Soft proofing to send to online printer

Its my understanding that LR 1.0 doesnt support soft proofing. To that end, I'm hoping someone will have some suggestions for me. I use an online printer for all of my customer's prints. I'm coming from Aperture with a mix of Capture NX. Both of those progams have the ability to soft proof with the online printers' profile so that I can 'see' what I'm going to be getting back during the adjustments process of my workflow. I absolutely love everything about LR so far. However, I can't seem to get my head around a workflow that will allow me to 'soft proof' using LR as my base program to ensure that I'll be getting back what I see on my screen.
Does anyone have any suggestions for me??
I'm using a Mac with LR 1.0. I also have Capture NX, and PSE 4 for MAC.
Thanks guys (and gals)

I suppose some people will tell you that you don't need soft proofing if you have good color management. But its probably another function that LR is missing.
I do most of my printing in qimage, which is probably better than the LR print module. It has soft proofing and costs about $50. It also has better resampling and sharpening than LR.
I'm not a pro but a lot of pros seem to like it.

Similar Messages

Can you Soft-Proof in PSE 6 before printing?

Is there a way to soft-proof in PSE? I have createded custom ICC profiles for my monitor and printer/ink/paper combinations (using SpyderPrint) and would like to soft-proof the image on my monitor before printing. I know you can do this in Photoshop CS3, and it can save lots of of ink and paper, as compared to proofing from prints. Thanks.

Thanks, Richard. I should mention that there's at least one add-on program that claims to add soft proofing to PSE, but in my opinion it's not useful, since to really see what something looks like on paper you need to have access to CMYK and nothing can make PSE able to do that. I've tried the add-on and it brings up the softproof dialog box, but the changes you make there mostly have no effect on what you see onscreen, unfortunately, due to the limitations in the PSE code base.
Don't forget that as PSE owner you can usually upgrade to full PS for $299. Adobe sends email about this periodically, but in my experience, if you call adobe sales you can usually talk someone into letting you have it even when it's not officially offered, although you might have to call a couple of times till you get lucky.

Costco and soft proofing show dull washed out image

OK, so I am trying to utilize my nearest costco to print some images from lightroom 5. I am getting back dull washed out prints.
Facts:
I shoot in RAW in manual mode
I am using sRGB when I do my post processing
I export to jpg for printing
I used the costco LR5 plugin from Alloyphoto to upload to Costco
I have installed the printer profiles from drycreek for the specific location/printer and have chosen the correct profile as I export
I made sure that I chose to have Costco NOT autocorrect the color
Even when I use LR5's soft proofing, I get the same result on my monitor
I checked the print I got back and it says that they did NOT autocorrect (taken with a grain of salt)
The machine they are using is a Noritsu QSS-A, so I know my profile is correct
I have attached a screen shot of what I am seeing.
Why am I seeing this on my soft proofing as well as my prints?
How can I solve this and get vibrant prints?
Any advice would be helpful.
Message was edited by: moviebuffking

moviebuffking wrote:
I have calibrated my monitor as good as I can get without specific hardware. I have 18 years experience calibrating monitors (via optical media and my eyes), so I know that mine is very close.
It is virtually impossible to "accurately" set the Luminance, Gamma, and Color temperature "by eye." This is most likely the cause of your prints not matching the screen image you see in LR. That being the monitor's Luminance (i.e. Brightness) level is too set to high.
http://www.northlight-images.co.uk/article_pages/colour_management/prints_too_dark.html
To see if this could be your problem I downloaded the posted screen shot and cropped out the 'Copy' image, which has your adjustments applied to it. Here are my results:
Click on image to see full-size
I needed to apply a full F stop (+1.0 EV) of Exposure correction to achieve a good midtone brightness level for the print image. You'll notice I also added -50 Highlights and +50 Shadows along with +25 Vibrance. I bet the image with my adjustments added looks way too bright on your uncalibrated monitor.
You have two (2) issues–Monitor Calibration and LR Basic Panel Control Adjustments
Monitior Calibration
I would highly recommend investing in a hardware monitor calibrator such as the X-Rite i1 Display and ColorMunki, or Datacolor Spyder models. If you tell me what make and model monitor you are using I can recommend specific calibrators.
Temporarily you can try adjusting the monitor "by eye" to get it closer to the desired 120cd/m2 Luminance, 2.2 Gamma, and 6500K Color Temperature using the test patterns at this site:
http://www.lagom.nl/lcd-test/
When the monitors Brightness and Contrast controls have been correctly set the screen image should look much closer to the prints you have recently made with the LR Soft Proof adjustments. So in fact you will be adjusting the monitor to make it look bad with the LR adjustments you applied. The proper monitor settings will make the Lagom test patterns look correct AND should make your bad Costco prints now match the screen image using you original LR settings.
After changing the monitor's Brightness and Contrast settings try readjusting a few of the image files you had printed and send them to Costco as check prints. Compare them again to your monitor's screen image. They should be much better!
LR Basic Panel Tone Control Adjustment
LR's PV2012 Tone controls can provide much improvement to your raw image Highlight and Shadow detail. Start with all of the Tone controls at their '0' default settings and adjust them from the top-down in the order shown below.
1. Set Exposure for the midtone brightness ignoring the highlight and shadow areas for now. Setting Exposure about +.5 EV higher than what looks correct for the midtones seems to work best with most images.
2. Leave Contrast at 0 for now. You’ll adjust this after the first pass.
3. Adjust Highlights so that blown out areas are recovered and “fine tonal detail” is revealed.
4. Adjust Shadows to reveal fine detail in dark areas. For most normal images simply setting -Shadows = +Highlights (Example -50 and +50) works very well.
5. The Whites control sets the white clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping just appear with the ALT key.
6. The Blacks control sets the black clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping just appear with the ALT key.
7. Now go back and adjust the Contrast control to establish the best midtone contrast.
8. Lastly touchup the Exposure control for the best midtone brightness.
9. If necessary “touch-up” the controls using the same top-down workflow.
moviebuffking wrote:
Am I correct in assuming that the soft proof (with a certain profile) is a "preview" of what that print will look like?
Soft Proof does two things. It shows you what the image's colors will look like in the target color space (i.e. printer profile). You can see what (if any) colors are "out of gamut" by clicking on the small icon in the upper-righthand corner of the Histogram. You can also see if any of the colors fall out of your monitor's gamut by clicking on the small icon in the upper-lefthand corner of the Histogram.
When you check 'Simulate Paper & Ink' the Soft Proof image's contrast and color saturation are changed to make it look closer to what the "reflective" print image will look like when held next to the monitor for comparison. Many people have difficulty using 'Simulate Paper & Ink' since it requires using precise light levels for viewing the print and a well calibrated monitor.
In summary my best suggestion is to purchase and use a good hardware monitor calibrator on a scheduled basis to insure you have an "accurate" screen image inside LR and other color managed applications like PS.

Soft proofing in Lightroom

In Aperture (dare I mention it?) there is a "View" setting for soft proofing. You input your printer model and paper and the display changes to the actual colors the printer will output. It comes pretty close. I can't find such a setting in Lightroom.
Canon 20D, Intel iMac 20, HP 7160, monitor frequently calibrated with a Spyder2 Pro, Lightroom V1.
If I import a photo from the camera into Lightroom, the colors on the monitor are quite different from the object shot. If I do NO editing at all, just print, the colors on the print are quite close to those of the subject though a long way from the monitor picture.
This is no help at all if I want to edit the photo in Lightroom...

Yeah...LR lacks soft proofing presently.

Soft Proofing CS3 and OS X 10.5.2

Issue: Printing with calibrated Artisan Monitor, Epson 4000, Epson Driver version 3.09 results in light magenta proof image but apparently correct image when printed. Hardware platform: Mac pro dual 2.8GH Xeon, 16G memory, 15k sas boot and identical scratch drive.
Printing with application controlled settings (CS3), setting printer to paper profile (Premium Luster), soft proofing on monitor, disabling color management in print dialogue, preview image looks light with magenta cast (as it always did in windows CS3 with Epson preview) but print usually matches soft proof. When I set printer profile (in the CS3 print window)to Adobe RGB or generic RGB, the preview image looks like soft proof, but print very dark. I am totally new to Mac OS, long time XP user, so don't understand much about colorsync, etc.
Is this a photoshop bug, problem in OS X 10.52 or something else?
I also downloaded Colorburst Rip demo and it prints fine, but I much prefer to use native printer driver to save money as planning to upgrade printer.

All the monitor is doing in Photoshop is faithfully PROOFING the Source File (through a Source Profile-to-MonitorRGB Conversion).
"Soft Proof" here usually means Photoshop> View> Proof SetUp> Custom: specific target ICC Profile
Epson Print Preview is not color managed (use it for layout only).
WHY on earth "set printer profile (in the CS3 print window)to Adobe RGB or generic RGB"?
Printer Profile should be set to Specific Printer/Paper/Ink ICC profile...
http://www.gballard.net/psd/printing_Epson_Photoshop_cs3.html
All the printer is doing is PROOFING the Source File (through a Source Profile-to-Printer Profile Conversion).
If your printed PROOF is off, it is either a bad printer profile or bad settings (assuming your monitor is good and you are basing your judgment on the monitor)...

Soft proofing for online printing - CS5

After using PSE since V1 and LR since it was beta I've added CS5 and I'm a bit overwhelmed. Right now I'm trying to set up CS5 to soft proof for online printing. I read a bunch of online tutorials including Dry Creek Photo's, then downloaded and installed the ICC files for my local Costco. When I select one of the Costco printers under View - Proof Setup - Custom - Device to Simulate, I get an error message: "Could not complete your request because the ICC profile is invalid." I've repeated this with profiles from other Costcos - including one across the country from me - and from Adorama. No joy. I'm running CS5 V12.1 x64; it's the same story in 32 bit. OS is Vista 64 Home Premium (fully updated). Interestingly, I had no problem when I downloaded ICC profiles for a couple of paper-printer combinations; it's the online services that are giving me grief. Any idea what I can try next?

Keep in mind that your monitor puts limits on how useful soft-proofing is. If you have a standard-gamut monitor, what you see on-screen is already soft-proofed to sRGB (more or less). If your target profile has a larger gamut, you won't see any difference on-screen.
If you want to do this in Lightroom, just soft-proof to sRGB and you'll probably be fine. The histogram will show you if there is substantial channel clipping, and you can adjust to that. However, since you have Photoshop, my choice would be to do it there, using the Blurb profile.
Printing conditions vary widely around the world and CMYK-profiles likewise. To give you an example, US Web Coated (SWOP) v2, which is the Photoshop default, has a gamut much smaller than sRGB. In Europe the corresponding standard is ISO Coated v2 300% (ECI), which has a gamut that practically corresponds to Adobe RGB. To soft-proof effectively for this you need a wide gamut monitor.
Where the Blurb profile places in this I don't know.

When Soft Proofing in LR4 most of my loaded printer profiles are not visible

I am running LR4 and CS6 on an HP desktop with 4Gig Ram, Win 7 Home, Profiled Monitor using DataColor
In CS6, all my loaded ICC printer profiles appear when setting up the soft proofing...
In LR4, most of the profiles do not appear...
The problem is that I print to an Epson 7600 CMYK printer with UltraChrome Ink and mostly on Canvas so I need to proof for that environment.
The problem is that I print to an Epson 7600 CMYK printer with UltraChrome Ink and mostly on Canvas so I need to proof for that environment.
Photos of the two different pull downs are attached.

dmcrescent wrote:
Not sure what makes you think the Epson 7600 is a CMYK printer, but it isn't. You may be running a CMYK RIP attached to it, but the printer accepts RGB data, not CMYK. The only reason I can think of needing to profile in CMYK would be if you were using profiles generated for a press. I'm sure there may be others, but can't think of one off the top of my head.
Well you can send either RGB or CMYK to the printer but you have to first setup the proper driver for either. Unless you are proofing (make my Epson simulate a press sheet), I can’t think of any reason to send it CMYK data. The limitation is the driver in terms of what you send it. With a 3rd party driver (might be a RIP, might not) it can be possible to send CMYK data to the Epson. Epson bundles the ColorBurst product for this purpose (press simulation, use of CMYK profiles).
Since the Lightroom path is solely RGB, it can’t do anything with CMYK data. So the profiles are filtered out of the list. And don’t expect this to change anytime soon or ever. If CMYK is your game, well you need Photoshop or some other application to handle this data. And you’ll need another driver. So in context of this post, CMYK is simply not a possibility and that is why the profiles are not accessible.

Soft Proof for Third Party Printing?

Julieanne's great training video covers Soft Proofing for monitors and local printers. How about using it for exports to third party Printers? All my work is exported to my Zenfolio sponsored website. From there is purchased for print by further exporting it to MPIX who in turn ship it directly to the buyer. How can I use Soft Proofing to optimize those photos. With LR3 my highly random and guesstimate solution was to add +5 with the brightness slider. I don't know why but its seemed to work even though the images were overly bright on my iMac monitor.

In terms of Blurb, unless you know for a fact that they use only one profile, then the soft proof debate is moot. And I seriously doubt they have one profile for all their papers (that is basically impossible).
This is correct. Blurb uses different printers/presses for different run sizes. You really cannot predict which one they will use and soft proofing to their one profile is really not useful. In fact I have tested this before and had two identical books printed with them, one using their (indeed cmyk) profile and one leaving all the images in sRGB. The sRGB one came out much closer to the original and the cmyk one came out too dark. In fact the cmyk one looked like what happens when I apply generic US web coated to images in their profile, so if you want to print with blurb, you're better off completely ignoring their profile and sending everything in sRGB as Lightroom appears to do. Of course you could have guessed this as they only offer a single profile, while they offer quite a few different papers as well as use multiple printers/presses.

Why are my soft proofed prints always too dark in the dark areas and why are the colors, especially red, washed out.

Use a calibrated camera and monitor. Work in PS CC. Have a controlled work room. Soft proof according to Jeff Schewe of the 'Luminous Landscape'. Printing on a new Epson r2880 with a custom profile. Use fresh Epson Luster paper. The problem keeps persisting no matter what I do. Any and all help will be much appreciated.
Thanks.
Richard

Please turn off your auto reply in your emails. The forums are designed to be used through a web browser while logged in to the forum. We don't need to see stuff like your "On Sun, Oct 12, 2014 at 10:50 PM, station_two <[email protected]>". Everybody sees everyone's post.
~~~~~~~~~~~~~~~~~~~~~~~~~~
Now, did they first send you a target file which you then printed on your particular printer using your intended paper and inks, then snail-mailed the print to them in California in order for them to make your custom printer profile for you, which they then in turn emailed to you? If that was not the case, you do not have a custom profile at all, but a meaningless stock one. Even if they used a printer model exactly like yours when they created the profile, it was not done on your particular unit and therefore is not valid.
On the other hand, if the procedure above was indeed followed correctly, then that custom printer profile is showing you exactly what your images will look like once you print them.
That's precisely what soft proofing is for, so you can adjust your image while in Proof view.
Hope this clears it up for you.

Colors in print preview not matching colors in soft proofing

Hi There,
Just wanted to print a new photo and realized that the colors in print preview do not match the colors in soft proofing. In both cases I selected the same icc profile and rendering method. The print colors matched the colors in print preview. I never had a problem so far. All new prints will be checked with soft proofing and adjusted when necessary. I never paid attention to the color rendition in print preview and all prints perfectly matched the colors from the soft proofing. I was surprised when my print came out of the printer and the colors weren't matching the soft proofing colors, but that of the print preview.
I don't understand why Photoshop renders the colors differently in the first place. Please see attached screenshot for the difference in the blue/cyan colors.
I would appreciate if anybody could point me in the right direction in what is causing this difference. I don't care if the print view colors will match the print, but I do care when soft proofing is not working.
Thank you.
Best regards,
D.

Here are some addtional details:
PS 13.1.2
Mac OS X 10.8.4
12 GB Ram
60 GB free disk space
I printed the same photo from two other computers (MacBook and iMac) with different PS versions (CS4 and CS5). The prints turned out identical to the first one which matches the print preview color rendition on my main computer (MacPro) running CS6. Strangely the colors in print preview of CS5 on the iMac renders the colors identical to the soft proofing colors.

Printing, Soft Proofing & Color Management in LR 1.2: Two Questions

Printing, Soft Proofing, and Color Management in LR 1.2: Two Questions
There are 2 common ways to set color management in Adobe CS2:
1. use managed by printer setting or,
2. use managed by Adobe CS2 program.
I want to ask how Color Management for Adobe LR 1.2 differs from that in CS2?
As is well known, Color Management by printer requires accurate printer profiles including specific model printer, types of ink and specific paper. It is clear that this seems to work well for LR 1.2 when using the Printer module.
Now lets consider what happens one tries to use Color Management by Adobe LR 1.2. Again, as is well known, Color Management by printer must be turned off so that only one Color Management system is used. It has been my experience that LR 1.2 cant Color Manage my images correctly. Perhaps someone with more experience can state whether this is true or what I might be doing to invalidate LR 1.2 Color Management.
Specifically, I cant use Soft Proofing to see how my images are changed on my monitor when I try to use the edit functions in LR 1.2. Martin Evening states in his text, The Adobe Photoshop Lightroom Book that it is not possible to display the results of the rendered choices (Perceptual or Relative) on the display monitor. While it is not clear in Evenings text if this applies to LR 1.2, my experience would suggest that it still applies to the 1.2 update even though the publication date of his book preceded this update.
Can someone with specific knowledge of Adobe LR 1.2 confirm that Color Management and Soft Proofing with LR 1.2 hasnt been implemented at the present.
The writer is a retired physicist with experience in laser physics and quantum optics.
Thanks,
Hersch Pilloff

Hersch,
since just like me, you're a physicist (I am just a little further from retirement ;) ) I'll explain a little further. computer screens (whether they are CRT or LCD) are based on emission (or transmission) of three colors of light in specific (but different for every screen) shades of red, green, and blue. This light stimulates the receptors in your eye which are sensitive to certain but different bands of red, green and blue as the display emits, making your brain think it sees a certain color instead of a mix of red green and blue. Printers however, produce color by modifying the reflection of the paper by absorbing light. Their color mixing operates completely differently than displays. When you throw all colors of ink on the paper, you get black (the mixing is said to be subtractive) instead of white as you get in displays (the mixing there is additive). The consequence of this is that in the absence of an infinite number of inks you cannot produce all the colors you can display on a monitor using a printer and vice versa. This can be easily seen if you compare a display's profile to a printer profile in a program such as Colorsync utility (on every mac) or
Gamut vision. Typically printers cannot reproduce a very large region in the blue but most displays on the other hand cannot make saturated yellows and cyans.
Here is a flattened XY diagram of a few color spaces and a typical printer profile to illustrate this. Most displays are close to sRGB, but some expensive ones are close to adobeRGB, making the possible difference between print and screen even worse.
So, when the conversion to the printer's profile is made from your source file (which in Lightroom is in a variant of prophotoRGB), for a lot of colors, the color management routine in the computer software has to make an approximation (the choice of perceptual and relative colorimetric determine what sort of approximation is made). Soft proofing allows you to see the result of this approximation and to correct specific problems with it.

Dueling Features: Soft Proofing vs Print Adjustment

I'm really trying to appreciate the value of the new soft proofing feature that's got many around here excited. While there are other uses I'll get to in a minute, is it fair to say this feature is designed to make printed output predictable and save paper? I watched Julieanne Kost's tutorial and saw how we can identify out-of-gamut colors on our display device and any number of output devices/processes/papers. Her mooring pole example only seemed to illustrate the inherent compromises we have to make. If we're lucky our monitor IS showing us a hi-fidelity rendering of the image gamut and we're making an informed creative decision about which way we accommodate outlier colors in the output space. If, as in her example, both ends of the line are out of gamut, I'm not sure we're doing much more than fiddling. Not that I have anything against the illusion of control... if I did I couldn't stay married.
So assuming we've got a good monitor and decent eyes, soft proofing gives us some predictive power over what we're going to get before we feed a 24 x 30 sheet of Exhibition Fiber into the 9890 and blow $6 plus ink.
More useful in my own case is the potential to tailor image adjustments to client's prepress requirements. If I can get a prepress profile from a magazine client I can try to give them images that print better on their presses while staying true to my vision. Am I on the right track here?
Getting back to the title of my post, the print adjustment sliders just leave me scratching my head. After working so hard for the calibrationists out there willing to spend an hour to save a sheet of paper, along comes the no-preview-try-it-you-might-like-it approach of the brightness and contrast sliders. Talk about appealing to two different mentalities. One saves paper, the other says "throw another sheet in the machine and let's see what comes out"
I'm purposely trying to be humorous. I picture two LR teams arguing across the meeting room table. The calibrationists vs the gunslingers. MadManChan tell me it ain't so.

VeloDramatic wrote:
Getting back to the title of my post, the print adjustment sliders just leave me scratching my head. After working so hard for the calibrationists out there willing to spend an hour to save a sheet of paper, along comes the no-preview-try-it-you-might-like-it approach of the brightness and contrast sliders. Talk about appealing to two different mentalities.
Yup, very confusing. Especially if the issue is, my prints are too dark compared to my display which this is presumably supposed to fix. If the prints really are too dark, the RGB values need to be fixed and we have to wonder why the user didn’t see on their calibrated display, the RGB values are too dark. If instead, the print is darker appearing than the display, the fix seems to be to properly calibrate the display or fix the print viewing conditions to produce a match. And if the print is only too dark appearing compared to the display, what do the sliders do once you have a lighter (matching) print next to your too bright display and move the print away? Seems it would appear too light, not a good solution.

[LR 5] Soft Proofing - Monitor Gamut Warning vary with printer profile ?!?!

Hi,
There's something I can't understand when using the soft proofing feature in LR.
The Monitor Gamut Warning feature (top left icon in the histogram when soft proofing is enabled) is supposed to show us what colors in the current image cannot be reproduced on the display. Right ? If I understand well, the warning computation is made by comparing the current image (virtualized by LR in the Melissa RGB color space) to the gamut of the display (read from the active calibration profile).
So why does LR show different "out of gamut" areas for the display when I change the printer profile selected when using soft proofing? This doesn't make sense to me.
Did I miss something?
Thanks in advance.

indeed they are vague about this. My thought about this comes from conversing with Adobe folks here and elsewhere as I am pretty sure I'vce discussed this on the forum before. As far as I know the monitor warning is supposed to be calculated after the conversion to the printer profile so that you get an idea whether the soft proofed color is accurately displayed. That shoud be the correct behavior as proofing can actually take a color either in or out of the monitor gamut. I am not 100% sure on this though but it certainly explains how it behaves.
Also if you calibrate your display and write out a icc v4 display profile, the situation changes again as now the display profile can actually contain a perceptual rendering intent, making it even less precise and the assumption of simple one-to-one linear conversions between color spaces is invalid. Few calibration software packages do this though but there are a few exceptions.
If you only want to know whether your image is outside of the display profile, you can indeed trick the soft proof to allow you to select a display profile as the printer proofing profile. You can in principle select a standard working space such as prophotoRGB there and get results that make sense. But you definitely do not want to have a random printer profile selected for the reasons cited above. I guess they could add some smartness to detect that you selected the profile of the current display and not a profile of another random display and then collapse the interface but that is such an edge case that I doubt Adobe would prioritize this. It works fine if you simply realize that you selected your monitor profile as the printer proof profile.

I use lightroom with the soft proofing feature for my printing. I used to make a copy proof, but all of the sudden something changed, and even if I'm on the copy in the developing mode it prints the original. Also, If i chose a file that was already in li

I use lightroom with the soft proofing feature for my printing. I used to make a copy proof, but all of the sudden something changed, and even if I'm on the copy in the developing mode it prints the original. Also, If i chose a file that was already in light room to print, even though I have the chosen file up in the developing mode, it will instead print the most recent file that I added to lightroom. If found a way to work around these problems, (check make this the copy in the soft proofing, and copy my settings and delete and reload the old files) but it's a slight hassle and it didn't use to do this. Not sure why it changed. Could I have accidentally changed a setting?

See
iOS: Device not recognized in iTunes for Windows
- I would start with
Removing and Reinstalling iTunes, QuickTime, and other software components for Windows XP
or
Removing and reinstalling iTunes and other software components for Windows Vista, Windows 7, or Windows 8
However, after your remove the Apple software components also remove the iCloud Control Panel via Windows Programs and Features app in the Window Control Panel. Then reinstall all the Apple software components
- Then do the other actions of:
iOS: Device not recognized in iTunes for Windows
paying special attention to item #5
- New cable and different USB port
- Run this and see if the results help with determine the cause
iTunes for Windows: Device Sync Tests
Also see:
iPod not recognised by windows iTunes
Troubleshooting issues with iTunes for Windows updates
- Try on another computer to help determine if computer or iPod problem

OA2: Soft Proofing Profile for Apple Print

Hi,
Does anyone know what Soft Proofing Profile to use the Aperture 2 "built-in" Print & Book Services? Or perhaps where to get it?
Thanks
Message was edited by: styrvolt

Hi
This has cropped up a few times before, the general opinion seems to be to use Average McCoy Gloss for proofing Apples print services.
Check out this link : http://discussions.apple.com/click.jspa?searchID=9295427&messageID=6190046
for more info, David is still holding a copy of the profile at the link provided in the thread.
Good luck
FlatE

Soft proofing to send to online printer

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