICC profiles for Onscreen Proofing as the Proofing Profile the image becomes horribly washed out. At first I thought "oh, you just can't compete with real light RGB" but they were pretty bad. So I opened the photos into CS2 and used the same ICC profile as a Proof Setup and did the same Proof Colors. Now in CS2 there was a very slight change - more of what you'd expect in a true proof. Now I haven't printed yet but I'm wondering if I should do all my printing from CS2 rather than Aperture. Or will the outputs be the same and there is just something wrong with the way Aperture proofs on screen. Thanks.
-Josh

Well I printed my first picture on my new R2400 using aperture directly. I used the Premium Glossy paper that came with the printer and I used the PremGlossyRPM ICC profile. Spectacular. Came out better than I thought, and definitely better than the Apple printed 8x10 I had ordered. So I'll just ignore soft proofing.
I loved Endura surface E. Any paper advice?

PS6; print; PS print settings; color management; printer profile: how to get paper profile to "stick" for multiple prints of same paper type, ie Matte. Mine reverts to Luster as the default.

see question

Hola Gustavo,
your task is for me not quite clear. I can see two scenarios:
a) Calibrate the press for ISONewspaper26v4 ink (your standard process) on salmon colored paper.
    Print the target by press on this paper, measure and build the profile. There is no problem so far.
    But preparing CMYK data with this profile for printing by press requires a very complicated gamut
    compression, becauses the gamut of the actual process on salmon paper is small and excentric
    in Lab. As mentioned in my previous post.
b) Simulate the appearance of press prints on salmon paper, disregarding the salmon color by profiles.
    This shall be done in your case by a toner printer.
    The toner printer has to be calibrated with white paper. As a result one gets a valid Printer Profile.
    The proof printing happens for a CMYK file, for instance a PDF/X-1a file so:
    Input profile: ISONewspaper26v4
    Output profile: Printer Profile
    Printed on salmon paper!
    The printer profiling converts the toner printer into a more or less reliable proof printer. This has nothing
    to do with colored paper.
Page 11 shows an example:
http://docs-hoffmann.de/oki-ps-28082005.pdf
Best regards --Gernot Hoffmann

How do you use an outside Lab ICC Printer Profile in PSE 12?

I have an image that I scanned in from an old print then I edited it using PSE-12. Now that I've completed the editing and retouching I plan to have the image printed by an outside that has the ability to read ICC Printer Profiles designed for their printers embedded in the image. My proble is I don't know how to add a particular ICC Printer Profile to a image worked on in PSE-12. If I was using Lightroom or PS-CS5 or 6 there is a straight forward way to accomplish this goal.
Is there any way to accomplish the same objective when using PSE-12?

Thanks MichelBParis. I must be getting old (I'm 78) and I completely missed that when I was in Dry Creek Photo. In fact that is where I get all of my ICC Printer Profiles from when I'm using either Lightroom or Photoshop CS. What I'm doing is tutoring a friend on the use of PSE-12 (although I do own a copy for my own use) and I was trying to set him up to use ICC Printer Profiles and avoid letting the labs do "Automatic Color Adjust). I had many images ruined in the past just because the lab did an automatic color adjust until an operator schooled me on what was happening. I'm now a part time photographer and I never send an image to be printed without first making sure I have an applicable ICC Printer Profile embedded. and request the lab to turn off their automatic color adjustment.
Thanks again for the perfect solution.

How do you specify printer profiles in Elements 11?

I upgraded from Elements 7 where there was a "drop-down" box that listed all of the available printer profiles to choose from. I don't see a drop-down box in Elements 11 to accomplish the same thing. I use Color Munki to set up printer profiles and can't find them in Elements 11.

Both Epson and HP have been playing a game of Hide-and-Seek for the last year or two. Instead of putting the profiles they install into one of the common Profiles folders, they are in the /Library/Printers/ folder. For Epson, drill down to /Library/Printers/Epson/InkjetPrinter2/ICCProfiles. At least, this is where the installer for the Stylus Pro 4900 puts them.
It was much harder to find those installed for the Stylus Pro 4000. They are still in this general area, but were hidden inside one of the .plugin packages a bit deeper into the folder structure.
Either way, the Epson print drivers know where these profiles are and show up in the print dialogue boxes. Trouble is, other apps, such as Adobe, Quark, can't see them, so you can't choose any of the profiles from those program's print option boxes.
The only solution is to locate the profiles in the /Library/Printers/ folder and move all profiles to either the /Library/ColorSync/Profiles/ folder, or the Profiles folder in your user account. You want to move instead of copy so each profile isn't showing up twice in the Epson print dialogue box.

Pro-100 Custom Printer Profiles

Has anyone had success in using a custom printer profile with this printer. Glossy generic Canon paper profiles work ok but are not completely on the money. I get a little too much red. I had a custom profiles created by reputable 3rd party provider for a variety of Canon papers. When I use them to print the test sheets the anomalies are dramatic. Instead of smooth transition of colors steps and anomalies are are printed throughout the test sheet. When I print the Macbeth color chart an example of how far the colors are off one could not find the red square on the printed output. Thinking the provider had a bad day I asked him to do it again. There was no change in the results. I then went out and bought an Xrite Color Munkie. I have the same results as with the 3rd party provider's color profile.
Previously I used custom profiles with the i9900 for years. Still using the same computer and software; CS5 and Vista 64 bit OS. I let Photoshop manage the colors, I select the custom profile, check Manual on the print driver screens, and select None for Color Correction on the Matching tab. Am I missing something?

I tried the Color Correction to None and when i started from scratch and redid my profiles it worked! Thank you
What I find troubling is where is this explained in the manuals or help? If this is a "professional printer" then custom profiles are going to be used.
Where is the expalnation for the other options on this screen particularly ICM. When it is chosen I only see Paper company profiles. Why do I not see my custom profiles (see link on previous comment)? When I press Help I get the following:
"ICM (ICC Profile Matching) Adjusts the colors by using an ICC profile when printing. Specify the input profile, printer profile, and rendering intent to be used." If your major software products from Adobe and Apple do the color management why is this here? Somewhere in the internet, not at Canon site, I see its purpose is for applications that do not control the color management. Which begs the question how many users who use that kind of software are going to look, find, and understand this screen and color profiles.
Sorry after losing a lot of time and money I have to vent at Canon. I do appreciate the help. Thanks again.

Why does Photoshop Elements 10 print dark and red, and not match the computer screen?

I switched from Photoshop Elements 7 to Photoshop Elements 10. I cannot get a print of a photo that matches the screen. Photos are dark and red. I cannot edit the photos because I do not know what will print out. I have switched back to Photoshop 7 and my photos print fine, just as they have been edited. I have spent hours on the Chat line with Adobe. They have yet to help me resolve this problem. Does anyone else have this problem or know what to do? Adobe sure doesn't. I feel I have wasted money and am afraid to ever upgrade again.

If you are using Photoshop Elements Editor for printing then make sure you have handled the color management of PSE correctly.
There are two different scenario available in PSE to handle color management.
Scenario 1 (When printer manages color). If you're known and familiar to your printer profile, the type of paper you are using and if you have any other customization done for your printer profile then in this case please select Printer Manages Color in Color Handling drop down under color management of PSE.
To achieve this, follow these following steps.
1. Launch Print dialog.
2. Click on "More Options..." button.
3. Now select Color management.
4. Here you can see the Color Handling drop down. Please select Printer Manages Color.
Note:- Use this scenario when you are sure a about your printer profile and settings.
Scenario 2 (When Photoshop Elements handle color). In case you want PSE to handle all color management then please select Photoshop Elements Manages Color in Color Handling drop down. Then select the same printer profile as Image space.
Note:- If you are using this option, make sure the color management of your Printer is off.
Hope this will help you.

Printer Profiles and Onscreen proofing

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