Why is OS X ignoring my colour profile?

I calibrated my monitor using a Spyder3 and the results it returned were...confusing.
Images in Chrome and Safari look fine, but the rest of the system appears to be ignoring my colour profile
Here's a couple of examples:

Ed in Maine wrote:
Id Apple doing anythng to offer a fix asap"
we don't know any more then you do about what apple may or may not be doing.

Similar Messages

Wrong embedded colour profile causes huge jpg files when published to .Mac

D'oh! i posted the following on the iDisk discussion my mistake. Here it is all again for iWebbites:
I've spent most of the day trying to optimise my new iWeb site on .Mac but the published jpg files are far too big.
Despite sizing to 800x600 px and jpegging at about 5 or 6 in Photoshop which resulted in a file size of about 100kb on my local disk, when uploaded to .Mac via iWeb the they have turned into 800 kb files.
Lots of trouble-shooting, including ensuring that they weren't converted to png, that they have no borders, reflections or drop-shadows yet they still got bloated on the upload. Especially the photos in the photo-gallery page.
I've isolated the problem but don't know what to do next:
Turns out, iWeb ignores the sRGB embedded colour profile and replaces it with the monitor profile of the originating computer.
I discovered this after I opened the file in Photoshop directly via iDisk in Finder. Converting or assigning the file to sRGB and saving it back down to iDisk immediately restored it to its intended file size of 100kb and this time with the correct sRGB colour profile.
Going now to the domain.sites on my local disk and opening the package shows all the photos doubled up. A 360 x 264 .jpeg file with the monitor profile embedded and bloated out to 800kb plus the original 800x600 image with sRGB and .jpg as the file type but still only 100kb
So what the heck is happening in iWeb to do this and to use the wrong file type associations with the wrong file when uploaded?
There is very little on the forum about colour (color) profiles and no mention of the bloat in file size, just a reference to colour and tone issues with the wrong profile so I'm wondering if its related to the 1.1.2 update. (I haven't really tried using iWeb until the last week or so).
Fixing the problem by post processing the photos on my site every time I publish would be impossible with the amount of photos I have and my intention of updating the web galleries regularly.
As you can find out if you go to a photo page on my site:
< <a class="jive-link-external-small" href="http://">http://web.mac.com/adrian_malloch/iWeb/AdrianMallochPhotography/ Kabaddi.html > some pages take horrendously long to load. Check out some of the other Subculture pages. I haven't tested them all but Safari Activity viewer shows that most of the slow speed is related to opening jpeg files.
Any help and informed suggestions would be hugely appreciated.

This is doing my head in.
My last two comments "posted" half way through writing, before I had a chance to edit completely.
Here's how it should have read :
Using sRGB as a monitor profile, in itself, doesn't make a lot of sense.
A monitor profile is custom made specifically for the monitor to compensate for its display characteristics.
A "good enough" monitor profile is to use the software calibration built into the Displays preferences. Go to System Preferences/Displays/Color/Calibrate and follow the prompts. Hint: squint as you try to judge the colour and tone differences. The idea is to make the detail so fuzzy you don't notice it.
It's not very accurate, especially with LCD screens, but it's better than nothing and certainly better than using a universal colour space like sRGB, etc.
The accurate option is to get hold of a hardware calibrator like the Spyder, or Gretag-McBeth iOne Display (which I use). It costs a bit but is vital for accurate repeatable colour.
The whole point is that when the profile is made up and is set as the default profile, then you will get a WYSIWYG screen.
So, the same images will look the same on different monitors providing they each have accurate monitor profiles made specifically for them.
If you use sRGB as your monitor profile then you cannot expect the image to look the same on any one else's machine, whether they use sRGB, a monitor profile or any other profile. Worse still, if you change an image to "look right" on your screen, chances are that the image will look horrible on another screen.
Hence, why I will only switch to sRGB monitor profile as a workaround for uploading in iWeb. Nothing else!!

Image Colour Profiles are not being applied

When I import images in to InDesign CC 2014 the embedded colour profiles are not being activated.
Therefore images are looking flat and a bit washed out on screen.
In order to apply the colour profile I have to right click on the image go down to Graphics and the colour settings and select the correct profile.
In the InDesign colour settings menu I have Colour management policies set to Preserve Embedded Profiles on RGB and Preserve Numbers (ignore linked Profiles) for CMYK. However changing these to other options makes no difference, the profile still need to be activated on each image.
I am working with RGB images that have the Adobe RGB 1998 profile embedded in them.
I cannot figure out why this is happening!??

Check your color settings.

How do I Fix Messed up Colour Profiles

I've somehow managed to completely mess up my colour profiles in Photoshop CS5. What a total Gormlops I am. Can anyone help me with these 2 related problems?
1 - ACR displays colours from RAW files as lifeless and dull compared to JPEG. I've searched countless forums and I'm lead to understand that RAW files don't include the 'in-camera' processing that we see on the JPEGS. What I don't understand is that ACR used to display the colours on my RAW files exactly like it did with JPEG files so although I understand the difference in the way ACR handles RAW vs JPEG why has this only become noticable in the last few months? I've had this installation of CS5 for almost 2 years and the problem crept in only recently. How do I fix this?
2 - Proof Colours Confusion
I mostly work on the web and rarely need to print. Round about the same time the above problem reared it's ugly head I also started having issues with how many graphics colours looked in CS5. I realized that half of the time I was working with 'Proof Colours' switched off which made my colours really intense (something to do with gamma).
I checked my 'Proof Setup' and switched it to Internet sRGB seeing as I mostly work with web graphics and photos. I then hit Ctrl+Y to switch on Proof Colours and now I see the colours as they really are.
My question for this is twofold - Am I correct to be working in sRGB and is there ar way to have 'Proof Colours' always switched on so that I only EVER see the 'actual' colours that others will see when I publish my files to the web?
I can't help thinking that these two issues arose at the same time and are linked. I tried installing a demo of CS6 in the hopes it would set me back to where I used to be but alas nothing changed.
Thanks in advance.

Try posting in the Adobe Camera Raw forum:
http://forums.adobe.com/community/cameraraw?view=discussions
You might want to do a forum search there before posting, though. This comes up repeatedly and has been discussed ad nauseam there.
In a nutshell ACR is not designed to emulate the in-camera JPEGs at all.

Colour colour profiles and JPEG compression mismatch

In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
For example, if a JPEG image all one colour is placed in a gallery widget over a text box, and then the background colour of the textbox is set to the colour of the image by sampling the colour in the image using the colour picker, when downloaded to the iPad the colours will not match (although they appear to in iBooks Author). I presume this must be a bug with the encoding of the JPEG? Or is it a conversion issue between different colour profiles used for the solid colours in iBooks and the sRGB colours that Apple advises using for images?
I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
In short, does anyone have a clue what is going on with the colour profiles and colour matching in iBooks Author and iBooks on the iPad? They certainly display the most perplexing behaviour I have ever come across.
Giles Hudson

Although you say there is no concept of a colour profile in iOS, the problem is that iBooks Author does recognize profiles, and appears to take them into consideration when downloading images to books on the iPad. For example, an image tagged with an sRGB profile placed in iBooks Author will appear differently from an identical image tagged with an Adobe RGB profile. The problem is, it is not at all clear what conversion is going on, especially when using a monitor with a different colour profile appears to cause radically different behaviour in the conversion. Is it being converted to "Device RGB" that the colour picker apepars to use? What is this Device RGB? The monitor RGB or the iPad RGB?
I understand that iOS supports RGB and CMYK. However, the important question is, which working space does iBooks Author use? sRGB, GenericRGB, Device RGB (whatever that is), Apple RGB, Adobe RGB, the monitor RGB? Without knowing this it is difficult to match solid colours to colours in images (and even arguably impossible due to the JPEG encoding problem I mentioned above).
All this vagueness in colour handling with OSX and iOS makes life very difficult, especially, as you suggest, when things have the potential to change at any minute, potentially wrecking months of painstaking work that has been put into designing books in iBooks Author.

PNG colour profiles - and this format for print

I know it's taboo to talk about PNG for printing.
But I can't find and I've searched the forums - there was a post made about embedding colour profiles a while ago.
I know PNG is a RGB only format, but I'm 36.8% sure I read something about embedding either RGB or ... wait for it CMYK profiles into PNG files.
If anyone can shed any light on this - and how about PNG for print - I've been against it for a long time - but it is a lossless format, it can carry 64 bit data.
I know I know - but I thought I'd ask anyway - see what people think.

You can't save a PNG with a profile out of Photoshop, but it looks like you can embed one via the image events scripts that ship with OSX (/Library/Scripts/ColorSync/embed). Unfortunately ID ignores the embedded profile and uses the document's assigned profile instead. PNGs do respond to ID's RGB profile and the RGB profile will have an effect on the CMYK separation when it happens.
Here's ProPhoto and sRGB:
From your ID document you can also assign a profile, which conflicts with the doc's profile, by selecting the png and choosing Image Color Settings.... So, you could assign AdobeRGB as your doc's profile and assign sRGB to all your pngs.

CCP colour profiles and different lenses

Hi,
I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
M

First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate. From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image. For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look. You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
The two questions you seem to have, are: does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder. By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles.
If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise. I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop. In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference.
Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario. In my mind the works out to be "make the colors of the object look like it was photographed in sunlight". The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done. For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced. A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight. This might be an argument for NOT WBing skin in incandescent lighting. In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each:
Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)? Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers. You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting. The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different. One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast. So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
This first question dealt with the photos taken with each of the two lenses. The remaining questions are about testing with just one lens.
Is the profiling process repeatable? Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles. An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results.
Does the exposure make any difference? You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered.
If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still. I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at. Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch. An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting. You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
http://www.pbase.com/ssprengel/image/101322979
If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth. Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

Colour profile mismatch

Does anyone know why images imported into Aperture with an embedded colour profile (sRGB IEC61966-2.1) export to Adobe Photoshop as Adobe RGB 1998?
Ideally I need Aperture to keep the cameras embedded profile and not convert it.
Just wondering if anyone has come across this problem and has found a solution to it.
many thanks
Jason

Aperture uses a very wide color space, wider than
Adobe RGB.
This is what I suspected and hoped was the case. What is this very wide space? I can't find it documented anywhere. Two linear working spaces I know of that are wider than Adobe RGB are "ProPhoto RGB" and "Ekta Space PS5, J Holmes". Either of these are recommended (by Bruce Fraser) for 16 bit files in PS.
When exporting, the export file presets allow you to
set color space for your chosen target.
Yes, and, before Aperture, I had been using one of those very wide spaces noted above in PS until going down to 8 bits for printer or web output.
However, round-tripping to Photoshop is different
.... the file is going to come back to Aperture. So
Aperture sets the widest color space PS can deal with
.... AdobeRGB. This means Aperture loses the least
color detail. (BTW, it also roundtrips the file as
16-bit, so the file sizes are pretty substantial.)
As noted, Adobe RGB is NOT the widest color space PS can deal with. Why is it not possible to to choose the PS export space? Is this because Aperture actually uses Adobe RGB as its space? If true, that would be unfortunate (and contradict your initial statement).
One would like to have the same very wide space in both Aperture and PS since unnecessary color space conversions are undesireable. In order to accomplish this now, I am forced to export a version and then open it in PS and then reimport it, rather than using the Open With External Editor option.
Really, I would like to be able to select Aperture's working space as well as the PS export space, as we can now for general version exports.
Aperture needs to document this much more clearly.
Dual 2.7Ghz G5 ATI Radeon X800 XT 2.5 GB ram Mac OS X (10.4.6)

Colour Profiles on exported images causing major problems

I've been exporting keynote slides as png's to use in video presentations. The problem is that the png's are saved with colour profiles, which means if I export the images from diferent macs, or even the same mac but with a different monitor attached (therefore a diferent monitor colour profile active), the images have very noticeable colour variations.
This is a major problem. I exported 1,000 slide transitions to import into Adobe Premiere, then about 500 slide updates that when imported, were in some cases darker or lighter even though I was using the same keynote and original images. I had to create a batch job in Photoshop to open, ignore the stored profile and save the images using a new default colour profile to try and get all the images consistent.
There needs to be an option in either the Keynote preferences or export options to save exported images without colour profiles.

There needs to be an option in either the Keynote preferences or export options to save exported images without colour profiles.
No, there needs to be documentation on the ICC architecture and how ICC profiles are applied. Stripping out embedded ICC profiles will colour manage the objects (images) in the system, but when the images pass outside the system they will not be colour managed any more. In this scenario, either they will have to be rendered as deviceColor by the numbers, without a definition of the colours their colourants should form, or a source ICC profile will have to be assigned by the following system/application.
I've been exporting keynote slides as png's to use in video presentations. The problem is that the png's are saved with colour profiles, which means if I export the images from diferent macs, or even the same mac but with a different monitor attached (therefore a diferent monitor colour profile active), the images have very noticeable colour variations.
I could be considered an unconditional bug in Keynote if it embedded the current monitor profile and not the system RGB colour working space profile (: Generic RGB Profile). If indeed Keynote embeds the current monitor profile, it could be considered an unconditional bug in your understanding if you start by stripping the source profiles. You should be doing a profile to profile conversion in order to get into the RGB colour working space you want in Photoshop.
Sorry, but it helps to have a basic understanding of media independent colour matching (even if the developers don't sometimes -:)).
/hh

Colour profiles in Photoshop CS4

I'm confused about colour profiles in CS4. I have set colour settings to sRGB and view-proof set up to sRGB as that's what my printing service work with. My Nikon D90 shoots RAW and I've set imported images to keep the sRGB colour profile from the camera. Yet in metadata I'm seeing colour mode RGB and colour profile untagged. What's wrong and how do I fix it?

Thankyou Noel. I can now save as individual photos in sRGB, but I still don't understand why they are coming through as RGB or how to bulk change that. Also, colour mode is still in RGB and I confess I don't know how that affects images or how to change it. Any advice please?
Chris

Assignment of colour profiles in indesign vs PDF colour profile

Hi all,
If in the assign colour profiles menu of indesign I had the same setting for all my indesign files, as shown in screenshot attached.
And then when a PDF is created from an Indesign file using a different CMYK profile, will the original indesign setting have any impact on the PDF created? Will the PDF ignore the settings of the Indesign document?
Regards, Tim

Many templates that get populated with RGB images. .... The only colour change in the process is when the final PDF is rendered to go to the printers.
So, for my master indesign files what is the best colour set up?
The PDF/X presets are designed for your scenario.
I doesn't make much sense to use any CMYK color because you never know what the destination will be and CMYK colors will almost always get reconverted. The only problem RGB presents is gamut, so when you edit, a soft proof setup with a CMYK space would be advisable. The ideal would be to establish one RGB editing space (Adobe RGB?) and assign it to all your RGB objects and ID files.
It sounds like you are expected to finalize color management at PDF creation, if that's the case PDF/X-1a forces all RGB color into one destination CMYK space and flattens transparency. When you automate the PDF creation you would need to be able to set the destination in the Output panel depending on the where the file is going.
The alternative is PDF/X-4 where there are no color conversions but every object gets a color profile. In that case the color conversions would happen at output, i.e. the PDF going to a newspaper gets converted to the newspaper's profile (SNAP?) at output. All the vendors would have to be on board for that to happen, which might not be the case.

Colour profiling with Canon ip6600d

Hello can anyone please help me?
I am using the above printer on Canon Photo Paper Plus Glossy with Canon original inks.
If I let PS (CS6) manage the profile and set the printer driver colour correction to NONE the driver set itself back to Driver Matching setting straight away. The result is extremely saturated colours in some areas.
If I dont allow PS to manage the profile but let the driver do it automatically the colour results are much better but... surely it would be better to have PS managing the colour profiles.
Why does it keep changing the setting please?
Sorry if I have not explained this clearly.
Trish

That sounds like a bug in the driver -- when the application is managing color, the driver should disable it's color controls (and get out of the way).

Will Elements 12 accept colour profiles from commercial printers?

I am currently using Elements 10. I have most of my printing carried out by a commercial company. (DSCL).Apparently, Elements 10 will not "accept" colour profiling, I am therefore submitting material and, literally, hoping for the best, as most of the resulting prints bear little resemblance to that displayed on my monitor.The monitor is calibrated. Does Elements 12
"accept" colour profiling ?.

iPhoto doesn't like psd files from anywhere. JPEG and TIFF are the way to go. Why are you keeping duplicate copies of all your photos? Eventually you should choose one organizer or another. Aside from making you crazy, you'll run of disk space pretty fast, unless you have hardly any photos.

Colour profile problem?

I'm using Indesign CS2 to create large numbers of web banners but have just noticed some odd colour behaviour after creating my templates. I prefer Indesign to Photoshop and Illustrator for this because it allows better control of text. Colour profiles for all applications is sRGB.
In InDesign CS2 I have a box filled with r255 g0 b0:
1. Export as a jpeg and open with photoshop the red changes to r248 g0 b0.
2. Copy and paste the entire page into Photoshop gives r255 g0 b0.
3. Put an image with transparency over the red box and export as a jpeg gives r208 g5 b24.
I have gotten aroung this problem by not using transpapency in images - but why would transparency affect the colour of other elements on the page?
Many thanks in advance...

I try to export a page or spread as a jpeg and the color profile is stripped. I've made sure transparency bleed space is RGB but I still get no profile in the resulting jpg.
Any thoughts?

Illustrator CS4 uninstall colour profile rollback error

I've been using the same version of CS4 since July with no problem until today. I clicked on my AI desktop shortcut to be presented with a new licence agreement popup. Clicked agree and window disappeared but Illustrator didn't start up.
I read some other forum discussions on this subject which suggested uninstall - re-install - reboot. I uninstalled all of CS4 but when I tried to re-install it comes up with an error message.
Adobe support advisor says:
Issue no: id18308
Error UninstallColorProfilesRollback occurs preventing the installer from updating existing color profiles when installing the Adobe Creative Suite 4 product
I have since run through the suggest actions (deleting colour profiles and reassigning permissions) three times.
When I get to point 9 (Click OK in the "Advanced Security Settings" dialog box. Windows will now reset the permissions for each child object to correspond with its parent) I get the following permissions message "Registry editor could not set security in the key selected, or some of it's sub keys".
Is this why it's not working?
Would this also be why my pdf writer doesn't work?
Please help!!!
Edit: It seems Photoshop won't work either I need to uninstall and reinstall...great news as it was pre loaded.
Great work adobe!!

I fixed it eventually...sorry I meant to post a message.
I had to run clean script for CS3 and CS4 to completely remove all the components preventing the install.
http://www.adobe.com/support/contact/cs3clean.html
http://www.adobe.com/support/contact/cs4clean.html
I had little faith, but it worked. Hope this fixes it for you too.

Why is OS X ignoring my colour profile?

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