Scanner calibration for colour-managed workflow

I would like to do a decent calibration of my Epson V750 Pro scanner to achieve a colour-managed workflow. I have the latest version X-Rite i1 Photo Pro 2 calibration kit, and although this enables me to calibrate my monitor and printer, it does not support scanner calibration.  I do have Silverfast Ai Studio which includes a scanner calibration facility - is that the best available to me or are there any other options, possibly using the i1 spectrophotometer as I know that it used to be possible to carry out calibration with the older versions of that equipment? Other than that, I'm using an Espon 3880 printer, running Vista x64 and using Photoshop CS5.

Mike is probably right, the Epson profiles available in the Epson scanner sw are close enough. I;ve never seen any ******** about scanner output in this forum.

Similar Messages

  • Colour management warning for dual display users

    For those of you who require a colour managed workflow and have more than one display, be very careful in Mountain Lion. It appears to have a bizarre bug where images loaded and shown on the primary display (e.g. in Preview) are initially rendered with the colour profile from the secondary display, or something along those lines. Dragging the display window to the secondary display and back again sorts things out. I've filed a bug report.
    If your two (or more) monitors have the same colour profile, you won't have a problem. The only workaround I can see is to set your least important display(s) to all have the same profile as your (probably calibrated, if these things matter to you) primary display, at least until (if?) the bug gets fixed.
    If you want to see it for yourself, set your two displays to differing profiles - e.g. NTSC (1953) on the primary and Wide Gamut RGB on the secondary. Then load an image into Preview - something with lots of shades of red "works" well for the colour profiles mentioned. Take a screenshot of the Preview window as a reference. Move the window to the secondary display; note the colour shift as it gets re-rendered. Now drag it back to the primary display. It'll look quite different compared to the screenshot you took earlier, despite the fact it's the same image being shown by the same application on the same display in the same window... All you did was drag the window between two monitors and back again.
    It doesn't seem to matter if the image in question has a colour profile embedded in it or not. When comparing with your screenshot, feel free to drag the screenshot between the monitors too - after all, it'll be suffering the same rendering bug! You'll still see a different result; in fact it may even be magnified by the accumulated rendering errors.
    Preview isn't the only application affected; I've seen identical issues under harder to replicate circumstances in Safari, for example.
    Given this fault and others I've seen with colour rendering in Lion, plus several new bugs found in Mountain Lion, I'm afraid that if a colour managed workflow is important to you - well - Snow Leopard or Windows...?! Ugh, what a mess

    I've encountered many of the same woes with color management being a graphic designer, but here's my issue:
    Have a 15" (Early 2011) Macbook Pro.  It is turned on with me hooked up to my Dell U2410 and display open for a dual display configuration.  The Dell is my primary monitor. 
    I then unplug my MBP to use it around the house.  I go to plug it back into the Dell for my dual monitor.  I notice that the color on the Dell looks good, but now the MBP has a very blue color temperature.  Like moving from the preconfigured 'Color LCD' profile to 'sRGB' which definitely shifts to a blue color on the MBP. 
    I check the color profiles in System Settings and the Color profiles are correct.  'Dell U2410' for my Dell and 'Color LCD' for my MBP.  But as I said, it's much bluer than standard.  I try to change the color profiles around on the MBP and no matter which I select it's always the same color with no shifts I would expect to see. 
    Only solution I have found is to restart my computer.  Upon restarting all is well again in the world.
    It's pretty annoying having to restart my computer everytime I plug it back into my workstation with Dell and keyboard. 
    Related note: USB does not work when I plug things back and again have to restart to fix this.

  • Colour management for dummies please

    I have seen many discusions about ink limits and colour profiles but can anyone offer a  dummies' guide?!
    I use CS5 and in Bridge it is set to Europe Prepress 3. My understanding is that this should take care of things but when I make a PDF of my job and preflight it in Acrobat I get an ink limit warning. The profile of the placed Photoshop file (which is CMYK) is FOGRA39, as is the InDesign file (obviously, as this is defined by Prepress 3). So if I make a PDF X-1a shouldn't all that control the ink limit?
    I have found that if I switch the Photoshop file to RGB then it works fine - I can see in InDesign separations preview that ink is OK, and the PDF preflights OK in Acrobat. So that tells me that the ink control happens when a conversion is required. The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage), so how do I limit the ink if the file is CMYK? Should my Photoshop file not be colour managed perhaps? I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
    I called Adobe and their best shot was that I should switch CS5 to North America Prepress, and use the 'High Quality Print' PDF preset. Well maybe I'm taking it too literally, but I'm In England and have a job which is about to be printed in Hungary! And also, this yields a US Web Coated (SWOP) v2 profile which doesn't seem right as I will be printing sheetfed.
    I would appreciate it if someone could straighten me out.
    * I tested this by switching the Photoshop file to Web Coated FOGRA28 and the colour values did change to allow for a lower ink limit, so maybe there's something in that. So why doesn't FOGRA39 do it? With the colour set to FOGRA39 Photoshop happily accepts a nice black blob coloured as 100% each of C,M,Y and K.
    Sorry if this is a bit long but it seems like a useful discussion for Colour management newbies.

    I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
    Total Ink limit is a parameter of a CMYK profile—so the limit won't be exceeded when you make a color conversion from any other color space into that profile's color space, i.e AdobeRGB>FOGRA39, or US Sheetfed Coated>FOGRA39. However, once the file is converted to CMYK there's nothing stopping me from exceeding the limit via a color correction. For example, I could convert a PS file filled with 0|0|0 RGB to FOGRA39 CMYK and the ink limit would not exceed the 330% defined in the FOGRA39 profile, but as you noted I could also fill the resulting CMYK file with 100|100|100|100 and exceed the 330%  limit.
    Also, there's nothing stopping me from assigning the FOGRA39 profile to any CMYK file. In that case there's no color conversion—I could make a new SWOP Coated CMYK file, fill it with 100|100|100|100, assign FOGRA39, and the fill would still have 400% total ink.
    Total ink is only limited via a color conversion
    The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage)
    The general wisdom is actually old conventional wisdom, there's nothing wrong with making the conversion from RGB to CMYK when you export—the resulting CMYK values will be no different than the ones you would get out of PS assuming the source and destination profiles, and rendering intents are the same. The no RGB rule is a hangover from when you couldn't make color managed color conversions inside a page layout program.

  • 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.

  • Hot and Controversial - Colour Management

    Ok, having spent weeks, if not months, trying to get my head around 'colour management' (not easy at my age), I wonder if the entire subject has been overly complicated by the *experts* in this field and whether it really is as important as it is made out to be - to the average user that is.
    I'll start with 2 assumptions - please correct me if I'm completely off-base here: (a) the strength of any chain is measured by the strength of the *weakest link* and (b) the facility of allowing me to choose sRGB or Adobe RGB within my camera (Canon 30D) is irrelevant having set my camera to shoot RAW as this format does not have an associated in-camera colour profile.
    Having downloaded the RAW images from the camera to my computer my first visual sighting of them is as appears on the monitor. Now the importance of having a correctly calibrated and profiled monitor is clear to me, and in fact is something that I have done using the EyeOne display2. So far so good, but here now is what I perceive as the *weakest link* in the entire setup because the colour gamut of your average monitor (mine can be considered average) has no wider gamut than sRGB, and this is a physical characteristic of the monitor - I can't change it even if I wanted to. I believe there are monitors that will display a larger gamut than this but they are in the region of several thousand pounds sterling - way beyond my reach. The same reasoning, to my way of thinking, can be applied to the printer. Even using the correct printer profile to match the ink and paper in use, the output to the printer is still rendered to something approaching the sRGB colour space in your average printer.
    So, we come to the crunch. When in Lightroom (or Photoshop for that matter) I look at the colour preferences I read the following when clicking on sRGB, 'the sRGB colour space cannot encompass the full range of colours available within Lightroom'. Well that's all well and fine, but if my monitor is unable to display let's say the entire ProPhoto colour gamut what's the point in choosing this option anyway?
    As mentioned previously, the weakest link in my setup is the monitor. Wouldn't I be far better off setting up my entire colour management workflow to reflect this weak link i.e. setting the working space in both Lightroom and Photoshop to sRGB. To me this at least would maintain consistency. Is my reasoning correct, are the *experts* really making this subject more complicated than necessary for the *average* user not having monitors and printers costing 'X' thousands of pounds or am I really missing something - not seeing the wood for the trees so to speak?

    >the colour gamut of your average monitor (mine can be considered average) has no wider gamut than sRGB
    Very true. Most current LCD screens have a smaller gamut than sRGB indeed. There are wider screens approaching aRGB, but they are expensive. They are worth their price though.
    >Even using the correct printer profile to match the ink and paper in use, the output to the printer is still rendered to something approaching the sRGB colour space in your average printer.
    untrue. Almost all printers use a CMYK type color space and often they have a few extra inks making it wider. CMYK can reproduce many colors that sRGB cannot, such as (obviously) saturated yellow, cyan, and magenta. aRGB encompasses more of these colors, but only ppRGB encompasses all of the colors even a cheap inkjet can produce.
    >So, we come to the crunch. When in Lightroom (or Photoshop for that matter) I look at the colour preferences I read the following when clicking on sRGB, 'the sRGB colour space cannot encompass the full range of colours available within Lightroom'. Well that's all well and fine, but if my monitor is unable to display let's say the entire ProPhoto colour gamut what's the point in choosing this option anyway?
    There is no color space setting in LR, so I am not sure what you are talking about. You can choose a colorspace upon export, but I have not seen that dialog before. In PS you can set it. The point is that the colors that are outside your monitor's gamut are often simply more saturated versions of the colors on your display. You simply want to be able to print them and not throw the data away to start with. LR has a philosophy of not throwing anything away until you export, print, etc. It always keeps the data and reinterprets all the way from the RAW every time you make a change. This also means converting to your monitor's color space, be it sRGB or other, for display.
    >are the *experts* really making this subject more complicated than necessary for the *average* user
    ? There are no shortcuts in getting correct color. Color vision is a rather complex problem. That said, getting correct color on the screen and on your output is not hard at all. LR makes color management extremely simple by not even giving you a confusing dialog such as PS does. On the Mac, this is completely transparant and on windows, the default sRGB monitor profile should get most people close enough. Most problems in color management come from people setting up PS incorrectly, or doing a half-baked monitor calibration. Also there is a widespread problem in bad printer drivers and bad printer color profiles. It also doesn't help that the most widespread browser is
    color-stupid.

  • 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

  • WARNING:  Canon Pro Printers and CS4 – Serious Colour Management Issue

    Over the last four days (and over fifty prints) I have undertaken extensive and meticulous tests to identify the cause of a problem; namely that targets for profiling a new printer (a Canon Pro9000), printed with ‘no colour management’, were printing far too dark and with what appeared to be a colour cast.
    I have conclusively eliminated the printer, the printer drivers, the Mac OS, corrupted preference files, corrupted user accounts, incorrect Photoshop settings, incorrect printer driver settings, the ‘sticky settings' issue, and user error as possible causes of the problem.
    I can say with 95% certainty that my tests, conducted using Mac OSX 10.4.11, have proved the following:
    That, printing to a Canon Pro9000 or iP4500, Photoshop CS4 does not print accurate targets suitable for producing profiles.  This applies to both the No Colour Management (NCM) and the Printer Manages Colour (PMC) settings.
    Photoshop CS and CS2 are not effected.
    I did not test CS3.
    Furthermore, colour managed prints (using the same accurate profile made in CS2), printed in CS2 and CS4, show subtle differences.  This may not be an issue except in the most critical applications.
    It is likely that the problem will not be confined to the two Canon printers above since many other Canon printers share the same driver architecture.
    Reading posts and discussions on other websites would seem to indicate that this problem is also manifest with some Epson printers and may also effect Mac OSX 10.5.
    I have to conclude, therefore, that Photoshop CS4 cannot be replied upon to print targets of sufficient accuracy to produce reliable profiles for a colour managed workflow.
    The fact that this is only just being reported can be attributed to four factors:
    That many CS4 users are continuing to use profiles made under older versions of Photoshop and have yet to make new profiles using CS4.
    Some users may not immediately notice a problem, or may ascribe it to other causes.
    Some users may take the line of least resistance and use a previous version of Photoshop to work around the problem.
    Some users are still using the older versions of Photoshop not effected.
    Eric Chan (of Adobe) has stated on another website that CS4 implemented some new APIs for printing and that this has given rise to some "minor glitches".  If Eric Chan is correct, and Adobe changed the APIs in Photoshop CS4, this begs question of whether Adobe sufficiently tested CS4 before release ?  If Adobe did not test their software, and therefore failed to identify this critical problem, this would suggest negligence on Adobe’s part.  If Adobe identified the problem but then did not inform users that a potentially serious colour management issue existed this would suggest wilful or gross negligence.
    It is not good enough to say that Adobe simply followed the ‘conventional’ path and ‘followed the rules’ regarding API implementation.  The experience of end users does not correspond to a “minor glitch” and, in my case, has been extremely costly in terms of time (over five days in all), lost revenues, and materials.  Furthermore, why should Adobe's customers be forced to use their valuable time diagnosing problems clearly of Adobe's creation – and actually admitted.
    In UK law providers of goods and services (and this includes software) have to supply them as “fit for purpose”.  Clearly, in terms of colour management, CS4 is not fit for purpose.  Neither can Adobe hide behind its labyrinthine licensing terms since any exclusions would be ruled unlawful under the UK’s ‘Unfair Contract Terms’ Act.
    My strong and unequivocal recommendation is that representatives from Adobe, Apple, and the printer manufacturers meet together – with the utmost urgency – and provide a rapid and complete solution.  It is simply not good enough to pass this ‘over the wall’ saying “it’s not our problem”.  It is.  Adobe's, Apple's, and the printer manufacturers'.  Please solve it.  And quickly.
    Identify the problem clearly, make it and the solution/s public; and publicise it widely and thoroughly.

    Dear DYP.
    Thank you for your concern.
    "What fixes have you tried?"
    If I may quote from my post above:
    "I have conclusively eliminated the printer, the printer drivers, the Mac OS, corrupted preference files, corrupted user accounts, incorrect Photoshop settings, incorrect printer driver settings, the ‘sticky settings' issue, and user error as possible causes of the problem.
    I can say with 95% certainty that my tests, conducted using Mac OSX 10.4.11, have proved the following:
    That, printing to a Canon Pro9000 or iP4500, Photoshop CS4 does not print accurate targets suitable for producing profiles.  This applies to both the No Colour Management (NCM) and the Printer Manages Colour (PMC) settings.
    Photoshop CS and CS2 are not effected.
    I did not test CS3"
    These tests took place over three weeks and involved over five days of work and the replacement of the printer on Canon's recommendation (although the printer is clearly not at fault).
    Please note that I am using Mac OSX 10.4.11.
    "What driver versions are you using?"
    Pixma iP4500 6.9.3 (also 6.9.1, 6.9.2 and the driver supplied on the CD).
    Pro 9000 4.8.7 (also 4.7.3, 4.8.4 and the driver supplied on the CD).
    "Yes it is frustrating but in a lot of cases it is fixable as I and others have clear reported, on this and the LR forums."
    I have not found any fix on any website referring to Canon printers, despite exhaustive searches (this includes Canon's European and US websites which are mute on the issue).
    The ReadMe file supplied with the installation disc of CS4 refers to problems with "some Canon printers" when printing with the 'Printer Manages Color' but does not identify using 'No Color Management' nor Epson printers as having issues.
    I hope this post answers your questions.
    Clearly all users of CS4 need to be warned of this problem which is likely to effect other printers.  I believe that I am assisting others by issuing this warning.  It is done, not to cause mischief, but in the spirit of a public service.  CS4 users can then treat their printing results from CS4 with caution, and then conduct their own tests.  I have presented a workaround which is to use a prior version of CS4.

  • Switch off printer colour management

    Hello,
    I am on a Mac Snow Leopard 10.6.8 and using IDCS5 to print to a Canon Pro 9500 printer.
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