Embedded profile miss match?

Discussion in 'Photoshop Tutorials' started by John A. Stovall, Jun 12, 2005.

  1. I'm using in my RAW ProPhoto RGB and 16bit channel. The camera is set
    to Adobe RGB (1998) and I get an "Embedded Profile Mismatch" when I go
    to save.

    Is there any way to make over ridding the default in CS2?

    For that matter, I can find any place to tell Photoshop CS2 to use
    ProPhoto RGB for a color space or am I missing something.

    I'm just getting up to speed on all this.


    *********************************************************

    "I have been a witness, and these pictures are
    my testimony. The events I have recorded should
    not be forgotten and must not be repeated."

    -James Nachtwey-
    http://www.jamesnachtwey.com/
     
    John A. Stovall, Jun 12, 2005
    #1
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  2. John A. Stovall

    Bill Hilton Guest

    John Stovall asks ...
    This doesn't make sense, the camera setting is over-ridden by the RAW
    converter so the file you generate from RAW will be in ProPhoto space.
    You're getting the "Mismatch" because Photoshop is set up by default to
    generate the warning, it has nothing to do with your camera setting.
    Sure, two options you can take (this is for CS, I assume it's similar
    for CS2) ... if you want to make ProPhoto your default RGB working
    space then do Edit > Color Settings and in the 'working spaces' box for
    RGB pick ProPhoto from the drop down menu instead of using Adobe RGB.

    The other thing you can do, if you don't want to set ProPhoto as your
    default working space for all new files (and there are good reasons why
    you shouldn't use it as the default), is to go down to the 'color
    management policies' box in the same Color Settings dialog box and
    uncheck 'ask when opening' besides the 'profile mismatches' setting.
    Then you can still use AdobeRGB as your default but you won't get a
    mismatch warning when you open a file with a different profile. There
    are a couple of other settings you can change which are
    self-explanatory.

    Bill
     
    Bill Hilton, Jun 12, 2005
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  3. That makes sense. I thought it was referring to the EXIF data which
    showed the Adobe RGB (1998) I had set in the camera (Canon 20D).
    Thanks, why would I not won't to use ProPhoto as my default color
    space since it's a larger space and provides more "Head Room" than
    does Adobe RGB (1998). I was following the work flow suggested in
    "Real World Camera Raw with Photoshop CS2: Industrial-Strength
    Production Techniques" by Bruce Frazer. Setting up RAW this way.


    *********************************************************

    "I have been a witness, and these pictures are
    my testimony. The events I have recorded should
    not be forgotten and must not be repeated."

    -James Nachtwey-
    http://www.jamesnachtwey.com/
     
    John A. Stovall, Jun 12, 2005
    #3
  4. John A. Stovall

    Hecate Guest

    Well it could be because AdobeRGB is a better fit for CMYK (i.e. it
    matches the colour space more closely) and when you print, that's what
    your inks are (regardless of whether you send an RGB file to the
    printer or not). I think Bruce is good - his book (Along with Murphy
    and Bunting) called Real World Color Management is excellent. But I
    wouldn't agree with him about this.

    --

    Hecate - The Real One

    Fashion: Buying things you don't need, with money
    you don't have, to impress people you don't like...
     
    Hecate, Jun 12, 2005
    #4
  5. John A. Stovall

    Bill Hilton Guest

    John Stovall writes ...
    Two main reasons ... 1) you can't actually see the full extent of this
    space (which encompasses all visible light, much wider than the gamut
    of almost any image you'll actually capture) on any monitor you can
    actually afford, so editing is very hit or miss and 2) you can't use
    these extra colors (ie, colors beyond the gamut of say ARGB) because no
    output device can print or display them (with a couple of exceptions).
    Are you SURE he said to use ProPhoto as your main working space? I
    really doubt this ... like many others on this NG I respect Bruce's
    work a great deal but he's been pretty consistent over the years in
    saying that you should use the ultra-wide working spaces sparingly.
    For example, in his book "Real World Camera Raw with Adobe Photoshop
    CS" he suggests checking the RAW histogram to see if you have out of
    gamut colors and if so switch to a wider space (like ProPhoto), "then
    use Convert to Profile to convert the images into your working space of
    choice". (pg 70-71)

    If you're really worried about clipping colors in saturated images then
    I'd suggest trying a tool like Chromix's Color Think, which lets you
    plot the actual gamut of an image against a profile (working space or
    printer or monitor or whatever type of profile). If you find you are
    clipping a lot of colors then you can use a wider space on those type
    of images at conversion and then convert to profile further in the
    flow. That's what I do, using either Ektaspace (gamut of color slide
    film) or, rarely, ProPhoto (gamut of visible light) for maybe 2-3% of
    my images, then converting to something easier to work with, typically
    AdobeRGB. Here's a sample of the image linked to below, the dots are
    the gamut of the image, the smooth area the gamut of a printer profile,
    showing how and where this rendering of the image is out of gamut for
    this paper profile. http://members.aol.com/bhilton665/CT_demo.jpg

    You can convert the RAW files multiple times and compare results ...
    for example, this abstract shot has some saturated colors with smooth
    gradients and I find I get better final prints (less blocky colors,
    better smoothness in the gradients) when converted using Ektaspace ...
    here's a screen dump showing some test conversions in the File Browser,
    where I've converted it from the RAW with several different working
    spaces, then converted again to a printer profile ...
    http://members.aol.com/bhilton665/tulips.jpg ... try this on some of
    your shots and see if you really need to use ProPhoto RGB all the time.

    In brief, the wide gamut working spaces are useful when you need them
    (highly saturated colors) but require care and most of the time you
    don't need them. I wouldn't want to use one as my main default working
    space. Here's an early (PS 6 era) article by Fraser which essentially
    says the same thing ...
    http://www.creativepro.com/story/feature/8582.html?origin=story

    Bill
     
    Bill Hilton, Jun 12, 2005
    #5
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