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?

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Working with RAW images without lens profile?

Does it make sense to work on RAW images if no lens profile exist for the used specific lens?
I see clear differences between RAW and JPG image in means of distortion.
How did you work with RAW images?

There are many advantages to using RAW, so yes it makes sense to work on RAW images even if no profile exists for the lens.
I see clear differences between RAW and JPG image in means of distortion.
How did you work with RAW images?
You can create your own lens profiles. Or you can manually adjust each image. Or you can set up presets for different focal lengths. There's a lot of ways to go.

I would like to add a new Canon camera profile to the RAW interface

Hi, I would like to add a new Canon camera profile to the RAW interface.
I have recently installed the new camera profile 'Studio Portrait' which i download from here:
http://www.canon.co.jp/imaging/picturestyle/file/studio-portrait.html
When I open up a RAW files in Camera RAW, go to 'Camera Calibration', click on the drop down list called
'Camera Profile' I only see 'Adobe Standard, Faithful etc etc'.
My questions are, can i add the same camera profile i put in my camera, into a folder with in photoshop?
Or is photoshop reading the raw file and only seeing the default camera profiles?
If I could see the new camera profile listed it would help with work flow.
Best
JL-B
Please help, ive not had a good time waiting on the phone and trying to explain this to a live chat, hours have been wasted. Once i know the answer I can get back to the commission.

Are you following this
Apply a camera profile
To apply a camera profile, select it from the Camera Profile pop-up menu in the Camera Calibration tab of the Camera Raw dialog box. The Adobe Standard profile for a camera is named Adobe Standard. Camera Matching profiles include the prefix Camera in the profile name. The Camera Profile pop-up menu displays only profiles for your camera.
If the only profile in the Camera Profilemenu is Embedded, it means that you have selected a TIFF or JPEG image. Adobe Standard and Camera Matching profiles work only with raw images.
Note: If you have selected a raw file and Adobe Standardand Camera Matching profiles do not appear in the Camera Profilepop-up menu, download the latest Camera Raw update.

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.

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Was your hand-crafted profile created from DNGs or JPGs?
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ive long had this issue with RAW shooting and adobe photoshop and lightroom, my main subject is a saltwater reef aquarium that is lit by artificial lighting, i shoot canon and use the custom white balance setting to get everything looking proper and it works good.. to an extent.. if i shoot jpg the photos all turn out as shot, if i shoot RAW the white balance in adobe programs is totally messed up and you cant fix it.. if i use DPP by canon, its perfect and looks just as shot or just a a jpg would look.. my question is how can i get adobe lilightroom to render my RAW files correctly.
below are all 3 images, first one was converted and exported to jpg in canon DPP without any adjustments and is what the photo should look like, second has been exported from photoshop, and 3rd i added a link to the actual RAW file. why cant my lightroom interpret these properly?
heres a link to the actual RAW file
https://www.dropbox.com/s/5a39ctllwgrem7a/_MG_8971.CR2
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The white-balance Temperature of this image as computed by the camera is way beyond the 50,000K upper limit as you can see when you open the file in LR or ACR, so Adobe cannot reach the As Shot WB temperature number and stops at 50,000K which is still too blue -- although EXIFtool says: Color Temp As Shot : 10900, so maybe Adobe's wildly high 50,000K number is based on a faulty camera profile that exaggerates blues:
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http://help.adobe.com/en_US/Photoshop/11.0/WS6078C298-CB20-4dc8-ACD4-D344110AA026.html

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MrKjetilDale wrote:
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MrKjetilDale wrote:
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<x:xmpmeta xmlns:x="adobe:ns:meta/" x:xmptk="Adobe XMP Core 5.5-c002 1.148022, 2012/07/15-18:06:45">
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
<rdf:Description rdf:about=""
xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"
crs:Version="8.1"
crs:ToneCurveName="Custom"
crs:UprightVersion="134217728"
crs:UprightCenterMode="0"
crs:UprightCenterNormX="0.5"
crs:UprightCenterNormY="0.5"
crs:UprightFocalMode="0"
crs:UprightFocalLength35mm="35"
crs:UprightPreview="False"
crs:UprightTransformCount="0"
crs:HasSettings="True">
<crs:ToneCurve>
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<rdf:li>99, 92</rdf:li>
<rdf:li>166, 156</rdf:li>
<rdf:li>231, 223</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurve>
<crs:ToneCurveRed>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurveRed>
<crs:ToneCurveGreen>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
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<crs:ToneCurveBlue>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurveBlue>
</rdf:Description>
</rdf:RDF>
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Instructions:
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C:\Users\Me\AppData\Roaming\Adobe\CameraRaw\Curves
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Then, restart Lightroom. - you'll find it in the "Point Curve" drop-down menu.
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Acknowledgement: I got this tone curve from Mark Sirota (sp?).
Rob

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