Aperture srgb profile issues

Hi!
I've a really bad issue with the Aperture sRGB export profile.
Tell me if there's a fix before I switch to Lightroom: when I export an image (working on a 16Bit TIFF) with strong red colors from Aperture to a .jpg file with sRGB profile, my "red" colors turn to a pale orange, messing up my whole balance. Meanwhile, if I do the same thing on , let say, DxO Optics Pro, or Photoshop, and I export THE SAME IMAGE with the SAME jpg quality and resolution, the REDS remain unaltered.
This thing happened with A LOT of my photos and now I did this export test with different software and the result has been shocking.
What's wrong with the sRGB Aperture export profile?!
Please help or let me know if it is bugged and I cannot rely on something with unpredictable or wrong results.
Thanks

All sRGB profiles are generic. In fact, all ICC profiles are platform independent. What would be different between the two are the monitors themselves and/or the monitor profiles.

Similar Messages

Colors off in Preview when viewing JPG's with sRGB profiles

I have a 30" Dell monitor and my display preferences are set to use the calibrated profile for it. When I view JPGs images in any color managed application such as Preview the colors are horribly off. They are kind of dull, unsaturated, pale. JPG's that don't have sRGB profiles show up fine.
I can fix the problem in photoshop by opening the image and then doing a save for web which strips the profile information off of the jpg.
If I use sRGB as my monitor's profile colors are consistent across all applications but the problem is the colors are really bad. Extremely over contrasty and very dark.
What's going on with my color profiles?

Hi topmodelphotography ..
If you're keen about running the right profiles - please don't mess up the way you do. The sRGB profile that you're using is showing a narrower color space (value 0-16 of blacks are out). The sRGB profile is mainly used for consumer monitors in the cheap end where contrast conditions are worse that expensive and professional displays to present contents in a similar way across manufacturers. If you should use any predefined color profile, please use Adobe (1998) profiling.
best practive is calibrating your monitor with a good calibrator and use these profiles.
In System Preferences you should set up the calibrated profile and the same goes for all Adobe apps under Color Settings.
Useful reading concerning Color Profiles:
http://kb.adobe.com/selfservice/viewContent.do?externalId=321382&sliceId=1
Your issue with Preview is most likely due to erroneous setup in System Settings. otherwise try and disable Dithering in Preview.
And don't use Save for Web if you intend to keep at least a minor part of your colors in your images. Use TIFF's where possible (without 'upgrading' images from compressed formats such as JPEG's, GIF's, etc.)
useful reading about Image compression:
http://en.wikipedia.org/wiki/Image_compression
Hope this answers some of you questions.

IPhoto profile issue explored

I've read other posts here about the issue of dim and oversaturated photos in iPhoto. I am also experiencing this. Here's what I've learned.
I've had a Canon Rebel XT for a couple years, and we use it exclusively with iPhoto. I've had no problems with it. I just sold it and got a Canon 40d. This is when I begin experiencing the problem. I usually shoot with my camera set to sRGB, but also experienced with this with Adobe RGB.
If I import a picture with the 'assign colorsync profile' checked in iPhoto, the photo is dark. If I export the file and view in preview, the photo is dark as well. The preview info shows the profile: Camera RGB profile.
When I de-select that option in iPhoto, the photo looks the same viewed in iPhoto. But when I export it, and view it in Preview, it looks correct. The preview info shows the profile as: '-'. When I look at an old picture taken with the Rebel XT, the preview info shows the profile as "Canon Digital Rebel XT". Interesting.
Now, I took the same photo imported two different ways (with and without the iPhoto profile assign option), and copied them onto my Macbook Pro, which is running Leopard (my iMac runs Tiger). The photo imported with the iPhoto profile assign still shows 'camera RGB'. The one imported without shows 'sRGB IEC......'. Very interesting, that the sRGB profile assigned by my 40d is correctly shown in Leopard, but not Tiger. iPhoto also shows both photos properly on my MacBook Pro, as well as anything imported with or without the 'assign profile' option. Hmmm.
So, on my iMac where I'm having the problem, I run the automator script by Mr. Toad to assign sRGB to a jpg, reload it into iPhoto and BOOM - looks correct.
All this to say - I'm totally at a loss on how to solve this, and I'm wondering if any experts have any insight. It's obviously a problem with iPhoto and what profile it's using to view photos. I've seen others with this problem running Leopard, so I doubt this problem is exclusive to one version of OS X.
Thanks in advance,
- Kent Hooper

I've been tearing my hair out with this. My problems began after installing Leopard and ILife 08. It wasn't just my 40D images that were dark. Suddenly all my 300D images from way back were dark too.
I began to think it has something to do with the screen calibration and tried to re-calibrate using Supercal but couldn't even see the test patterns. Then I learnt that in Preferences/Universal Access (which I'd never touched) there is a contrast slider which was set way too dark. Putting this to 'normal' made my screen look much better (the stars came out on the Leopard desktop background!).
My iPhoto photos now look about right. Perhaps different programs were choosing the take notice or ignore this contrast slider.

Colour (possibly profile) issues with certain objects

Hi,
I'm trying to put together my folio but have run into a frustrating issue.
As the file is a web PDF, it's obviously RGB (sRGB to be specific). All of my swatches have RGB values, all of my links have embedded Adobe RGB (1998) or sRGB profiles.
The main issue is, a link on one page (PNG-24) shows correct colours, while on another it seems to be bluer in shadow tones. I found that what's causing it is any of my other objects that have blending modes activated:
Two different rectangles with RGB swatches, Multiply, 62% Transparency
Two identical JPG textures. One on background layer and one a top layer which is set to Color Burn
Once all of these are removed, the effected object returns to its correct tones, but if even one of the above objects returns anywhere to the spread, the colour goes off again. Similarly, if any of these objects are taken to another page, other swatches used (say a solid rectangle) are effected.
It's driving me insane and I've tried everything I know. Any ideas? I have a feeling this may have something to do with blending modes, but I just don't understand why it would.

Yep, that was it
I knew it had to be something along those lines, but I honestly expected that sort of thing to be within Color Settings; maybe I should have just looked two menu items up
Thanks for the help. Seems it's getting harder and harder to find what you're looking for on Google these days when all you have is vague keywords... Yay SEO (sarcasm)

Image processor and web gallery untagging sRGB profiles

When I image process a batch of files (mixture of raws and psds) the resulting files have an untagged RGB colour space even though the 'convert to sRGB' is ticked in the processor dialogue. This also happens to my images when I create a web gallery, even when I start the script using sRGB profiled jpegs in the first place. Any suggestions as to why this is happening? Thanks, Matt

I am slightly confused by what you said...
without exporting the photos separate first.
Do you mean change to sRGB while still in Aperture? The answer would be no. The images get changed to sRGB on export. However, you do not have to export the images separately from the gallery. When you create the gallery, the images and html get created all together. So, what you do is change the export presets you are using for the web to have sRGB in the color space profile.

Aperture RAW profiles broken since 10.7.4 update

Since updating to OSX 10.7.4 last week it seems to have broken some of Apertures RAW profiles for some cameras.
My Nikon D700/D300 files are all fine but my RAW files for my Lumix GX1 are green!
I also get the message "This Photo was adjusted using an earlier version of Apple's RAW processing" and then it offers me the option to Reprocess.
This fixes the green issue but doing this file by file when you've imported over 100+ is a real pain. The RAW for the GX1 was supported and was working fine before updating to OSX 10.7.4
Any ideas whats going on?

See this support article: list: http://support.apple.com/kb/HT4757
The support for the gx1 seems to have been moved directly into MacOS 10.7.4, and for Aperture this is a change of raw support.
Regards
Léonie
P.S: Perhaps this will help:No guarantees, I never tried it:
Re: This photo was adjusted using an earlier version of Apple's RAW processing

Olympus EM5 - profile issue (probably), raw file example provided

Olympus EM5 - profile issue (probably)
raw file in question, posted by somebody in dpreview forum = https://dl.dropbox.com/u/50147350/P8261159.ORF

As evident from your screenshot, those letters are not blown in raw - there are only a few pixels where one of the channels (blue) is reaching saturation. However, that blue color is very saturated and is mostly falling outside output color space (which is usually sRGB or Adobe RGB) or in other words, your monitor isn't able to display that color
Conversion from raw color space to output color space is done using profiles and can be colorimetric or perceptual. If conversion is colorimetric, colors outside output color space are simply clamped into the range (for instance RGB -15, -30, 270 --> 0, 0, 255). If conversion is perceptual, colors that would fall outside color space are compressed into it (for instance it could be -15, -30, 270 --> 10, 5, 253). In first case, colors inside output color space are 'correct', while those outside are wrong - less saturated and possibly with wrong hue. In the second case, colors outside color space are 'less wrong', but colors inside color space are also 'less correct', but overall result is mostly more pleasing to the eye. This compression is performed differently by each manufacturer.
Each camera model has own set of profiles. Most simple profile is an 3x3 array named color matrix, used for this color conversion - it is embedded in ACR for all supported cameras and can be also written in raw file. It is colorimetric. Then there is Adobe standard profile for all supported cameras in form of dcp file. It is a combination of matrix and lookup table conversion, which is still close to being colorimetric (however, there are several versions). Other profiles that are emulating camera rendering are perceptual (on some cameras there is also one profile said to be colorimetric, for instance Faithful profile in Canon cameras). Unfortunately, there are no camera profiles for Olympus yet, so colorimetric conversion is the only option (ok, another option is using new version of sRGB profile and its perceptual rendering intent, but it is not possible directly in ACR).
In this particular case, you can improve the look of those letters by moving saturation slider of blue primary (camera calibration tab) from 0 to about -15, which will modify color matrix used for conversion and desaturate whole blue range. Or do the similar thing with slider in HSL tab
If PV2010 used, some of blown blue color turns violet. It's also a know issue, actually I also reported it several years ago, and is caused by usage of Photo pro color space as intermediate and some clamping of values in ACR workflow. In this case it may be corrected in calibration tab by moving blue hue slider a bit to left, which will change hues of blue range towards cyan.
Etc. This area is quite complex, I'm familiar only with a small part of it, which I needed for making camera profiles

My macbook pro was repaired and since then i can't get nor photoshop or bridge to initialize. a window appears that says it has initializing problems due to an icc profile issue.

my macbook pro was repaired and since then i can't get nor photoshop cs5 or bridge cs5 to initialize. a window appears that says it has initializing problems due to an icc profile issue.
there appear two error messages. the first one says that there has been a problem sincronizing because of a programme error. the second one appears after you clicked ok on the first window and says that photoshop couldn't be initialized because the icc profile is invalid.
does anyone know if i have to delete any system or photoshop preference? the illustrator is also having troubles. thanks

thanks! what finnally worked better was renaming the «settings» folder in te «color folder» in the library with ~before the name. now indesign is asking me for thw icc profiles but still works, so i asume i can reinstall color settings only for indesign and go on.

Colour Profile issues between North America and Europe

I have a corporate colour, C80M80Y0K0 which creates a very attractive shade of purple. Within North America all printouts demonstrate very similar variations of that purple colour. We have an office in UK that uses the same collateral pieces. While they preview correctly on screen, they are unable to reproduce that purple in their office or with their professional suppliers (all digital processes). The resultant colour is blue (approx C92M68Y18K0).
The files are created in Indesign, using a process colour within Indesign, and then exported to a PDF and shared with the UK office.
My guess is that it is a colour profile issue - has anyone else had this same issue, and if it is indeed a colour profile issue, what profile would you recommend using? I've tried using some of the other default profiles within Indesign but with no luck.
Any assistance would be really appreciated.

The resultant colour is blue (approx C92M68Y18K0).
What preset are you using for the Export, or what are the Output settings? Have you tried PDF/X?
PDF/X-4 will leave color unchanged and profile everything, so a color change like you are describing most likely means the wrong output profile is being used in the UK.
PDF/X-1a forces everything into your doc's CMYK space and makes conversions at output less likely—with X-1a your 80|80|0|0 mix will probably be output unchanged.

Asign sRGB profile on import from memory card?

Can I have the Mac automatically assign the sRGB profile to the images I import into iPhoto. They all come in as Camera RGB now.
Typically I take my memory card out of the camera and plug it into a memory card reader and then automatically import into iPhoto. This works great except that all the photos are assigned the Camera RGB color profile instead of the sRGB profile.
Is there a way to configure ColorSync or iPhoto to automatically assign the sRGB profile instead of Camera RGB to the imported images?

Can I have the Mac automatically assign the sRGB profile to the images I import into iPhoto. They all come in as Camera RGB now.
Is there a way to configure ColorSync or iPhoto to automatically assign the sRGB profile instead of Camera RGB to the imported images?
Can you set the preferences in your camera to create images with the sRGB profile? If so, that would be the easiest way, I think.
Jerry

Do images imported to Keynote retain their previous color profile? In other words, if the Keynote presentation will be shown using an sRGB profile projector, should the images be converted to sRGB prior to importing?

Do images imported to Keynote retain their previous color profile? In other words, if the Keynote presentation will be shown using an sRGB profile projector, should the images be converted to sRGB prior to importing or can they be batch adjusted in Keynote?

While I feel your comment doesn't directly address my question, why I am worrying is this.
This presentation is to a camera club. Color is important. Images shown in meetings are projected by an sRGB color profile projector. Most serious photographers us a color profile with a bigger space than sRGB (typically RGB1998). If you project an RGB1998 image on an sRGB projector the colors go to crap. More precisely they become dull and lifeless. Thus, I am trying to determine whether I need to convert the images I plan to put into my Keynote to sRGB and boost the saturation PRIOR to importing them or whether Keynote has a way to do this as part of the software.
Jerry

Slow Broadband Connection - Likely IP Profile Issu...

Hello,
For an age I've had a rubbish broadband connection, but the hassle of call centres and engineer visits have put me off sorting it out. In August I got frustrated enough to try to get it resolved - I have a couple of work/study things that need a decent internet connection. After repeatedly trying all the troubleshooting guides and the suchlike, I finally noticed a reference to IP Profiles on the BTW performance test results.
Further research suggested my practice of turning the Home Hub 3 off when not in use has likely resulted in a fault profile being created, limiting me to 0.25Mbps. This conclusion was backed up by a relative and a friend who are BT engineers. I left the Home Hub 3 on for 30 days, but there was no improvement. I turned the hub on and off to see if it needed to reset itself, but no improvement. It has now been on for 12 days. The advice on the forum and from others seems to be that I need BTW to reset my profile as it has become set at the fault level, because I left it too long to sort out.
I have now sent an email to BT support, but the initial response suggests they are going to go through every step on the way, despite me laying out all of this. I keen to know your thoughts on if I'm in the right diagnosis area and whether there's a quicker way to get the IP Profile reset to see if that is the issue?
Many thanks,
Gavin
BTW Performance Test now:
Download speed achieved during the test was - 0.25 Mbps
For your connection, the acceptable range of speeds is 0.1 Mbps-0.25 Mbps.
IP Profile for your line is - 0.25 Mbps
Upload speed achieved during the test was - 0.8Mbps
Additional Information:
Upstream Rate IP profile on your line is - 0.83 Mbps
ASDL Line Status now:
ADSL Line Status
Connection Information
Line state: Connected
Connection time: 12 days, 22:13:59
Downstream: 286.3 Kbps
Upstream: 1.016 Mbps
ADSL Settings
VPI/VCI: 0/38
Type: PPPoA
Modulation: G.992.5 Annex A
Latency type: Interleaved
Noise margin (Down/Up): 31.5 dB / 6.0 dB
Line attenuation (Down/Up): 13.1 dB / 8.0 dB
Output power (Down/Up): 18.1 dBm / 12.7 dBm
FEC Events (Down/Up): 0 / 8929
CRC Events (Down/Up): 1 / 13883
Loss of Framing (Local/Remote): 0 / 0
Loss of Signal (Local/Remote): 0 / 0
Loss of Power (Local/Remote): 0 / 0
HEC Events (Down/Up): 0 / 2794
Error Seconds (Local/Remote): 1 / 441

it is not an IP Profile issue as on ADSL2+the profile follows the connection speed automatically your problem is a banded profile caused by a number of hub disconnections /restarts you need to maintain a stable connection 24/7 for the next 3/5 days and then your noise margin will then start drop and your speed start to increase this link explains more http://forumhelp.dyndns.info/speed/speed_drop.html
Here is a basic guide to getting help from the community members done by CL Keith Please read through the link posted http://forumhelp.dyndns.info/speed/first_steps.html
once you have posted the information asked for then the community members can help you more
Thank You
This is a customer to customer self help forum the only BT presence here are the forum moderators
If you want to say thanks for a helpful answer,please click on the Ratings star on the left-hand side If the reply answers your question then please mark as ’Mark as Accepted Solution’

Open untagged JPEG with external editor, then be attached with sRGB profile

Hi there,
I wonder why I open untagged JPEG with "external editor" (Photoshop CS) , then the JPEG will be attached with sRGB profile. Of course my color setting on photoshop is "Use the embedded profile".
I think sRGB is the default RGB space of colorsync utility , because the profile is also sRGB when you check "Add Colorsync Profile" on iPhoto 6.
Anyway , I want to set up total Adobe RGB workflow , so does anybody know how to change sRGB profile to Adobe RGB profile when opening untagged JPEG directly with external editor?

Thank you for your reply , Lloyd.
I am sorry , but I noticed my misunderstanding message.
As you know , you can change raw and other image files to tiff or psd for external editor. You can select that on the preference. At this situation , if you pass nontagged image file to external editor , then automatically sRGB profile is attached.
I don't think this is related to export preset for JPEG file.

Color Profile issues / Colors darken when saving as png/jpg

Hello Adobe Community!
I got a problem with the color settings / profiles in Photoshop and I hope someone can help me.
For the record: I Am working an a PC (Windows 7) with Photoshop CS4.
I work on a digital painting in Photoshop and to keep track of my progression I save frequently as pngs.
I noticed that the colors don't match and are much darker as you can see in the picture below:
I tried the things suggested in many forums, checking and converting my color profiles. For many that seemed to fix it, but not for me.
In the source space you can see the Profile I am using.
Many suggested when saving for web and devices one should untick the "convert to sRGB" checkbox, but for me, that didn't change anything and the colors were still messed up.
I hope someone has a solution for this problem. After trying so many things I'm getting quite desperate!

always CONVERT to sRGB (if not already there) when saving for the web and unmanages apps
there are both pros and cons for tagging/untagging images for the web
the slight darkening and saturation difference i see in in your posted image is expected between managed and unmanaged apps, but you didn't embed a profile so it is my guess what you are seeing there
to duplicate the phenomenon, in Photoshop, open your tagged sRGB image, then
View> Proof Setup: Monitor RGB (be sure to turn it back off)
the shift you see there is the difference between sRGB and your monitor profile (Photoshop is in essence stripping the sRGB profile and sending the RGB numbers straight through to the monitor with no changes)
as you probably know, Photoshop normally transforms (changes) the source colors to the monitor profile...

Which sRGB Profile to use (HP sRGB Profile, ICC BPC, ICCnoBPC, or no profile)?

Hi everyone,
May I ask something of you guys? I have a question that no one can seem to answer.
I don't know which is the best profile to use--the HP sRGB Profile, the ICC sRGB BPC, the ICC sRGB with no BPC, or no profile (just colorspace tagged as sRGB).
They are all sRGB_IEC61966-2, but the HP sRGB one that is native to older versions of CS (and possibly newer ones?) does not state whether it is BPC or nonBPC.
I have noted several things (and I know little of color profiles, so please excuse my ignorance):
1) Firefox displays all the profiles the same way, except noBPC is shown with lighter blacks
2) Adobe seems to represent the sRGB BPC and the HP sRGB similarly?
3) Some people suggest using no profile, merely tagging the metadata to say sRGB
4) The ICC website says that most V2 color profiles on the www are black scaled; other sites seem to say its the opposite: that BPC is a new thing to most people who save sRGB V2.....
5) BPC = Black scaling.
Help ! I'm completely at a loss for what is the most future-proofed means to do this. Each road seems to have a disadvantage.
Any help would be great
Tod

I'm dropping in kind of late, here, and I haven't read the thread thoroughly, but I thought I would add a few cents worth about why you might want to choose certain profiles.
It's important to start with this:
Your choices of color profiles to use for the various functions in your system and for publishing images MUST be made individually, based on how you want to work, and what you anticipate the recipients of your images need.
Understand that there is no "one size fits all" answer, which is why you're given configuration choices. It's important to actually understand color-management to make the proper choices, and many people fail to take the time to do so.
Document Color Profiles
For general web publishing, many folks think it's a good idea to publish images in the sRGB color space and with an embedded sRGB profile. This is because many browsers didn't used to do color management, and Windows in general assumes sRGB. Even today, not all browsers do proper color management, and sRGB is just assumed in some cases. If you are serious about web publishing, you probably want to learn just what Internet Explorer, FireFox, Safari, Chrome, and a number of others (and in all their various versions) actually DO regarding color-management, and knowing your intended audience make your own intelligent choices.
I'll add that as the browser landscape changes (and it is always changing), any "rule of thumb" about which profile to use for web publishing probably needs to be re-evaluated again at intervals in the future.
For sending images to family or friends electronically, pretty much the same thing applies as with web publishing. Assuming a user is looking at the image you just sent him/her in Outlook or another mail client, the app may or may not be doing color management, and sRGB image data is probably most likely to be interpreted without problems. However, you may know something about your recipient's color capabilities and make a different choice.
For sending images to print houses, quite often they want "standard" sRGB images as well. However, if they DO offer wide gamut printing, limiting your images to sRGB will mean you won't get all the advantages of their full color depth and your prints may look a bit dull compared to what they could look like. Don't assume; find out from them what their recommendations are for document color profile. Again, details matter, and the more you know the better choices you can make.
Working Color Profiles
What color spaces you choose to work in in Photoshop have something to do with the results you want to make, and also something to do with the workflow you're willing to adopt. It may be that you prefer to work on color images in sRGB so that he RGB values you manipulate all through your processing will be the very same ones you provide in your published output images. Or you may prefer to work with images of the widest possible gamut because you have need to print or otherwise publish your images with a wider gamut than sRGB. You could even start work with a wide gamut profile (e.g., ProPhoto RGB) for the advantages in maintaining all your images' fidelity, then ultimately publish sRGB - you just have to be sure and make the proper conversion at some point in the workflow.
It's important to note that Photoshop's Color Settings define your preferences - i.e., how you want Photoshop to handle things (or set defaults or just let you know) when there are choices. Personally, I like to check all the boxes so that I will be asked if an image isn't in my preferred color space.
Also note that the Camera Raw plug-in offers a choice of output color space that's separate from the main Photoshop settings.
Device Color Profiles
Your display system can be calibrated and profiled. Calibration generally describes the process of manipulating the output signals so that they are generally the right brightnesses - the response of your display is its Gamma, which should be close to 2.2 on a PC. Once calibration is achieved, profiling a monitor is generally a matter of sending a bunch of different RGB values to it, seeing what it displays, measuring the difference between that and the ideal color, and setting up to make the proper corrections for future image displays.
You associate a monitor profile with your monitor using the operating system, even though the operating system only helps with color-management when applications request it. You may wish to create a monitor profile that matches your monitor's display characteristics - there are devices that come with software and procedures to help you do this, and there are even ways you can do a rough job visually without a device. This allows Photoshop and other color-managed applications to perform conversions to accurately represent colors from a document with its own profile on your monitor.
However, you have to understand that not every application on your system is color-managed, and you might actually be looking at RGB values expressed in a document color space and displayed on your monitor without transformation. Also some transformations are done with shallow data and can introduce noise. Perhaps you want to minimize the difference because there are tools you like that don't do color-management, or because you know that Internet Explorer 9 assumes your monitor displays sRGB. It's normal that color-managed and non-color-managed applications can show the very same images differently on a calibrated and profiled system. This confuses many folks
Note that the Windows default monitor profile is sRGB IEC61966-2.1. Depending on your monitor, there can be advantages to making your display respond similarly to sRGB and just using sRGB for your monitor profile.
Many local printers can be profiled as well. There are devices to allow you to do this. However, some printers are "factory calibrated" and expect you to deliver the data in a particular profile - e.g., sRGB.
Moreover, there are configuration options to allow you to choose where to do color management during printing. Photoshop, for example, provides a Color Management section in their Print dialog, and if you drill down to the printer driver's dialogs you may find that there are settings there as well. You'll need to discover the best combination of these settings for your particular print needs. Some combinations may work equally well, while you may find some have subtle advantages. Not long ago I did a whole series of prints in which I manipulated the settings to go through all the different combinations with my HP printer, then critically compared the results. I found that instructing Photoshop to do a conversion to the print driver's standard sRGB input profile, and disabling color management in the print drivers entirely gave me the best results.
Summary
At the end of the day we're doing all this because: You'd like to be able to work on a document, print it and have the colors look as you expect, publish it online and have most people see it as you intended, and send it to others and have them see it as you did.
No conclusions or direct advice here; I'm just giving you some things to think about when making your color-management choices.
-Noel

Aperture srgb profile issues

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