Broken ICC Profile?

Photoshop is giving me a broken ICC profile message on a certain JPEG that was saved in CMYK color. Not all of the ones from the batch, just this one.
When I open it, I get an error about the ICC profile being broken, and Continue or Cancel. If I click Continue, I get a distorted RGB image (equivalent to opening a CMYK JPEG with Irfanview, for instance, or some other application not supporting CMYK).
Unfortunately I don't have the originals at the moment. Is there any way to fix the ICC profile, to make Photoshop recognize it as CMYK?

You must check that all your icc profiles are present in c:\windows\system32\spool\drivers\color
The way to make sure everything is there is to download the ICC profiles from adobe at http://www.adobe.com/support/downloads/thankyou.jsp?ftpID=4075&fileID= 3790
Once you've dowloaded the profiles check the RGB and CMYK folders and make sure that all the .icc files are present in c:\windows\system32\spool\drivers\color
If any are missing you must unzip the downloaded file and copy the missing files over to c:\windows\system32\spool\drivers\color. Then restart PS.
If you suspect that a file may really be damaged/broken (as opposed to missing), you may want to replace that particular .icc file with the downloaded one.
This may work for both PS and LR since these ICC profiles are used by Adobe in various programs.

Similar Messages

Icc profiles on the mac questions

There seem to be multiple locations in OSX for icc profiles. I've found them in system/library/coloursync, library/coloursync and user/library/coloursync. Both display and printer profiles seem to be mixed up in these 3 locations.
Is there a preferred location for different profiles - or does Aperture/OSX find things as required (ie, it 'just works') ?
Also - my lab sent me its .icc profiles which I've copied into my system/library/colorsync/profiles directory. Aperture seems to find them okay. Are .icc files universal (ie, mac and PC) ? I didn't specify that I was a Mac user when I requested the icc profiles.
Paul

There seem to be multiple locations in OSX for icc
profiles. I've found them in
system/library/coloursync, library/coloursync and
user/library/coloursync. Both display and printer
profiles seem to be mixed up in these 3 locations.
Is there a preferred location for different profiles
- or does Aperture/OSX find things as required (ie,
it 'just works') ?
[snip]
I cant' speak as to whether display and print profiles should go in different places, or Mac vs. PC profiles, but the general rules for which Library folder to use are:
/System/Library: Don't mess with it. If an installer puts stuff there, that's fine, but the /System folder and all its contents should be considered hands-off at the user level unless you know what you're doing (the greatest ability to screw up the system comes from mucking around in the /System folder).
/Library: Files (in this case ICC profiles) put in this folder's subfolders will be available to all users of the computer.
/Users/Username/Library: Files put in this folder's subfolders will be available only to the user specified. Other users will not have access to them.
So basically, if you have multiple users on your Mac and you want them all to have access to the ICC profiles, put them in /Library/ColourSync/Profiles. If you only want yourself to be able to use them, they go in /Users/your username/Library/ColourSync/Profiles.
If you only have one user, and will never add any users to the computer, then placing things in /Library or /Users/username/Library will always yield the same results - you'll always have access to them.
You probably haven't broken anything by putting the other ones in the /System/Library/ColourSync/Profiles folder, but you may want to take them out and put them in the appropriate place, for consistency.
Also remember that the user's Library folder is checked by applications first, then the /Library, and lastly the /System/Library. That's the magic of how it "just works" no matter which Library you put the files in.

ICC profiles - never used what have I been missing?

Up until now I have never used separate icc profiles but have had to download all new drivers from epson to run my scanner and printer on new Intel Mac OSX 10.6. therefore it has given me the option to download the profiles.
Any advise for using them, can you turn them off - will i never want to turn them off?
What do they do exactly?
I may sound daft to many but unless I ask I dont learn, many thanks in advance.

Good advice so far and it is good that you ask these questions.
You asked earlier about your Epson printouts matching a print shop. It helps to understand color management as a communication chain. In the case of images, this is an ideal workflow:
1. Digital image is captured in RAW
2. Photographer converts RAW data into an RGB image. The result is referred to as a source image. It should have an embedded RGB profile, for example Adobe RGB 1998. To see if it has an embedded profile, look at the document title in the window. If you don't see # at the end, the image has a profile, which is good. If you do see #, you have a broken image, and it's up to you to get the derailed train back on track. If the image looks good to you (on a properly calibrated and profiled monitor) tagging an untagged image is an easy task. Edit: Assign Profile, and select your working RGB.
3. The source image gets converted to the printer's CMYK color space, also represented by an ICC profile. This should be supplied by the printer. You do have the option of leaving the image RGB and letting Quark do the conversion when you output. Quark color management is somewhat more complicated to setup than InDesign CM, let me know if you have questions.
4. To soft proof how the image will look on press, first calibrate and profile your monitor with the proper hardware and software. Then open the RGB image in Photoshop. View: Proof Setup: Custom, and select the CMYK profile supplied by the printer. The colors may shift some but that is to be expected, a CMYK color space is usually much smaller than most RGB color spaces.
5. To proof an image on your Epson that will closely match the press, you can calibrate and profile your Epson (best) or use the canned factory profile corresponding to the paper loaded in the Epson. This profile is actually an RGB profile (the printer is not RGB but the profile that describes it is). Open the RGB image. In the print dialog under Color Management, choose "Proof." Color Handling, "Photoshop Manages Colors." Printer profile, select the Epson profile. Proof Setup, select the CMYK profile supplied by printer. Check "Simulate Paper Color"
When you print, print Photoshop will perform two conversions behind the scenes. First your RGB image goes to the CMYK color space. Then the CMYK image is converted to the Epson profile using an Absolute Colorimetric rendering intent.
Unfortunately I don't believe Quark has the ability to perform two conversions on output. So if you need to proof a Quark page it's a matter of conversion to the printer's CMYK when you export the PDF. Then you can print the CMYK PDF to your Epson from Acrobat, using Acrobat Color Management and selecting the appropriate Epson profile.

Dual monitors, ICC profiles, color management...problems

Problem:
An image displayed in Safari and then pulled off the web into Photoshop shifts colors noticeably. This is esp. apparent in a side-by-side comparison on the same monitor with the Safari window open next to the Photoshop file window…they look very different.
Possible clues?
When I drag an image in Photoshop from one monitor to the other it shifts color after I release the mouse. In my two-monitor setup one is a large LCD (that's the "main" one) and the other is a MacBook Pro laptop. Even though they both have ICC profiles the laptop is slightly more saturated than the LCD…and Photoshop seems to mirror this but exaggerate it. For example: I pull the same image pulled off the web into two separate Photoshop files and then I display one on each screen: the one on the laptop will be /much/ more saturated than the one on the LCD.
In the end, if I have 4 windows open of the exact same image (2 on each screen: one in Photoshop and one in Safari) I am looking at 4 differently colored images - with the Photoshop images appearing even more exaggeratedly different than anything.
Obviously I understand that the two monitors will never look identical, but Photoshop seems to be imposing some extra color management on my files that makes it impossible to use with my previously very helpful dual-monitor setup.
Specs:
- Dual monitor setup: both are calibrated using an i1Display 2 from x-rite and have their own different profiles (this is new as of this week)
- Mac OS 10.6.6 (w/all current updates)
- Photoshop CS3 10.0.1 (w/all current updates) :: Edit>Color Settings : set to North America General Purpose 2
Help?

Just read this entire thread and wanted to leave a few comments and qualifications, first a couple of FACTS for all to consider.
1) I am not "new" to color management - in fact I am quite experienced in color management at a commercial level since the days of film back when getting "accurate color" was actually difficult. At this point it should be easy if the involved software is working correctly and impossible if it is not.
2) I have the top of the line color management solution provided by one of the top players in the color management market and am using it properly as verified by their technicians.
3) I am running 10.6 on my main computers. Mac Pro, 2 27inch iMac sandy bridge quad cores, and am using mac cinema displays (new ones) on all of them.
Now the rant - I have been trying to run down this or a similar and related issue for over a year. If you happen to be experiencing the same issue as I am, which I will summarize as trying to get 2 displays to display anywhere near the same color (even identical monitors) do not bother upgrading to CS5 as I am using CS5 as well as a bunch of other tools (Aperture, LR, etc, etc) - this is BROKEN and all I can get from any of the vendors involved is finger pointing from one to the other. Each of them wants to blame the other vendor for not doing something correctly but NONE of them can actually give me any details as to what exactly is the problem.
At this point in time I am holding the color management vendor I use to create the profiles responsible - the reason that I am doing that has nothing to do with what exactly the technical problem is. It s purely because they claim that the product is compatible with OS 10.6 and they claim that their software does EXACTLY what I want = mach two monitors. Now we all know that different monitors have slightly different gamuts but at the end of the day if two identical colors fall within the gamut of both monitors they should display the same. They don't. I have worked with my color management vendor for 6 months on this, they agree that it is not working properly, they blame apple but they cannot tell me exactly what the issue is.
If a company advertises and sells a product they claim to be compatible with a particular brand and version of hardware and software and they claim that it will manage color consistency across multiple monitors (even on differing machines) then I believe they are ultimately accountable for ensuring it actually works and resolving the issue - whatever it is, if it fails to function properly.
RB

PS CS5 Image Display Differs From Used ICC Profile In Win 7

Hi,
on my Windows 7 Ultimate x64 machine, I just calibrated my Dell SP2309W monitor using an i1DisplayPro and basICColor 5, creating a ICC v2 profile (I am aware of the problems under Windows with ICC v4 profiles).
It created the ICC profile and applied it to be used by Windows. I double checked under COLOR MANAGEMENT that the new ICC profile is being used. Although I can see that the new ICC is being used (desktop appearance changes), there are a few issues I am experiencing:
(1.) Windows Photo Viewer
The thumbnails in Windpows Explorer look fine (they DO use the new ICC profile), when I double click a jpeg and open the image it DOES NOT use the new ICC profile. When I click the PLAY SLIDESHOW button (starting the slideshow) in the opened image in Windows Photo Viewer, the images DO use the new ICC profile.
(2.) Internet Browsers
All current internet browser (Firefox, IE, Safari and Chrome) DO use the new ICC profile and display the image correctly.
(3.) Photoshop CS 5
When I open the same image - that Windows Photo Viewer does not correctly displays (according to the new ICC profile) - in Photoshop CS5, I get the same image display that Windows Photo Viewer gives me (when not thumbnail or not in slideshow mode) - it appears to be the sRGB display.
My color settings in PS CS5 are: North America General Purpose 2 > sRGB IEC 61966-2.1.
When I go to View > Proof Setup > Monitor RGB I get the image display using the new ICC profile.
Why does the image look different in PS than my calibrated monitor should output ?
I was under the impression (please correct me if I am wrong), that the sole purpose for calibrating my monitor was to get a uniform display across (ICC aware) applications. Even when one applies different color spaces to a document in PS, I thought the output on my calibrated screen done by the graphic card should always be according to my calibration and the settings in the ICC profile being used.
What Am I doing wrong or what am I misunderstanding ?
Any help or input is appreciated !
Thanks.
- M

Hello,
A note on monitor calibration: calibrating your monitor will not guarentee that every application will display color correctly, it's more of a step along the pipeline, and for the preview part of a color workflow it's the last step. Here's how color translation follows for an ICC workflow when previewing to a monitor:
Image Color Numbers > Document Tag or Workspace Profile > Monitor Profile
For non-color managed applications, if the original document is or isn't tagged with a color profile it will be translated directly to the monitor profile anyway. This is the equivalent in Photoshop of selecting "Monitor" in soft proofing. Selecting monitor in softproofing will bypass the tagged or workspace profile to translate colors directly through the monitor profile.
For most automatic color managed applications (like Firefox), the image will be translated through the tagged profile and then sent through the monitor profile. If the image is untagged or the profile is unrecognized, the colors get sent directly to the monitor profile.
For Photoshop, a tagged document will have its profile respected and then sent to the monitor. An untagged document will be assigned the workspace profile, which acts like a temporary document profile, and then gets sent to the monitor. This is often why users will notice Photoshop behaves differently from other applications. It's usually a case of the workspace coming into play. By default the workspace profile is set to sRGB. You can change this in Edit > Color Settings.
The purpose of the workspace is originally for printing workflows, as a way of keeping consistant color translations when dealing with both tagged and untagged documents. For web output workflows it can be useful for viewing everything through sRGB, which is typical of the average monitor output (not so with newer wide-gamut monitors, another source of confusion...) combined with the fact that originally most web browsers were not color managed. Hence viewing everything through sRGB is pretty close to what most monitors see and what untagged/unmanaged docs will look like.
Monitor calibration is useful only because it brings your monitor output to a "known state". In traditional workflows the monitor was always a middle-man, a preview device which was useful for getting an idea of what the printed output would look like before you print it. Since print colorspaces are often smaller than display spaces, it's feasible and useful to narrow down the monitor/display space and calibrate it to a known state, so that even if it doesn't totally match the print, you'll get used to its differences/limitations and they'll be consistent so long as the calibration is maintained.
For web output, your final output is often another user's computer monitor, which can have any form of behavior (most standard monitors are pretty close to sRGB, or use sRGB as an operating system workspace (default monitor profile). Wide gamuts behave differently, but I'm not sure if there's a particular ICC space that they closely match, or if different wide-gamuts are even that close to each other in their display color spaces.
Hope this helps!

CUSTOM ICC PROFILES DO NOT SHOW UP IN PSCS 6 MAC OS 10.8.4 BUT ARE OK IN CS5

The only icc profiles that show up in CS 6 Mac OS 10.8.4 are the ones that are installed from the printer driver ( Epson 9900 ) Any other single or custom profiles do not show up when placed Library/Colorsync/Profiles
All profiles show up in CS 5, There has been a lot of discussion of this on many forums with no solution. I have also tried installing the profiles in the contents folder of the Epson printer in the main library folder with no luck. Please advise

Mac OS 10.8.4 is still in beta. You need to be reporting this to Apple.
What happens if you move these profiles to the Adobe/Profiles folder, or the users/Library/Colorsync/Profiles folder?
There has been a lot of discussion of this on many forums with no solution.
What forums? A google search turns up nothing but this thread.
I have not seen this problem with the released versions of 10.8.

Can't see the installed icc profiles for my paper in print module

I have downloaded and installed the icc profiles for my favourite Canson and Crane Museo papers on my new Macbook Pro but they don't show up in the options box in the LR 4 print module. Is there another step I have missed? Thanks in advance.

Where did you install the profiles? They should go into
Library/Colorsync/Profiles in your home folder or at the root level of your
hard disk. If you put it in that folder in your home folder, they show up
in user, if you put them in the root Library folder, they show up in
"Computer" in Colorsync utility

Links Panel doesn't display actual ICC Profile

Hello. My Link Panel displays "ICC Profile: Document CMYK" on any cmyk image I place, no matter what profile the image bears, and no matter if in Colour Settings the Colour Management Policies is set to Preserve Embedded Profiles or Off. Even if within InDesign I convert it to something completely different, I still get the same information. I'm pretty sure that's not what's supposed to happen, but I'm completely blank on this. Could anyone help me out, please? Thanks a lot.

Which file format do you use for the placed image? EPS?

Possible solution for problems printing with ICC profiles - esp. R2400

(N.B. This is long because I've decided to go in to details about the background of the problem etc.. Also note that whilst my experience is with the Epson R2400, anyone with problems printing using ICC profiles in Aperture may find this post helpful, as will be explained further down the post.)
Ok, here's the situation. I've been an Aperture user for over a year, and an R2400 owner for half a year. In that time I have done a huge amount of experimenting, but I've never managed to get Aperture to work perfectly with Epson's 'premium' R2400 ICC profiles - the ones you can download from their site which are better than the ones provided 'in the box'. This hasn't been too big a deal because, in fact, the R2400 does a rather good job just set to 'System Managed' in Aperture and 'Epson Vivid' with a gamma of 1.8 in the printer driver. Nevertheless, it really annoyed me that something that should work wasn't, which is why I've spent a lot of time trying to figure out what's going on. Having said that, I have come across a method which will give you pretty good prints out of your Epson R2400 using the premium profiles in Aperture - it's not perfect, but it's the best you're going to get if you want to use those profiles in Aperture. I understand the words 'it's not perfect' aren't what photography experts would probably want to hear, however, I have seen a few anguished posts from R2400 owners in here before, so I think some people may find it useful.
The whole reason why Aperture is hopeless at using the R2400's premium profiles is because - unusually - their default rendering intent is set to 'relative colorimetric' rather than 'perceptual'. You might say 'but that's good - it means you get more accurate colours!', and if you do, you're right... however, there's a snag. To get an image to reproduce well using Epson's premium profiles and relative colorimetric rendering, you really need to use black point compensation. This is where the trouble lies: Aperture's black point compensation is diabolical to the point of being unusable when used with relative colorimetric rendering - I feel I need to be awarded compensation every time I've ever tempted to use the setting. So because BPC in Aperture is unusable, that effectively makes the premium profiles unusable too, because Aperture always uses the default rendering intent specified in the profile.
The solution? Use perceptual rendering instead. Ok, so you can't change the rendering intent in Aperture, which makes that sound a tad difficult. However, as I said in the above paragraph, Aperture always obeys the default rendering intent specified in the profile... so you can see where we're going with this: we need to change the ICC profiles' default rendering intent from 'relative colorimetric' to 'perceptual'. I did some digging around and found one or two expensive pieces of software that could do that... but then I found that, lo and behold, the Mac OS has a command-line utility which can do the job for us, for precisely £0.00. It's called SIPS or 'Scriptable Image Processing System', and you can find out some information about it here: http://developer.apple.com/technotes/tn/tn2035.html#TNTAG58 For those who don't like reading technical jargon however, here's what you need to do to convert a profile's rendering intent. First go to terminal, then type in the following command:
sips -s renderingIntent perceptual
Do not press 'enter' yet. Instead, add a space after 'perceptual', find the ICC profile you want to modify, and click and drag it into the terminal window. You should then find that your command looks something like this:
sips -s renderingIntent perceptual /Users/yourname/folder/RandomProfile.ICC
At which point you can then press 'enter', and the command will execute, giving you an ICC profile which will now make Aperture use perceptual rendering.
There is just one further thing to be aware of after doing this: for some crazy reason, you then need to turn on BPC in Aperture for the prints to come out as good as possible. Black point compensation shouldn't make any difference when using perceptual rendering as the idea of perceptual is that it takes account of things like that anyway, however, in Aperture BPC does make a difference, so remember to turn it on to get a half decent print. In general, I find that prints made using this setup come out pretty well; they almost perfectly match prints made using the profiles with a perceptual intent in Photoshop Elements, except for the fact that Aperture blocks up the shadows a bit more than Photoshop. However, if you can live with that, you might find this is quite a workable solution.
Now, I said near the beginning of this post that all the above can apply to other printers too. Most printer profiles have 'perceptual' set as their default rendering intent, in which case everything I've just said won't be of much help. However, If you are reading this because you're having problems with ICC profiles in Aperture, but you don't use an Epson R2400, find your problematic ICC profile, double-click on it, and take a look at the window that opens: specifically, at the 'Rendering Intent' the window mentions. If it doesn't say 'Perceptual' then it may well be worth trying the steps I've outlined in this post to set it to perceptual, to see if doing so produces an improvement when using the profile in Aperture.
Finally, just one note of caution: if you decide to try out the steps I've detailed above on a paid-for custom-made profile, please back your profile up before messing with it. I haven't experienced any problems when using SIPS to change a profile's rendering intent, but I obviously can't guarantee that it won't do something weird and corrupt your expensive custom-made profile.
If you have any questions, feel free to ask, although (contrary to any impression I may give) I am not a colour-management expert; I'm just someone who doesn't give up when they have a problem that should be solvable.
Thomas
Mac Pro 2.0GHz with 30" ACD; 15" MacBook Pro 2.0GHz Mac OS X (10.4.10)

Thomas
Wow - thanks for such a comprehensive post.
I have Aperture and a 2400 so this information is exceptionally useful to me.
Again - thanks for caring and sharing
Brian

Adobe Acrobat Pro 9.1.0 distiller ICC profile error asks for reinstall

I have Windows XP professional, SP3.
My Systems Administrator recently upgraded my Adobe Acrobat Pro 8 to 9.1.0 and since then I keep getting an error that says: Distiller cannot find its standard ICC profiles. Please reinstall Adobe Acrobat to correct this problem.
This error happens when:
1. I print to Adobe from a web page (IE 7.0.5730.11 or Mozilla Firefox 2.0.0.20)
2. I try to print to any printer from certain websites, such as the usps.com, where I print all our postage labels from.
3. Occasionally when I start up the PC.
Sometimes I get the error but it still pdfs the page. Usually, though, it hangs and then Acrobat and the web browser close.
I seem to be able to pdf MS Office 2007 items (Word, Excel) and my Filemaker Pro Advanced 10 records. I guess it's when I'm "printing" to Adobe as opposed to "saving as pdf" that I have this problem.
Acrobat 8 worked fine. My Sys Admin has reinstalled the upgrade twice (after trying a repair which didn't work) to no avail. He can't find any documentation about this error at Adobe, so he's going to uninstall it and switch me back to Adobe 8.
I do all of the pdf'ing of our deliverable documents at my company and I would like to have the latest edition of Acrobat. If anyone knows of anything I can do, please let me know.
Thanks!
Stephie

Adobe Tech support was most helpful on this. First download the updated
Distiller ICC profile files at:
http://www.adobe.com/support/downloads/thankyou.jsp?ftpID=4075&fileID= 3790
Unzip the file and copy only the *.icc files (without regard to the subfolders that they are in - in other words, take the files out of each of the subfolders) to the followng folder in Windows 7:
c:\windows\system32\spool\drivers\color
These new files will probably overwrite some old ones.
This solved the problem for me.
This is actually the best solution though I found that instead of copying all the .icc files to the windows\sys... folder, all you need to do is copy the 3 Video files from the RGB folder (VideoHD.icc, VideoNTSC.icc, and VideoPAL.icc). Once you add these three files to c:\windows\system32\spool\drivers\color you will be good to go.
It seems that this was an error on the part of Adobe in that there is no reason to include Video files for printing. Nevertheless, the distiller will look for these and return the ICC profile error message if those files are not present.

Icc profiles are not being recognized by epson printer from LR 5 in Mac OS 10.10 yosemite

After switching to Mac OS 10.10 (Yosemite) my epson 3880 is no longer recognizing the icc profiles. Is anyone else having this issue?
I've already reinstalled all epson drivers and printer options to no avail. I'm thinking that lightroom and the printer are not communicating the icc profile info?

Striebig wrote:
I'm thinking that lightroom and the printer are not communicating the icc profile info?
That's not how it works. If LR does the color management, it converts the image from its working space (linear ProPhoto RGB) to the space defined by the ICC printer profile that you have designated in the Print module and sends to the printer that (converted) data. The printer driver should be set to "No Color Management" and therefore has no need to know the ICC profile. If you set LR to "Color Management: Managed by Printer", no profile is designated in LR, the data is sent unconverted, and you have to set the driver interface to the appropriate ICC profile - again no communication of the printer profile, although LR does send data that describes the working space so that the driver can make the conversion.

Could not complete the paste command because the icc profile is invalid

Hi. In PS CS4 & AI CS4.
I get the following error when I try to copy & paste a logo from Illustrator into Photoshop:
could not complete the paste command because the icc profile is invalid
I don't understand because the color settings are sychronized. I do this all the time. I have not received this error before.
Thanks.

I received the file from my client. However, last week I had no trouble pasting the same file into a PSD file, as a smart object.
The color file is a label mechanical, which I place into a PSD file of the product. These are used for print ads and web graphics. The color is very critical and has worked really well for the last 4 years.
I have used the default color settings in Creative Suite and its been working fine. They are in synch and, I have no idea how to re-assign the color profile. I’m a graphic Designer, color correction is not something I would do normally.
Ron

"Could not complete the custom command because the ICC profile is invalid"

I got the above message when I attempted to soft-proof an image in Photoshop CC on Windows 7 64-bit.
I had downloaded the ICC profile from drycreekphoto.com, specifically:
http://www.drycreekphoto.com/icc/Profiles/IccFiles/Arizona/Costco-AZ-Tucson-NW-Lus.icc
and installed it by right-clicking on the downloaded file and selecting "Install profile"
Windows installed the profile in the following directory:
C:\Windows\System32\spool\drivers\color
Then in Photoshop CC, I did
View -> Proof setup -> Custom
But when I selected the above profile from the dropdown list, I got error message
"Could not complete the custom command because the ICC profile is invalid"
Does this mean that the profile is really invalid, or am I doing something wrong?
FYI I am new to color management. This was my first attempt to soft proof an image.

I can't quite figure out how it got that way - it has part of an ICC profile structure, but quite a bit wrong. Even debugging tools can't read it as an ICC profile.
It's probably the one file - let drycreek/costco know so they can replace it.

When I try to paste an CCI file into a PSD, I get this message- Could not complete the Paste command because the ICC profile is invalid. I need the layer to be an editable smart object! What's the solution? Ron

When I try to paste an CCI file into a PSD, I get this message… Could not complete the Paste command because the ICC profile is invalid.
I need the layer to be an editable smart object! What's the solution?
Ron

I received the file from my client. However, last week I had no trouble pasting the same file into a PSD file, as a smart object.
The color file is a label mechanical, which I place into a PSD file of the product. These are used for print ads and web graphics. The color is very critical and has worked really well for the last 4 years.
I have used the default color settings in Creative Suite and its been working fine. They are in synch and, I have no idea how to re-assign the color profile. I’m a graphic Designer, color correction is not something I would do normally.
Ron

Hewlett Packard LaserJet PRO 200 Color M251NW - ICC Profile

My girlfriend works from home selling jewelry on Etsy and her prints have been coming out with a strange tint to them recently. I have tried to find the proper ICC profile to use with this printer, but can't seem to find it anywhere. Am I overlooking something?

I still can't get this to work properly. Is there a page that just lists the ICC profiles? I've found some on support tickets but nothing that just has all of them.

Broken ICC Profile?

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