Timed profiles and themes - N73

Does anybody know if there is such an application in existence for Timed profiles and Timed themes - just like the old Nokia phones had (Timed profiles anyway).
I think it would be a simple idea and very handy.
It seems Nokia are leaving out some of the small but useful little applications on the newer phones (eg. Auto key guard - I know it's available on Symbian website but it should be standard).
Any help greatly appreciated...
Regards...

I agree.. I used "Timed profiles" every single night so I couldnt desturbed until the time I set.. and I dont understand why nokia left out "auto keypad lock".. those to functions wouldnt be any work or cost at all to add to a phone like this.. but it is a great phone I think, and auto keypad lock is availeble for download

Similar Messages

Looking inside of DNG Camera Profiles and editing them

For those interested in the insides of DNG Camera profiles, and how to edit them, I've written dcpTool.
dcpTool is a compiler/decompiler for DNG camera profiles (.dcp files). dcpTool can decompile binary format DCP files into an XML format for editing with a text editor or whatever, and then compile the XML format file back into a binary DCP file, as well as extract embedded profiles from DNG files. It runs on Windows and OS X command lines, and is based on V1.2 of the DNG SDK.
See here: http://dcptool.sourceforge.net/
Health warning: dcpTool is a command line utility - if you're not comfortable with command line stuff, dcpTool probably won't be of any interest to you.

Very cool, thanks for the info.

I recently had to create a new profile, and thought I had backed up my bookmarks. They are now gone and I have not been able to restore them. Any chance they can be recovered? Thanks!

I recently had to create a new profile, and thought I had backed up my bookmarks. They are now gone and I have not been able to restore them. ANy chance they can be recovered? Thanks!

It is possible that you forgot to add a file extension (.json) while saving and in that case you may be looking for the wrong file.
Also make sure that you search for hidden files and folder in case the file was saved in the [http://kb.mozillazine.org/Profile_folder_-_Firefox Firefox Profile Folder]
Firefox won't import the file without a .json file extension ("Can't process ..."), but you can create a backup with any name.

Thunderbird is deleting my emails of my profile and server minutes after I receive them

Thunderbird is deleting my emails of my profile and server minutes after I receive them. This happens even after I remove profile and re-install it.

Please do not use capitals as this implies you are shouting. I understand you are very frustrated, but shouting at those who are trying to help is not the answer.
Please offer some info so to understand your situation and setup.
'''1. '''Tools -> Account Settings -> Server Settings for mail account
When I delete a message has choices for:
* Move it to the Trash folder
* Mark it as deleted
* Remove it immediately.
which one is selected?
'''2'''.re: Clean up ("Expunge") Inbox on Exit
Is this selected?
'''3.'''re: "Empty Trash on Exit"
Is this selected?
'''4 '''Please open the Activity Manager
Tools > Activity Manager
What does it say in the Activity Manager ?
Is there any mention of deleting or moving to Deleted or Trash folder?
'''5.''' re:the emails that disappear:
Are they disappearing from:
* only one folder eg: Inbox ?
* any folder eg:: Sent, inbox, any folder you created etc?
Is there any folder they are not being deleted from?
'''6.''' Do you synchronize all subscribed folders or only a select few?
Do the emails disappear from:
* only synchronized subscribed folders
* only subscribed (but not synchronized) folders
* disappear from both regardless if synchronized or not
'''7. '''If you go into 'offline' mode, does the Activity Manager show any deleting occuring.?
'''8. '''In 'offline' mode, can you copy emails from a synchronisd folder into a suitably named folder in 'Local Folders'. Emails stored in Local Folders should be not effected by IMAP.
Please report back saying if emails stored in 'Local Folders' also get deleted or not.

I lost entire profiles and all emails from thunderbird how to recovery them back to normal

HI there , today morning when opened my TB icon - i found entire profiles and its emails are empty and nil. I want them back . The same thing happened 6 months ago and when i restarted my laptop - TB was installed and working normally.
I need your tech assistance to fix my issue urgently as this is my daily business emails profiles. pls guide me here urgently.
Thanks.
Girish Kumar

http://kb.mozillazine.org/Recovering_a_missing_profile

General Question on Profiles and when to use them

Hi
I have inherited a database, from our previous DBA. Recently one of our user password expired causing access issues within our application.
On investigation, I noticed that we have a default profile, with the password expiration in place.
We want to make the password expiration to be unlimited.
My question is, what is the best practice for doing this?
Is it recommended to create a seperate profile, other than the default or
Is it OK to just keep one profile remove the restriction on that profile.
Our database contains only 3 users (outside the oracle users) which are, the schema owner, 2 web users for different functionality.
If there are best practices documented, then I'm willing to read through it, if someone can point me to it. Currently I have only found, documentation on profles and how they are used, but none show what are the best practices recommended for oracle.
Thanks in advance.
Div.

Hi Helios
Thank you for your response.
I read the below :
Password Management is setup by DBAs using Oracle Profiles. A general recommendation is to assign only those schemas a profile with password aging an expiration features if the users have the ability to independently change their password from their end-user application when the password expires, usually this means the application they use must have correctly implemented the OCIPasswordChange() OCI call such as sqlplus.
So would you recommend that I just keep my default profile and set the password expiration to unlimited, as that is what I understand from the above.
Thank you for your quick response.
thanks
Div.

My former Firefox Profile and bookmarks are missing after a Firefox 29 update - how to get them back?

I've tried all the Mozilla support articles without success.
Where are my bookmarks/passwords/etc. saved in my Mac desktop computer?
Help!!!

It is possible that there is or has been a problem with the profiles.ini file that registers all profile and that a new default profile got created.
*http://kb.mozillazine.org/profiles.ini_file
If you sue the Time Machine on your Mac then you can try to recover files that way
*http://www.apple.com/support/timemachine/
*http://kb.mozillazine.org/Profile_folder_-_Firefox
*http://kb.mozillazine.org/Recovering_a_missing_profile

How to use Device Profiles and Viewing Conditions Profile in Photoshop Elements 11?

In trying to get to grips with the Colour management aspects of PSE11, I have encountered the following problems:
Having selected "Display" a sequence of clicks (Change display settings -> Advanced settings -> Colour Management -> Colour Management tab -> Colour Management)
gives a screen which includes the headings:
Device Profile and Viewing Conditions Profile.
1. Device Profile. Besides sRGB and ARGB, the profile list includes the profiles for all of the Epson papers. (I have an Epson Stylus Photo PX810FW).
I changed the Profile to an Epson Grayscale, this was accepted within the menu, but there are no changes from normal when I viewed the image on the Windows screen or within
PSE11. ("normal" is sRGB or ARGB).
I thought it worth a try to test that, if I wanted the display image to closely represent what I would get on a particular Epson paper, this may be a way to do it.(I suspected this approach because I have never
seen it in the literature!).
So what is the purpose of all of the paper Profiles appearing in the Display listing?
2. The Viewing Conditions Profile has also several options. I have tried to find the criteria for choosing one rather than the other, but failed to find any information. Can anyone help? I seek general guidance
rather than the details of the Profiles.
As a seperate question:
Selecting Image on the PSE11 menu across the top of the displayed image, and then Convert Colour Profile, I tried this process on an image, converting tiff to sRGB. When saved there was an extra asterisk in the saved title but in this case,
the file was still labelled tiff and there was no change in the number of Mbs. If a conversion has taken place, how is one to know? Does saving a tiff file as jpeg change its colour profile? When is it useful to use this feature?
Many thanks to all responders!

Addressing your second question, you are confusing two different things.
tiff is an image file format, as is jpeg, as is psd, as is png, as are dozens (if not hundreds, http://en.wikipedia.org/wiki/Image_file_formats) of other formats.
A colour profile represents the colour characteristics of devices so that, for example, displays know how to display the colours, printers know how to print them.
Image files MAY, but do not have to, contain colour profiles.
For details:
http://help.adobe.com/en_US/creativesuite/cs/using/WS52323996-D045-437d-BD45-04955E987DFB. html
http://en.wikipedia.org/wiki/Color_management#Color_profiles
http://en.wikipedia.org/wiki/ICC_profile
Cheers,
Neale
Insanity is hereditary, you get it from your children
If this post or another user's post resolves the original issue, please mark the posts as correct and/or helpful accordingly. This helps other users with similar trouble get answers to their questions quicker. Thanks.

After latest update (today), Firefox continually crashes. How can I uninstall this latest update? Tried creating new profiles and they also crash.

Firefox worked earlier today (August 19, 2013 about 6:30 pm EDT). When I opened Firefix after 9pm EDT, Firefox attempted to perform an update. No error was given, but now Firefox will not start. Running a Windows 8 machine with all updates and current security software with no known malware on my system.
When I try to start Firefox, the system shows the "working" circle, but then nothing. I created a new profile, and got Firefox to start, but whenever I try to go to any website, Firefox crashes.
Last 2 crash reports from today:
InstallTime20130814063812 (contents: 1376962029)
LastCrash (contents: 1376969373)

If you have submitted crash reports then please post the IDs of one or more recent crash reports that have a "bp-" prefix:
*bp-xxxxxxxx-xxxx-xxxx-xxxx-xxxxxxxxxxxx
You can find the IDs of the submitted crash reports on the about:crashes page.
*You can open the about:crashes page via the location bar, like you open a website, or open the crash reports page via "Help > Troubleshooting Information".
See:
*http://kb.mozillazine.org/Mozilla_Crash_Reporter
*https://support.mozilla.org/kb/Mozilla+Crash+Reporter
Try to start Firefox in [[Safe Mode|Safe Mode]] to check if one of the extensions (Firefox/Firefox/Tools > Add-ons > Extensions) or if hardware acceleration is causing the problem (switch to the DEFAULT theme: Firefox/Firefox/Tools > Add-ons > Appearance).
*Do NOT click the Reset button on the Safe Mode start window.
You can use one of these to start Firefox in Safe Mode:
*On Windows, hold down the Shift key while starting Firefox with a double-click on the Firefox desktop shortcut
*On Mac, hold down the Options key while starting Firefox
*Help > Restart with Add-ons Disabled
*https://support.mozilla.org/kb/Safe+Mode
*https://support.mozilla.org/kb/Troubleshooting+extensions+and+themes

HT5787 What do I do if my iPod was stolen and I checked my support profile and when I entered the serial # I got a message saying it has been registered to another Apple ID? Is there a way to find out that Apple ID so that we can locate the iPod?

What should I do if my iPod has been stolen and when I checked my support profile and entered my serial # and I received a message that the serial # had been registered to another Apple ID account? Is there a way to find out the Apple ID that it was registered to? I have already checked find my iPod and it shows my iPod is offline. I have already filed a police report.

No, sorry, there is no way you can get that information. The police perhaps could, but it would probably require a court order and it's unlikely the police will go to those lengths unless they have reason to believe that this theft was not an isolated instance and hence worth more of their time than the single theft of an iPod.
Even if they got the ID, it may well just be yours. Apple's registration database often contains such errors; I get the same message for some of my devices when I know I registered them to my Apple ID and the devices are all still right here.
Regards.

I am on a shared computer with several profiles. I had to delete my profile and create a new one. Now, my question. It transferred to Purchased Items to the new iTunes, so how do I get the rest of the songs to transfer to new iTunes?

I am on a shared computer with several profiles. I had to delete my profile and create a new one. Now, my question. It transferred to Purchased Items to the new iTunes, so how do I get the rest of the songs to transfer to new iTunes?

It sounds like you might have broken links to your content. Either repair these by putting the files you've recovered where iTunes expects to find them or delete the broken entries then go to iTunes Store > Purchased > Music > Not on This Computer, and click the download links.
If you have an Apple device see also Recover your iTunes library from your iPod or iOS device.
tt2

Colour colour profiles and JPEG compression mismatch

In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
For example, if a JPEG image all one colour is placed in a gallery widget over a text box, and then the background colour of the textbox is set to the colour of the image by sampling the colour in the image using the colour picker, when downloaded to the iPad the colours will not match (although they appear to in iBooks Author). I presume this must be a bug with the encoding of the JPEG? Or is it a conversion issue between different colour profiles used for the solid colours in iBooks and the sRGB colours that Apple advises using for images?
I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
In short, does anyone have a clue what is going on with the colour profiles and colour matching in iBooks Author and iBooks on the iPad? They certainly display the most perplexing behaviour I have ever come across.
Giles Hudson

Although you say there is no concept of a colour profile in iOS, the problem is that iBooks Author does recognize profiles, and appears to take them into consideration when downloading images to books on the iPad. For example, an image tagged with an sRGB profile placed in iBooks Author will appear differently from an identical image tagged with an Adobe RGB profile. The problem is, it is not at all clear what conversion is going on, especially when using a monitor with a different colour profile appears to cause radically different behaviour in the conversion. Is it being converted to "Device RGB" that the colour picker apepars to use? What is this Device RGB? The monitor RGB or the iPad RGB?
I understand that iOS supports RGB and CMYK. However, the important question is, which working space does iBooks Author use? sRGB, GenericRGB, Device RGB (whatever that is), Apple RGB, Adobe RGB, the monitor RGB? Without knowing this it is difficult to match solid colours to colours in images (and even arguably impossible due to the JPEG encoding problem I mentioned above).
All this vagueness in colour handling with OSX and iOS makes life very difficult, especially, as you suggest, when things have the potential to change at any minute, potentially wrecking months of painstaking work that has been put into designing books in iBooks Author.

How to change the master page and theme dynamically in sharepoint2013 anonymous site

hi
I have to change the master page and theme dynamically in sharepoint2013 anonymous site. i have to show one master page to authenticated user another master page to anonymous user through code
Srinivas

Hi Srinivas,
According to your description, my understanding is that you want to change the master page and theme dynamically based on the anonymous users or authenticated users.
Per my knowledge, there is not an OOB way to change the master page and theme dynamically.
SharePoint is based on Asp.net, as we know Asp.Net request processing is based on pipeline model, so we can delevlop a custom HttpModule to dynamic change the master page based on current logon user profile(using SP Object Model to get).
Another solution could be to use the SecurityTrimmed control that injects the CSS depending on global user permissions, more information, please refer to
it.
Some similar posts for your reference:
http://social.msdn.microsoft.com/Forums/office/en-US/c2b2d0da-c752-4aea-9c2d-e31a5b1a2988/sharepoint-2010-dynamic-masterpage-based-on-userprofile-property
http://johanleino.wordpress.com/2011/10/20/using-a-different-master-page-for-authenticated-users-in-sharepoint/
http://sharepoint.stackexchange.com/questions/21679/how-can-we-use-a-different-masterpage-for-annoymous-and-authenticated-users
http://sivarajan.me/post/How-to-customize-the-SharePoint-2013-Master-Page-for-Anonymous-Users
Best Regards,
Wendy
Wendy Li
TechNet Community Support

CCP colour profiles and different lenses

Hi,
I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
M

First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate. From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image. For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look. You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
The two questions you seem to have, are: does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder. By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles.
If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise. I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop. In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference.
Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario. In my mind the works out to be "make the colors of the object look like it was photographed in sunlight". The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done. For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced. A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight. This might be an argument for NOT WBing skin in incandescent lighting. In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each:
Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)? Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers. You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting. The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different. One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast. So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
This first question dealt with the photos taken with each of the two lenses. The remaining questions are about testing with just one lens.
Is the profiling process repeatable? Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles. An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results.
Does the exposure make any difference? You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered.
If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still. I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at. Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch. An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting. You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
http://www.pbase.com/ssprengel/image/101322979
If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth. Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

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

Timed profiles and themes - N73

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