Conversion of embedded colour profile

Hello good folk. I have an HDR image that I processed in Photomatix which I saved with an adobe RBG profile that I now have in Lightroom. Lightroom see's it as it should but When I tried to edit in photoshop even with the honour embedded profile ticked it still looks all off. I now export from Photomatrix as SRBG and there are no problems there. However this one photo (which is very important to me) Im having trouble with. Is there a way to change the profile to SRBG without affecting the image or could someone please advise me the best course of action. thank you for your time. Richard

Try opening the file in Photoshop and then use the Assign Profile (not the convert profile) option to assign sRGB to the image.

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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!!

Embeded Colour Profile

I search but I didn't see this topic so if I did miss it, I apologize...i actually looked in the manual with avail..
I import a lot of digital images from a Pentax ist-ds, K10d, and a Kodak coolscan. They all have different colour profiles that are not in agreement with my cs3 colour profile so when I import, I have to answer a question for every pic..this is tedious..is there anyway i can import a colour profile into cs3 (like noise ninja) or just have cs3 import the accept the profile that is in the image automatically ?
As well, importimg DDG images seems to be a two part process..can I reduce this down to one ?
Thanks
Ian.

In color settings set Photoshop to preserve profile.
then if you want the image to be in your work space you can convert to profile.

From Lightroom 4.4 RGB1998 - open in photoshop CS6 - embedded colour profile changing to SRGB regardless of Lightroom export settings.

Hi,
I'm experiencing an issue regarding lightroom 4.4 - Photoshop 13.0.6x64
This has just started happening in the last few days, I have not changed my settings etc ?
My external editing preferences in the Lightroom preferences menu for the edit in Adobe Photoshop CS6 command are
as follows,
File format    - TIFF
Color Space - AdobeRGB (1998)
Bit Depth      - 16 bits
I run CS6 working space in ColorMatch RGB at the request of the Pro lab I use & have done for years with great results. Before the file opens in CS6 I
get the Embedded Profile Mismatch pop up & I alway select use the embedded profile ( AdobeRGB1998) instead of the working space.
The mismatch menu always used to read,
Embedded : AdobeRGB 1998
Working : ColorMatch RGB
For some unknown reason every file I now open through Lightroom into CS6 - The Embedded Profile Mismatch warning is telling me that all my files
have an embedded SRGB IEC61966-2.1 profile ?
I can't get any of my files into photoshop with my normal AdobeRGB1998 embedded profile anymore regardless of Lightroom's external editing settings?
Seems they are being converted regardless ? have tried removing CS6 preferences Doc from the folder but not making any differences. Even my old files
that I know are RGB1998 embedded are turning up in CS6 converted to SRGB IEC61966-2.1 profile ?
I'm running a Mac 10.9.4, Lightroom 4.4 & Photoshop CS6 - 13.0.6 x64
Any ideas on how this started & how I can sort it out ?
Thanks,
Will.

Is ACR being used to render the images instead of LR? Open an image in the Camera Raw plug-in in Photoshop and check the Options at the bottom of the ACR plug-in that include bit-depth and color profile.

Export as JPEG with embedded colour profile

I want to save my raw image as a JPEG and tag the picture with a printer-specific profile, so I can send to a 3rd party printing company. I have a copy of their profile and placed in the appropriate filder on my system but when I do the export, this profile does not appear as an option in the Color Space drop down. I only get the 3 options as stated in the manual.
"Color Space Converts the photos to sRGB, AdobeRGB, or ProPhoto RGB color space and tags the photos with the color profile."
Is it possible to do what I want with Lightroom? Is there an equivalent of the PS convert to profile facility?
Thanks
Lee

What you can do is to create an action -- or better yet, a droplet -- for Photoshop that will provide this conversion to the destination space of your choice. Then you do an export from LR to a 16-bit ProPhoto TIFF, then drag your exported images onto the droplet (which is responsible for the color space conversion as well as dropping down to 8 bits if required). The droplet can help speed up the process if you have lots of these images to do.
Eric

How to view files embedded colour profile

I retouch all my images in photoshop from lightroom so they appear next to the raw file in lightroom when I come back. Depending on where the images will be printed they can have a different embedded profiles. without having to include the profile used in the naming of the file my question is:
Is there a way of viewing the file's embedded profile from within lightroom without having to re-open in photoshop to see?
cheers
mike

No, there isn't.
The only way I can think of is to write the color profile into the file name that is visible also in the Loupe View and Develop Module if you set the the View Options accordingly.
You also could create Collections for each color profile, or you could assign keywords (i.e. "sRGB"; "AdobeRGB", etc.).
WW

Colour profile mismatch

Does anyone know why images imported into Aperture with an embedded colour profile (sRGB IEC61966-2.1) export to Adobe Photoshop as Adobe RGB 1998?
Ideally I need Aperture to keep the cameras embedded profile and not convert it.
Just wondering if anyone has come across this problem and has found a solution to it.
many thanks
Jason

Aperture uses a very wide color space, wider than
Adobe RGB.
This is what I suspected and hoped was the case. What is this very wide space? I can't find it documented anywhere. Two linear working spaces I know of that are wider than Adobe RGB are "ProPhoto RGB" and "Ekta Space PS5, J Holmes". Either of these are recommended (by Bruce Fraser) for 16 bit files in PS.
When exporting, the export file presets allow you to
set color space for your chosen target.
Yes, and, before Aperture, I had been using one of those very wide spaces noted above in PS until going down to 8 bits for printer or web output.
However, round-tripping to Photoshop is different
.... the file is going to come back to Aperture. So
Aperture sets the widest color space PS can deal with
.... AdobeRGB. This means Aperture loses the least
color detail. (BTW, it also roundtrips the file as
16-bit, so the file sizes are pretty substantial.)
As noted, Adobe RGB is NOT the widest color space PS can deal with. Why is it not possible to to choose the PS export space? Is this because Aperture actually uses Adobe RGB as its space? If true, that would be unfortunate (and contradict your initial statement).
One would like to have the same very wide space in both Aperture and PS since unnecessary color space conversions are undesireable. In order to accomplish this now, I am forced to export a version and then open it in PS and then reimport it, rather than using the Open With External Editor option.
Really, I would like to be able to select Aperture's working space as well as the PS export space, as we can now for general version exports.
Aperture needs to document this much more clearly.
Dual 2.7Ghz G5 ATI Radeon X800 XT 2.5 GB ram Mac OS X (10.4.6)

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

PNG colour profiles - and this format for print

I know it's taboo to talk about PNG for printing.
But I can't find and I've searched the forums - there was a post made about embedding colour profiles a while ago.
I know PNG is a RGB only format, but I'm 36.8% sure I read something about embedding either RGB or ... wait for it CMYK profiles into PNG files.
If anyone can shed any light on this - and how about PNG for print - I've been against it for a long time - but it is a lossless format, it can carry 64 bit data.
I know I know - but I thought I'd ask anyway - see what people think.

You can't save a PNG with a profile out of Photoshop, but it looks like you can embed one via the image events scripts that ship with OSX (/Library/Scripts/ColorSync/embed). Unfortunately ID ignores the embedded profile and uses the document's assigned profile instead. PNGs do respond to ID's RGB profile and the RGB profile will have an effect on the CMYK separation when it happens.
Here's ProPhoto and sRGB:
From your ID document you can also assign a profile, which conflicts with the doc's profile, by selecting the png and choosing Image Color Settings.... So, you could assign AdobeRGB as your doc's profile and assign sRGB to all your pngs.

Colour Profile Question

I need an answer to this to win a bet...
Does (or can) video have an embedded colour profile as you get with graphic images?
I'm thinking specifically about why a single clip would have different chroma and gamma properties when opened in a range of different video apps.
A good detailed answer would really settle this for me!
Thanks.

Having done some digging I came across a paper by a scientist who compared the colour profiling of images and hardware (such as the TIFF format and Canon copiers amongst other things) and found that his conclusion was that video, as you say is a mish mash of awfullness and horror, for want of a better description.
His recommendation was that 'the video world' needed to start again and get some kind of standardisation and built in profiling within both formats and playback systems.
Of course in the real world that's not going to happen but it kind of proves that there is no proper colour profiling with video. yes they all have their inherent codec/format properties but even they can vary depending on what software/hardware you encode any given file on...as we well know from this forum alone!
I found some interesting facts along the way that also helped me solve a humdinger of a problem I was having in After Effects and Final Cut regarding high contrast DVCPro images, so it wasn't all wasted and I didn't feel at all sleepy`!
Thanks...

Image Colour Profiles are not being applied

When I import images in to InDesign CC 2014 the embedded colour profiles are not being activated.
Therefore images are looking flat and a bit washed out on screen.
In order to apply the colour profile I have to right click on the image go down to Graphics and the colour settings and select the correct profile.
In the InDesign colour settings menu I have Colour management policies set to Preserve Embedded Profiles on RGB and Preserve Numbers (ignore linked Profiles) for CMYK. However changing these to other options makes no difference, the profile still need to be activated on each image.
I am working with RGB images that have the Adobe RGB 1998 profile embedded in them.
I cannot figure out why this is happening!??

Check your color settings.

'creative colour suite settings' not enabled. Cant match Bridge / ACR colour profile to PS Colour se

Hi, i need some help if possible from anyone using CS4 on a Mac. I just switched to an IMac and downloaded the trial version of CS4. I am going to buy it i think but i am having trouble with colour space.
In PS i have changed the colour settings to reflect what my lab requires and that is working fine. But in Bridge i cannot access the 'creative suite colour settings' so that my pics coming out out of ACR into PS don't have the same colour space. I get a message saying the
'document has an embedded colour profile that does not match the current RGB working space.
embedded rgb 1998
working srgb IEC blah blah blah
In CS3 on my PC i think i remember changing both and i don't have any issue. I am getting really confused. Any advice would be appreciated :)

Did you download the whole suite or just Photoshop?
However, that's not the problem here. The issue is your settings in the ACR Output Options. Whatever you set there will be the color space used by ACR to open the image. To access the ACR Output Options, click on the blue underlined link right under the preview dialog box on ACR.

How do I change colour profile of embedded objects?

One of my Illustrator CS6 documents was intially created some time ago without paying much attention to colour management issues. I am now trying to put that right and have assigned the document a profile of Adobe RGB (i998). However, each time I open it I am warned that 'The document has an embedded color profile that does not match the current RGB working space'. It also says that the embedded profile is sRGB, while my working space is Adobe RGB. I get this message three times and am assuming that it refers to embedded objects.
So far, I have failed to find a permanent solution. Do I have to reimport all items that may have a colour profile, having first ensured that they are tagged as AdobeRGB?
David

Hi Monika,
First of all, let me apologise for using the word 'embedded' instead of 'linked'. I was distracted by the fact that the doc in question (an award certificate) is embedded in a Microsoft Access report. That being said, I have now found that all the linked logo images in this Illustrator doc are GIFs or TIFs that don't accept a colour profile (and thus cannot be the trigger for my profile warnings).
I use a Canon 5D and (rightly or wrongly) have chosen to standardise on a CS working space of Adobe RGB. However, your reference to digital photos is not relevant in this case as there are none in the document. My only concern is to make this document match my working space and no longer trigger irritating profile mismatch warnings. My overall objective is to ensure that the colours will all be correct when it goes to a printer (one of our sponsors, a UK colour paper manufacturer, will be printing the final certificates from a PDF file).
David

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.

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

Conversion of embedded colour profile

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