Unsupported Color Space with 1-bit PDFs

I just updated to Photoshop CC 2014, and now I can't open PDFs which came from my scanner. I scanned these files using OS X Mavericks built-in Image Capture tool, at 300 dpi, "text" mode, which I believe is 1 bit color. I never had this problem in the past with Photoshop CC.

I forgot about this for awhile, but the problem persists. Here is a sample PDF.
https://drive.google.com/file/d/0B52QuT8oHvtZUGNXOXZ5ZHM1eTA/view?usp=sharing

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'Unsupported color space' nonsense

Hi all,
I have Photoshop CS2, 9.0.2 and I'm still getting 'can't open file because it uses an unsupported color space' error when I try to edit a graphic object from Acrobat. Is there any way around this problem?
Thanks!

Any image that contains and unexpected channel name is flagged as an unsupported color space = hence the dialog.
Photoshop is expecting to see for example CMYK, RGB, LAB, Index and Bitmap. If the person who created the PDF placed a Greyscale file or Spot color image, the dialog will come up. Duotones are also affected except Quadtones that have the supported naming convention of Cyan, Magenta, Yellow and Black. Also, CMYK with SPOTS and DCS 2 files are affected with additional channels as well as channels of expected CMYK are missing.
If I had Photoshops source code to change the naming of channels to allow a user to input names with no color values in Quadtones, I could confirm this naming issue on the Photoshop end.
So in conclusion it's most probably a filter problem in Acrobat that is making Photoshop barf.
PS-CS-3 extended and Acrobat 8
...and it gets really fun when a client converts the images upon PDF export and they have placed all kinds of flavors in the doument. yea right.

Epson r1900 won't print- says unsupported color space

Will not print- Just as stated- unsupported color space. New iMC W/ Mavrick. I reloaded the printer 3-4 times. Says CMYK or grey scale- whenI went to greyscale, it did print a super fine print(used lots ink). I have tried every other settings to no avail. I have tried Google and lots of complaints with this problem but no fixes!! Help-Please. I also have a Canon laser printer that prints fine!!! HELP???

What did Epson tech support tell you?
http://support.apple.com/kb/PH14141 OS X Mavericks: Reset the printing system
http://support.apple.com/kb/HT3669 Printer and scanner software available for download
Sometimes, installing the GIMP drivers help with printing issues: http://gimp-print.sourceforge.net/MacOSX.php

Unsupported color space pboblem

April 2014:
My new mac pro (2013) will not print an ordinary rgb file from Photoshop CS6 to an Epson 7800 inkjet, giving an ‘unsupported color space’ message no matter which color space variation I try. (Mac os 10.9.2 + the latest Epson drivers)
The same file prints readily from an old mac pro (2009) with the same OS version, Photoshop and Epson drivers)
May 2014:
Now updated the OS on both macs to 10.9.3 - problem persists!
Comparing photoshop print procs on the 2 macs the older has an extensive extra list of Epson profiles (more than 30) Does anon know where these are stored? I’ve tried copying printer files from the library of old to new mac but nothing epson-related shows up…
I can manage by swapping files from new to old macs but surely SOMEONE should be able to help!
John Law

Solved!
Forum member ?Boy solved this problem with the following excellent advice:
1    open System prefs/ printers & scanners
2    Delete the problem printer from the list
3    Restart the Mac (in my case a mac pro, in his a laptop
4    Add the problem printer back into the list
5    and now it works!!
Very Many Thanks!
JL

"Unsupported Color Space" error trying to open b/w PDF in PS

This glitch has occured periodically in every version of PS I've ever used. I'm sick of getting it. Let me emphasize" I'm working with a b/w all-text image scanned into a PDF using the "text" setting on my scanner. In past attempts with Adobe tech support to get this fixed, it ends up having something to do with a glitch in PS programming, which gets fixed after an hour and a half of being treated like an airhead by the support tech and finally going into the secret settings area of PS and fixing it.

I did some tests on that image (Color Space: Indexed Device Gray) in Acrobat Pro.
If you want to open it in PhotoShop you could convert the whole PDF to RGB.
There is a Single Fix Up in the Preflight section of Acrobat Pro for this.
See screen shot of Acrobat Pro 9 here (in X or XI this feature is also available):
After using that fix up and saving the PDF to a new name, the TouchUp Object tool can use PhotoShop to open the image as an Indexed 8Bit Channel image in PhotoShop.
You can now convert to Grayscale in PhotoShop if you want…
Uwe
Message was edited by: Laubender (some typos)

External editor color space with Aperture and PSE 10?

Hi all,
I'm finally setting up Aperture to export to Photoshop Elements (10). In the Aperture preferences, I'm asking it to export to PSE 10 as 16-bit TIFF files. What color space should I indicate (if any)? It's currently set to "no profile selected." I'm not a professional; just an enthusiast. I print on an Epson RX580 Photo Stylus printer, if that matters.
I've searched on this forum and elsewhere, but haven't found a simple answer to this. All suggestions gratefully accepted. Thanks!

Can I suggest you buy Philip Andrews book, Advanced Photoshop Elements 10. he explains colour spaces and much much more very clearly and exactly what can be done with 16 bit files and what you then have to change to 8 bit to accomplish. He's written basic and advanced guides for Elements since day one. Usually available from Amazon for under £20.

Color space when exporting from RAW

Hello,
I am a new user of Lightroom and I find color spaces topic a bit confusing so far. My main question is: when exporting a photo, does Lightroom convert to a profile or assign a profile? Because there is no way to choose. I tried to export a photo with 3 different color spaces (sRGB, AdobeRGB and ICC profile from laboratory where I print my photos). After exporting them to JPEG it turned out that all of them look differently on my monitor - does it mean that Lightroom assigns a profile? If it was converting, shouldn't they have the same colours? What is more, after printing them in laboratory, results were completely different than I expected - the photo which had closest colours to what I saw in Lightroom was that in sRGB, but that with ICC of Lab was very different (much colder colours).
Where is the problem, or what aspect do I seem to misunderstand? Do I have wrong settings, should I use DNG to work with photos, should I export to TIFF, or I just have too weak monitor or wrongly calibrated one? Should I calibrate when viewing a picture in Lightroom or with the use of a photo exported to the ICC profile of Lab?
I would like to have a little bit of control over what I'm working on, depending on whether I want to publish it on a website or print. I know that my monitor can be a problem (I have an iiyama with IPS), but surely there has to be any way to make results of my work a bit closer to my expectations.
Just for information, my workflow doesn't require Photoshop, as I rather prefer to use only tools from Lightroom. I hope that my problem doesn't require the use of Photoshop.
I will be really greateful for your help - the general knowledge about colour spaces seems to be unsufficient when it comes to the usage of applications such as Lightroom.
Many thanks,
Marcin

Marcin S wrote:
Thank you for you helpful replies. Now I know a little bit more about it. But still, this is not completely clear to me.
My main question is: when exporting a photo, does Lightroom convert to a profile or assign a profile?
Both.
What you mean by both? How should I interpret it? I cannot choose "convert" or "assign", so how they both work together? What does it mean for me wanting to process photo and print in Lab?
I can only add, that those 3 photos which I exported to JPEG with 3 different colour spaces, they look different when viewing outside of Lightroom, ie. IrfanView. But when importing those JPEGs into Lightroom, differences are extremly slight. Is that because Lightroom operates in ProPhoto, which covers all colour spaces which I used, and other programs work in sRGB and those photos differently?
And the last question for now: will the hardware calibrator help in monitor which is, let's say, medium cost and medium quality? I mainly use it for preparing photos to put them on the website gallery, but would be nice if I could print better ones with a bit of certainty about what I will get from Lab.
Many thanks!!
Marcin
When you export a photo from LR, it converts to the colour space you select (e.g. sRGB) and embeds the appropriate profile in the exported file.
If your monitor were calibrated and profiled, and you view with a colour-managed viewer then images should look pretty much identical no matter which colour space you export in. (W7 Photo viewer is colour managed, the XP equivalent isn't, Mac s/w generally is. IE and Chrome aren't properly colour managed, Firefox is for all images, Safari is for images with embedded profiles. Other viewers vary.) With colour-managed viewers, the only difference should be with very highly saturated colours outside sRGB colour space (and then only if your monitor can display those colours).
LR is colour managed. If the monitor isn't calibrated/profiled then I think LR assumes the monitor has a colour space equivalent to sRGB (which is generally roughly right but won't be accurate). Internally LR uses ProPhoto RGB colour space in develop module, but uses Adobe RGB in Library, and previews are stored in Adobe RGB. However, the colour space LR uses won't explain why other viewers show things differently. It's simply that LR is colour managed (which means it converts to/from the image colour space), and I guess the other viewers you're using aren't; they just throw RGB data at the screen without converting.
Is it worth calibrating and profiling your monitor? Quite possibly. Does the colour and brightness vary with viewing angle as you move your head from side to side? If so, it may be TN technology, and perhaps not worth profiling. If it looks reasonably stable with different viewing angle then probably yes.

Why Invalid Color Space Error?

Hi Everyone,
I am receiving numerous "invalid color space" errors when viewing PDF files in Acrobat Reader (v 11.0.10) on Windows 8, but have not received similar messages when using Acrobat Reader (v 11.0.10) on Mac OSX 10.9.5. I will outline our environment and workflow below.
The PDF file is created via the export of an InDesign CC 2014 document. No errors show up on the preflight panel, and no warnings show up upon export. The file can be opened fine in the Mac environment with both Acrobat Pro 11.0.10 and Acrobat Reader 11.0.10. I can navigate through pages, print, and add comments in both applications.
When this same file is opened on Windows 8 it initially loads, navigates pages, and will allow a few comments to be inserted before showing an "invalid color space" error. If the error occurs during commenting, the comment will disappear, and I am no longer able to scroll through any other pages since the error reappears.
I would think that if it was file corruption the problems would be on both Mac and Windows. Any suggestions would be extremely helpful as all of my searches point to a non-Adobe product (as either the document source or PDF generator) as the culprit with this error.
Thank you!

Hi Racheal ,
Please refer to the following link to see the actual cause for "invalid color space" error and the possible solutions to deal with it.
http://blogs.adobe.com/dmcmahon/2011/05/17/acrobatreader-invalid-colorspace-error-opening- a-pdf/
Regards
Sukrit Dhingra

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

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

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

Color space export issues...

Well. This has been going on for a while. Sometimes it doesnt happen but most of the time when I export my images in srgb the view once uploaded is much depreciated. I proof in srgb 2.1 and embed upon export. The same thing happens with using the boarderfx export plugin. In addition, it seems to happen more after exporting to PS for edit and then exporting the tiffs to jpg later. But happens with normal jpg/raws as well. Thanks a lot for all the help and hopefully I can get this solved
Aaron

I don't mean "Quick Look" in Leopard. I mean Quick Preview in Aperture (a little button in the lower right corner that turns yellow when selected). I believe that, although not as seductive as the native screen display, Quick Preview is more accurate.
Here is what I mean by accurate:
• Quick Preview changes the display significantly and matches closely prints made from Aperture when printed on the paper for which I have selected the proof profile (in Aperture under View / Proofing Profile).
• Quick Preview displays an image that is nearly identical to that printed from Photoshop, InDesign, and Acrobat when the same paper and profile are used.
• Prints made from Aperture are nearly identical to those made from PS, ID, and Acrobat using the same parameters.
• Quick Preview displays an image that is nearly identical to that displayed in Photoshop, InDesign, and Acrobat when the same print profile is selected for soft proofing in these applications.
There is a wild card though: these days I print mostly using perceptual rendering intent. Aperture does not appear to provide any direct control over rendering intent or black point comp for softproofing. Native display in Aperture (with the correct profile selected for on screen proofing) is much closer to a PS soft proof of the same image using RelCol rendering intent in PS. In this case the difference seems to be perhaps in the implementation of black point comp.
It would sure be nice if we had full documentation of this stuff and didn't have to make suppositions about its functionality based on empirical data.
If you know of a way to soft proof in Aperture (that permits my workflow instead of imposing one) that allows for simultaneous editing I would be much obliged.
OK, I just did a little more poking around. Quick Preview appears to preview the image in the working color space, and what I was calling "native display mode" is using the selected soft proof profile. But on my system it is not accurate with my printer profiles. Not even close. Like I said this might be due to lack of control over rendering intent and black point compensation. (I also just noted that the soft proof display does not incorporate BPC. You can see this by creating a preview through the print dialog and comparing the result to the screen display.)
Though soft proofing seems to be broken, at least for me, I have answered my own question: My working space is close enough to (and obviously includes the full gamut of) my print profiles that I can select my working space profile for soft proofing (which it does use accurately since Aperture is also using the same profile to convert the RAW file to for export) which will allow me to edit while soft proofing in a valid color space with consistent rendering intent and application of BPC.
Flame off, over and out.

When to use ProPhoto RGB color space?

I've read articles recommending to use ProPhoto RGB color space because the color gamut is greater. At the same time, I've had to convert some images I created using ProPhoto RGB templates to sRGB so they will display with the right colors in applications that don't support it. I'm wondering (just curious) when it is appropriate to use this color space. Is it only for professional graphic image designers and photographers who send their images to a professional printer?

in addition to what ssprengel said and some of it may be in other words:
There are several standard profiles listed in a separate section in the menus displaying color profiles when you use Assign Profile, Convert to Profile, and when you choose Working Spaces in the Color Settings. These profiles are so called 'well behaved' or 'editing' color spaces. They are device independent and created synthetically for editing purposes - in these color spaces R=G=B is perfectly neutral gray which makes the numbers of color values make sense when editing images referring to the numbers, histograms, curves, etc. ProPhoto RGB is one of these spaces and have the widest gamut, parts of which exceed the visible spectrum. This allows you to have an image with colors that are not limited to the color gamut of eventual destination color spaces like printers and monitors. That's why some people prefer to use Prophoto RGB for images with destination unknown. When you know the destination, in your case an online printing service, get the color profile used by the printing service, install it on your computer, and use convert (Edit menu > Convert to Profile) from ProPhotoRGB to the color profile of the printer. The color management trys to make the conversion to the best possible color match when the destination color space is with a narrower color gamut and you may see color shift of the colors outside the color gamut of the destination. You can also use soft proof (View > Proof Colors with View > Proof Setup set to the destination profile) to edit (optimize) the colors of your document to the destination before the conversion if you can do better than the color management conversion. It is a good idea to make this on a copy of the original image or different layers dedicated to editing colors for a particular destination (color space).
Also have in mind that the conversion can be done on any other computer with Photoshop provided that along with your image they have the source and destination profile. So it can be done by your printer too but without the printers profile on your computer you wont' be able to proof and edit the final appearance.
If you create or edit your artwork or photos with destination unknown in a color space with a comparatively narrower gamut then when in the future you have the opportunity to use a destination with a wider color space you won't be able to take advantage from all possible colors.

DCTDecode filter used for image with Indexed color space?

I've seen examples of images in PDF that have BitsPerComponent=8, with an Indexed Color Space, but the filter is DCTDecode. This doesn't seem intuitive to me, as JPG supports 24-bit RGB and 8-bit gray. I haven't heard of 8-bit color JPG so I'm just wondering how this is done?
I'm just trying to understand how this works if someone could please indulge me with a technical explanation it would be most appreciated. I understand how the image is represented using the colorspace, I just don't understand how this filter is applicable to 8-bit data.
Please note, I understand that it's not an actual JPG file, that the data is only using the compression scheme.

DCTDecode is entirely legal for 1-component (greyscale) samples as you've noted. There is no problem there.
Remember, that applying a filter (and later decoding it) is entirely separate from the meaning of the data. So it's possible to use filters that just don't map correctly to the data. For example, greyscale DCTDecode could be used to encode samples which were, on decoding, to be treated as RGB. It wouldn't compress well, but the meaning isn't affected.
But DCTDecode for an Indexed colour space is very unusual. Don't look for special treatment, it would be enconding the image data, which would be offsets into the colour table. And of course DCTDecode is lossy, so decompressed data should be close, but is not always equal, to the original.
In most cases of Indexed colour, this would lead to random and useless changes to colours. But it is entirely possible to have colours which map into a linear and smooth set of shades of the same colour - such as 256 shades of pink. An image using such an Indexed colour space is a candidate for using DCTDecode.
In using filters, it is best to forget what you think you know about the data, and just follow the precise rules of the filter.

Image in PDF error - Expected end of color space

Hi friends,
I am displaying a PDF file in an webdynpro application. The contents are coming from the output of a RFC. The pdf file contains an image. While I am running the Webdynpro application the image is not coming. An error popup <b>"Expected end of color space"</b> is generated. But the texts of pdf file is coming properly.
Please help.
With regards,
Sekhar

Hi Sekar
We are facing the same issue. Have you managed to resolve this issue ?
Please advise
Regards
Vivek

Rendering Chroma 4:2:2 with color space 0-255

Hello Everyone.
Just as a warning I'm fairly new to video editing, so I will probably not say this right. I have a screen recording that I used FRAPS to collect, and then I packaged it into an .AVI container w/ a lararith codec , and a 24bit RGB color scheme in video dub. I have then opened and edited that video in Premiere Pro and want to export it. The problem that I'm having is screen recording has a LOT of color between 0-16 and 235-255, so any broadcast color space I use makes the video look awful. I was wondering if anyone knows how I can render out with a 0-255 color space and a decent chroma subsampling (my guess is 4:2:2).
Thank you everyone for your help.

No, you are asking the right question, and I understand your problem. I just can't recreate it.
I just took a really wild Quicktime video I downloaded from Videoblocks.com that isn't anywhere close to being broadcast safe, and I exported it to a Windows Media file.
The first picture is a screenshot from the video. (it is a set of lower thirds in one video - I am just supposed to use one at a time of course.
The second picture is the Reference monitor from frame 12;24
I exported the sequence to a Windows Media file and then imported it, putting it right on top of the other video on the sequence so I could make sure to be on the exact same frame. The third picture is the reference monitor from the WMV file on the sequence. As you can see, there is not much difference. Some, but you have to look closely.
So, my question to you, since I do not use FRAPS, is what are your sequence setting? Did you just drop a clip on the New button to create a new sequence with the exact right settings? And, are you making the mistake of using the renders to help you export?
The problem is that I don't understand your source material. I guess I could download FRAPS from somewhere and give it a try? I am just a bit busy with other things today.

Color problem with ProPhoto RGB color space

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

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

Unsupported Color Space with 1-bit PDFs

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