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David4

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Everything posted by David4

  1. Kirk, please show me where I use absolute colorimetric rendering intent. Or are you messaging someone else? Today, I have been using RP, LR, and PS CS5 for my job. It works for me. Sure do wish someone could guide me in AP, should it be I don't know how to use the application. I thought the videos and other help were guiding me to use PA to it's fullest. If AP is perfect as is, I need one superior tutorial, in slow motion, to guide me through the process of color management. My work with RPP > LR > and PS CS5, is what I have been using and works. Again, my dream is to do this AP.
  2. AP 1.4.2 beta 3 in use. The screen shot with the soft proofing window open is the correct soft proofing. Your view of the screen captures is correct. Everything is in beta RGB, since that is what RPP uses. Includes AP and PS CS5. Have not used the non beta version since Learned about the beta 3. The color differences existed in 1.4.1. Another screen shot inclueded. Is black point compensation to be checked or unchecked? I use Perceptual rendering. Have used it for at least ten years. Learned this from classes, lecturers, books like Real World Color Management by Bruce Fraser, Chris Murphy, and Fred Bunting. Date on this book is 2003. ProPhoto RGB is considered by some too large of a working color space, yet that is what I still use. Before AP, I would finish RPP in LAB tiff, 16 bit.. Convert to ProPhoto RGB in PS CS5. The printer/ink/substrate is custom profiles by me. So is the display. Tools are i1Pro version D, spectrophotometer. For display profiling is use SpectroView II software. Currently print to Epson SW cold press, natural watercolor paper.
  3. Kirk. I appreciate you know RPP. 1) How is your color management policy set up in the "Preferences > Colour Profiles" section? What is your RGB Color space (your working color space) and do you have any automatic conversion to the working space (with or without warning) enabled? convert opened files to working space is NOT checked. Keeping all three image programs in beta RGB, what I find is RPP and tiff images appear the same in PC CS5. These images appear more saturated and brighter in AP. I'm trying my best to follow everyones suggestions. Still don't know if black point compensation is to checked or un checked. Will Lanczos 3 (non-separable) make any color, saturation, or density changes? Under Document > assign icc profile, what do you suggest?
  4. Yes, Allan. It is ticked. You may have missed my screen shots. Yes, Allan. This is what I am writing. Hey guys, I'm having some issues with colour management when I export my images from Affinity Photo. I'm working in the ProPhoto RGB colour space and have imported a 16 bit, tiff image. But once I export i'm seeing a noticeable difference in colours. D
  5. This is extremely misleading. False advertising. Carefully read the promotion. I fell for it. Serif........give us color managment Affinity Photo - Professional image editing software for Mac affinity.serif.com/en-us/photo Affinity Photo - the fastest, smoothest, most precise professional image editing software, ... Chosen by Apple as the best Mac App of 2015. 5 years in the making,Affinity Photo redefines the boundaries for professional photo editing ... End-to-end CMYK workflow with ICC colour management, and 16-bit per channel editing.
  6. Ask more question? Me? Peterkoasa and others complain I ask too many questions. Allan, enclosed screen shots show what I am able to do. One of your screen shots show a blank in presets. I am unable to make it blank. Stays tiff RGB 16-bit. Quotes from last year showing color management is flawed or non existent. Tutorials, are not going to make flawed color management go away. As I have written before, image files in my usual and customary workflow do not have this problem. LR 6.4 to PS CS5. Even with RPP 64 > LR 6.4 > PS CS5. : Members 11 posts Posted 26 February 2015 - 01:39 PM This is a serious problem for me My working space for RAW files in PhotoshopCC 2014, Lightroom 5.7, Capture One Pro 8, and Iridient Developer is and will be Prophoto RGB (LR uses Mellissa RGB I believe which is close to Prophoto) Opening any one of my RAW files in all programs except Aiffinity gives correct colors on my calibrated monitor. Affinity gives over saturated images with a strong color cast which can only be corrected by assigning either Apple RGB or sRGB neither of which I want to use. Newbie Members 1 posts Posted 09 February 2015 - 12:31 PM I have the same problem. I want to work in ProPhoto, but I'm not able to get accurate colors. Maybe I'm missing something and am just accustomed to using PS for years. I'd assume I'd be able to figure it out though.
  7. Sad to say, color management fails! ! ! ! Kind people at Serif, please, please, correct your color management. You, Serif, knew about this over one year ago, and have not addressed the issue. No wonder I was having so much trouble and being told I asked too many questions. Serif is the problem, not me, David. I trusted Apple and their promoting AP. I purchased without knowing, you, Serif, had a known flaw in the AP. At this point, AP is truly worthless to me ! ! ! ! ! ! Advertising can sure miss lead me. And others. Can you, Serif, tell me what good your AP is without proper color management? Kind Regards, David Posts from other AP users: Posted 09 February 2015 - 10:25 AM I appreciate the profile settings in the preferences for the different color modes (RGB, CMYK, Greyscale, Lab), but i'm at odds with how color magement is implemented. When choosing sRGB, images with ProPhoto profile are rendered with wrong, oversaturated colors whereas sRGB profile images are displayed correctly and vice versa ( undersaturated colors for sRGB images) when choosing ProPhoto as default profile. So color management doesn't seems to work as it should ! Posted 09 February 2015 - 12:02 PM I can confirm this. ColorSync Utilities’ Color Calculator shows that ProPhoto RGB 0-255-0 corresponds to 0-255-0 in my display profile, whereas sRGB 0-255-0 corresponds to 91-255-14 in my display profile. When I open a test TIFF image (16 bit, monochrome green ProPhoto RGB 0-255-0), Affinity Photo correctly says (in the upper left) that the image is “RGBA/16 ProPhoto RGB”. The green color, however, is displayed as 91-255-14 on my display (as DigitalColor Meter reveals). In other words, the color conversion to the display is sRGB → displayColorSpace, not ProPhoto RGB → displayColorSpace, as it should be. Posted 09 February 2015 - 12:31 PM I have the same problem. I want to work in ProPhoto, but I'm not able to get accurate colors. Maybe I'm missing something and am just accustomed to using PS for years. I'd assume I'd be able to figure it out though. Posted 26 February 2015 - 01:39 PM This is a serious problem for me My working space for RAW files in PhotoshopCC 2014, Lightroom 5.7, Capture One Pro 8, and Iridient Developer is and will be Prophoto RGB (LR uses Mellissa RGB I believe which is close to Prophoto) Opening any one of my RAW files in all programs except Aiffinity gives correct colors on my calibrated monitor. Affinity gives over saturated images with a strong color cast which can only be corrected by assigning either Apple RGB or sRGB neither of which I want to use.
  8. Peterkoasa This is a bug at least since Feb 2015. And has not even been admitted by the good people of Serif. It's still one going. No wonder I am not able to use AP for my professional, or any digital imaging work! ! ! ! This might help you....there is a bug in AP! ! ! Yah...too many questions. For a good reason: https://forum.affinity.serif.com/index.php?/topic/4712-color-management-weirdness/ Member Members 11 posts Posted 26 February 2015 - 01:39 PM This is a serious problem for me My working space for RAW files in PhotoshopCC 2014, Lightroom 5.7, Capture One Pro 8, and Iridient Developer is and will be Prophoto RGB (LR uses Mellissa RGB I believe which is close to Prophoto) Opening any one of my RAW files in all programs except Aiffinity gives correct colors on my calibrated monitor. Affinity gives over saturated images with a strong color cast which can only be corrected by assigning either Apple RGB or sRGB neither of which I want to use. Newbie Members 1 posts Posted 09 February 2015 - 12:31 PM I have the same problem. I want to work in ProPhoto, but I'm not able to get accurate colors. Maybe I'm missing something and am just accustomed to using PS for years. I'd assume I'd be able to figure it out though. Like This Quote MultiQuote Like This Quote MultiQuote
  9. I emphatically agree with this issue. I have posted too many questions begging for help, and all I am told is either NOTHING OR I ASK TOO MANY QUESTIONS. I did know what color space was being use. All I knew was, and still is, exported tiff images do not appear the same as in the AP window. My color working space is ProPhoto RGB. I use 16 bit files. I don't believe serif pays attention to this. What a waste of our time. Attempting to fix something broken beyond our abilities. Kind Regards, David
  10. Excellent questions, Peterkaosa. The X-rite 24 patch target is a standard for photographers. It is used for neutral white, or as some say, white balance. It's a long time standard in the professional photography industry. It's been used for film and now digital imaging. With a custom profiled NEC MultiSync PA 272w display, and a custom profiled Epson Pro 9900 (ink and substrate) what is on the acid free, archival, watercolor paper looks, nearly the same as what's on the NEC display. My guarantee to my clients promises nothing can come out perfect. Though, sometimes it appear it does. RPP 64 uses the 24 patch target to create a sensor/lens/lighting custom profile for a shoot. There are other applications that also use the target for creating custom .icc profiles. My working space is ProPhoto RGB. I use 16 bit, tiff image files. Layers are flattened. I see on my NEC display two different examples of the image file to be printed. What I am about to print after export, does not look the same as what is in AP. Since I soft proof, what I view on my NEC display from the PS CS5, is what the final print will almost look like. I may have to refine the image file a bit. My workflow for digitalizing original art is quite simple. I simply must make the finest reproduction of the artist's original art as I possibly can. Being color managed throughout my entire studio and workflow makes my process simple. No introductions of any kind of manipulations. Color managed means, camera's sensor, and lens, and lighting are custom profiled for the shoot. The NEC display is custom profiled daily. The Epson Pro 9900 is custom profiled for each and every substrate I have in the studio. That includes Epson matte Signature Worthy canvas. Yes, I ask lots of questions! I really want to completely migrate to AP! Did I answer all your questions? I don't print out of AP. I print using LSI's Printao 8 printer software. I have mentioned this before in previous posts. This might help any confusion of how I print. Sometimes I print out of LR 6.4, an image file that I had changed dimensions, and added borders. The point is, that very same image file showing up in PS CS5 on my display is the image file going to the printer, whether from LR 6.4, or Printao 8. You may consider visiting: colorsync-users-request@lists.apple.com. I am not a color scientist. That list does have color scientists. Just might help.
  11. mystrawberrymonkey Please Help I am soooo frustrated with this 'soft proofing' and NO ONE helping! Sure, I have used soft proofing. Have you, Big_Stan, attempted to have the exported image match what comes out as the .tiff and then open it in Photoshop? There is no match! Just does not happen! I just cannot send to the Epson Pro 9900 printer the image in the tiff image file in PS CS5. It does not match the original image file. Even if my custom printer profile is applied, there is no match. Further more, sending the image through LR 6.4, or Printao 8, is useless. In my workflow I used to use, the image in LR 6.4, edited for size, in PS CS5 is a perfect match (if any match is perfect). My goal is to have AP become use staple in my workflow. In previous posts I asked if what I was doing was correct. I attached screen shots. I have tried different combinations of settings available. I still cannot get the digital image file to match the original I have studied this effort with the X-Rite 24 patch target. What more can I write? Alan, please help! Alan, your video lessons are have the right tempo for me! Kind Regards, David
  12. I am soooo frustrated with this 'soft proofing' and NO ONE helping! Sure, I have used soft proofing. Have you, Big_Stan, attempted to have the exported image match what comes out as the .tiff and then open it in Photoshop? There is no match! Just does not happen! I just cannot send to the Epson Pro 9900 printer the image in the tiff image file in PS CS5. It does not match the original image file. Even if my custom printer profile is applied, there is no match. Further more, sending the image through LR 6.4, or Printao 8, is useless. In my workflow I used to use, the image in LR 6.4, edited for size, in PS CS5 is a perfect match (if any match is perfect). My goal is to have AP become use staple in my workflow. In previous posts I asked if what I was doing was correct. I attached screen shots. I have tried different combinations of settings available. I still cannot get the digital image file to match the original I have studied this effort with the X-Rite 24 patch target. What more can I right. Alan, please help! Alan, your video lessons are have the right tempo for me! Kind Regards, David
  13. May I concur with your assessment. I no longer see any use for Perfect Resize 10, Genuine Fractals. Yep. Your right. I have not done the exercise you did with halos. The workflow I have, today, still needs PS CS5....until I can learn to do soft proofing on AP. There are some other applications I may stop using, and have not chosen which ones. Cheers David
  14. In 'profiles' > 'output profile', am I to use my custom printer/paper profile? Or my working space profiles, ProPhoto RGB? Screen shots included Cheers, David Continuing, I just realized I must use ProPhoto RGB. Does everyone agree? When image files are opened in PS CS5, I am informed by PC CS5 the image file is NOT in my working space, ProPhoto RGB, but instead in the custom printer/paper profile. Next, I am in a quandary, how to resolve my issue with soft proofing. Soft proofing just does not have the final image file looking like the original art, now matter what adjustments I make. I have tried, curves, and levels. Please, someone tell me how to resolve this issue I have. Previous use in the combination of LR 6.4 and PS CS5, there no problem. Let's face it, I, me, David, don't know how to use AP's soft proofing, plus adjustments! So now some of you wonder why I don't print directly out of A. Excellent question. I print to my Epson Pro 9900 with Printao 8 printing software. I need an image ready to drag over to Printao 8. The image is in my screen as a PS CS5 image file. Is there a method I can use to print to Printao 8 directly from AP? I must thank everyone for being so gracious and helpful. Kind Regards. David Bye the way, am I asking too many questions?
  15. Alan: I almost got it. Lots of trial and error. Now, how do I use the eye dropper to choose a color inside the image? I use these 'matts' in place of actual matts. Therefore I choose colors to complement the image. Kind Regards, David
  16. I digitally capture artist's original art. My goal is to create a Giclee to represent the original art as best I can. (My guarantee, is nothing is represented perfectly.) With this in mind, what is the very best way to NOT introduce any change to the image file? In 'develop assist' I chose 'no action taken' for tone curve and exposure bias. Preferences for working space is ProPhoto RGB, perceptual, black point compensation is unchecked. What else do I need to do for my workflow? I do use the 24 patch classic cardboard X-Rite target in all digital captures. For my best results I use RPP 64 to profile the camera sensor, lens, and lighting. I do not use the 64 (Kodachrome) setting.) I just use 'color' so there is no interference with the digital capture. Then RPP 64 sends the image file directly to AP as a 16 bit tiff. From there, in AP, I can do any adjustments needed for sizing. Neutral white point is achieved in RPP 64. However, somewhere in the AP process, when the image file goes to PS CS5, the image just is not the same as in RPP 64 and what it looked like in AP. Before introducing AP into my workflow, I went from RPP 64 to LR 6.4, and finally size edit in PC CS5. The image file appeared consistent in all three applications. This consistency is not happening when AP is used in place of LR 6.4. Back to the help I am asking for: How to keep an image file from not changing when using AP? Printing is usually done with Printao 8, or LR 6.4. Cheers, David
  17. DEVELOPE ASSISTANT: Make tone curve and exposure bias stick as TAKE NO ACTION. I need to know TAKE NO ACTION is always chosen. I don't want to have to continuously double check. Having to check each time I use AP just makes use more difficult. No one should have to keep checking this setting, time and time again. David
  18. PLEASE: In RAW, cropping, choosing 'Absolute Dimension', changing pixel units to INCHES, MAKE the ruler dimensions BECOME inches. For me the pixel dimensions is still there even when I have chosen inches David
  19. Megan, I'm wondering if your file sizes at 'tiff' are way to big...... That might have been my problem... I no longer have a problem even with large file sizes. If by chance it this issue happens again, then I will go to "launchpad', hold down the 'control' key and click on AP icon in 'launchpad', and reset all the settings to 'clear'. Very interesting....I, Me, David, cannot repeat what I told you ! ! ! ! ! ! Kind Regards, David
  20. Been there. Done That. For me, the main thing is to use control button. The simplest way to get this taken care of, is go to launch pad. While holding down control, click on AP icon. I dialogue comes up. Be sure to 'select all', and clear. When AP starts up again, you will need to update your preferences. They will have been nullified. Let us know if this was the correct answer, and that it worked. Cheer, David
  21. quote I think a lot of users would like to see the Units item in the crop tool context menu bar 'live' regardless of the Mode. Even for the ratio presets, this would be useful for changing the ruler unit display for visualization purposes. It would also be nice if the default unit for the tool was the same as the current document's units setting instead of always defaulting to pixels. I agree
  22. Madame, On the dropdown menu can you choose the 4" by 6" alternative? Then you can type in the dimension you want. Or isn't that working for you? No. Does not even show inches. Stays pixels. Like This
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