MM@Photosence

Thank you for your suggestions Johannes and Walt, The way I work, I want to correct the original RAW image first (with setting black white and grey points) that way I can (as desired) remove or manipulate a sensor colour cast of a camera and determine the detail in the darker and brighter zones of my image, With these corrections done I can process my image to wherever I want to take it. I am not sure I can pull it off with the info panel Walt. It is somewhat like you see here. http:// https://www.youtube.com/watch?v=rvv8NeeYEeI&feature=youtu.be&hd=1 I do a lot more though, I make three separate curves adjustment layers for Black White and Grey and correct in each adjustment layer the sampled values for the Red Green and Blue channels for my blackpoint I set the rgb values to 7, for grey to 128 and to 247 for white. With these 3 layers I sometimes change opacities and their stacking order to taste. Thanks for the suggestion Walt to float a finalized image next to a copy rendered with my icc profile. Yes I can softproof with an adjustment layer (thanks W) but regardless of where the icc profile comes from (I agree with J that a printer generated one is best), I really want to softproof while the screen shows me what the result will be on a particular paper; to avoid printing something I don't want I use a proof setting that toggles how the colours pan out when they are printed (by the relevant printer) on the particular paper the profile is made for. At the bottom of the pop up: I hope I have shed some light on my ideas and wants. Thanks both for your insights on this.

Thanks Johannes, I can't edit that post so I will rephrase "Professionals can not use Affinity to produce colour managed output" Rephrased: As a professional (fine art photography) I cannot use Affinity photo to employ the color management workflow that I use with Adobe to create my work. I need to set white- black- and grey points with a color sampler so I can make separate, individual corrections for the red green and blue channels, right at te beginning of my workflow. I want to be able to do my softproofing through an iic-profile-adjusted copy of my finalized file and I need that copy to emulate the paper I will print on so I can see on my screen what my printer will produce. To do that I need the finalized original and printing copy side by side so I can accurately adjust the copy and bring it as close to the finalized original as I can. That way I can safely create an optimized printing file that will accurately print what the adjusted copy looks like on screen. I work with regularly calibrated hardware.

I was sold on the supposition* that the products had such quintessential, minimum** requirements in place and that their pricing reflected (amongst other things) an R&D policy of industry compatibility first, competitive features (prioritized from rudimentary to niche usage) second. Professionals can not use Affinity to produce colour managed output, perhaps we simply do not belong to Serif's target audience. Maybe we will in the future. Rincewind's feature request that Rpnfan refers to is from 2018 is not a gimme for a box of toys. It is a professional need and it embodies a solid opportunity for Affinity to vastly expand its market by incorporating Needs may be met some day or remain a request gathering dust on some forum, I wish Serif wisdom, I took my loss and don't take the luxury to wait for change to happen. Thanks for your reply Gunda. * based on a decent number of articles that suggest and compare photoshop alternatives ** to meet industry standards

I just (yesterday) bought Affinity Photo, and wanted to try setting Black- White- and Grey points in an image to discover this embarrasing incompleteness. Yes- I wanted to get rid of my Adobe subscription too , what a shame I wasted my money here. I am very surprised that a company 'for professionals' fails to deliver the features for the core functionality that color management is. I now have a fully working car that can't take me to my destination.