Assign new colour profile to jpeg without recompressing

hi, i got a photo cd back and all the photos have the wrong profile assigned to them. something called SDP. the images all look very dull. a previous photo cd from the same place had generic RGB assigned to them and the colours are great. also when i assign generic rgb to the new photos the colours come to life and look how i'd expect them too.
But the only problem is then i need to save them. i don't want to redude the quality of the images by saving as a jpeg. is there a way to assign a colour profile to an image without resaving all the information in the image.
Any help would be amazing.
thanks

Martin:
No. The file must be saved if you want the profile information added to it. Unless those files will be used for very large prints, i.e. greater that 8 x 10, the effects of the compression in a save will be very difficult to observe.
What are you using to change the color profiles?
Do you Twango?
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.

Similar Messages

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.

Assignment of colour profiles in indesign vs PDF colour profile

Hi all,
If in the assign colour profiles menu of indesign I had the same setting for all my indesign files, as shown in screenshot attached.
And then when a PDF is created from an Indesign file using a different CMYK profile, will the original indesign setting have any impact on the PDF created? Will the PDF ignore the settings of the Indesign document?
Regards, Tim

Many templates that get populated with RGB images. .... The only colour change in the process is when the final PDF is rendered to go to the printers.
So, for my master indesign files what is the best colour set up?
The PDF/X presets are designed for your scenario.
I doesn't make much sense to use any CMYK color because you never know what the destination will be and CMYK colors will almost always get reconverted. The only problem RGB presents is gamut, so when you edit, a soft proof setup with a CMYK space would be advisable. The ideal would be to establish one RGB editing space (Adobe RGB?) and assign it to all your RGB objects and ID files.
It sounds like you are expected to finalize color management at PDF creation, if that's the case PDF/X-1a forces all RGB color into one destination CMYK space and flattens transparency. When you automate the PDF creation you would need to be able to set the destination in the Output panel depending on the where the file is going.
The alternative is PDF/X-4 where there are no color conversions but every object gets a color profile. In that case the color conversions would happen at output, i.e. the PDF going to a newspaper gets converted to the newspaper's profile (SNAP?) at output. All the vendors would have to be on board for that to happen, which might not be the case.

Possible: Exporting Lightroom JPEGs without recompression?

I am a new user of Adobe Photoshop Lightroom. I am using it to manage a library of around 600 photos I received as JPEGs from a photographer. I am annotating each photo with keywords. Now, I would like to export these, with the keywords embedded in each JPEG file, which the Export command does. However, I would like to do so in a way that doesn't let Lightroom re-compress the images to new JPEGs.
I found that, if I choose a quality of 100, Lightroom re-encodes all images with minimal compression, blowing up the file size over the originals, instead of simply makes copies of the originals without re-encoding. All I want to have is a collection of all image files with the keywords in each file, instead of only in Lightroom's database.
Dominik Hoffmann

I myself am on Mac OS X. Files managed by Lightroom that had their metadata embedded in XMP format do not reveal this information when brought into iPhoto. However, I found the $15 utility called PictureSync
intended for uploading whole libraries of images to Flickr etc., which can also do a directory-to-directory "export" or "upload," where XMP keywords are turned into, what I guess are IPTC tags. When imported into iPhoto after that step, the keywords are all there. I haven't checked into other bits of XMP metadata, but the keywords are all I need for the time being.
Thank you all very much for your contribution to this discussion!
Dominik Hoffmann

Change colour profile on export of jpeg for using files on windows pc

My father, who is 80, has a mac and aperture.
He is reasonable proficient using it, but as a windows user myself I'm unsure of the in's and out's of things and it always falls on me to help him when he has a problem.
He also has a windows computer, which he has a programme on for making calenders.
The problem we have is that when he saves his photo's after editing in aperture to a dvd, he puts this dvd into his windows pc and he cannot see any of the previews.
On opening up any picture in photoshop on the pc, it asks if he wants to use the embedded colour profile or change it.
I'm wondering if Aperture is exporting using a certain profile which windows cannot read? Thus doesn't show the preview.
He needs the preview to pick which pictures he wants to use on the calender.
He then stores all his pictures on the dvd.
I'm pretty sure he shoots as jpegs, not raw. Though I need to ask him.
He has several different cameras, and I think he has trouble with all of them. I'm pretty sure one is a nikon d5300 (I just googled red body nikon)
Is there a colour profile for aperture when saving as a jpeg that is compatible with windows?
It's a hundred mile round trip to visit and to then sit down and try to work it out by trial and error would take some time.
So if I can find an answer and call on the phone to tell him what to do, it'd save me a lot of time
I'm not sure what Mac he has, what OS he's using or which version of Aperture, he only recently bought it, so guess at the latest one.......... I know I'm a great help !!!!!
I can find out if needed, but thought there might be an easy fix....... I know, whenever is there an easy fix for anything!!!
Cheers,
Graham

There is no standard for a 'Preview'. It's a feature of the software that is opening a file as to how it shows those files to the user for selection. Some software will look in the file header for a thumbnail, some will use the files associated icon (if it has one) and some will just present a list of file names. I seriously doubt changing the colour profile output by Aperture will have any impact on this.
Although Aperture doesn't have a calendar feature, iPhoto does and as of the last year or so, Aperture has an option to open it's library in iPhoto. So if he has a current enough version of Aperture and iPhoto, he could avoid the issue altogether if he is happy to switch into iPhoto to make the Calendar.
If he wasn't using DVD (say a USB thumbdrive instead) he could run a utility on the PC to create icons for the files where the icon is a thumbnail of the picture, which the calendar software might then use when prompting for images to load. But the use of DVD complicates this, as it depends on the DVD drivers and file systems in use on the DVD.
Chances of resolving this remotely, remote
Andy

How to publish without recompressing unedited JPEGs?

Hi. Please let me provide a bit of context before I ask my question.
I use lightroom to manage a large catalog of images that consists of:
(1) Raw files that have been "developed" within Lightroom.
(2) JPEGs that will not be developed/edited in Lightroom.
Now, I use Publishing Services to create full size, high quality JPEGs for various purposes: online gallery sharing, copies for application-independent archive, making prints, etc. I'd like to be able to set up a single publishing service to publish my unedited JPEG images "as-is" (i.e. original, no resize, no recompress), while still allowing the publishing service to convert my developed raw files to JPEG at a quality I set.
Problem is, I can't figure out how to do that. In the File Settings dialogue, I have to select a file type, either "JPEG" or "Original". Selecting JPEG means that all images (even unedited JPEGs) get recompressed, and selecting "Original" doesn't work because the raw files need to be converted to JPEG.
Is there a way to do what I want?
Put simply, what I'd like is an option in the File Settings dialog (when JPEG file type is selected) called "Don't recompress unedited JPEGs". Does this exist somewhere?
Bonus if a similar capability exists (or could be provided) for the Export dialogue, which has similar options to Publish Services.
I'm fully aware that I can set-up two publishing services (one for unedited JPEGs, another for everything else), but that is a bit of a hack and has some limitations of its own.
Also, please no "just shoot raw" replies. That is not a solution. I have a good reason for having JPEGs and regardless, they are not going away now. The reason I have JPEGs is because I switched from Capture NX2 to Lightroom. The only way to preserve and bring into Lightroom my (years of) work in Capture NX2 was to save my Nikon raw edits as high quality JPEGs, and then import those "finished" JPEGs into Lightroom. Anyone who has a point-and-shoot camera or a smartphone is also likely to have JPEGs that they don’t want recompressed.
Thanks
Chris
Message was edited by: cjs007

OK, I submitted as an idea to Adobe:
http://gsfn.us/t/2ok1o

Do I need to set AI colour profiles for use in ID?

My previous set up:
Mac
CS2 (Illustrator, Photoshop, Bridge)
Quark XPress 7
My new set up:
PC (Win 7)
CS5 (Illustrator, Photoshop, Bridge, InDesign)
My problem:
I work for a company that prints newspapers, but my dept also does work for glossy sheetfed printers (magazines leaflets etc)
All my work is exclusively CMYK.
With my previous set up - I didn’t want to have to switch my colour profiles via Bridge as I was constantly juggling two types of jobs:
Our tabloid press - Profile - ISOnewspaper26v4 (CMYK)
Sheetfed Printers - Profile - ISO Coated V2 (Fogra 39) (CMYK)
So I set my CS2 Suite colour settings to ISO Coated V2 (Fogra 39) and set an action in Photoshop to convert jpegs / eps photos to ISOnewspaper26v4.
So my CS2 working space was set for Sheetfed glossy publications and if I wanted to set a picture to the correct profile for newsprint I just had to open the picture and hit the action that applied the ISOnewspaper26v4 profile.
Regarding Quark – I set up separate templates for each type of job:
One for Profile - ISO Coated V2 (Fogra 39) and one for - Profile - ISOnewspaper26v4.
Regarding Illustrator - I found that Quark 7 didn’t differentiate between Illustrator colour profiles, or if it did, it didn’t show up in ‘Usage’.
If I went to Quark Usage and went to ‘Profiles’ it only listed the Quark profile and any Photoshop profiles, not any Illustrator profiles.
So in Illustrator I just set colour profiles to ‘do not colour manage this document’. So that I only had to worry about changing profiles for Photoshop jpegs / eps’s.
So I had a good little system going that served me well and now my company decided to move us to PC’s and CS5; and I still have the same problem – juggling newsprint jobs and glossy magazine jobs and not wanting to have to synchronise my CS suite colour settings every time I switch between jobs...
So I was hoping to stick with my little system on PC / CS5.
So basically my question is, do I need to worry about Illustrator colour profiles if I am bringing Illustrator files into InDesign? (To clarify, my Illustrator files are always pure vector, so there is no chance of some rogue RGB jpeg sneaking through on a Illustrator file)
Im open to suggestions regarding my set up, but really would prefer not to have to keep switching my colour profiles.
Any help would be greatly appreciated.

First, I wasn't suggesting that your PDFs be exported to RGB, but it is a common workflow these days to keep photos in RGB until you convert them to the correct profile during the export process. This maximizes the potential for re-purposing your documents and allows you to use the same RGB photos for different output purposes without having to do separate CMYK conversions for each destination, so long as you don't need to do any tweaking after the conversion.
And to answer your question, if the .ai files have no embedded color profile they will ALWAYS be considered to use whatever the CMYK working space is in your ID file, so the numbers will be preserved. This means that there will be slight differences in color on output on different devices (the whole point of color management, after all, is to preserve the appearance of colors by altering the numbers for the output device).
Does the vector work you get from Thinstock come with an embedded profile? Is there any color that is critical for matching, such as a corporate color (which should be spot, but that's a different discussion), or do you use the same art in both the newspaper and magazine, and does the client expect a match (which we know isn't going to happen anyway)?
If there's no embedded profile when you start, there's no way to know what the color was supposed to look like, so color management is not possible, really. You can assign a profile, but you'd be guessing. Since the correct appearance at that point is unknown continuing with out color management shouldn't present a problem. The only case where you would need to manage the vector art would be if the color APPEARANCE is critical or you need it to match across different outputs, and in that case you would need to assign a profile and allow ID to preserve the profile on import and remap the numbers, which means you would likely get rich blacks someplace. Since it's unlikely that you can get a good match going from glossy to newsprint, I probably wouldn't even try -- you wouldn't want, for example, to tag the art as newsprint, and have it print subdued on the gloss if it would look better or more correct with the other profile. Color management would be much more useful if you were going from sheetfed to web on the same stock.

HELP! Colour Profiles

Hi there,
Please help! I have been asked by a client to design a leaflet for his business, it's pretty standard and he wanted colours that are used in his l
His logo was designed in Photoshop and I asked for the original file but he only had a high res jpeg and a flattened PSD. I asked for the Pantone or CMYK values but was just given web values so I colour matched the colours used in the logo and transported the jpeg into InDesign and just carried on laying the leaflet out as I normally would using the CMYK colour match values. I sent him the proof and he said he wanted the colours changed as they weren't bright enough. When I looked at the Photoshop file again he was right, the original colour is much brighter. Changed the colour profile I was working in (Which was RGB) to CMYK. The colour in the logo immediately looked brighter so I matched that colour and it matched to an RGB colour so I changed all the colours to the RGB colour (even though I wanted to work in CMYK) which looked much more like the original logo colour.
However when I proof the colours it turns back to the duller colour. Does anyone know what is causing this problem? I have never encountered it before? Is it because it was designed using web values or am i working in the wrong profile? How do I change it so that the colour looks the same on the print document as it does on the PSD logo?
I need a quick turn around on this and am out of my depth at the moment! I have just set up Freelance as I was made redundant from my last job and I haven't ever encountered this before. Hoping one of you knows how to help.....I'm working in CC
Looking forward to hearing your replies,
Many thanks in advance

It's difficult to recommend anything without seeing the file. If possible, attach the .psd to your post. InDesign has application color settings. If you have Adobe Bridge, you can synch all of your application color settings there. I am concerned about an obvious shift where it is obvious to the customer. He says the business cards match, but in reality they may not. The way things are going, he will continue to run into problems matching color further on even if he does business with someone else. When you open the PSD in Photoshop, assign the Adobe RGB there and save it under a new name so you know in the furture it is Adobe RGB. Forget the JPEG ( use it for web only ). I am assuming the file is PSD because it needs to be PSD for whatever reason. In InDesign, set your CMYK workspace to an appropriate profile ( like SWOP Coated v2 ). Now, if the file is so dulled down that it is noticeable, then you could adjust the "CMYK" curves to brighten it a bit. This is an excellent opportunity to gain some more work ( if possible ) with this client. That will require educating him/her in the proper logo production techniques. No way should a logo be produced in Photoshop and especially RGB color space. You've been in the business long enough to know what the proper procedures are. If they are unwilling to invest in a rock solid solution, then it may be better to reject their business and move on. Client is basicly blaming you for their mistakes. The frustration is that the client likes monitor color which is an illusion. At this point, client has to be more cooperative and lead you to their business card printer so you can investigate what they received from said client as a file and in what color space using what profile. If printer accepted an RGB based file, ask them for their workflow requirements and file parameters. This should give you a little more background so you can beging to build a solid foundation for said client's corporate identity. If their vendor, along with themselves, refuse to cooperate, then forget them. It's in their best interest to supply you with everything you need to accomplish whatever outlandish color they were able to achieve.

Colour Profiles on exported images causing major problems

I've been exporting keynote slides as png's to use in video presentations. The problem is that the png's are saved with colour profiles, which means if I export the images from diferent macs, or even the same mac but with a different monitor attached (therefore a diferent monitor colour profile active), the images have very noticeable colour variations.
This is a major problem. I exported 1,000 slide transitions to import into Adobe Premiere, then about 500 slide updates that when imported, were in some cases darker or lighter even though I was using the same keynote and original images. I had to create a batch job in Photoshop to open, ignore the stored profile and save the images using a new default colour profile to try and get all the images consistent.
There needs to be an option in either the Keynote preferences or export options to save exported images without colour profiles.

There needs to be an option in either the Keynote preferences or export options to save exported images without colour profiles.
No, there needs to be documentation on the ICC architecture and how ICC profiles are applied. Stripping out embedded ICC profiles will colour manage the objects (images) in the system, but when the images pass outside the system they will not be colour managed any more. In this scenario, either they will have to be rendered as deviceColor by the numbers, without a definition of the colours their colourants should form, or a source ICC profile will have to be assigned by the following system/application.
I've been exporting keynote slides as png's to use in video presentations. The problem is that the png's are saved with colour profiles, which means if I export the images from diferent macs, or even the same mac but with a different monitor attached (therefore a diferent monitor colour profile active), the images have very noticeable colour variations.
I could be considered an unconditional bug in Keynote if it embedded the current monitor profile and not the system RGB colour working space profile (: Generic RGB Profile). If indeed Keynote embeds the current monitor profile, it could be considered an unconditional bug in your understanding if you start by stripping the source profiles. You should be doing a profile to profile conversion in order to get into the RGB colour working space you want in Photoshop.
Sorry, but it helps to have a basic understanding of media independent colour matching (even if the developers don't sometimes -:)).
/hh

Wrong embedded colour profile causes huge jpg files when published to .Mac

D'oh! i posted the following on the iDisk discussion my mistake. Here it is all again for iWebbites:
I've spent most of the day trying to optimise my new iWeb site on .Mac but the published jpg files are far too big.
Despite sizing to 800x600 px and jpegging at about 5 or 6 in Photoshop which resulted in a file size of about 100kb on my local disk, when uploaded to .Mac via iWeb the they have turned into 800 kb files.
Lots of trouble-shooting, including ensuring that they weren't converted to png, that they have no borders, reflections or drop-shadows yet they still got bloated on the upload. Especially the photos in the photo-gallery page.
I've isolated the problem but don't know what to do next:
Turns out, iWeb ignores the sRGB embedded colour profile and replaces it with the monitor profile of the originating computer.
I discovered this after I opened the file in Photoshop directly via iDisk in Finder. Converting or assigning the file to sRGB and saving it back down to iDisk immediately restored it to its intended file size of 100kb and this time with the correct sRGB colour profile.
Going now to the domain.sites on my local disk and opening the package shows all the photos doubled up. A 360 x 264 .jpeg file with the monitor profile embedded and bloated out to 800kb plus the original 800x600 image with sRGB and .jpg as the file type but still only 100kb
So what the heck is happening in iWeb to do this and to use the wrong file type associations with the wrong file when uploaded?
There is very little on the forum about colour (color) profiles and no mention of the bloat in file size, just a reference to colour and tone issues with the wrong profile so I'm wondering if its related to the 1.1.2 update. (I haven't really tried using iWeb until the last week or so).
Fixing the problem by post processing the photos on my site every time I publish would be impossible with the amount of photos I have and my intention of updating the web galleries regularly.
As you can find out if you go to a photo page on my site:
< <a class="jive-link-external-small" href="http://">http://web.mac.com/adrian_malloch/iWeb/AdrianMallochPhotography/ Kabaddi.html > some pages take horrendously long to load. Check out some of the other Subculture pages. I haven't tested them all but Safari Activity viewer shows that most of the slow speed is related to opening jpeg files.
Any help and informed suggestions would be hugely appreciated.

This is doing my head in.
My last two comments "posted" half way through writing, before I had a chance to edit completely.
Here's how it should have read :
Using sRGB as a monitor profile, in itself, doesn't make a lot of sense.
A monitor profile is custom made specifically for the monitor to compensate for its display characteristics.
A "good enough" monitor profile is to use the software calibration built into the Displays preferences. Go to System Preferences/Displays/Color/Calibrate and follow the prompts. Hint: squint as you try to judge the colour and tone differences. The idea is to make the detail so fuzzy you don't notice it.
It's not very accurate, especially with LCD screens, but it's better than nothing and certainly better than using a universal colour space like sRGB, etc.
The accurate option is to get hold of a hardware calibrator like the Spyder, or Gretag-McBeth iOne Display (which I use). It costs a bit but is vital for accurate repeatable colour.
The whole point is that when the profile is made up and is set as the default profile, then you will get a WYSIWYG screen.
So, the same images will look the same on different monitors providing they each have accurate monitor profiles made specifically for them.
If you use sRGB as your monitor profile then you cannot expect the image to look the same on any one else's machine, whether they use sRGB, a monitor profile or any other profile. Worse still, if you change an image to "look right" on your screen, chances are that the image will look horrible on another screen.
Hence, why I will only switch to sRGB monitor profile as a workaround for uploading in iWeb. Nothing else!!

Adding a new device profile, a camera, to ColorSync

I recently purchased a Canon 40D digital SLR. It allows you to select the color space you want assigned to your image files -- I selected RGB. When you open the ColorSync utility there's a tab for devices and a list that includes 'camera'.
How to I add my DSLR so it shows up in ColorSync?
I keep hacking away at trying to have a color managed workflow. This stuff ain't easy, in my view.
Greg

The lack of clearly written documentation about color management is one of my pet peeves.
Often recommended with perhaps more information than you ever wanted: *Real World Color Management* by Bruce Fraser.
Color Management Info is a good online resource.
What you say about sRGB vs RGB is news.
My recommendation to stick with sRGB rather than AdobeRGB in the beginning is based not only on my own experiences, but mostly feedback in user forums such as this.
Somewhere people may have read or heard that "AdobeRGB is what the pros use", so they just adopt that without thinking. Truth is though that most commercial printing services assume sRGB and even ignore any colour profiles in images – frustration guaranteed.
It's a different story when you print at home in a closed workflow where you can control every stage of the process.
It all starts with calibrating your screen. And if you want to make the most of your images, you will probably start shooting RAW, if you're not doing so already.

IPhoto Book Colour Profiles & File Sizes?

I want to make a book in iPhoto. All my images are Adobe RGB. Do I need to change the colour profile.
I have a Mac with and Apple flat screen that has been colour balanced. So all the images look good. I am just concerned that they will be printed in a different profile and look rubbish.
What is the smallest file size and resolution that will look good.
Any other helpful advice.

Here's what Apple responded with when I asked them about book material and print quality:
"Thank you for contacting the Apple Print Products Customer Service.
I understand that you would like to know the printing process that is used and the color mode the files should be in, so you can better advise users in the iPhoto forum.
iPhoto version 4 or later, allows you to import and print files through the Apple Print Product service as RGB, grayscale, or CMYK color space. JPEG files with *RGB color space are recommended for best results.*
While iPhoto 2 can import files of various formats, including RGB color, grayscale, and CMYK, this version requires JPEG files with RGB color space when printing photos and books.
For more information regarding iPhoto 2, please visit the following article:
iPhoto: Color, Black and White Prints Appear Garbled or Distorted
For more information regarding iPhoto 5, please visit the following article:
http://docs.info.apple.com/article.html?artnum=165501
Here are some of the technical specifications for the books, cards, and calendars. I hope this gives you an idea about their quality and form.
BOOKS
All iPhoto books are printed using acid-free paper for long-lasting image quality. The photos are printed at a high resolution (300DPI if you use iPhoto 6). There is no external modification--such as sharpening or contrast adjustment--of the photos; what you see in the application is what is printed in the book.
Hardcovers Books
The cover is hard-bound and covered in linen. You select the linen color during the book-ordering process. The hardcover books have a solid, stiff binding that is glued and crimped. The internal pages, measuring 8.5 x 11 inches, are printed on McCoy 100# Text Gloss paper stock.
Softcover Books
The softcover books come in three sizes:
- Large 8.5 x 11 inches
- Medium 6 x 8 inches
- Small 2.6 x 3.5 inches
All of the softcover books have internal pages that are printed on McCoy 100# Text Gloss paper stock. The large softcover book has a white cover (Kromekoteplus Folding Cover, 16 point) with a cutout on the front that reveals the cover-page photo in the book. The covers for the medium and small softcover books have the cover image and title printed directly on the cover. All of the softcover books have a glued binding and feature a thick cover of McCoy 100# Cover Gloss paper stock.
CARDS
All cards are printed on McCoy 120# Silk Cover paper stock. The postcards measure 4 x 6 inches, and the greeting cards measure 5 x 7inches.
CALENDARS
All calendars measure 8 x 10 inches and are printed on McCoy 100# Silk Cover paper stock.
To ensure the best print quality, we have chosen to use Kodak NexPress technology. The press uses a dry toner, which is fused to the surface of the paper. Please see NexPress' site for more information:
KODAK NEXPRESS 2500 Digital Production Color Press
I hope you find this information helpful in answering questions on the iPhoto forum."
As for file size, keep the pixel dimension of the photo the largest you can. That will convert to the highest resolution possible when converted to the pdf for uploading and printing. iPhoto will assign a warning flag to those photos that end up with a dpi of less than 180 when added to a particular frame in the book. When added to a smaller frame the warning flag may go away. I've printed books with that warning and was happy with the results.
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 08 libraries and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

Weird colour profile problem

I have a monitor (Dell 3008 WFP 2560x1600) colour profile created by my Spyder 3 Elite hardware unit and software.
For some reason photoshop is getting it wrong.
If I print screen an empty photoshop window and then paste that into photoshop, it gets a bit yellower. Repeat a few times, and it gets really yellow, as in the attached jpg.
What's going on? Why is photoshop making stuff yellow?
Thanks

Nothing unexpected is happening here.
Calibrating and profiling does NOT make your color-managed and non-color-managed applications match, nor make your screen grabs containing mixed output from color-managed and non-color-managed apps more accurate, in itself. In fact, it does just the opposite. Try to understand that, after profiling, your color-managed applications are putting out ACCURATE color while the non-color-managed applications are putting out INACCURATE color.
If your profiling process has delivered a profile that makes the color values more yellowish (e.g., reduces blue values) to compensate for your monitor's tendency to make them more bluish than they should be, then you would expect to see exactly what you're seeing. Each new screen grab and paste, unless you go through the process I list below, amplifies the differences in the pixels that have gone through the process more than once.
Unless your system is set up to use sRGB as the monitor profile, if you want the image within a screen grab from a color-managed app (like Photoshop) to exactly match the content of your color-managed document, you MUST go through this:
1. Grab the screen.
2. File - New and paste the capture into Photoshop.
3. Edit - Assign Profile, and choose your MONITOR profile, provided by the calibrator.
4. Edit - Convert to Profile, and choose sRGB (for example).
5. Publish the image.
In step 3 you're telling Photoshop that the image was captured from YOUR MONITOR, and that the monitor's profile describes what's in it. Then you're converting the color values in that image in step 4 to a document profile everyone understands.
-Noel
P.S., From time to time I try to advise people on how to make their color-managed and non-color-managed output match more closely, though doing so always seems to invite a bunch of heckling from small-minded people who think that even wanting to accomplish that is somehow bad. If you'd like to try to do that, adjust your on-monitor controls to make the display look more yellowish (e.g., lower the blue a bit) and then re-calibrate/profile your display. You should find that the profile that's generated by the recalibration will then cause less color shift than what you're now seeing.

Colour profile advice

Hi, can anybody give me any advice on colour profile. On my mac book pro I have iLife, Photoshop CS2. When I view the same image through CS2, iPhoto and preview they all have little differences. Does anybody know how I can set the colour profile to be the same across all applications ?
Many thanks.

to get consistent rendering of colour across applications, things need to be set up the same (and interpreted the same!)
the apple apps don't have the range of settings available to pscs2, so at a guess they are defaulting to different settings and so you are seeing a visible difference
to be colour managed your images need to have the matching profile embedded (or manually assigned if the application allows), without this the applications may be assuming different defaults
even if your image has a profile there could still be differences in how applications interpret the image, for instance i'd assume apple's apps use the colorsync engine, whereas pscs2 might be set for ace
if an application is converting the image, the rendering intent can also make a difference to the resulting colour, you can set this in pscs2, i'm not sure if you can set it in the other apps
i don't use ilife, but i just ran up iphoto 6 and displayed the same srgb image in iphoto6, pscs3, preview, and safari, the colour was the same in each app
if i convert an srgb image with no embedded profile to argb in pscs3 and save it (embedding the profile), then open both versions in pscs3 and in preview, pscs3 displays both the same, preview shows different colour, if the srgb original then has that profile embedded preview shows it correctly
i tried the same with a cmyk image (with an embedded profile), pscs3 displays it correctly, preview/safari/iphoto all get it wrong (the same way, so they are probably all using the same colour engine and settings)
so depending of the source image, and whether or not the profile is embedded there can be differences in how the applications handle the same image when rendering it to screen
if the correct profile isn't embedded in the images, try it on one and see if that fixes things
apple has various info describing how colour management works in osx, for instance...
http://images.apple.com/pro/pdf/ColorMgmtinTiger.pdf

Colour Profile Bug in CS4 32 bpc Mode?

This has been confirmed on both Mac and PC by different users
(this topic was confirmed on another list before posting here).
One may be working on an image that has a different colour profile
than set as default in colour settings. For example, colour settings
has Adobe RGB while the current document is in ProPhoto RGB. If the
ProPhoto RGB (16 bpc) file is taken to 32 bpc mode, the status message
reports that the file is in a modified linear space based on the input
profile. One may then perform USM, for example and then return to 16
bpc or 8 bpc mode.
Here is the bug: Once the ProPhoto RGB file is returned to 16 or 8
bpc, it now has the working RGB space tagged of Adobe RGB, rather than
the original ProPhoto RGB as input before 32 bpc conversion. This is
not just a tagging issue, the numbers have been converted to working
RGB rather than the input ICC that was tagged to the image prior to
entering 32 bpc mode.
ICC tagged image operations have been divorced from colour settings
since version 6, the document can reside in a space that is
independent of colour settings. I can't recall other operations that
change the files colour space and tag without user intention.
If using 32 bpc edits, to preserve the input space, one either has to
change their colour settings to match the document or convert the
document to working RGB.
So why this reversion to working RGB and not the document RGB - bug or
design feature/limitation? Did CS3 work this way, is it only my
version of CS4?
I have searched the help notes, this forum and other Adobe support docs,
however I could not find this issue documented.
Sincerely,
Stephen Marsh

Can anyone post a supporting argument for the current behaviour (design or bug). While in 32 bpc Photoshop "knows" what the original profile is (it is listed as being in a linear state), while on default conversion to lower bit depth the data is converted to working RGB, rather than the document RGB prior to conversion (if different to working RGB). Am I missing something - is this a good thing, should this be behaviour be changed?
OK, topic drift it is!
Buko/progress, it is not so much bit depth in this case, it is gamma encoding - or lack thereof. 32 bpc mode processes in linear gamma, which can have an effect on some operations for certain receptive image content (tonal moves, USM, interpolation etc).
As one example, some links to linear resampling can be found in the comments at this blog:
http://forensicphotoshop.blogspot.com/2008/11/resize-smaller-part-2.html
I prefer the 32 bpc route to linear processing rather than the alternative, which is 16 bpc and a hacked custom RGB profile set to gamma 1.0.
I don't like linear USM for output sharpening (nasty dark halo artifacts). However, for subtle capture/acquisition sharpening linear USM may be preferred for certain images. I generally sharpen with blend if sliders limiting the intensity of the light halo, which comes close to one aspect of linear sharpening (light halo reduction). This can also be achieved by blending the USM in two separate layers, set to darken and lighten blending with reduced opacity.
While on USM and gamma, there are some L* based RGB working spaces such as L*RGB or the new ECI RGB which behave the same way as Lab mode Lightness channel sharpening (when set to Luminosity blend). As the response of the Lightness channel is different to linear gamma and standard gamma encoded spaces, for some image content one may be preferred over the other as the processing space.
I would still like to explore the original topic/post before submitting a bug report. How do you think things should work?
Regards,
Stephen Marsh

Assign new colour profile to jpeg without recompressing

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