Embedded profile mismatch

Hi
I have a Nikon D300, color space set to AdobeRGB. i am shooting in Raw NEF. In Raw when i convert to gray scale i get thefollowing message:
'the document ..... has an embedded color profile that does not match the current working space. "
Photoshop CS3 is set to use color space North America Prepress 2, default is Adobe RGB(1998). I know it seems basic but what is it best to just use embedded profile or is it best do something else.
Is it best to change the color space to another setting? Thanks for your time.
Regards Bruce

Do a "Open as Smart Object"
That way you can retain the capture space in the file but you are working in the Adobe RGB working space.
It's best to do your image edits "in" Photoshop in a uniform color space.

Similar Messages

Embedded profile mismatch after saving Indesign to PDF, what to do please???

After importing some pica's from photoshop to indesign and saving it as a pdf, I noticed that my colours are totally wrong.
I now get the message:
Embedded profile mismatch
The document's embedded colour profile does not match the current RGB working space.
The current RGB colour management policy is to discard profiles that do not match the working space.
Embedded: Adobe RGB (1998)
Working: sRGB IEC61966-2.1
What do I have to do to make sure the chosen colours stay as they are??? I read something about a PDF/X-standard and
the possibility to copy a file from one to another map, but I'm totally lost now.
Can this be solved with the printerguy by asking joboptions???
Just Pannicing ........
Thnx upfront, Marjolein

That depends on how much you care about profile mismatches. you can turn off the warning dialog in Edit> Color Settings by unchecking the "ask when opening" button. Otherwise, you might want to note the document profile, then set your application back to that.

Embedded Profile Mismatch Help!

Greetings!
I kinda screwed up my "color settings"
When I open my file now I get the "Embedded Profile Mismatch" window pops up!
then it gives me 2 choices.
- Use the embedded profile
- Discard the embedded profile
Does anyone know which one to use...OR what "color settings" do I need to change back so this Window does NOT pop up again???
Thanks in Advance!

That depends on how much you care about profile mismatches. you can turn off the warning dialog in Edit> Color Settings by unchecking the "ask when opening" button. Otherwise, you might want to note the document profile, then set your application back to that.

"Embedded profile mismatch" message

CS5 gives me the "Embedded profile mismatch" message every time I open a new file, despite the fact that both camera and Photoshop are set for sRGB. I know how to uncheck the "Ask before opening" box, but don't want to risk a possible mismatch.
What am I doing wrong?

Bruce Fraser gave this advice:
The safest starting point is to set all Color Management Policies to Preserve Embedded Profiles, and to turn all warnings on. The other two policies change either the numbers in the images or the interpretation of those numbers automatically, which is great if that's something you understand and want to happen, but confusing at best and disastrous at worst when you don't. The warnings give you a moment's pause to consider the situation, and to act accordingly
you know there are several "sRGB" profiles commonly used, most likely the correct move would be Convert document's colors to the working space (your preferred sRGB profile)

25 Embedded Profile Mismatches for one document?

I have a CS4 document with 13 Artboards. When I open it I get the 'embedded profile mismatch' warning come up 25 times before the document opens. I have tried Edit>Assign Profile>Don't Color Manage This Document but the same thing happens next time I open the document and it shows the same embedded profile it had before. In fact, I don't seem to be able to change the document's profile at all.
Any idea's how to strip out the profile or give it a new one? And why it would give me 25 dialog boxes instead of 1?
Thanks

You have linked images with different profiles perhaps?
In the color settings turn off the warning feature.

Trying to open document but it keeps saying 'embedded profile mismatch'

I'm trying to open a document I've opened before but it keeps saying 'embedded profile mismatch' no matter which radio button I click. The 'embedded profile mismatch' dialogue box just pops up again.
Thanks for your hel on this.

Obviously you changed color management settings after you last opened the file.

What is a Profile Mismatch and why does it always show up?

b Question
Every time I open a file I get a prompt which reads: Embedded Profile Mismatch.
Embedded: Camera RGB Profile
Working: Adobe RGB (1998)
I always choose the default, which is the "embedded profile (instead of working space).
I have no idea what any of this means. I know that it started doing this after I chose something recommended in a Photoshop book.
Can someone please show me how to get rid of this prompt and point me in the direction of information that will help me choose the best profile?
b Answer supplied by Richard Rose
First the good news - your work flow is Color Managed.
Now the bad news - You have no idea what that means, nor how you are achieving that desirable situation.
You really need to start at the beginning and learn what color management is all about. For some reason lots of people get very confused and mislead trying to wrap their brains around the subject. It's really quite simple.
There are many named "color spaces" in which to work in Photoshop. you have chosen Adobe RGB (1998). You chose that color space in Photoshop CS under "Color Settings."
That's a good "general purpose" color space to use. It's very useful for workers preparing images intended for color reproduction in print (on a printing press). But it'll do for almost any use you have for your images. If your images are destined mostly for the Web, working in sRGB might be good. (I recommend just staying in Adobe RGB 1998)
The "short answer" as to why Photoshop needs to work in some particular "color space" is that the program must "translate" colors from their source (a digital camera, a scanner, a a graphics program) into a destination (display on a computer monitor screen, a particular printer, output for printing press reproduction, etc).
There are many compromises that take place in that translation process, and the requirements for all the possible conditions that must be satisfied (hue, saturation, how light or dark the image appears) cannot always be met. Something has to give somewhere.
Named color spaces (Adobe RGB, sRGB, Color Match RGB, Ekta Space, etc) make a number of assumptions and decisions about how color translations (conversions) should be carried out before Photoshop ever gets its hands on the image, and makes it much easier for Photoshop to carry out the conversions and maintain accuracy in converting (for instance) from a digital camera's idea of an image to the needs of your computer monitor (so you can see an accurate resemblance of the image) to the needs of a printing press, so that the image looks correct in a magazine.
The conversion process is carried out with the aid of "profiles." A profile is a set of data that is embedded in an image file that describes to any program that wants to read it, what the image data means in terms of color.
Without the profile, your digital camera's RGB file simply contains arbitrary RGB values. Yes, a particular pixel with high R values will be reddish, and another pixel with high B values will be blue, but the actual red or blue of those pixels as they relate to the original scene is unknown. The camera profile embedded in your file lets Photoshop know, to a high level of accuracy, just what hue of red, and just how much saturation is present, and how light or dark the red was in the scene. The profile's coding of this information is based on a color measurement system called CIE which uses several different mathematical models to carry out some VERY complicated computations. There are CIE Lab models, CIE XYZ, and others. These models are as close to an "absolute" color reference system as we have.
Thank God you are using camera files that actually have profiles! When you open such a file, Photoshop is "warning" you that the image information is in a color space other than the default Adobe RGB space. You told Photoshop to warn you about such "mismatch" when you set Color Management Policies in the Color Settings section.
Photoshop is telling you that "something" needs to be done. It can honor the camera's color space, from it's own frame of reference (Adobe RGB 1998) and work on the image, accurately handling the color information for screen display and eventual output. That's what you tell it to do when you "accept" the embedded profile. That's not bad, everything will work correctly, because Photoshop will have made internal conversions that remain active as long as the file is open, but there is something you have to keep in mind - when you save the file, Photoshop will save the original camera profile with it. Then if you open the file again, the same "warning" will occur.
That camera profile is as valid and useful as any other profile, but because it is not a commonly recognized color space may cause a problem in some other workflow. (Notice I said MAY. ICC color profiles SHOULD be ok in any program)
It is probably better to choose "Convert to working profile" on opening the file. From that point on, nothing will appear different to you, because nothing has really changed. Photoshop will handle the file as it did before, internally converting the color information as necessary with regard to its working space. But when you save the file, the Adobe RGB 1998 profile will be embedded in it. If you re-open it, you will get no mismatch warning, and the file will be recognized by most other image handling programs as having a "standard" color space.

Thanks! I still don't understand the concept of "saving power" in this context. Does that relate to a laptop running on battery, and some popups consume more battery power? Or does this refer to CPU capacity? I have never had any issue that I know of in these areas. I would understand the warning if it cautioned me about insufficient bandwidth, but that doesn't seem to apply here. In any case, am glad to find that this is a feature and not a bug.
Stan

Profile Mismatch with RAW

I recently began shooting in RAW, using a Canon 40D. I do not use the Canon-provided DPP, instead I use Photoshop CS4 Bridge (3.0.0.464), Camera Raw (5.4), and Photoshop CS4 (11.0.1). I believe that I am suffering from a profile mismatch. After completing my work in Camera Raw I click the “Open Image” button, which opens the image in Photoshop. There, the window’s title bar reads “Photo Name.dng@25% (RGB/8*)”. It is my understanding that the asterisk after the 8 indicates that a profile mismatch exists. When using this same software and equipment, but shooting JPEGs instead of RAW, I did not get this asterisk.
When looking at a RAW image, the metadata in Bridge provides this info:
Document Type:              DNG image
Bit Depth:                            16
Color Mode:                      RGB
Color Profile:                     Untagged
When looking at a JPEG image, the metadata in Bridge provides this info:
Document Type:              JPEG file
Bit Depth:                            8
Color Mode:                      RGB
Color Profile:                     sRGB IEC61966-2.1
Photoshop (edit>color settings) provides this info:
Settings:                              North America General Purpose 2
Working Space:                RGB sRGB IEC61966.21
Color Management Policies:      RGB Preserve Embedded Profiles
                                                                Profile Mismatches: No boxes are checked
My primary output is to a inkjet printer. I have searched various forums and read some Adobe white papers, in search of answers, but still need help.
Here are my questions:
1.       How do I correct this profile mismatch?
2.       Should I be using a bit depth of 16 or 8?
3.       If I should be changing the bit depth, how do I do that?
Thanks for your help.

Don4444 wrote:
After completing my work in Camera Raw I click the “Open Image” button, which opens the image in Photoshop.
In Camera Raw, what working space do you have it set for processing? If Camera Raw and Photoshop are both set to sRGB, you don't have a profile mismatch. If Camera Raw is set for any other space and Photoshop is set for sRGB then yes you have a mismatch. So, what is Camera Raw set to open as?

Files with embedded profiles shown as untagged in Bridge.Bridge only right about files saved from PS

Photoshop works perfectly when saving files as .psds etc. or PDF-Standards (PDF-X etc.), embedding the profiles correctly. However, InDesign and Illustrator do not embed any colour profiles in .pdfs, in their native formats (.indd and .ai) or any other format apart from .jpg.
Why is Photoshop working perfectly, yet AI and INDD are not? Everything was installed at the same time, and the colour management settings are all synchronised in bridge.
All I want to be able to do is save as one of the default PDF-X settings (via File > Save As in Illustrator), but as I said, saving as the same PDF-X standard across all 3 programs only embeds the profile if saved from Photoshop. I don’t have the slightest clue why Photshop is the only one that works.
Although, according to this post, which seems very similar to my question, it might be Adobe Brdige CS5 that is wrong: http://forums.adobe.com/message/3565578
Because I have files that Bridge shows as untagged, which upon opening do in fact have an embedded colour profile. Ugh, this stuff is confusing!

Thanks so much for your help, I didn't know any of those things. Very interesting.
In regards to Photoshop rasterizing PDFs, what exactly are the ramifications of that? A PDF-X saved from Photoshop is still fine to send to the print press, right?
So far, all the print work I do I design in the colour space specified by my printer, then save as a PDF-X1a (which is also what they specify), by doing 'Save As' in Illlustrator. I also name the file with the colour space, and my printer has not had any problems with this.
The reason I'm asking about colour management, is that I may start expanding into the area of designing adverts for newspapers and magazines, and this involves different colour spaces. And newspapers etc. around here won't be as fussy about colour management as my print-press, which is a very good print company. So it would be better if I knew they were getting PDFs from me with embedded colour profiles.
I think the situation is that when I save things with embedded profiles, that it does in fact work, despite what Bridge, Illustrator and InDesign say. I have .ai files that show up in Bridge as untagged, but when opened in Illustrator, do indeed have an embedded colour profile.
It's very confusing to know what's going on.
A rather non-technical workaround, which alot of people seem to use, is just designing the file in the correct colour space, saving the file in that colour space, naming the file with that colour space, and then when it gets to the printer/magazine/newspaper etc. hoping that (A) there is colour profile data in the file that people can see at the destination or (B) the people at the destination know from the file name that you designed it in the correct space, and so they just Assign Profile at their end, and all is well.
I mean, what's the alternative, I can't suddenly stop using Illustrator and InDesign, and doing ALL my work in Photoshop, just because of what Bridge says!

PS CS with color space set to Prophoto RGB - will ACR change embedded profiles?

Probably a foolish question but my problem is that I have a mixture of files:
My own files (all initially RAW (NEF) which I import into ACR as 16 bit Prophoto RGB ).
Files from family members and from slide scanning performed elsewhere - they are in 2 groups:
The first of these from elsewhere acquired files were all JPEGs that I converted to Tiffs in Bridge before setting out to edit them-- all unfortunately 8bit and sRGB.
The scanned files were scanned as tiffs but also 8bit and sRGB.
My normal procedure is that I in ACR I have set the files to 16 bit and Prophoto RGB. In PS the same but also to preserve embedded profiles. I have the impression that working with the "foreign" files in 16 bit does give me more room for editing but that I should continue with the embedded profiles.
Is there a way to ensure that the color profiles are not changed in ACR even if the line in the middle below says 16 bit Prophoto RGB (I have PS CS5). I would hate to have to change this line each time I view a file in ACR. I would hate more to loose the editing facilities in ACR as these acquired files do need som special care before they are mixed with my own in our family albums. I prefer the 16 bit Prophoto RGB option for my own files as I like to play with them - i.e. apart from including them in Photo Albums.
I do see that a logical way is to process all the acquired files before going to my own files but it is so much more practical for me to work with a mixture of the files sorted chronologically - a year or month at the time.
I would even consider getting an upgrade to CS6 if this version could help me.
Can someone enligthen me?
Thanks, Git

Hi, Tom.
The real issue here is getting accurate color. You can't get accurate color by setting your monitor profile to sRGB. sRGB is a virtual color space that doesn't describe the exact color gamut of any physical device. But, in order to display sRGB or any color space accurately, you need to get a characterization of your monitor.
Here is an AWESOME way to get access to a colorimeter: http://www.lensrentals.com/rent/pantone-huey-colorimeter Looks like for $32 you can rent this for a week. Go in on this with a friend and profile both of your monitors and hardly pay a thing. If you have a reasonably good quality LCD monitor, this custom profile you make will be fairly accurate for many months. At the very least, this is way more accurate than having no regular calibration at all.
Hope this helps!
Bret

Colour management - embedded profiles

Could anyone assist as I haven't had this problem in CS5 photoshop but when I upgraded to CS6 photoshop I followed the recommended settings like using ProPhoto RBG.
I edit in the working space colour management but not always have the same results on screen...have calibrated my monitor.
Then when it does look correct on screen and I re-import into Photoshop, my picture turns out bright red and I need to use Adobe RBG (1998). I am saving the pictures with the profile embedded, works better with Adobe RBG.
What should I be using as the settings as well as management policies - currently Preserve Embedded Profiles?
I don't want to have nice looking pictures in Photoshop and then have them print incorrectly or look terrible on another monitor.
Thanks

it would be more accurate to say that the Working RGB is "Assumed" not Assigned...assigning is an action of tagging the image.
Hi, Jeff, I concede your point.
If I recall correctly, Bruce and color.org also favor that terminology?
Though as a non-technical writer targeting beginners, I prefer to use "in essence," "for practical purposes" Photoshop is "Assigning" its default/working space under c.pfaffenbichler's scenario because it has the same end effect -- the proof is -- manually Edit> Assign Profile (working space) and the source RGB Converts to Monitor RGB and Print Space exactly the same as c.pfaffenbichler's approach (or is that not correct?).
But I do believe everyone here agrees that THE CORRECT SOURCE PROFILE MUST ALWAYS BE ASSUMED OR ASSIGNED BEFORE PHOTOSHOP CAN FAITHFULLY CONVERT/TRANSFORM SOURCE COLORS TO MONITOR RGB, DESTINATION PROFILES OR SPECIFIC PRINT SPACES.
For me, I think my loose "Assign" terminology is easier to visualize and demonstrate in a learning environment (at least it was for me to grasp or describe the concept in an active, visual sense).
On the other hand, I think "Assume" better suits OSX and Windows engineering assumptions the monitor is an sRGB-compliant device in an unmanaged viewing environment -- but that's just how I choose to present my theories.
As always, I prefer a shredding if I am wrong or unclear because my goal is to get it right and to the point...
G BALLARD

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)

Export as PDF with embedded profiles for Grayscale images

Does InDesign CS6 export pages with Grayscale images as PDF with embedded profiles?
Possible profiles, for instance:
– Gamma 2.2
– Dot gain 20%
– Black Ink ISO Coated v2 (ECI)
Export mode:
– Acrobat 5 or higher
– No color conversion
– Embed all profiles
Test by Acrobat Pro
Advanced > Print production > Preflight > PDF analysis > List objects using ICC/Lab/Calibrated Color
[The question is not about the export of Color images as Grayscales]
Best regards --Gernot Hoffmann

I wouldn't ever use different RGB profiles and different CMYK profiles and
different Gray profiles in one doc – it's just necessary for tests.
If you had a hypothetical case where your InDesign document's assigned CMYK profile and intended output was ISOcoated_v2_300_eci and you recieved grayscales for placement with different gray profiles assigned, I think you would have to make the conversion in Photoshop if you want the grayscales to be converted to your ISOcoated_v2_300_eci output intent space.
So in this case I have a grayscale image with Dot Gain 10% assigned and you can see the 50% patch is reading as 50% in Info panel:
If set my Working Gray space to the ISO Coated profile as above and do a Convert to Profile with the Destination set to Working Gray:
The preview doesn't change but I get converted gray values—50% is now 44%:
If I place the grayscale in an InDesign doc with ISOcoated_v2_300_eci assigned as the CMYK profile, the preview won't change (you have to turn on Overprint /Sep Preview), and the converted numbers will show in Separation Preview. The preview and numbers will also be unchanged in Acrobat if you export to default PDF/X-4

"paste profile mismatch" ... what rendering intent is used?

When using edit > convert to profile... one can choose 1 of 4 rendering intents (Photoshop CS3).
Does anyone know which 2 of the 4 are used in the following situation ?
paste profile mismatch
You are pasting content copied from a document with a different color profile.
Source: (profile)
Destination: (different profile)
What would you like to do ?
( ) convert (preserve color appearance)
( ) don't convert (preserve color numbers)
My guess is that the second option uses the "absolute colorimetric" rendering intent.
But what about the first option (preserve color appearance) ? Does it use "perceptual" or "relative colorimetric" ?
And in case this issue has not been improved upon in CS4, I'd suggest that the corresponding rendering intent be mentioned in the dialog box (in addition to or instead of the "preserve..." explanation).

The first one converts using the conversion options set in your color settings, under more options. The second doesn't convert, it assigns the destination document color space. No numbers are converted, but their appearance in the new document will change as they take on a different profile.
More about color conversion options:
http://help.adobe.com/en_US/Photoshop/11.0/WS46189F37-21A5-441e-8FF5-A5C35BCEDF67.html
More about rendering intents:
http://help.adobe.com/en_US/Photoshop/11.0/WS6078C298-CB20-4dc8-ACD4-D344110AA026.html

Output Preview Simulation Profile Automatically Shows Embedded Profile

I am curious if there is a way to have the embedded profile in a PDF to be the 'default' simulated profile in the Output Preview?
Without thishappening faulty percentages may be shown, or if a BW file has an embedded BW profile, but the simulated profile is a CMYK profile the file is now 4-color (in the preview only, obviously the file is truly BW).
Yes, I know we can look at the 'Object Inspector' to find out if, and what, profile is embedded (if any) and then change the Simulation Profile to match, but it would be nice to have that done automatically if possible.

My point is that, to start with, what should the profile be if the PDF contains 17 profiles? What if it contains 2 different profiles with the same name? Your task may be simple, but designing it in the software is anything but. Also, getting all the profiles could take many minutes for a PDF with tens of thousands of pages.

Embedded profile mismatch

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