Color Space from RGB sRGB

Tried unchecking "Embed Color Profile" when saving a .psd to .jpg.
Still don't see the drop down menu for assignng color profile.
Where is the assign color profile to save or convert the color profile of image files? 

Edit – Assign Profile
Edit – Convert to Profile
You might want to read up on the (very important) difference between the two if You haven’t yet.
Several threads in this forum concerning the matter exist.

Similar Messages

  • Change Aperture previews color space from Adobe98 to sRgb

    Hi,
    I'd like to change the default color space for the jpg previews that Aperture generates from the masters of my library.
    I now have all my jpegs saved as Adobe98 but it's important for me to have them saved as sRGB because when third party apps and devices go to read them, they can't reproduce the right colors if they find the wrong color profile.
    Thanks in advance for your help!

    I don't know how many different ways to say that you cannot change the color space for previews. The files themselves have specific image data that corresponds to a specific color profile that is Adobe 1998 you cannot change the way Aperture generates these. Changing your system has nothing to do with it.
    As for work-flow - If you need this to work and it doesn't then it never has so I really don't see how it is changing your work-flow that never existed?
    RB
    Ps. External devices like projectors work fine as long as your presentation software respects the source profile and has an output device profile - what kind of "device" are you using?
    Message was edited by: rwboyer

  • Color space from lightroom to flickr

    Can anyone help me with this question....having developed raw images in lightroom, I then may publish some of them on my flickr account.  When these images are exported directly from Lightroom to Flickr, are they automatically exported in sRGB?....especially considering that Lightroom is a ProPhoto RGB color managed application.  I ask this because I know that people may look @ my images in non-color managed web browsers, like Internet Explorer, and if the images are exported in the ProPhoto RGB color space, the image colors will render poorly on that non-color managed web browser.  Are they automatically exported in the web friendly sRGB??  Thanks for your comments:)

    Perhaps you could help me with another question.  I always shoot in raw and process using ProPhoto RGB throughout my entire workflow.  However, 5 years ago, I shot in Jpeg.  I couldn't tell you what colour space my camera was set to then.  When editing those JPEGS in Lightroom, in what colour space should I apply to those images when I send them over to Photoshop?  I know JPEGs already have a colour space applied, but the camera I used then is long gone and therefore can't remember if they were shot in sRGB or Adobe RGB.  Also, whatever colour space I do use when exporting from Lightroom to Photoshop, I should set up Photoshop's working colour space to match the image's profile, correct?  So, should I apply sRGB or Adobe RGB to my JPEGs when going from Lightroom to Photoshop??  Thanks:)

  • AdobeRGB color space from camera

    My camera (Canon EOS Rebel XTi/400D) can be set to a Color Space that is either sRGB (the default) or AdobeRGB. As an experiment, I set it to AdobeRGB and processed a few photos (both JPGs and RAWs) through PSE5, which came out fine.
    However, I noticed that the metadata for those photos shows "Untagged RGB" instead of AdobeRGB. This doesn't matter in my normal workflow, since I have set PSE5 to import untagged photos as AdobeRGB. But it might mess up other workflows.
    I wonder if it is considered normal behavior for a camera to produce AdobeRGB photos that are not tagged as such, or if it is a peculiarity of this particular brand or model.
    (It also occurred to me later that the color space tag set by the camera only matters when shooting JPG, not when shooting RAW. The Camera RAW converter always converts to the color space that I have set PSE5 to, regardless of how the photo is tagged.)

    ED
    Your post has prompted me to investigate as I have recently come across the same issue.
    I have a Canon 20d and have set it to use AdobeRGB colour space. I recently noticed that a JPEG image file appears as untagged in the metadata in Elements 5 Organiser but when in the editor it confirms it has the AdobeRGB space as the "Image/Convert Colour profile" instruction only offers to convert to sRGB or Remove Profile options. Furthermore the print dialogue confirms the presence of the AdobeRGB colour space. This has not been applied since importing from the camera as I have set the colour management option to "Let Me Choose" for this test.
    The camera instruction book says if AdobeRGB is set in the camera the file name will start with an underscore: _MG which they do and that the ICC profile "is not appended" which may explain its absence in the metadata.
    As you suggested, RAW files do not appear to carry a colour space regardless of the camera setting although the file name still starts with _MG so perhaps it does? but on conversion using Adobe ACR with Elements, it attaches the colour space to the resulting file depending on the colour management setting and will use Adobe RGB if I set it to Always optimise for printing.
    I hope this helps.
    Andrew Bealing

  • Script for color space conversion RGB to CMYK - URGENT Help Wanted

    Excuse my ignorance with the basic nature of this question, I don't use InDesign, but I do have a pressing problem regarding it.
    My book publisher has just emailed to say that my photography book has been set for the printers in InDesign and the photographs have AdobeRGB color space (which was what I was aksed to send.) The printer needs the images to be in CMYK. The publisher said that he was "pretty sure Adobe Acrobat converts the InDesign files to CMYK" and that he has sent the printer RGB images in the past and they "came out OK". He said that if this will not work, he needs to convert all of the images separately to CMYK.
    Can you help with the following:
    1. Is he right about the above - can Adobe Acrobat convert the files?
    2. Can anyone offer me a script that will convert all of the images in InDesign to CMYK? or will he need to change them individually?
    Thanks for any suggestions with this urgent request.
    Stephen

    1. Acrobat can convert.
    2. No need for a script, if the printer needs CMYK, you can export a CMYK pdf.
    3. To get the highest quality conversions, you might want to do it in Photoshop.
    4. If the images are color managed and the printer has a modern work-flow a color managed RGB PDFX-4 pdf is probably the best way to go...
    Harbs

  • Displayport to HDMI is unable to get correct color space Limited RGB Range = Poor Image Quality

    RGB Full Range does not work and now my EIZO Monitor converts into Digital Television, which is not appropriate for color accuracy. Does anyone in this forum have the same issues as well.

    RGB Full Range does not work and now my EIZO Monitor converts into Digital Television, which is not appropriate for color accuracy. Does anyone in this forum have the same issues as well.

  • Changeing color modes from rgb to cmyk

    Good Morning Everyone,
    I am editing a file for a Realestate customer of mine. For some reason her previous designer didn't understand to make print material in cmyk ( I cant believe how many "designers" dont understand the difference.). I am now going back and correcting that issue so they will print accuratly. Usually I can do this in Illustrator and just go to the edit menu and then go to edit colors and choose convert to cmyk. That option is greyed out in this situation. Does anyone no why? I am attaching a screen shot. I am using illustrator cs6 on a mac running 10.7.5.

    What Jacob says but check that you Color Settings are set right for the type of printing in question. Otherwise the colours may not convert satisfactorily.

  • Why does Lightroom (and Photoshop) use AdobeRGB and/or ProPhoto RGB as default color spaces, when most monitors are standard gamut (sRGB) and cannot display the benefits of those wider gamuts?

    I've asked this in a couple other places online as I try to wrap my head around color management, but the answer continues to elude me. That, or I've had it explained and I just didn't comprehend. So I continue. My confusion is this: everywhere it seems, experts and gurus and teachers and generally good, kind people of knowledge claim the benefits (in most instances, though not all) of working in AdobeRGB and ProPhoto RGB. And yet nobody seems to mention that the majority of people - including presumably many of those championing the wider gamut color spaces - are working on standard gamut displays. And to my mind, this is a huge oversight. What it means is, at best, those working this way are seeing nothing different than photos edited/output in sRGB, because [fortunately] the photos they took didn't include colors that exceeded sRGB's real estate. But at worst, they're editing blind, and probably messing up their work. That landscape they shot with all those lush greens that sRGB can't handle? Well, if they're working in AdobeRGB on a standard gamut display, they can't see those greens either. So, as I understand it, the color managed software is going to algorithmically reign in that wild green and bring it down to sRGB's turf (and this I believe is where relative and perceptual rendering intents come into play), and give them the best approximation, within the display's gamut capabilities. But now this person is editing thinking they're in AdobeRGB, thinking that green is AdobeRGB's green, but it's not. So any changes they make to this image, they're making to an image that's displaying to their eyes as sRGB, even if the color space is, technically, AdobeRGB. So they save, output this image as an AdobeRGB file, unaware that [they] altered it seeing inaccurate color. The person who opens this file on a wide gamut monitor, in the appropriate (wide gamut) color space, is now going to see this image "accurately" for the first time. Only it was edited by someone who hadn't seen it accurately. So who know what it looks like. And if the person who edited it is there, they'd be like, "wait, that's not what I sent you!"
    Am I wrong? I feel like I'm in the Twilight Zone. I shoot everything RAW, and I someday would love to see these photos opened up in a nice, big color space. And since they're RAW, I will, and probably not too far in the future. But right now I export everything to sRGB, because - internet standards aside - I don't know anybody who I'd share my photos with, who has a wide gamut monitor. I mean, as far as I know, most standard gamut monitors can't even display 100% sRGB! I just bought a really nice QHD display marketed toward design and photography professionals, and I don't think it's 100. I thought of getting the wide gamut version, but was advised to stay away because so much of my day-to-day usage would be with things that didn't utilize those gamuts, and generally speaking, my colors would be off. So I went with the standard gamut, like 99% of everybody else.
    So what should I do? As it is, I have my Photoshop color space set to sRGB. I just read that Lightroom as its default uses ProPhoto in the Develop module, and AdobeRGB in the Library (for previews and such).
    Thanks for any help!
    Michael

    Okay. Going bigger is better, do so when you can (in 16-bit). Darn, those TIFs are big though. So, ideally, one really doesn't want to take the picture to Photoshop until one has to, right? Because as long as it's in LR, it's going to be a comparatively small file (a dozen or two MBs vs say 150 as a TIF). And doesn't LR's develop module use the same 'engine' or something, as ACR plug-in? So if your adjustments are basic, able to be done in either LR Develop, or PS ACR, all things being equal, choose to stay in LR?
    ssprengel Apr 28, 2015 9:40 PM
    PS RGB Workspace:  ProPhotoRGB and I convert any 8-bit documents to 16-bit before doing any adjustments.
    Why does one convert 8-bit pics to 16-bit? Not sure if this is an apt comparison, but it seems to me that that's kind of like upscaling, in video. Which I've always taken to mean adding redundant information to a file so that it 'fits' the larger canvas, but to no material improvement. In the case of video, I think I'd rather watch a 1080p movie on an HD (1080) screen (here I go again with my pixel-to-pixel prejudice), than watch a 1080p movie on a 4K TV, upscaled. But I'm ready to be wrong here, too. Maybe there would be no discernible difference? Maybe even though the source material were 1080p, I could still sit closer to the 4K TV, because of the smaller and more densely packed array of pixels. Or maybe I only get that benefit when it's a 4K picture on a 4K screen? Anyway, this is probably a different can of worms. I'm assuming that in the case of photo editing, converting from 8 to 16-bit allows one more room to work before bad things start to happen?
    I'm recent to Lightroom and still in the process of organizing from Aperture. Being forced to "this is your life" through all the years (I don't recommend!), I realize probably all of my pictures older than 7 years ago are jpeg, and probably low-fi at that. I'm wondering how I should handle them, if and when I do. I'm noting your settings, ssprengel.
    ssprengel Apr 28, 2015 9:40 PM
    I save my PS intermediate or final master copy of my work as a 16-bit TIF still in the ProPhotoRGB, and only when I'm ready to share the image do I convert to sRGB then 8-bits, in that order, then do File / Save As: Format=JPG.
    Part of the same question, I guess - why convert back to 8-bits? Is it for the recipient?  Do some machines not read 16-bit? Something else?
    For those of you working in these larger color spaces and not working with a wide gamut display, I'd love to know if there are any reasons you choose not to. Because I guess my biggest concern in all of this has been tied to what we're potentially losing by not seeing the breadth of the color space we work in represented while making value adjustments to our images. Based on what several have said here, it seems that the instances when our displays are unable to represent something as intended are infrequent, and when they do arise, they're usually not extreme.
    Simon G E Garrett Apr 29, 2015 4:57 AM
    With 8 bits, there are 256 possible values.  If you use those 8 bits to cover a wider range of colours, then the difference between two adjacent values - between 100 and 101, say - is a larger difference in colour.  With ProPhoto RGB in 8-bits there is a chance that this is visible, so a smooth colour wedge might look like a staircase.  Hence ProPhoto RGB files might need to be kept as 16-bit TIFs, which of course are much, much bigger than 8-bit jpegs.
    Over the course of my 'studies' I came across a side-by-side comparison of either two color spaces and how they handled value gradations, or 8-bit vs 16-bit in the same color space. One was a very smooth gradient, and the other was more like a series of columns, or as you say, a staircase. Maybe it was comparing sRGB with AdobeRGB, both as 8-bit. And how they handled the same "section" of value change. They're both working with 256 choices, right? So there might be some instances where, in 8-bit, the (numerically) same segment of values is smoother in sRGB than in AdobeRGB, no? Because of the example Simon illustrated above?
    Oh, also -- in my Lumix LX100 the options for color space are sRGB or AdobeRGB. Am I correct to say that when I'm shooting RAW, these are irrelevant or ignored? I know there are instances (certain camera effects) where the camera forces the shot as a jpeg, and usually in that instance I believe it will be forced sRGB.
    Thanks again. I think it's time to change some settings..

  • RGB color space in LR3 - does it convert back to sRGB on export?

    First off, I've only had LR3 for two days so I am a complete novice. I've been reading my book and just came across the part about RGB color space. I shoot with and use sRGB, which apparently LR will recognize. However, it states that the develop module uses Lightroom RGB. My question is, when I export my edited photos to PSE8 (or to a folder on my desktop to save and email for my daughter's business), does it export them back as sRGB? I know there is a lot of controversy over the whole RGB thing, but after my research on the matter, I have decided that sRGB is the best for my particular situation. I'm just making sure I don't have to check something or convert them back if they don't automatically change out of LightroomRGB.

    ColeeLou2,
    Some additional thoughts to what has been said already:
    I shoot with and use sRGB, which apparently LR will recognize.
    The color space you chose on your camera (sRGB, AdobeRGB) only affects the JPEG rendering in your camera. It does not affect the RAW file, as a RAW file is not in any color space. Upon import of a RAW into LR, it will be rendered in a ProPhoto RGB color space with an sRGB tone curve (Jao will correct me if I'm wrong ) for use within LR.
    My question is, when I export my edited photos to PSE8 (or to a folder on my desktop to save and email for my daughter's business),
    I would suggest using an sRGB color space upon export for external uses (like emailing to your daughter), but use ProPhotoRGB when going into PSE in external edit. This way you will have all the color information possible available in PSE, and PSE will recognize the ProPhotoRGB color space.
    Beat Gossweiler
    Switzerland

  • Color problem with ProPhoto RGB color space

    Hi, everyone,
    I have wery special problem I think. I use MacBook pro 15" with retina display, adobe Photoshop CC and when I export RAW (from Nikon D7000) from Lightroom 5 to Photoshop with settings: 16 bit TIF, color space: ProPhoto RGB I have a problem with displaying the correct colors. As you can see in this picture:
    My problem are some "green" artefacts in absolutely black and white picture. I tried myself to solve this problem and found the following facts: when I convert picture into Adobe RGB or sRGB color space is everything OK - without green artefacts.
    But here is one important fact: I have calibrated monitor by datacolor spyder4elite and problem with ProPhoto RGB incorrect color displaying is only when the color calibration configuration is loaded. When I change my display calibration to standard apple color LCD profile than is everything OK.
    But using uncalibrated monitor and also Adobe RGB color space are no right solutions for me.
    My question is why I have problem with displaying ProPhoto RGB color space in photoshop under calibrated monitor profile and can anybody help me please?
    Thanks for answers.

    That's a classic example of the basic problem with 16 bit color. There is no solution that I know of.

  • DreamColor Monitor from PC via VGA: Color-Space & Settings?

    Context:
    Premiere CC on a WIndows 7 laptop with an external DreamColor monitor connected via VGA port (for convenience rather than bit depth).
    What color space is appropriate in the DreamColor settings, i.e. what is the VGA likely to be supplying?   DreamColor's config options are: [ Full | AdobeRGB | Rec.601 | sRGB | Rec.709 | DCI P3 Emulation ].  I'm guessing sRGB, but is that reasonable e.g. is it the Adobe kind?

    Several questions spring to mind ... first, are you calibrating this with an actual "real" calibration tool, such as the i1Display units, anything? Because ... if the answer is no ... well, the output isn't set to any particular "there" before you even start, is it?
    Next ... what are you going to be outputting for? B-cast TV? Critical web use? Your own YouTube/Vimeo channel for the heck of it? Family records? Whatever is going to be the "heaviest" output (meaning demands on color space) sets the minimum from what your choices can offer. Critical web work or such, you would either want the Adobe RGB or the Rec.709 I would think. For just fun stuff, the sRGB would work ok.
    Fwiw ... Adobe RGB is a wider color space than "standard" sRGB. Rec.601 & Rec.709 are "broadcast" standards that include specialized base/gain/gamma settings. Rec.709 is the newer and far more common one of the two ... and it sets "black" as at value (in 8-bit terms) of 16 and "white" at 235. Data outside those values are used for technical purposes within the "system". Some modern video cams record in Rec.709, btw.

  • SRGB or Adobe Color Space

    What do I need to set my Color Space to? sRGB or Adobe? Also what setting should I have in Aperture 2 to get the best color. I use a D300.

    as the other feedbacks mention, your d300 raw files don't have a color profile as such. aperture itself works with a wider color gamut than sRGB or adobe RGB, no need to set anything within aperture. once you leave aperture, color profiles become essential.
    as a rule of thumb...
    - sRGB jpg for export to web, email, clients
    - 16 bit proPhoto for editing in photoshop
    - adobe RGB or sRGB for print (ask your printer what he prefers)
    also - some people mention CMYK for print. while print documents are prepared in CMYK, i'd always send your images in RGB and let the graphic designer (or printer) convert them to CMYK. they often use specific profiles that match their machines.

  • Deriving color space of an image from a byte array input stream.

    I was wondering, is it possible to derive the color space of an image, i.e. RGB, YCC, GRAY by calculating its bytes?

    Calculate bytes just means doing operations on the
    byte values. That's how I got the height and width of
    the image. Now, I'm wondering if it is possible for
    the color space.Look at the format specifications...
    By the way, do all image file types have different
    color space or could they all have the same color
    space, for example, RGB?They can have different color spaces. RGB, ARGB, CMYK, some Adobe format...

  • The availability of color space in RAW, TIFF and JPEG files

    This is useful if your new to DSLR photography.
    This is Nikon response on my question in the discussion: View photo metadata
    I'm assuming that you know that Adobe RGB shows about 50% and sRGB 35% of CIELAB color space.
    In a DSLR camera like the Nikon D800 you can select a color space (Adobe RGB or sRGB) in the shooting menu.
    In Adobe Lightroom 4.3 the RAW metadata shows no color space info. Therefore I asked why not?
    In the (Dutch) Nikon D800 manual on page 84 (about RAW) and 274 (about color space) and Nikon FAQ website there is no descripton about the color space availability/behavior in RAW, JPEG and TIFF files.
    In the book "Mastering the Nikon D800 by Darrel Young" on page 125 - 126 is written: "If you shoot in RAW format a lot, you may want to consider using Adobe RGB....."
    All experts on this forum answered: color space does not apply/affect the RAW data file or RAW files have no color space.
    The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are always physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available. So the forum experts gave the correct answer!
    Of course you can convert afterwards a JPEG or TIFF file with sRGB color space to Adobe RGB but you don't get more colors.
    When you install the Microsoft Camera Codec Pack or FastPictureViewer Codec Pack they only show color space metadata for JPEG and TIFF files and nothing for RAW because color space "doesn't exist". I thought the codec packs removed the color space metadata for my RAW files.
    Adobe Lightroom also can not show color space for RAW files because that "doesn't exist".

    Van-Paul wrote:
    The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available.
    I still think this is an evasive answer that doesn't really pinpoint the exact chain of events that take place. They are:
    1. The raw file contains the naked data captured by the sensor. This is just a very dark grayscale image.
    2. In the raw converter it is encoded into a working color space to process the information. In Lightroom this is known as "Melissa RGB", or linear gamma Prophoto. It is also demosaiced to bring back the color information.
    3. From Lightroom it can be exported to one of the familiar color spaces like sRGB or Adobe RGB. This is, in principle at least, a normal profile conversion.
    These three steps are what the camera does to produce a jpeg. So the basic steps are the same, the camera is just doing it automatically (and usually butchering the image in the process...).
    This Darrell Young is, I'm sure, an excellent photographer, but in this he is seriously confused and just propagating a common myth. Anyway, thanks for bringing up this discussion, hope you didn't object too much to the tone of the answers... Our only concern here was to get this right and with no room for misunderstanding.

  • Using 'color space suite'/ColorServicesProc

    Hi,
    I wrote a custom color picker plugin for Photoshop CS3. Now I have to extend it's functionality.
    To do this I need to convert the input color (whatever color space) to RGB.
    I'v tried the 'HostCSConvertColor' from the PIUtilities but it gave me wrong result RGB.
    I selected sRGB IEC61966-2.1 for my monitor.
    I selected Lab = (54,0,0) color for foreground color which is RGB(129,129, 129).
    The HostCSConvertColor converts it into RGB = (0, 55, 222)
    Is there a sample or some documentation using the color space suite properly and/or ColorServicesProc ?
    Thanks,
    TZolee

    When the picker invoked by PS it gets the initial color from PS in Lab space (PIPickerParams->pickParms).
    I just use that colorComponents without any modifications to call the HostCSConvertColor (just copied to a temporary place).
    Yes I know that the Lab color values signed. I took a deep research before I wrote this plugin.
    I've already read the documentation.
    I've already tested ~20 Lab color and the HostCSConvertColor was always wrong.

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