Datacolor User to User Support Group.

I changed to this thread subject so it will relate to the color of the
print rather than where the .icm goes. I have decided it is something
in my workflow because when I print the test print from within PFP,
they look exactly like the test print image on the screen within PFP.
This is using an Epson 1280 printer with MIS dyebase inks. The results
from within PFP are miraculously identical with the monitor's image of
it. Let me describe what my Photoshop workflow is with color, because
I've been doing BW for the past 4 years and am not as familiar with
color workflows.

1. I open the file as a RAW file and use the calibrated camera's
settings derived from Tom Fors Adobe Camera Raw calibration script
from his website www.chromaholics.com. I adjust for the black point
and white point for best visual results giving full detain in both the
shadows and highlights.
2. The image is then passed to Photoshop and converted to Adobe
RGB(1998) and then proofed at the PFP printer profile to see how it
will look printed. Some minow adjustments are made again for the
shadows and highlights for details there.
3. Control-Alt-P brings us the printing options where I choose for
color handling --Let Photoshop determine colors and Rendering intent
is Saturation and the Printer profile is the PFP PRINTER PROFILE
created for the paper/ink combination used.
4.In the Epson driver No Color Management is chosed and the proper
paper choice and print quality.

Where am I going wrong in this workflow? Any and all suggestions from
someone with the similar problem and has resolved it will be more than
welcome.

Your friend in Photography,

Johnny

Hello again folks,

I narrowed the source of the yellow cast to not having run ACR
calibrator after calibrating my monitor with the Spyder2Pro. I ran ACR
calibrator and now the prints don't have that yellow cast (at least
the last one I printed of the one that had the yellow cast before).

Your friend in Photography

Johnny



--- In colorvision_group@yahoogroups.com, "Johnny Eades" <jeades1@...>
wrote:

>
> I changed to this thread subject so it will relate to the color of the
> print rather than where the .icm goes. I have decided it is something
> in my workflow because when I print the test print from within PFP,
> they look exactly like the test print image on the screen within PFP.
> This is using an Epson 1280 printer with MIS dyebase inks. The results
> from within PFP are miraculously identical with the monitor's image of
> it. Let me describe what my Photoshop workflow is with color, because
> I've been doing BW for the past 4 years and am not as familiar with
> color workflows.
> 
> 1. I open the file as a RAW file and use the calibrated camera's
> settings derived from Tom Fors Adobe Camera Raw calibration script
> from his website www.chromaholics.com. I adjust for the black point
> and white point for best visual results giving full detain in both the
> shadows and highlights.
> 2. The image is then passed to Photoshop and converted to Adobe
> RGB(1998) and then proofed at the PFP printer profile to see how it
> will look printed. Some minow adjustments are made again for the
> shadows and highlights for details there.
> 3. Control-Alt-P brings us the printing options where I choose for
> color handling --Let Photoshop determine colors and Rendering intent
> is Saturation and the Printer profile is the PFP PRINTER PROFILE
> created for the paper/ink combination used.
> 4.In the Epson driver No Color Management is chosed and the proper
> paper choice and print quality.
> 
> Where am I going wrong in this workflow? Any and all suggestions from
> someone with the similar problem and has resolved it will be more than
> welcome.
> 
> Your friend in Photography,
> 
> Johnny
>

Hello all,

I complained earlier about profiles that resulted in a yellow cast to 
prints.  With the sustained support of Colorvision and particularly 
David Miller I have been able to create profiles with PFP 2.0 that 
surpass canned profiles for the Epson Pro 3800.  The solution in my 
case was going to the Paper White, reference white compensation, and 
checking the box, which set the white point to 0.  I suspect this 
compensates for the whiteners in the papers I was profiling.  Now, with 
very minor tweaks I am able to get a dead neutral grey scale and prints 
that are very, very close to the soft proof.  These are good enough 
that with the 3800, Image Print will not be necessary as it has in the 
past.  Thank you David.

Paul