ICC Profile save dialogue.

Is there a way to adjust the .AI save dialogue to have ICC profiles permanently unchecked? I am finding that in CS6 all of my effects convert to images once an .AI file is saved out. For instance in my effects palette if I have a drop shadow on a vector object, then save, the shadow will then convert to an un-editable 'image' layer.
Running a Mac OSX 10.6.8 CS6 Suite.
Thank you.

Your raster effects would chnaeg to embedded images if you are opening .AI CS6 files in CS5. ATleast they give you this message to look out for.

Similar Messages

For archiving photos, should I save sRGB ICC profile?

Hi all.
I have started scanning old print photographs for archive.
I started a bunch of them, but now am pondering if whether or not I should save an ICC profile to the files.
Basically I'm scanning in the photos at 600 dpi, and saving them as TIFF with NO compression and set to IBM PC.
For the ICC profile option, it gives me sRGB IEC61966-2.1.
Do I need to tick that when saving, or will the colors look fine in future computers/applications?
I'm kinda confused on the ICC/sRGB matter even after reading about it. From what I understood it's only to display colors accurately for the Web.
How does ICC/sRGB factor into my archival project?
I'd greatly appreciate any feedback, tips and advice.
Thank you.

Yes, if you are archiving, save the document with it's profile.
You don't need to convert to any particular profile (which could lose details), just save with the profile of the document.
ICC defines a standard for describing document colors. Without that information, your document is just numbers without any known appearance. With a profile, the document numbers have an unambiguous interpretation as colors.
sRGB is just a profile that represents the average CRT as of 10+ years ago, and is sort of a standard average for web viewing on uncalibrated displays and web browsers that don't always obey profiles.

How do you create and save icc profiles using photoshop?

How do you create and save icc profiles using photoshop?

You don't. Color profiles require specific measurement hardware and software.
Mylenium

Why can't I save an icc profile to a template?

Why can't I save an icc profile to a template?

Just tested it... LR5 on Win7 correctly remembers the ICC profile settings in the print templates. Furthermore, internal settings of the printer driver (if printer-level color mgt is used) should be remembered, too (I didn't test this now). Which LR-version/OS are you using? Perhaps others can reproduce the problem.
Or do you mean why ICC profiles can't be embedded diretly in the print template file, e.g. to transfer them to another computer? This would be difficult because ICC profiles have to be "formally" installed in the operating system before use. Although LR could be able to use "local" profiles I suppose (but that wouldn't be a "clean" use of ICC profiles).

Newbie: PS CS3, save as + ICC Profile

Sorry if i'm going to ask a newbie qu.
When i'm saving a JPG file format, using SAVE AS function i have an option to mark the Color type.
what will be the diff. if i'll save the file with the color profile (ICC Profile: sRGB IEC61966-2.1) or without the ICC profile?
and what is the best ICC profile to use?
thanx in advance

Reduce it to 8-bit or use a PSD.
EPS is
so last century.

ICC profiles missing in Print dialogue

Couldnt find anything on this matter. Ill keep it simpe:
Seems the print dialouge in PS CS6 isnt calling on the colorsync folder for ICC profiles.
However, soft proofing does call on these profiles. Any thoughts why I am not able to use ICC profiles in print mode?
Reference attached images.
Profiles loaded:
Profiled Not Loaded:

Chris,
Thanks for the input. In CS5, my soft proofing settings would typically
mirror my printer profiles. I would be able to load my profiles from the
print area in CS5 simply by placing them in the colorsync folder in my mac.
The files to be printed are an RGB file to be sent to an RGB printer (epson
9880). The issue is my paper profiles are not loading in the print dialoge.
Im curious to know if CS6 is calling on this folder or if the profiles need
to be loaded somewhere else.

ICC profile conflicts when printing from Aperture?

I have worked with Aperture now for two years, and I still have problems printing anything that is close enough to what I see on my calibrated screen. And believe me, I have done some reading on color management and ICC profiles. I suspect that Aperture pulls in ICC color profiles in a way that doesn't allow reproducing what I see on the screen. I wonder if these problems are related to the Registered ColorSync devices: opening ColorSync Utility under Devices reveals a bunch of default printers with a diversity of profiles, even if I have no access to these printers (in part these are network printers of my previous employment). I cannot figure out how I can delete these entries: I tried to find remaining printer profiles of these printers in my files, but could not find anything. How can I delete these entries, and can these entries cause color profile conflicts?
More specificially: I work with Aperture 2.1.3 and view my photos on a calibrated 23" Cinema display, run from a MBP with 2.16 GHz Intel Core 2 Duo, 10.5.6, and 2GB of memory. My monitor is calibrated with a Spyder for D65 and gamma of 2.2. I print with an Epson 3800 on Epson paper.
Here is my problem: despite calibrated monitor I don't get the prints to look even remotely close to what I get on my screen. Of course, I use the correct ICC profiles for my papers, and of course I have Aperture (and not the printer) run color management. It seems, however, that my prints resemble my monitor more if I use strange profiles such as "Wide Gamut RGB" or "ProPhoto RGB" as my monitor's profile instead of the calibrated D65, gamma 2.2.
In detail, here are my regular print settings in Aperture:
Print Mode: AccuPhoto HD
Color Mode: Off (No Color Management)
Output Resolution: SuperPhoto - 1440 dpi
Advanced Color Settings: Epson Driver Color Management is Off.
In the Aperture Print menu I use under Printer Selection:
ColorSync Profile: for example, Pro38 PGPP, when I use Epson Premium Photo Paper Glossy
Black Point Compensation checked.
Gamma: 1:00
Under Layout Options I use Print Resolution: Use Best DPI
With these settings the prints look significantly colder than what I see on the screen. Of course, a certain amount of the warmth of the screen colors comes from the calibration to D65 and gamma of 2.2, but shouldn't this give me the best correspondence between the calibrated screen and the print (using of course the color management of the application with ICC profiles, not the printer driver color management)?
I tried the same in CS4 and Lightroom, but no difference. Again, the problem is not that the prints are terrible: they are just not very close to what I see on the calibrated screen.
Where do I make a mistake? All suggestions are very welcome! This is driving me crazy. Many thanks for your help!
Best,
Kai

While the technical aspects of color management are complex, they are largely irrelevant for users.
The following steps have worked well for me:
Step One: Calibrate your monitor. I use the Datacolor Spyder. This produces a monitor profile. Use System Preferences to set your monitor to use this profile. Don't use this profile for anything else and give it a clear name so that you don't confuse it with a printer profile.
Step Two: Download and install the latest drivers for your printer. Buy a small box of photo paper (gloss, semi-gloss) from the manufacturer of your printer. Make sure that you have the correct ICC profiles for this paper and printer. You are trying to establish a baseline.
Step Three: Pick an image with a reasonable range of colors and exposures. (Don't start with a "difficult" image.) Turn soft proofing off and adjust the image as desired.
Step Four: Send this image to the printer. Load up the manufacturer's paper.
Step Five: In the "print" dialog, go to the "Printer Settings" sub menu and select the correct "Quality and Media" and the appropriate setting for "photo" quality. Make sure that all of the color options are neutral. Save.
Step Six: Back on the "Print" dialog select the correct ICC profile for your paper/printer. (Careful, DON'T use the calibrated monitor profile!) Adjust other settings as required. Save and name the preset.
Step Seven: Print and Pray. (And pray I haven't missed a step - sorry I'm not at my Mac. From your initial post, it sounds like you know how to do all of this.)
The results should be reasonably close. (That is why you should use the printer manufacturer's own paper and profiles as a starting point.)
If you are happy, great - get a beer. If not, try the following, making only one change at a time:
== Turn Soft Proofing on using the profile of the paper/printer. (Don't select the profile for your monitor, or any other.) Do the screen and print match now? If so, then you know to do your adjusting with soft proofing on. Remember, soft proofing is not exact - it is merely an attempt to make your screen look like the combination of paper and printer.
== If Soft Proofing makes your monitor look LESS like the print, then don't don't use Soft Proofing.
== If the results are close, you can make fine adjustments using the "Printer Settings" sub menu and saving presents. For example; I use a lot of CostCo paper in my Canon Pixma Pro9000. CostCo says that their paper mimics Canon's Photo Paper Pro, so I use the settings and profile for that paper, but I tweek the cyans and reds a bit in printer settings.
I have found that Red River profiles are a very good match for their papers.
Hope this helps. Good luck!

Placing a PDF with ICC profile embedded

If I place a PDF with a ICC profile embedded, InDesign doesn't take in consideration it.
In the case that the Indd colour workspace is different from the ICC embedded in the PDF, when I export to PDF the color conversion is wrong.
For example the PDF embedded ICC profile is US webcoated (Swop), the Indd workspace is Iso Coated L39 v2 and I want export to PDF with conversion to PSO lwc improved,
the conversion that I get is wrong.With an image with the ICC pofile embedded the conversion is ok.
does anyone know how it works?

With regards to placing PDF/X files in either InDesign or Illustrator ...
Neither InDesign nor Illustrator currently do anything whatsoever with the Output Intent ICC profile in a PDF/X file. It is totally ignored. In PDF/X-1a files, there is no other color mangement and as such, all objects are either DeviceCMYK or DeviceGray or spot colors. The objects are imported as CMYK or spot color values assuming the document's default CMYK color space. Thus, if you place a PDF/X-1a file with a profile for Gracol and your InDesign document's default color space is US Web Coated SWOP, those CMYK colors in the PDF/X-1a will be brought in as-is but interpreted as is they were US Web Coated SWOP.
The picture becomes a bit more complex for PDF/X-4. All untagged CMYK objects in a PDF/X-4 file are assumed to have the color space of the embedded Output Intent ICC profile. CMYK content in PDF/X-4 that uses a CMYK color space must be explicitly tagged as such and have an embedded profile for such color spaces. Ironically, all CMYK content that matches the color space of the Output Intent ICC profile must be specified as DeviceCMYK per the PDF/X-4 specification (there is a long story about why that is the case). When PDF/X-4 is placed in InDesign or Illustrator, similar to the case of PDF/X-1a, the Output Intent ICC profile is indeed ignored and DeviceCMYK colors assume the document's default CMYK color space. All explictly tagged with ICC profile CMYK and RGB objects in PDF/X-4 maintain such tagging when placed within an InDesign or Illustrator document and are either preserved on PDF export/save or converted based on the PDF export/save options specified.
Is this a problem? Yes, I believe so. I am in the process of looking at what can be done to improve the PDF/X placement capability in the future so that this problem is ameliorated.
- Dov

LR 4.3 Print Module + Dry Creek icc Profile = jpeg that Apple SW won't open

Greetings,
I have used Dry Creek Photo's (http://www.drycreekphoto.com/) Costo printer profiles successfully for some time with PS and they seem to work fine for soft proofing in LR4... but when I select one of those profiles in LR's Print module for export to jpeg[1] the jpegs produced cannot be opened with Preview, Color Sync, Safari, seemingly any Apple software in OS X (I've tried with both Snow Leopard and Lion). The jpegs do open in PS and browsers like Chrome and Firefox. If I open the files in PS and then save them with "Save As" the saved files open correctly in Preview, etc. Also, other icc profiles (like Adobe or sRGB) seem to work fine. I do not know if the printers at Costco can read the problematic jpegs or not.
Can anyone expain what's happening here? Am I doing something wrong? Is this a LR or Apple bug? Will the jpegs printed from LR's print module be usable on Costco's printers? Will I have to "launder" everything through PS (which would I would obvioiusly rather not do)?
Thanks!
[1] Files printed at Costco need to be in the color space of the printer for Soft Proofing to work since unless it's changed recently Costco's printers ignore embedded profiles. See, http://www.drycreekphoto.com/icc/using_printer_profiles.htm

This file (it's just a screenshot of this browser window "Printed" from LR4) is an example of one that will produce the problem described in my OP: https://dl.dropbox.com/u/36072/Misc.%20Forums/test1.jpg
It was produced with Lightroom 4.3 on OS X 10.6.8. It is using this (http://www.drycreekphoto.com/icc/Profiles/IccFiles/Florida/Costco-FL-Lantana-Gls.icc) icc profile (picked at random to maintain my anonyminity). Trying to open that image with any Apple application on either OS X 10.6 or 10.7 fails for me. I can successfully open the file in PS, Chrome and Firefox in both 10.6 and 10.7 without issues. On OS X 10.7 I get the following dialog when trying to open it with Preview:
Doing "Get Info" on the file results yields this:

Icc profiles fine arts paper grayed out in Lion

Running Lion, In the print dialogue box, I can't access the icc profiles for Epson fine arts paper, even though I have the matte black cartridge installed. In the Media Type box, the Fine Arts selection includes all three fine arts papers for my Epson 2880 printer, but all three are grayed out. However, it works fine for matte papers. My icc profiles (including the three for Epson fine arts papers) are installed in ~/Library/Colorsync/Profiles, also in HD/Library/Colorsync/Profiles. Any suggestions?

Same problem with greyed out profiles for Fine Art Papers
The ICC Profiles for the Epson fine art papers that I downloaded from their site are coming up with errors in the ColorSync Profile First Aid. I redownloaded the profiles, but they’re still showing up as bad profiles and they can’t be fixed.
Sample error:
Header padding is not null.
Tag 'DEVD': Tag reserved field is not zero.
Tag 'DEVS': Tag reserved field is not zero.
The file is locked. Could not be fixed.
So what do I do now?

Icc profiles for aperture book printing...

Do the Aperture Book Printing folks provide icc profiles so I can soft-proof the images beforehand?

Please note that monitors provide fairly accurate color when the images are saved in an sRGB color space, however, presses are not as reliable...
Well, Mike, thanks for sharing the info here.
At one point, in Mark's email to you, as mentioned above in his email from Apple, I have to say I am a little surprised about his statement re: monitors provide fairly accurate... when the images saved in an sRGB colour space...
It is very tricky statement where it depends on how we define the term "fairly accurate" in monitors. What we don't know if Mark meant by when monitor has been "properly" set up as profiled and calibrated with high-grade calibration hardware. Unless IF the monitor has been proper profiled and calibrated, then his statement would be correct. But IF not profiled or calibrated at all, I am afraid that his statement is incorrect.
Now these days with newer monitors and newer Apple laptops with better monitor technology, it is still need to be properly profiled and calibrated. It just depends on individual's preference, desire and the purpose of such project whatever someone is working on. While majority of Aperture users' are probably mostly professional photographers or those who are into photography savvy, then colour-managed workflow is a norm. For me, it IS absolute A MUST colour-managed workflow.
Although, I do a heavy post-production workflow on MacPro where I always have my monitors calibrated. I don't typically calibrate my laptop, though. Because sometimes I forgot to turn off the automatic ambient light in System Preference in Display section. It is a little inconvenience in that case. Unless if I am being away on photographic trips far from Canada abroad, then it is a different story. But not always bring my calibration device with me. Too inconvenience to haul it around at the airports etc. So colour-managed workflow is a must with MacPro in my studio.
However, other individuals have their own preference, comfort zone and the purpose of such project. Perhaps their workflow set up differently than yours or mine, that is ok.
But in that email you received from someone at Apple didn't make it clear about that statement about 'fairly accuracy'.
Then something else is something else actually--when Apple guy said presses are not always.... Again, that is why it is important that you get monitor properly profiled and calibrated. Once it is done properly, then it is all good. But remember, you need to re-calibrate monitor once a week or every two weeks or once month. In order to get pretty close to printed output, always a good idea to soft proof. If needed to make slightly conservative adjustments to your satisfaction or level of expectation, the output would be fairly close to what it is appeared in monitor. When I mean "fairly close" in comparing the output to what you are seeing in monitor with these post-production images used in that output, in fairness, I would estimate fairly close in terms of anywhere in range between 92 to 95 percent - that is very fair conservative perspective on how close in the output vs monitor. It is truly, really, truly rare to get the output 100% as obvious and precise as you are seeing in monitor. If that is the case, and if that is true FOR that person achieved this, this probably means takes that person many years to perfect his/her colour-managed workflow for that matter. Never has been that pretty close, but I'd be shocked if I see mine aced right on spot. I'd be lying to you if I get all output perfect as appeared in my monitors. If I did, that would be incorrect statement.
It seems a lot of factors and things to do and things need to require in a thoroughly colour-managed workflow production, it is how it is done. But this can also means save money, effort and time if done properly right from the beginning.
In fairness, I would really wish that guy from Apple should have said a little more obvious and precise with his definition of fairly accuracy with monitors. It doesn't says what kind of monitors he refers to. Low quality, cheap monitors deliver good results? Lot of factors need to be looked at for consideration for yourself.
Of course, as you can tell that colour management topic is pretty heavy, highly technical and everything in deep thinking with world of colours. It takes years for an individual (both pros and non-pro individuals) finally understand what it is all about. Again, technologies evolve rapid for the better in many cases for new monitors, commercial print equips, advanced ink technology, advanced paper production technology... That goes on effortless endless, actually.
Hope some of thoughtfu perspective and experience be of some interest, and it is obvious that this discussion probably will attract some more excitement discussion, the more the better. So that every other Aperture users who have the similar issues, they'll definitely want to come to here... And learn and share.
I also use Blurb too. They are getting better than it was once a couple years ago when Blurb first started. As they add more variety of book sizes, types of paper stock and things like that. This also give someone some flexibility in choosing workflow production using Blurb software or online bookmaking or using PDF to Book service for those who are advanced users that use InDesign layout design app. In that case of PDF to Book, the advanced users would need to download Blurb's preset plug-in to put in InDesign in order to export the PDF output to meet and integrate into Blurb's Preflight Checklist at the time of upload. I use PDF to Book service with InDesign, etc. It is fairly self explanatory and easy to follow steps. Also slightly off topic, but when making Blurb book, to get most out of their product and service with Blurb, in that case, they came up with brilliant resource called Colour Resource Centre designed for making more beautiful books. In that resource centre, it is easy to read and follow.
I would think this probably shed some insights and understanding the basics of colour management, the whole thing all about this, that and the other all together.
I would also want other high-powered hard-core Aperture users share their experience with Aperture Book printing service. I'd be happy to share my experience about making Aperture Book vs. Blurb Book through PDF to Book service. However, I would think the export to PDF from Aperture probably has it's own different setting or slightly different configuration inside the PDF engine on Mac for Blurb book. There has been some discussion about wanting a Aperture Plug In for Blurb Book. blurb has been quiet on it, I take that they probably will not develop a special plug-in for Aperture Users. Sorry if it is a little off topic. But somehow someone in the discussion mention Blurb. so...
Anyhow, hope that helps.

I can't print a photo because the ICC profile is not installed. What do I do?

I can't print a photo because the ICC profile is not installed. What do I do?

Try from the Editor "Save As"
Then choose jpeg with sRGB profile.

Heads-up - Don't Export ICC Profiles With Illustrator Files

Hello everyone,
I have a new Motion project (yea!) and I started out creating a 56-point star in Illustrator CS4 with a specific RGB color value and saved it as Illustrator CS4 with PDF compatibility. I brought it into Motion no problem but the RGB value was changed. I futzed with it for a few minutes and figured out that the default save in Illustrator has "Embed ICC Profiles" checked. I unchecked this and saved it again and it came into Motion with the correct RGB values.
Rock on.
Scot

RGB output profiles only in Lightroom. Use Photoshop.

ICC Profile when saving in PSE9

How do you change the ICC profile when you save a file in PSE9? I need to change the profile to the downloaded version from my photo Lab before they make prints.

To chabge profile of any image you can change it from Image menu.
Steps:-
1. Launch PSE and open the image.
2. For changing mode Go to image menu Image -> Mode and convert the mode as you require.
3.For converting color profile Go to image menu Image -> convert Color Profile and change it as per your requirement.
cheers,
Sam

ICC profile assingment in Camera Raw

Can you assign an ICC profile in Camera Raw? If so how?

My work flow goes like this: Shoot in RAW. Then color correct and adjust exposure using the RAW bridge with an ICC profile created from the Xrite Color Passport. This yields a JPEG that is a pretty solid sRGB file. But then as a JPEG I assign the printer profile which is sometimes quite a bit different than the sRGB profile. I was hoping there might be a way to assign the profile in the RAW adjustments so I am not repeating the color correction since the profile changes.
If the profile link at the bottom that you pointed out was changeable to reflect ICC profiles, this would save hours of time for my proecessing. Or if you have some other way to do this I would be very interested in hearing about it.
Thanks for the responses!

ICC Profile save dialogue.

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