larsh

Hi, the best wishes for your new project. It works with PDF on blurb.de, the writing inclusive. 1. after choosing an image and set it to a page and choose the next one, it was fine to come to the last one again, not to the top of the directory: for I often set groups of images page by page. 2. was fine to move the table with the images beside, so I can see which I got to this time. Even if separeted mode is on it does not work as I like it. The pages should be to move if this table is open to find the place to insert a special image (my last print had 220 images). Or it should be possible to insert images in the icons of the pages left. 3. the blue frame around the images sometime moves beside the image. 4. For prints I need images with 300 dpi, sometimes in the directory they have 72. Can you make it that it will move nearly into the page if going upon it with the mouse, otherwise the image is bigger as the screen; details can be done later. 5. If I set some masterpages with the number of page and at the end I want to delete the number it is not possible. To change a master page into a normal page was fine. 6. to ad ONE new page does not work, come two. 7. to set letters to special points does not work, to mark them does not help. regards, lars

The result: I saw some fotomanagements now (not LR). Think Aperture is ok for me. Seems there is a way after it is stopped some day by mac with or after Fotos. What I do not understand is how to use AP for RAW/ RAF in a fluid process. If AP shall be the RAF-machine it has to be done first. From the camera to a directory. How do you do that? OK, no answer. Or starting with Aperture from the camera then the RAF must send out again and be loaded in AP. To bring a pic direct from Aperture to AP it is changed to TIF. On this way with my very simple pic editing the RAF can be worked out in Aperture (Fuji says one shall use the cameras processor). So AP is not needed normaly. Or is there a way to give RAF out of Aperture to AP and get a TIF back? regards, lars

Hi, some more infos. The camera is fine; to use it as a hammer too. But not only the compressed pics make problems in Aperture and Fotos. Both don´t read them [and Aperture shows the focuspoint on the monitor in the not-compressed - no, my mistake to klick wrong]. It will not take long time and there are more problems... So I need another image manager. The Android Photo Mate R3 reads both, fine. Cheers! lars

Hi Gabe, the compressed RAF/ RAW are ok. And in Fotos the Aperture files can be read after the first Fotos file is moved out of the directory... Best lars

Hi, I will do after the camera is here. regards lars

Hi, starting with a new camera (Fuji x pro 2) I look for an image manager. Till now it is Aperture, I like it, but it is old and it is not possible to use old mediatecs in Fotos. Apple will crash it some day, who knows... What is used by you? Low cost, please and with future (open source?). To have a first step (as Aperture) to manage images and to edit quick a first time, then bring some single images to AP... To read Aperture mediatecs was fine. Slide maker is not needed. Thanks lars By the way: runs AP comperessed RAF?

Hi, that´s what I was asked for: 1 click. As I do it in Aperture in several ways... lars

Hi, ist there a tool to change the size of 200 images, with all the same size, to the same smaller size? From one directory to another one? I had some looks to macros and... Thanks lars

Hi, working only with the JPG – that is what I did till now after using the digital camera. Eving in printing (blurb) it is ok. But meeting a professional designer I should know a little more and send RAF+JPG. regards lars

Smadell, thanks a lot! There is no hurry. I saw now the history saving/ Protokoll mit Dokument speichern. Will check it later. 1. My first problem is easier. I shall make some photographs, a designer shall work with it. So I would like to show her what I think is the best way (in RAF or JPG). She may use the origin RAF and follow or not. Now it seems to be the best to send a copy of RAF and JPG to her (using Aperture). With Email or cloud... I don´t think we will really work both on it. She is not known now. But I will not not look as a child when starting. 2. My second question is for my own, I only need basics (twice a year): is it necessary to work in develop persona? Or is it ok, the same, loading the RAF, develop it without change and then work in AP as an other photo, JPG or what ever. Will on this way quality be lost? 3. Now I see PNG, is it as good to use as TIF or 100% JPG? best lars

Hi smadell, thanks a lot, is hard work. 1: I saw the whitepicker but don´t unterstand for I looked for the colorfield as in studio. In my tools in dp there is not the sign for it as in yours. But RGB... can be read in: Info. Not importend. 2: In dp the image cannot be saved. If going to pp and save it, I can go back to dp, but what was changed, may be the curves, is fixed and not to see what I did in detail, all is set to zero/ start. Export only works in pp. Right? 3: Till now I allways worked with the JPG coming from the camera, and the RAF/ RAW was only safe copy. Now I have to work for another editor. I hoped to give the RAF to her after making MY development as PNG, JPG, whatever is wished. Then the editor can, I hoped, see my changes and correct it. But this is impossible I see/ think now. If I make a copy from it or save it, my work is not to see in detail in the RAF which is sent to her. Even she uses AP she cannot take the *.aphog and go on at my tries. Right? 4: So the question is again: if devoloping the RAF without any changes and give it to pp, is it possible then, to get the same good result as working in dp (if I understand you right: no). So only at one computer the RAF can be worked out and set to a print copy. If I want to show the editor as I would like the result I have to do it in the JPG comig out of the camera, can tell something and send the color values for a special wall etc., and she may copy it by hand in the RAF. Right? Or is there another way to work with two AP-computers at the same image? Cloud? Best regards lars

Hi, why there is no answer here? It is what I want to know. If there is not needed the special changes with the lens or making overlays is it the same to develop first and then use Persona? Or is it better to use the tools in develop p. first? In the workbook it seems to be the second way is ok. Only few points to work with dp. Is there a pipette in dp to find a white point? What, please, is the common sort of file in graphics field to give it to the printer, PNG, TIF? Thanks lars

Now there comes Tiffen, one of two cards, they say this follows Kodak. It is the wide zoom with 55 mm with flash now (not 18 as before) and shown in 100%. The card stands in the images center. And it is from the JPG, not the RAF. Shown is the grey circle field between white and black, the same as the background: nearly RGB 128! Another question, my eyes are not so good: is it true, that a RAW/ RAF which is direct developed without any editing is not so sharp and light as the JPG? MUST a RAF be edited to use before developed? The colors of card two are very different as on the first cards I showed above. It makes no sense, I beleave now, to check the colors if the card lies not beside the printers computer. And the Tiffen is well known (in museums). The neutral grey is the main point. The JPG below is not edited, it is the image from the camera, but I set the dark and light in the camera to zero now (not both -1 to make the contrast later in the computer as it was set before). Thanks (it is 20 years ago that I worked with paintings and a big flash) lars

Hi, you are right in all, I did not look at this and sent the wrong JPG. Only want to show, that it generally works with whitebalance to get grey: x, x, x. To get 128, 128, 128 in an image (!) the card must be lightened perfect, I think. It shall be neutral, that´s it. But the colors, as you see above in my rows, say: several ways give nearly the same values (some difference make the smartphone and the light). But in this card colors are all wrong. I will try a tiffen card next. It makes no sense to give a color card into the motiv of a painting, if the printer has not the same color values, isn´t? In former times in museums here they had a Kodak card to make the "Ektachromes" from paintings, as it is called till today. regards lars

Hi, in this image there is only used: white balance, +3 says AP. Then the messure is in the middle of the grey card. 72. 70, 72 is ok. That´s why I use the card. The angle is not really ok, but the flash would otherwise disturbe. It is a part, 100%. My system is not very good calibrated. Regards lars

Hi, I made a test. Two identical cameras E1, same lens 55 - 200 > same color card to RAF. You have to know, that my cameras are setted NOT to make full contrast. First row: camera 1 in AP nothing done; second row camera 2; third row camera 2 in AP with auto contrast. Pipette 65 x 65 px Red: 136, 77, 70 Green: 78, 109, 78 Blue: 73, 73, 114 White: 161, 160, 160 Black: 55, 53, 52 big Grey: 79, 79, 75 140, 80, 72 81, 111, 81 79, 77, 118 166, 164, 166 57, 55, 54 82, 81, 78 205, 95, 82 97, 152, 96 93, 90, 165 251, 248, 250 54, 50, 47 97, 95, 91 EDIT: two rows more; the origin cards analysed with two app android, first: Color Grab, second: Colorimeter, 5150 K Color Temp Meter 255, 108, 100 51, 210, 146 110, 134, 240 255, 254, 254 59, 47, 45 143, 145, 141 247, 112, 106 39, 201, 154 102, 124, 210 243, 253, 254 62, 54, 52 95, 98, 91 What ever the card-makers think about, the correct values RGB are different. Nice day lars

The grey card shall reflect 18% oft the upcomming light back to the camera. That was found (may be by Ansel Adams) as "normal" in a normal landscape. So it became the reference for the lightmeter. If the landscape or the motiv is not normal, as snow, dessert, sea or carbon, one has to correct it by hand, in earlier times. There are two ways to use greycards. 1. One put it into the motiv only for checking the value of the aparture or speed with the lightmeter to give it to the camera, then take it away and make the image. The lightmeter only may "see" the greycard, nothing else of the motiv. It must stay in the correct angles, on the right place of the motiv... What I asked for is 2. to put it in the motiv and make the image with it and another one without it, if it is necessary to use all the area of the film/ chip. Otherwise, may be making a reproduction of a painting one put the greycard and/ or a colorcard beside the painting (museums did it this way). Then the theory (!) said, click into the image of the card (greypoint) while editing the image and all color is fine.

Ja, the grey card is old stuff. In digital-cameras the white balance may be good, more or less (as the grey card with real 18% or 16% or whatever). You know colors change with different light, flash, aperture... up to print colors (better than I do I think). Importend is to have a part in the motiv with three equal RGB values, grey to white, for the first step in image editing. My problem is to make pictures of art, sculptures and paintings of importend artists. The paintings hang at the walls, they shall not simple be reproduced. And it shall be done in a flat, some walls are white, some colered (lilac), in rooms with big windows and some without windows, lightened bei doors of the other rooms. The plan is to take one flash with softbox and little more power as the normal light as I did it in some big rooms of exhibitions to show the normal situation (using film 6 x 6 years ago; you see my digital training now); for some special situations may be added by little slaves (I love fluorescent tubes, but in this flat are none of them). So there must be noticed some values of colors. First there shall be included a color card and a gray card in the motiv, second the same without them. Third I will use some apps to find the values RGB and so on of the walls. I do not know the designer of the catalog now. I think the best is to give the origin JPG and RAW to her and a selfmade JPG edited (and hope the best; the painters are dead, this profession never seems to unterstand that color is like some liquid and can look different as on their easels). What is today the way to communitate with designers? (It is not necessary to make an art board) regards lars

Hi, thanks a lot, the way @toltec shows is ok for me to find a first change before fine tuning. Gruss lars

Good morning, we try English again. AP is only used once a year, so I forget all... And greycard is not found. Please tell me how to change the whole image clicking the greycard in it; or another color. Thanks, regards lars

Hi Ian, that´s it, the background layer must be selected. I never looked at that, or thought it is allways done. Thanks lars

Hi Dan, seems to be another problem. And it comes up working with JPG or RAF moved from screen to the AP field. What I spook about happens after ! using the curves. Without curves it works both unsharp mask with filter or live-filter-layer. regards lars

Thanks. I know that, they even speak Chinese here, and – wonder – my 60 vear old English (I like to speak it, and that all can understand my problems to lear about; hi world). The problem was not my English but AP. It does not wirk with unsharp mask if the image is moved from desk to the AP field. Some orders works, as curves. But not with RAF, JPG, yesterday, in this morning, If the image is got with OPEN it is ok, as the fine book shows, p. 150, live-filter or only filter. best lars

Hi, nice to see you again. I tried a RAW from Fuji = RAF to unsharp mask. I tried sometimes, nothing. Then once there happened I don´t know what, than there only was in protokoll unsharp mask, all before was gone. But some trys more nothing happened, not in the menue, not with the layer. What is my mistake? Thanks lars

Hi, the new pen doesn´t help. Looks like it is the driver. The staff of Huion hope to make a new one... In this time I got a small Wacom CTL-471, same small price, works fine, including preasure (after I found the TWO settings to activate it). Regards lars