Why embed color profiles?

I understand color profiles as translators of the image data for the device to show as it shoudl appear (to me, the human eye)
Why not apply this translation as a conversion (profile tells how the color values shoudl appear, right?) and done with it. Then the monitor should use it's profile to show the file correctly.
The whole idea of "working space" or choosing/applying a profile to an image seems only to apply this translation (the profile).
Why ask? Or why even have an image + profile, when one can simply do image x profile = a single profiled origianl image? In RAW conversion is this not what we are doing? And if so, why have the profile name attached to the file, when it is already converted?
Or did I got it all wrong? When I think I get it, soon I start to see - may be I am not getting it

As this topic (color management) makes me to research and learn continuously, I am curious to understand more about your comment on LAB: "...numerous issues with Lab although the fact it's self defining (until you ask about white point)" What about the white point in LAB? I don't know if that should be another discussion.
In the meantime I got my answers, and a book called "Color Confidence" seems to clarify it well. In fact it has a reddish text box just for the precise question "Why not Lab?" ("why embed profile" is implied in the context). What pinned it well was the statement "Of course, provided a profile is embedded in an image file, the RGB and CMYK values are, in a way, stored as LAB..."
The text can be found in Google books preview: http://books.google.co.in/books?id=XprFp9u4lcAC&q=why+not+lab
what appeals to me now, is this:
The intention is to give real world colors and consistently accross devices (with different color spaces)
To achieve it, it is done through profiles
Original digital image (RGB or CMYK) are easier to edit as RGB or CMYK (user friendly to move those sliders of R G and B) than LAB sliders (are there sliders in LAB? I have not explored)
Though one could have untagged files, adding a profile tries to dictate some consistency to them for further use/editing. If that was not fixed for the digital image, it will be free for each app to use any color profile and make colors look different each time. I am not even talking of display and print profile here, assume they were all set.
My botheration has only been the first step of digital image. Not display and print profiles, that is, why is the original digital not converted to LAB? Now it becomes clear.

Similar Messages

Embed Color Profile When Saving In Photoshop?

Hi all -
Let's say I am saving a TIFF as a background for a DVDSP 4 menu out of Photoshop. Do I want to have the Embed Color Profile checked or not? How does a make a difference to DVDSP (if it does)? Mine is set to sRGB IEC61966-2.1
Thanks,
Jason

I believe sRGB is the default for most screen-based systems such as DVD studio. You shouldn't notice a significant shift if you stay in this color space in DVD studio. Just make sure it isn't Adobe RGB. This is a very specialized space for advanced Photography for use with hexachrome printing workflows. Monitors and TV's can't reproduce the colors represented in Adobe RGB and it is unwise to make color decisions on such monitors without advanced training on how and why to use wider color spaces such as Adobe RGB. In contrast sRGB is created to be about the same as most monitors ad TV's so what you see is very similar to what will be visible on your target medium.

How to solve the Embed Color Profile problem...

Hi Everyone,
This vijay from Chennai. I have one doubt for rectify the Embed color Profile problem, that's is how can i judges whether the file had Embed Color Profile or not. anyone solve this problem.
Thanks in Advance.
-yajiv

I used another profiles name, because I dont have the old one installed anymore, Youll have to be exact about the letters though.
And from a prepress-standpoint Id like to point out that removing the profile as opposed to »Convert to Profile« seems a peculiar practice, though of course Your reasons for doing so may be valid indeed.
You could try:
var myDocument = app.activeDocument;
if (myDocument.colorProfileName == "U.S. Web Coated (SWOP) v2") {
// =======================================================
var idassignProfile = stringIDToTypeID( "assignProfile" );
var desc2 = new ActionDescriptor();
var idnull = charIDToTypeID( "null" );
var ref1 = new ActionReference();
var idDcmn = charIDToTypeID( "Dcmn" );
var idOrdn = charIDToTypeID( "Ordn" );
var idTrgt = charIDToTypeID( "Trgt" );
ref1.putEnumerated( idDcmn, idOrdn, idTrgt );
desc2.putReference( idnull, ref1 );
var idmanage = stringIDToTypeID( "manage" );
desc2.putBoolean( idmanage, false );
executeAction( idassignProfile, desc2, DialogModes.NO );
else {

Why CMYK Color Profiles Warning?

Hi guys,
I just made a couple of CMYK shades of grey. Here is a sample:
http://www.pixentral.com/show.php?picture=1fo01uualiQLkc4uuLbXfnAoWsiVw
When i export the PDF to High Quality Printing, i get Warning Icon with the message "The preset specifies source profiles that don’t match the current color settings file. Profiles specified by the current color setting will be used" Why do i get that message? i am not using or importing any Photoshop Image with a different color profile...i just created my CMYK color inside my document.
I am sending this PDF to a Laser Color CMYK Printer (not my own home laser printer) something like a Kinkos Store. Could that be a problem for color settings to a this kind of printers? By the way, these are my color profiles.
http://www.pixentral.com/show.php?picture=1EEuCxcbSjWaY2cNQj8dBAFedNlly0
is in Spanish but i think i quite clear.
Thanks for any info on that!
Cheers,
S

I'm here because I was researching the same error. I've gotten it for years, and usually worked around it but finally got around to trying to get to the bottom of it. One thing I just noticed is that I had a file where I received this warning, and then went to Edit > Convert to profile in ID. I noticed that the Source of the file was NOT the working space set in my color settings (different computer from where I created it). I converted the file to the working space profile, and went back to Export to PDF again, and DID NOT get the warning.
My concern would be what ID does if you ignore the warning. If my profile was different from teh working profile and I go ahead and covert anyway, will ID ASSIGN the working profile to my file, or CONVERT my images to the working profile specified in the color settings file. Which it chooses will likely have an inpact on my color. I might try to test this by creating an image in a wierd source profile that will look quite different if the numbers are just ASSIGNED a new profile and Export to PDF and see what happens. I think that might tell me what ID is doing.
I really would like to understand this for certain.

EXPORT to TIFF/PSD Why "Embed ICC Profile?"

I export high res TIFFs and PSDs a lot from Illustrator. One option is EMBED ICC PROFILE. I'm going to PS to build my composite. When should I embed the profile, and when shouldn't I?
When I open in PS, even if I don't Embed, doesn't PS know what colorspace the doc was created?
Just curious.
Maxi

Embed the profile. But then be careful how to treat the images in Photoshop.
Would be best to sychronize color settings between all the Creative Suite apps, so that no color conversion needs to be done.
If you need to convert profiles, you should convert into profile, not just apply a different profile.

Embed color profile for Spot Multichannel

Is it possible to embed a color profile into a multichannel file made up of spot colors onlys ? More specifically can you embed custom dot gain curves into such file like you can for other color spaces like CMYK. ?

As far as I know, there is no connection or relation between gamma and dot gain. However, if your workflow excludes print media, you do not have to indicate any type of dot gain and, therefore, can assign a particular gamma to your "video" intended image ( i.e., television graphics, powerpoint oresentation files, etc. ). So, if you knew you are heading for a 30% dot gain ( i.e. offset press, magazine or newsprint, etc. ), then assign it in the working space dialog in PS. Again, this is my interpretation of gamma vs. dot gain. Once you understand the dynamics of the working space ( i.e., what you typically work on day-to-day )), then it sort of makes sense. I suppose if I were to suddenly be assigned to work on a video graphics project, I could change my gamma and eliminate dot gain because there is none. I'd just have to remember to go back and re-assign dot gain for my print projects. If, for instance, I was chosen to design a logo graphicv for a TV news program, perhaps a gamma of 2.2 would help the appearance of the color's brightness on screen. It comes down to the final application of the file itself. That's my take on it.

LR 4.2 convert or embed color profiles?

Costco print services use Dry Creek Photo profiles. They ask that files be converted to color profiles in PS and say that embedded profiles will be ignored by their digital printers. I wonder if I can do this in LR4.2 without going to PS CS6.
In Lightroom 4.2, we can choose color profiles in the print module or in the export dialog. Do you know whether specifying a color profile in these will result in a converting or embedding of those files?
Thanks,
Bill Twieg
Windows 7

Thanks Andrew, that was my undertstanding as well – Also for pointing out that the Noritsu and Frontier printers have areas that are outside the sRGB gamut. For anyone interested you can create the 3D wire models here:
http://www.drycreekphoto.com/tools/printer_gamuts/gamutmodel.html
You'll need to download a VRML plugin to use it. Here's one of the Costco profiles showing the area that falls outside the sRGB gamut:
You can see an area in the Green (-a) region that falls outside the sRGB gamut, which will not render properly if you send sRGB profiled files (i.e. Export from LR's ProPhoto RGB to sRGB) to Costco.
Here's my take on Costco's Noritsu & Frontier printer workflow.
Normal processing is with Auto Correct ON, which expects sRGB profiled images with no adjustments. With Auto Correct ON the sRGB image is converted by the printer using the printer profile for the selected paper type. It apparently also applies some kind of Auto Contrast and perhaps Auto Color Correction for white balancing. This analysis is based purely on print results obtained using standard sRGB images with Auto Correct ON.
With Auto Correct OFF the printer does not apply any Contrast or Color correction and a printer profile is not applied to the image. If this is correct then it is absolutely necessary to "convert" your images to the Costco printer profile for the target paper type after making your Soft Proof adjustments. You should also preview different rendering intents in Soft Proof as outlined on the Dry Creek website. PS has more options using 'Customize Proof Condition' than available in LR.
The best analogy I can think of is Auto Correct On = "Managed By Printer" and Auto Correct OFF = "Managed By Application" (i.e. PS or LR).
I'll try to verify this with my local Costco Photo Lab manager.

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

Color profiles for I photo books

Is there a desired color profile to use for printing books with i photo
My images are currently adobe-rgb. jpegs brought in from CS
When I print the images thru CS they look great.
When i print them thru I photo book or the PDF they look very dark and muddy...and would assume the same of the book printing online.
any ideas on how to get the best print.
Is there a color profile availabe from the online book printers or are we just winging it
Also tried converting one page to S-RGB Still Muddy / dark thru i photo book
and PDF Print. And just fine thru CS
Any Ideas??
Thank you

I guess I am going to throw caution to the wind and see what happens.
Only one way to find out, Right
Though I did go back and lighten my images. Also
Ran color synch utility, which fixed 11 corrupt color profiles.(none of the 11 profiles pertained to i photo)
I guess I am afraid to use pref setter,, to set the key embed color profile.
Confused as to what that means??? Does that mean that all my CS Adobe-RGB jpegs will keep their color profile???
Also implanted one image as an SRGB vs the rest which will all be AdobeRGB
Oddly my color management in CS is almost Flawless. Yet, get me out of CS and I am completely lost!!!! Complicated stuff
Toad, I did want to pass on that AdobeRGB 1998 is a much more robust color profile then SRGB especially when it come to printing on Epson. It might be worth experimenting with and if you really want to get into it there is also
Pro photo RGB which is Huge color space, but a beast to work with
Here is a link
http://www.luminous-landscape.com/tutorials/prophoto-rgb.shtml
Will report back on my book
TF

Choosing Color Profiles for Images Created on Film

I just finished sending feedback to Adobe on one of its tutorials. The following is a copy of my message explaining my present predicament.
<< I have scanned film negatives and positive film transparencies dating back to the 1950's .I was the creator of most of these images but I do not remember the make or model of the cameras I was using at any point in time prior to 1974 and they all lack metadata. Prior to 2000 I used iPhoto and PS Elements for scanning, toning and development. Thus I can only guess what color profile I should use. I want to create TIFFS that will serve a dual purpose: exporting two formats, one for electronic sharing and the other for printing. On the Adobe CC, if I guess wrong, LR 5.6 64bit crashes immediately. Prior stand alone versions of LR and CS6 let you know that you had a color inconsistency, but they did not crash when you had made a wrong choice between srgb and ProPhoto. ACC gives me more options, but no warnings unless I am missing something your Help Files should contain.>>
David Krupp Win7 64bit
Chicago, IL 773-281-6278. [email protected]

I guess I am going to throw caution to the wind and see what happens.
Only one way to find out, Right
Though I did go back and lighten my images. Also
Ran color synch utility, which fixed 11 corrupt color profiles.(none of the 11 profiles pertained to i photo)
I guess I am afraid to use pref setter,, to set the key embed color profile.
Confused as to what that means??? Does that mean that all my CS Adobe-RGB jpegs will keep their color profile???
Also implanted one image as an SRGB vs the rest which will all be AdobeRGB
Oddly my color management in CS is almost Flawless. Yet, get me out of CS and I am completely lost!!!! Complicated stuff
Toad, I did want to pass on that AdobeRGB 1998 is a much more robust color profile then SRGB especially when it come to printing on Epson. It might be worth experimenting with and if you really want to get into it there is also
Pro photo RGB which is Huge color space, but a beast to work with
Here is a link
http://www.luminous-landscape.com/tutorials/prophoto-rgb.shtml
Will report back on my book
TF

Disappearing color profile when saved for the Web

Hello.
I have a problem with the “Save for the Web” results using Photoshop CS6 running on Win 7 x64.
My photos are already in 8 bits and in sRGB and when I save for the Web I check the option “embed color profile”, uncheck “convert to sRGB”, metadata to “copyright and contact info”.
When I open the resulting photos in Photoshop, everything is fine as it recognizes the embedded color profile. Same thing when I open these files in Firefox, Safari or Chrome: the colors are correct.
Now, when I right-click on a file in the Win Explorer and look its properties, the line about the color profile is blank, as if there wasn't any. This doesn't bother me but the problem appears on my Website created with Joomla and using for the display a module, Responsive Image Gallery, which creates resized copies of the photos. At this point the copies have completely lost their color profile. I entered in contact with the module's support and they assured me that it preserves the embedded profile, so I come here to gather some information about how this “Save for the Web” embeds the color profile because may be I just didn't understand how it does and if it's different from the “Save as” way.
The fact I can't see the profile through the Win Explorer makes me think Joomla's module doesn't either.

Incredible how much gballard's site is famous! Lol. I use it for a while now and checked again right now with the three Web browsers and everything is all right.
As indicated in my first post, when saving for the Web I checked the “embed color profile” option. I already resized the file and converted it in sRGB first in Photoshop.
Yes it's pretty confusing to see some software not able to see the color profile when the file is saved with that option.
To illustrate, here are three screenshots from Windows' file browser => right-ckick on the file => properties => details:
Opening that “saved for the Web” file in PS, it's ok, the CP is recognized.
Opening it directly (from the file browser => “open with”) in Web browsers: ok in Firefox, Safari and Chrome (CP recognized in all).
Copying that file in my working site on localhost (no modification), integer it in Joomla's module gallery (which is CP aware) and then opening my site on localhost with Web browsers: ok in Firefox (because it considers a non-tagged file by default as beeing sRGB), NOT OK in Safari neither in Chrome.
Now, if I do the same with the “Save as” version of the file with embedded sRGB CP:
PS: ok
Opened directly in Web browsers: ok in the three cases
Opened in Web browsers through my Joomla site on localhost: OK IN ALL THREE BROWSERS
Good point gator_soup: I'll post a bug report. I'm new here on the forum and thought Adobe's staff would post here.

Printer adds blue, how do I fix this? color profile? calibration?

I have an HP 3210 printer and iphoto 06.
When I make a copy of a picture with the printer in stand alone mode, the copy is almost an exact.
When I scan the photo into iphoto and print it, the printer seems to add blue.
How do I fix this?
Can I create a custom solor profile or something to get it right?

Patrick:
First, you did check your ink cartridges to make sure you're not out in any of them? Duh. Make sure your monitor is calibrated. I use sRGB as the profile and adjust the brightness to make up for the aging monitor. Setting the gamma at 2.2 will help with just darkness.
Do you have iPhoto's Advanced preferences set to Embed Color Profile? Not sure what would cause too much blue but in the Advanced printer settings under the Copies and Pages menu there are a couple of sections that you can use to adjust the print settings; Color Option and ColorSync. Create a new setting under the Presets menu and save those settings before each trial so that once you get what you want it will be easy to just select that preset and print.
Do you Twango?
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've written an Automator workflow application (requires Tiger), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 08 libraries. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

Color profile when changing from RGB to CMYK

I prefer to work on images in RGB then change to cmyk once I'm sure i won't need to run any more effects or filters on them. When I save an image the first time, I have the option to embed my color profile with the image. It embeds the RGB profile... the only option as long as I'm working in RGB. What I've noticed though, is that after converting to cmyk, I don't get any warnings or other indication that it needs me to embed the color profile. I need to do a save-as in order to get back to that option.
So the question is... does Photoshop automatically switch to my default CMYK color profile when I convert to CMYK? So when I save, it's now using the CMYK profile?

Save your original RGB file.
Then, RGB file > Edit > Convert to Profile (with CMYK#1) > Save As...
This creates your first CMYK file.
Then, back to original RGB file > Edit > Convert to Profile (with CMYK#2) > Save As...
This creates your second CMYK file.
Then, back to original RGB file > Edit > Convert to Profile (with CMYK#3) > Save As...
This creates your third CMYK file.
In all cases, be sure you have "Embed Color Profile" checked at the bottom of the Save As dialog. When naming a file, it's handy to include some sort of indication as to the color space.
In the end, you have four files: 1 RGB file, 3 CMYK files.

Why is Bridge reporting color profiles incorrectly?

Why is Bridge seeing this image as an Adobe RGB when it is really Colormatch RGB?
I am using CS5 on Windows 7 64bit. I have purged the cache and did a full restart of the OS.
1.       The top dialog is Bridge and it is reporting the image as Adobe RGB (1998) in three places.
2.       Next, with Photoshop’s rgb color setting is set to Adobe RGB and I get an Embedded Profile Mismatch.
3.       I reset the color setting to Colormatch an opened the file without a mismatch. The status bar Document Profile confirms Colormatch
4.       In the convert to Profile dialog, the source profile is Colormatch. (Is this a reflection of the working space setting?)
5.       In file Info Raw Data Colormatch is reported.
6.       I then opened the image as a TXT file and found a tag for Colormatch. There is no reference in the TXT file or Raw Data to Adobe RGB (1998).
Why does Bridge report this image as Adobe RGB (1998) when the file seems to have no reference to Adobe RGB?

I am assuming that some remnant of a former state of these files is causing Bridge to report the color profile incorrectly.
I made a workaround to fix these files by creating a Droplet (With 'Save on Close' and 'Override Action "Save As" Commands.) to run an action with the following steps:
Convert color to Lab.
Convert color back to RGB. (Working space:Colormatch RGB)
Assign Profile to Colormatch RGB.
Save As. (With ICC Profile: Colormatch RGB checked.)
Close.
With Profile Mismatch Warning set to' Ask When Opening', the droplet stops on any images that are not Colormatch and resumes after making a selection.
This is correcting the files and they are now reading correctly in Bridge.

How do I embed a color profile in an untagged picture that is displayed incorrectly as sRGB?

I have a set of JPEGs that have been stripped of their color profiles (AdobeRGB). Lightroom assumes that they are sRGB images and displays them incorrectly. Is there any function in the program that will let me embed the correct (AdobeRGB) profile to the photos, preferably without re-compressing them?

It looks like the developer of ExifTools GUI is no longer supporting it:
http://u88.n24.queensu.ca/exiftool/forum/index.php?topic=5370.0
I tried using an older ExifTools Gui v3.38 with the latest ExifTools v9.47 windows installer download and it works fine. It also does NOT recompress the image data when using the 'Import ICC/ICM Profile' tools. So there's no need to create TIFFs to change the profile on your JPEGs without altering the image data. Try it!
I've uploaded a ZIP file, which contains a folder with everything you need. Download, unzip, and place the folder anywhere on your HDD. Copy and paste the shortcut 'ExifToolGUI 3.38 (ExifTools 9.47)' that's in the folder to your desktop. Nothing is installed – Exif GUI is a standalone app. If it doesn't open you may need to right-click on the shortcut and selct 'Run As Administrator.'
https://www.hightail.com/download/elNLb3BOQ1JTSUFsYzhUQw
Message was edited by: trshaner Corrected download link

Why embed color profiles?

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