Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by David4

  1. Why, thank you, evtonic3. People who have NO idea of critical color management and digital capture and digital printing are not helping. Quoting from RCR: Phrases like "several hours of curing" or "I make adjustments in LR or PS" tell us nothing about that -- it is a lot like saying "I did some stuff & didn't get the results I wanted." RCR: Curing: This is a natural physical phenomena for a Giclee print. Whether canvas or archival, acid free watercolor paper. Colors change. Some areas get lighter, some darker. Professional printers know not to judge a print immediately after is comes out of the printer. I usually have a client look at an Artist proof, a day after printed. When I print the 'target' that will be read for custom .icc profiling of the printer/ink/substrate, I wait three days before reading this target. Cheers, David4
  2. The print, after several hours of curing, is less saturated than on display.. When using PS CS5 or LR 6.5.1. the print is nearly, almost, the same as what is on the screen. You see, I make adjustments in either LR or PS, and know those modifications will print as I see them. I never every tell my clients results will be perfect.....though sometimes, for whatever reason, they are. At this point, AP cannot be used for "professional" printing. If someone IS using AP for professional printing, please inform me how they do it.
  3. Well, I had shown how they look different with screen captures.. Then other discussions showed up regarding displays, which had no baring on screen capture. Screen capture simply allowed others to view the differences. Are you asking me how I create my custom .icc profiles for my Epson Pro 9900 44 inch printer? What the steps are? Are you asking me where and how I use my printer profile in AP? For me, it would be easier to speak with you on the phone. Let's speak on the phone. If okay, I will give you my phone number. I am ready now PS: What I keep repeating is the simple way color management is implemented in PS CS5, and in LR 6.5.1. No secrets. No complications. Should it be I am missing some simple step in implementing color management, a simple phone call can help me. Answering the below question, I look at the images. full screen on my NEC PA 272 display. 27 inch display. Not thumbnails. Also, it would help to know how the appearance differs, if you are using the small preview in the OS X print dialog for comparison
  4. Okay. Let's get this straight. ProPhoto RGB is my color working space. Repeat. My color editing space is ProPhoto RGB. I cannot be any plainer than that. My color working, color editing space IS ProPhoto RGB. Not my printer profile. NOT my custom .icc printer/ink/substrate profile ! ! ! ! Target format is tiff. tiff! If you folks are not on the same page with me, David4, than there is a huge gap in our thinking, and goals. So, work with me ! ! ! Please. Custom .icc printer profile is used for printing to my Epson Pro 9900, 44 inch wide printer. ProPhoto RGB is my editing/working space. Got it? Forget all the stuff about displays and screen capture. Has nothing to do with fine art printing. I had been requested to send screen captures for others to compare what I saw on my PS 272 professional display. And I did. Then some of you started discussing the display issues. That had NO baring on looking at differences in screen captures, or what gets printed. Simply put, when I am prepared to send an image file to my Epson Pro 9900, 44 inch wide printer, I have a choice of two methods. One method is to use the print dialogue in Affinity Photo. I have the option to see a preview before printing. The preview does not have the appearance of what my finished image file looks like and I expect to print. Period. The other method is to export as a tiff and use this exported image file to print through LSI's Printao 8 software. And again, what I see on the display does not match what I have prepared to send to the Epson Pro 9900, 44 inch wide printer. In either situation, the image file needs more adjustments. THAT SHOULD NOT BE THE CASE ! ! ! ! ! Kind Regards, David4
  5. Been using it.... and again just now. Not the solution. Box has been checked.
  6. Hi A_B_C. Question Make sure ProPhoto RGB is chosen, or the custom .icc printer/ink/paper profile is chosen?
  7. Naw...that can't be it. ProPhoto RGB is already chosen. Maybe I should choose the custom paper profile I have created.? Again: "By default, exported files are unprofiled, i.e. a colour profile is not embedded within them." Does this mean when I export an image file from AP, the .icc profile is not included? Really wished there was a simple answer, like what I know, in PS CS5 and LR 6.5.1. No goplbley gook, strait and narrow. Been using those PS since 3, and learned color management from the best. Lectures with auther of Real World Color Management , Bruce Fraser. And lectures and classes galore. Not bragging. Just I have not sat around and done nothing regarding color management. I am not sophisticated in coding, and other stuff. Nope! Beyond my abilities. David4
  8. Thank you for asking, R C-R. I go to file > export > and the dialogue box comes up. I use tiff, lanczos 3 non-separable. and finally export button David4
  9. Hello Affinity family. This is from the help menu. "By default, exported files are unprofiled, i.e. a colour profile is not embedded within them." Does this mean when I export an image file from AP, the .icc profile is not included? Help says this file is not included for use in WEB. I don't export to web. I export for further imaging corrections, and finally to print. What are the steps to do what the below sentence requests? Possibly, this is the reason I see inaccurate image presentations when viewing the same image file in AP and PS CS5. With Export Persona active, choose your Preset in the Export Options panel. (Optional) Select a different ICC profile from the pop-up menu. Otherwise, the document's colour profile will be embedded. 3. Check Embed ICC profile. To embed a colour profile on file export: With Export Persona active, choose your Preset in the Export Options panel. (Optional) Select a different ICC profile from the pop-up menu. Otherwise, the document's colour profile will be embedded. Check Embed ICC profile. You can also embed an ICC profile via File>Export (click More> in the dialog). By default, exported files are unprofiled, i.e. a colour profile is not embedded within them. This maintains a low file size optimized for web use. On opening the file, your working colour profile will be assigned to the file.
  10. Posted 26 February 2016 - 11:27 AM No one has responded to this post I did, Feb 26, 2016. I would request MEB, or Allan, or someone would respond. My goal in my workflow requires me to reproduce original art, as close to the original as is mechanically and chemically possible. I personally create .icc profiles for the Epson Pro 9900 printer and substrates, my professional display, and Canon EOS 6D camera. With LR 6.5, as well as with RPP 64, what I adjust in RAW looks pretty much the same in tiff. Adjustments are minor. Not so in AP. I can adjust RAW in AP to appear as close to the original art as possible. In RAW I choose develop assistant, and make sure no changes will come about with the choices. Take no Action. Meaning I don’t want curves or exposue bias affecting and anything else messing with the RAW file. Adjust the image file as close to the original art as possible and ‘develop’. Go to develop and all looks well. However, choosing soft proof, I am back to making large adjustment, again! So. back to the adjustments. Seems there is no point in making adjustments in RAW. I know RAW has quite a latitude for adjustments. Am I tossing the RAW adjustments to the wind? In advance, I thank all, MEMBERS and STAFF, for assisting me. Have have made AP my workflow application. At times, I will also use RPP 64 for my RAW converter, and AP for the balance of the workflow. Printing is done with Printao 8, an application from LSI. And I thank everyone for such a good job on developing AP! Again, put full genuine color management in Affinity Photo. Cheers, David Like This Quote MultiQuote Edit
  11. I have not been able to capture a screen shot of the leveling tool used in RAW and develop when I click on 'straighten". Please send me a link to instructions on how to use this tool. Kind regards, David4
  12. Thanks mystrawberrymonkey.......... And, sobi, simply look for david4's posts in the forum. Kind regards to all. Cheers David
  13. sobi, I agree with you. No contest. What I have done, is, accommodate to these issues. Color management is my biggest issue. I benefit from the way Lanczos 3 non-separable can create a larger image file without the blemishes introduced by on1's perfect resize. I still use on1's gallery wrap.
  14. Hello Sobi. Me, David, is not on staff. Just a simple minded user of AP. I also had issues. Won't go into them. And you can find them in the questions and in the help areas. After much help from strawberry monkey, and probably 13 others, I have learned to use AP. Now that I know (I think I do) AP, I just cannot visualize returning to PS CS5, and LR 6.5. PS CS5 and LR 6.5 are still in my workflow, secondary to AP. Couple of things I do is easier with PS CS5. My earlier posts......well, just look at them. Now I have mellowed. NO! I don't smoke anything. Staff and members are of great help. youtube as well as facebook, have excellent tutorials. Some authors make exceedingly fast presentations and I have had to repeat them several times to learn what they are presenting. Kind Regards, David
  15. R C-R: Thank you for your explanation. I appreciate you! Still, I need to know what steps to take in Affinity Photo, to do the work flow I show in my screen shots. What you write is good for me! How do I do what I can do in PS CS5, in Affinity Photo, forgetting the ability to read the mb's of the file? Cheers, David
  16. Let’s say I have an image file size of 300 mb’s. Working with this image file size of 300 mb’s, and keeping 300 mb’s I can increase or decrease the dimensions, top, bottom, left and right. Not dealing with pixels, dpi, ppi. Physical size IS 300 mb’s. So, what is important to me is to keep the 300 mb’s. I can then resize the image, smaller or larger and not change the 300 mb’s. What will change is the RESOLUTION. And this is okay with my workflow. How do I do this in AFFINITY PHOTO? Also, where do I find the mb size of an image in Affinity Photo? For instance, a 300 mg file, without having to go to export to learn the size. Using PS CS 5, screen shots show what I am writing about. Cheers, David
  17. MEB, now I'm really stumped. In simple, down to earth words, (speak slowly and clearly), Resample checked or not checked, and reasons why. I always use Lanczos 3 non separable. Cheers, David
  18. In RAW, Develop Assistant, Tone Curve, no action, is my preference. How can I keep no action? Kind Regards, David
  19. Hi Gary. Consider, if you will, using RPP 64 RAW developer in the meantime. Or, Canon's RAW developer you already have, from Canon. Kind Regards, David
  20. Good question jimrobin. Looking at my screen shots, you can see, near the bottom where it says open in Affinity Photo. By the way, you don't need to choose lab tiff 16 bit. That would lead to CIE50. Choose something else. More questions? Kind Regards, David
  21. I would suggest this IS a color management issue. I did not say it is, just suggested it is. Kind Regards, David
  • Create New...

Important Information

Please note the Annual Company Closure section in the Terms of Use. These are the Terms of Use you will be asked to agree to if you join the forum. | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.