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RobinMcL

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Everything posted by RobinMcL

  1. Dear John, Thanks again. I did it, thanks to you. Do what you said to get the difference. The common area is black (of course) so it's a trivial flood select then cut. This leaves the bit I want but with the wrong colors. Select that bit, set opacity to zero then merge it with the layer that had the correct colors. Then merge these layers. The selection stays through the merge and, since the selection came from that layer in the first place, it is exactly in the right position. This, of course, merges the colors but, since I set one to be totally transparent, the merged color is exactly what I want. Now I simply cut and paste into a new layer. While, in theory, I could have selected this in the first place, in the situations I have, it is very complex and would have taken forever. So this rouse is a way of selecting the difference between two layers (or many layers) when these differences are rather complax. Couldn't have done it had you not set me off in the right direction. Robin
  2. Thanks John, This is a very interesting suggestion. It almost works. It gets rid, completely, of the common areas and that is great. However, it blends the areas that are different. Instead of a blend in the areas that are different, I want the pixels from the top layer only. This then represents the addition I had made in the collage. Think of a big sheet of blue paper as my start. I photograph that and make it layer 1. Then I scatter some leaves on the blue paper, photograph it and make that layer 2. But I want to create (for future editing purposes) a layer that has only the leaves. (I could do it by selection but this can be tricky in my case.) Your suggestion obliterates the blue background and that it great. However, the bit left is a blend of the leaves and the blue that was behind the leaves. However, it's a great idea and I will think some more along these lines. Thank you.
  3. I want to make a new layer which is the content of one layer minus the shared content of another layer. In other words, I want to isolate the difference between two layers. I have used a stack to remove this difference (as in the tutorial) but I don't want this discarded. I want it as a new layer. The problem comes from a physical collage that is being made in, essentially, four physical layers. I want to have a digital counterpart and I thought about doing it the following way. Make layer 1. Photograph it. Add layer 2, Photograph it. In Affinity Photo have these two photos as layers. Subtract, from image 2, what it shares with image 1 and save as a new layer. Continue in this way till the collage is finished. I now have a photo of the final collage BUT if I do need to edit this, I have isolated the separate entities and that will make the editing so much easier. I could do this by selecting pieces from the final image but this can be very tricky. It would be so much easier if I could do this as the collage is being made. In short, it's like the removal using a stack with the additional capability of "remove to a new layer". I'd be happy to have suggestions.
  4. Hello, Thanks for moving my comment to this forum. Here I will take the opportunity to give a better idea of the user interface I feel would be very helpful. I made a mistake. Since I had not used it for a while I got mixed up with which SyderCHECK I had. I have the 48 patch one. However, I think it would be nice to support both the 24 patch and 48 patch charts. BUt I would like much more flexibility. The ability to work with several common charts (Datacolors 24 and 48 but other too). The ability to select a subset of colors from the chart rather than them all. (I may have an image where certain tones are utterly critical but others are not.) The ability to design and store my own custom chart. That would be fantastic. In the meantime,... Great product.
  5. I have searched but could not find any mention of using color charts for color correction in photos. I apologize if I have, inadvertently, overlooked one. I see that I can use a single white pixel or patch to help correct white balance and, indeed, this is helpful but I am wondering if I can do more. I have the Datacolor SpyderCHECKR 24 color patch and used to make test shots with this in the photo. I know that other software has a very simple way of using the entire chart to optimize white balance correction. Though tedious, I could enter a list of true colors and then select the corresponding pixels in the photo. Does anyone know of an add-on or separate software that would take this information and return the optimized color temperature and tint correction for Affinity Photo. Having such a tool would enable me to get a good starting point for my processing of RAW files. With thanks, Robin
  6. Hello Walt, I feel a bit embarrassed. The problems I had with Canon were very real indeed. It took forever to get them all sorted out but, after that, I have made many profiles, all successfully. So, when the same thing happened with my new Epson printer, I assumed that the problem must have been with the printer. I then went off going through the entire litany of things that had cropped up in the Canon episode. Eventually, after forever with no success, I decided to go through the whole process again. This time - no problem. What was wrong the first time? Ah well, sorry, shame on me, I know I'll be shunned by all on the Forum from now on but, well, I had forgotten to switch off color management in the printer when I was printing the test patches. I've done it correctly so any times, why did I mess up this time and why did I not think about this after spending so much time messing with the printer. I guess my brain had become conditioned after the Canon episode. On a brighter note, I did manage to print out the book, individual signatures, and I got the alignment done perfectly but it was an enormous effort. If I ever again have images that cross the spine, I will restrict them to the center sheet of a signature. So one book is now behind me and I need to find an artist for the next one. Thanks to all, Robin
  7. Hello everyone. I had hoped that such problems were behind me - but no. To begin with, let me say that I had similar problems with my Canon PRO100 but, after months working on them with help from Forum members, several Canon Tech people and Datacolor, I eventually managed to get my printer NOT to do its own color management (Even though color management was set to NONE, it still did it.) I was using Windows 7. Now, on another PC, running Windows 10, I have the same problem with an Epson XP960. The Auto setting does a pretty good job (I am using Epson paper) but I wanted to do better and so created (as I have done many, many times) custom ICC profiles. Soft-proofing on the monitor (a high-quality,14-bit LUT calibrated model) worked just as expected. I then, as the manuals instruct, switched off the color management in the Epson printer dialogs and selected color management by the App in Publisher (and in Photo). I then selected the ICC profile I had just created and printed. The prints were very dark, nothing like what the soft-proofing suggested (and I made sure that I de-selected the soft-proofing before printing). I then tried the additional things that, eventually, got things to work on Windows 7 with my Canon PRO100. (This entailed going into Properties, selecting the device and setting color management to Use My Settings and (manually) adding the new ICC profile to the list. Sadly, and although I have tried all the fixes I had to use to get the Canon PRO100 NOT to do color management (and let the app do it) I simply cannot find a way to STOP my Epson XP960 from doing its own color management. To summarize, if I let the printer do the color management, things work reasonably well. If I try to do better by having the app (either Photo or Publisher) do the color management (selecting the appropriate ICC profile and Rendering Intent) and selecting; More Options -> Color Correction -> Custom -> Advanced -> No Color Adjustment, the prints are much too dark, wildly different from the originals. Does anyone have a suggestion?
  8. Thanks to all for the suggestions. On the border-less printing, I'll try using a margin, registration marks, overlapping prints using the registration marks and then cutting both sheets at the same time just to make sure that the cut lines fit perfectly. On using a print shop, I did find one that was a reasonable price, but they don't use any color management and only use eight inks on their twelve ink Canon printer. I have been encouraging them to try color management (and all twelve inks) and they did say that they would (at least) let me show them how I calibrate my own printer/paper combination. I'll keep working that angle too. As it happens, there is a company in Portland (Oregon) whose business is color management and supplying the commercial printers with ink and inkjet printers (Epson). I chatted with them and was told that MANY of the printers here use no color management. It's a pretty steep learning curve for me and I very much appreciate all the help the Forum has given me. Robin
  9. Thanks Walt. Once again you have helped me out. I was struggling to get control of the places to do the split and did not come across the guide manager. This was a great help. My first attempt looks hopeful though not quite thee. The problem may be in the printer with its border-less printing. I'll work on that. My goal is the following and you may have a better suggestion. I got an artist to do paintings for a short story I wrote and I organized an exhibition of the artist's work. The paintings look great but they (and obviously the exhibition) was in Scotland and I live in Oregon, and the eight paintings were around 4 feet by 5 feet each. They're still there and it will be a pain to bring them back. So now I am investigating getting a digital artist. I have found one in Spain who thinks that he can handle a file size large enough to be printed out around 40 inches by 60 inches at 300 ppi. While this solves one problem, it creates another. How can I print so large an image. I have inquired of local printers and the quotes vary from $350 to $600 per print. I simply can't afford that. My Canon Pro-100 can do 13" x 19" and so I am wondering about splitting the image and printing it out in sections. I would need to get every line of pixels so that I could align them perfectly. Then I could use acid-free archival tape that is used in book repair to join them at the back. Voila! Okay, so I'm a dreamer. I'll work some more on your suggestion. Thanks, Robin
  10. Hello, I want to split a rectangular image into, say, nine equal parts and have each saved as a separate page (or image). (I will then print out all nine and stick them together as a single image of huge size. (My initial image will have a huge number of pixels making sure that each of the final images will have a resolution of at least 300 dpi.)) I have Photo and Publisher. I have looked at the slice tool but don't think it can do what I want. Is there a way to accomplish this in either Photo or Publisher? If not, does anyone know a stand-alone app that can do this? Thanks for any suggestions. Robin
  11. Hello, I found the key in the Affinity Photo folder and all is now well. Robin
  12. Hello All, I too had the situation that it would not accept the product key for Photo. I wondered if this was a result of an upgrade from Windows 7 to Windows 10. I do have Photo on another machine and tried to check that I had the correct key. However, I cannot find where the key is kept. Where can I check the product key on my working copy of Photo? Thanks, Robin
  13. Hello Mike, Thanks for the offer. That is very kind of you. Montax sent me another email today with more details and suggested that I first try it out on the free version. This seems a very reasonable approach to me and I am quite impressed that they have taken so much care in their responses. I think that I should follow their advice and try it myself first. Since both you and Montax think it will work, I need to learn the steps myself - so why not try to learn now. As I am doing this, I have (via my workaround) produced signatures and so have moved on to the printing stage. I have noticed, for a very long time, that the same image will print out differently (same paper, same profile, same intent etc.) depending on which app I am printing from. This issue is my next big hurdle. I will probably end up asking some questions on the Forum but, to be very careful, I am slowly stepping through things using a few test images I downloaded from the web. I'll let you know how my Montax test gets on. Thanks, Robin
  14. Thanks for the suggestions Mike. My document has images that cover the entire spread and so I have to start with spreads and then have them split (automatically) into separate pages. Unfortunately, when Publisher does this they add extra bleed on the inside of the pages; bleed that was not there. If I could have started from pages (rather than spreads) I would have. I inquired of Montax and they told me that, while what I need was, with a big effort, possible in their software, I would have to do the splitting manually! What they said was the best way to accomplish this (surprise, surprise) was to export pages from the publishing software (exactly what I wanted to do but could not because of the bug in Publisher). So, no help from that source. I have discovered a reasonable (not good but "reasonable") workaround. I make the pages larger by the amount of bleed that I need. (Actual bleed set to zero) then I export pages to PDF. Then I split the pdf into separate files, one for each page. Then I take bunches of pages (as pdfs) back into Publisher; the right number for a signature. This gives me a Publisher file for each signature. Then I print each as a booklet. Voila. I then sew these into a text block. This block is a little larger than need. I then trim it to size. If Publisher could split spreads without adding extra bleed, it would be great. If, in addition, you could print a SELECTION of pages as a booklet (not just the entire document) it would be perfect. In the meantime, my workaround is not too onerous (because Publisher DOES split spreads correctly IF you DON'T have bleed) and the pdf splitting of a single file into many files is also automatic (in my PDF editor). So the entire process is not as cumbersome as my explanation of it is! Note: I don't think I would have come up with this workaround without the input of people (like yourself) on the Forum and (in this case) helpful comments from PDFSam (my pdf editor) support. Thanks to all. Robin
  15. Hello MikeW, The trim size will be 8.25" by 9.75". I am using 11" x 17" double-sided, grain short, photo paper for the printing. I will be following up with your other suggestions. I have, already, tried a free imposition app and have also purchased one. They both work fine on pages but neither can split a spread with bleed into two pages (which would then have bleed only on three sides). I have been checking the status of this issue for over two years. Things change quickly. A bug today may very well be fixed in the next release. I consider this a bug in Publisher since if I print a spread and cut it in half, I get two pages with bleed round only three sides. However, if I first split the spread in Publisher and then print it out, I get two pages with bleed round all four sides. Publisher adds bleed where there was none. Had I wanted bleed round all four sides, I would not have set up the document to use facing page spreads. I have had plenty to do over the last two years and so could go on with other things while hoping that either Serif would fix this or some pdf imposition software would add the feature. But, finally, all the other tasks have been done and the ONLY task remaining is to print it out so that I can bind it. So this is why I asked again. I contacted Serif to determine if they have any plans to fix this. They don't. I contacted the makers of my imposition software and they say that they do have plans to have this feature in a later version. Since it is a highly specific feature (for a PDF app) it is not something that is likely to be highlighted on a company's website. This is why I am now writing to companies to ask them specifically about this feature. I'll keep doing this. Since my document is utterly vanilla (facing pages, starting on the right) like all other books (bar some paperbacks) that I have, I wondered if others might have a solution and could tell me precisely which products (and the price) to get. Obviously, professional printing houses have software to do this but the prices are well beyond what I can afford. Until I find software that can do it, I have developed a compromise, not great but workable. Sincerely, Robin
  16. Hello Walt, I struggle to explain this and, I suspect, several people on the forum have not understood what I am trying to say. Ultimately, after imposition, I have a collection of spreads, each one having a left hand page and a right hand page. Apart from the central sheet of a signature, the left hand page and right hand page will not be in sequence. That's what the imposition is all about. Now, if I export spreads form Pub, the pdf software can't split them into pages. That's the new feature I would like to have. So, I have to export pages. Okay. if I export them without bleed, then the pdf app can do the imposition, re-order the pages and create spreads from the re-ordered pages. The number of pages MUST be divisible by four since each sheet of paper has two pages on each side, hence four pages per sheet. So, what is actually printed out is a collection of spreads. As an example, my page size is 8.25" x 9.75" so I am using 17" x 11" paper, two pages, side by side. These sheets of paper are folded right down the middle, stacked up in bundles (signatures), and sewn together. After that, they get trimmed down to the correct page size. But where's the bleed? If I export the pages WITH bleed, then it adds this amount ON ALL SIDES. Say I have 0.2" of bleed. Then the actual image that is exported as a pdf is NOT 8.25" but 8.65". The reordering works fine but, when two of these pages are stuck together again via the imposition, there is a 0.2" + 0.2" = 0.4" of bleed IN THE MIDDLE OF THE SPREAD. Here's another analogy. Take a photo, cut it in half. Now FRAME each half (That's bleed.). Now take the two FRAMED halves and set them side by side. The photo is NOT together. It has TWO thicknesses of frame between the halves. That frame is exactly the same as the bleed. IF (magic, magic!) I could export pages BUT ask for bleed ONLY round three sides, it would work like a dream. But I can't. I hope this helps explain what is going on. I really wish I could print directly from Pub without having to go to a pdf. I find that, when I take images from Photo and put them into Pub, the colors change. Then when I move them from Pub to a pdf, they change again. I've got calibration equipment and do the printer/paper calibration to get the ICC profile but, by the time things have gone from Photo (where I start) through Pub and into some pdf, the colors are really messed up so all my efforts on calibration do is to assure me that they are rendering the wrong colors accurately! In Pub, I can try to fix up the changes that have happened in going from Photo to Pub so I get good prints when I can do it directly from Pub. Ah well. This book is for my first grandchild. I started it when he was born. He's now over 2 and - another grandchild is on the way, so, another book! (Can't do one for one kid and not the other.) I have everything done and am now struggling to get it printed. Thanks for the interest. The Forum is all I have to help me. I spent ages trying to find local people with experience, but to no avail. Thanks Walt. Robin
  17. Thanks Walt. I have been working with a PDF editing app and have contacted the company with my query. The imposition is fine provided the app does NOT need to split the spread into two pages. So, if I do NOT need Bleed, I can export PAGES from PUB and there is no problem. (I believe many pdf apps do this imposition. Several people on the Forum have mentioned this and my pdf app does imposition of simple pages fine.) The problem is that I need Bleed Registration and Crop Marks. If I export pages WITH bleed, then the resulting imposition gives me two bleed lines down the middle of the spread. So it's the combination of being able to have some app split a spread into two pages (so that there will then be bleed only on three sides) and then do the imposition to stick two separate pages back into a spread with bleed ONLY round the outside, that I need. One pdf app company told me that they plan this feature in a later version. I have also written to another one. In short, no bleed - no problem. Bleed - big problem. What I am doing for now, a workaround but not the best solution, is that I make my pages bigger, up to where the bleed line was. Then I set bleed to zero. Then I export as pages, no bleed, no crop marks etc. Now my pdf app does the imposition. Then I print and bind it. Now the end sheets, the sheets that stick the text block to the hard cover, are only single sheets and printed on one side. I then put crop marks on the back side of each end sheet. Then I glue these (as is always done) to the front and back of the text block. Now, phew, I can see the crops marks and hence know where to trim the text block. That, I hope, is a partial solution. It won't help me with registration marks but it is a step in the right direction. Were I NOT doing the printing and binding myself, I would not have this problem. Were I not needing bleed etc. I would also be problem free. I'll keep at it but I very much appreciate all the help you have given me. Robin
  18. Hello everyone, I'm still in a state of shock having just found out that Publisher cannot do the imposition needed so that I can print my book in a form suitable for binding. Furthermore, there are no plans to add this feature. If one is having many copies printed by some commercial printer, then all that is needed is to provide the printer with a pdf file and the printer will do the imposition. However, if you are printing it yourself, which is what I am doing, then you have to do the imposition yourself. I am hoping that some members of the forum have done this and can tell me what software they use to do this. There is a free piece of software on the web that can do it but this software cannot handle bleed, which is something I need to use. (I also need crop marks and registration marks.) One thing that crosses my mind is that (SURELY) other DTP apps will do imposition so, are there such DTP apps that can open a Publisher file. If so, I could read the file into that app and print from there. (Then, I suppose, I could continue to use that app for all my other DTP needs. I never thought I would work two years on a book and then find that I could not print it.) Ideas please. Robin
  19. Sorry,

    I should have made that clear. I am printing and binding the book myself. It is a project for my grandchild, who arrived two years ago. Grandchild number 2 arrives late June so I need to do another book! I thought the task (though, of course, I had no idea having never done anything like this before.) would take six months. Hiring artists, taking trips to the Isle of Lewis for research, equipping and entire studio ($1,300 for a monitor alone) and learning how to use all that stuff - and still I can't get it printed out!

    Cheers,

    Robin

    1. Seneca

      Seneca

      Thank you.

      I own Xerox VersaLink C400. It comes with a printer driver that once installed allows you to do a number of imposition tricks. So, it't not necessarily the publishing application that has these options. In fact most don't. I would check your printer driver and see whether you can get what you want. (I'm sure you have already done that).

      Failing that, the cheapest option would then be to buy an imposition software that specialises these sort of things.

      You might want to try this:

      http://www.cheapimpostor.com

      but research first and see what's most appropriate for your job at hand.

  20. Hello, I have a small book ready to print but have not yet managed to find a way to do so. I have many, many problems but the one of greatest significance is to find a way of actually printing the book in the signatures I need for binding. The following is what I have looked at. There must be a solution somewhere (It is called Publisher after all.) but I have not found it. Any help will be greatly appreciated. I require signatures from 1 (rare) to 4 sheets of paper (that is, 4 to 16 pages). However, this requirement is not fixed as, for different books, I will be using paper of differing thicknesses and hence will select different numbers of sheets for the signatures. I have coloured photos that go to the edge of the spread and cover the entire spread, NOT just an entire page. This means that I have to use Bleed and then trim the text block. If I use Booklet as the printing option, it prints the entire file as a single signature (a "booklet" is, essentially, a single signature.) This is no good whatsoever. An average book has between 6 and 10 sheets for each signature. I've never seen a 100 page book bound in a single signature. Since I am using thick paper, my signatures will have about three sheets (on average). If I use Book as the printing option, then it does the page imposition assuming that each signature has a single sheet. This option is equally useless as it would force me into hand sewing every single sheet. As above, I have never seen a book where all the signatures have only a single sheet. Since neither of these options make sense in my situation, I have tried workarounds via the use of pdf files. I purchased a PDF editor (at twice the price of Publisher) just to do the imposition - but that failed too! The reason is subtle ( and very frustrating). IF I export spreads then I can get the bleed done correctly AND get crop marks etc., things that I need for alignment and trimming at the binding stage. BUT, while the PDF software CAN do imposition, it is NOT imposition of spreads that I need. It is imposition of pages AND .... Phew! IF I export, from Publisher, as Pages, THEN it puts bleed round each page. That is, Bleed round FOUR sides of each page (not round each spread)!!! So then, when the imposition is done, there are two strips of bleed down the middle of each spread! Ouch!! This is NOT what is required. If I export as pages WITHOUT bleed, then the imposition in the PDF software does look fine. BUT there is no bleed, crop marks etc. So, although this looks nice on the monitor, it is NOT suitable for printing and binding when I need to trim the text block on the Crop Marks. There are additional, still serious, problems. I use Affinity Photo for photo-editing but, when I put a Photo image into Publisher, the colours change. I have checked and I have the same colour profile in each. I have also checked using Windows Explorer preview window. There is NO difference between the image in Photo and Windows Explorer (preview), but the same image in Publisher is significantly different. When I try my workaround by creating a PDF file, I have not yet found a way to get a PDF that does not change the colours. My monitor is a high-end NEC with its own 14-bit LUT and I re-calibrate it every two weeks. Surely all I need MUST be in Publisher but I have not found it yet. I have searched the tutorials but found no reference. I have been struggling with this for two years (from PagePlus9 days). The imposition algorithm is utterly trivial. I expected to find it under Print but can't see it. Where is it? I will be eternally grateful to anyone who can help me solve this problem. I have spent two years on this project, spent many thousands of dollars all the time assuming that printing a small book would be a feature in any publishing software. I have asked this question before and people have been sympathetic but could offer me no solution. I hope someone out there knows the answer. Splitting my file into several files is not practical as small changes are likely to be made from one printing to the next and these would cascade over all subsequent files. There is also the problem of all the photos covering entire spreads, not just pages. Sincerely, Robin
  21. Hello All, I have a rather unusual request and hope that no one is upset by my posting it on this Forum. I write short stories and get them illustrated via posting commissions. One story I want illustrated is particularly suited to being illustrated in a digital art form but my usual postings have not generated any interest form digital artists. I am wondering if anyone on this Forum is, or knows of, an artist who might be interested in a paid commission to illustrate a short story. If so, I would be happy to hear from them so that we might continue discussions directly, off the Forum. Sincerely, Robin
  22. Thank you for the response. Finally, I have made a little progress but still have many confusions. Ultimately, I hope to print a book, of about ten signatures, then bind in a standard, sewn signatures, way. I use Windows 7. For now, I am not doing the imposition but simply printing left- and right-hand pages (a spread) on the same sheet of paper and, for now, am using just one side of the paper. (This is because the story is being exhibited alongside the originals of the illustrations and, hence, the printing is only on one side.) I finally (after many months of effort, forcing me to get pdf software and exporting from Publisher to pdf, then working with the pdf) used the N-up page printing with N = 2 and no space between the pages to accomplish the printing of a spread. I am hoping that this capability, together with using the Booklet printing options may enable me to print signatures. If not, I will still have to export to pdf first and that has resulted in a massive number of color-management problems for me so far. Even without getting involved with pdfs, I still have many color problems. I have found that the same file, using the same color space in Photo and the same color space in Publisher, and on the same monitor, at the same time, can look very different. This is quite disconcerting. Moving from monitor to print brings its own set of problems. I'm missing something, and something important, but I simply can't discover what it is. One person recommended that I convert all my images to CMYK first. I tried that but got much poorer results. I try very hard to make the best choices of color space, ICC profiles etc. but it is just trial and error. I need a whole lot more explanation. I am quite prepared to spend the time learning but I can't find the information to give me the chance to do this learning. The document has a Colour Format but it also has a Colour Profile and then there is the opportunity to Assign or Convert. I have no idea what I should be doing and don't know how I can find out. And there may be specific problems when I come to print. I had awful problems with my DataColor calibration and the tech team tried to help me out. I was UTTERLY certain that colour management was switched OFF (set to NONE) in the printer driver of my Canon PRO-100 but, when I sent them the file that had been produced by their software, they could tell that the printer was till doing color management. I contacted Canon about this, on two different occasions and received two different AND OPPOSING suggestions. This does not help. I can get my images the way I want them on my calibrated monitor using Photo. That works fine. It's when I take them from there into Publisher that the problems start. Using Soft Proof in Publisher one gets, in addition to the selection of the ICC profile and the Intent, a great list of other tweaks. This is tremendous for fine-tuning the image as one is looking at it using the Soft Proof, but one does not have these capabilities when one switches off the Soft Proof in preparation to printing. So what's the point, all the tweaks are lost? As you can tell, while I can handle the writing of the story, the photography and the editing, and the layout of all that stuff in Publisher, it is the actual publishing that has proven utterly beyond me. If you know of some document or book I can get that will explain what I should do and why, I will gladly get it and study it. Thanks for your assistance. Robin
  23. Hello, How do you print a spread directly from Publisher? Can someone give me a good reference to printing, one that covers printing spread, doing imposition, how selecting specific attributes (like bleed or no bleed, trim marks etc.) affects the (seemingly) endless options on the Export to PDF drop down etc. I am having a very hard time printing my work. I did manage to print pages successfully but just can't manage to get good spreads when I have to go through creating a pdf first. (I do make use of soft-proofing, use an NEC PA271Q monitor (that I keep well-calibrated) a Canon PRO-100 printer, Red River Ultra Pro Satin 4.0 with the appropriate ICC profile.) The printing I need right now is for an Exhibition taking place in Scotland in April, so this is (for me) a very serious problem. Any help will be greatly appreciated. Sincerely, Robin
  24. Hello, I'm a beginner, making progress but slowly. I'm getting better at making selections, masks and layers but keep having the following problem. I'm working on a photo that was taken in terrible lighting conditions. Seascape, sea, islands far out and sky. I have made separate selections for the sky, the sea and all the land (foreground and islands). There are in separate layers with corresponding adjustments and each, separately, looks fine. However, when I view all together, there are "halos" between the sky and sea and sky and land. Is there a way that I can either avoid it in the first place or fix it now? I have looked through the book and tried many things but simply can't find anything that works. Best regards to all, Robin
  25. This is amazing input Dave. Thanks. I noticed that, if I select Crop Marks, then the preset goes away. But this is only the beginning. It is a small book I am making myself and have been worrying about which colour space to use etc. Which ICC profile etc. I will (come the time) be using fairly high quality inkjet photo paper and have the ICC profiles for these papers with the printer I will be using (Canon PRO-100). But there are so many links in the chain: camera colour spaces, what happens within Affinity Photo, then Publisher, then when I convert to PDF for printing, then the final printing. Is there any publication that can help me keep all this colour management straight? And what about the dpi (or ppi)? I was planning to print a few test images at different dpi (on the paper I plan to use) and then see if I can tell any difference. Thanks, Robin
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