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Found 32 results

  1. I'm exporting my document as a PDF-X3 file. However the output pdf doesn't appear to have the correct profiles assigned for the contained images. Specifically, in the PDF all my images with AdobeRGB profile look flat as if they were incorrectly assigned an sRGB profile (assigned not converted). JPEG images with sRGB profiles look fine in the output PDF-X3. Embed profiles is ticked. I'm using the trial which is 1.7.2. Color format is CMYK/8 and profile is the Blurb ICC profile.
  2. I noticed something quite unpleasant in all 3 apps checking out the final Publisher … Color management does not seem to work properly: While all Adobe apps display 100% cyan correctly on my hardware calibrated monitor (EIZO CG 277), this is clearly not the case with Affinity apps. Since we already have to pay attention to correct coloring in the layout phase, this would almost be a knock-out criterion for us if color (especially in the pre-press area of important boundary areas) could not be displayed correctly in the Affinity apps. I have of course checked the color settings in the Affinity Apps - everything quite the same like the Adobe Apps with cmyk ISOcoated v2 ... Please find attached a ZIP with a screenshot - InDesign and Publisher side by side (PNG incl. Monitor color profile - if the PNG is opened on a properly calibrated monitor, for example in Photoshop, the difference is clearly visible). Hopefully, I overlooked something ... AffinityColorNotCorrect.zip
  3. Hello, when I place a rgb-photo into a cmyk-document, is it correkt, that Affinity Photo converts automaticly the photo into the cmyk-modus? Greetings Frank
  4. Dear Affinity Users and Developers We’re just in the process of evaluating Affinity Publisher (tested with and and we’ve come upon a problem with the PDF/X export: In our workflow our print PDF files are checked in Adobe Acrobat against the preflight profile PDFX-ready Sheetfed Offset Classic HQ V1.5. Among other things this profile checks the MD5 checksums of the used ICC profile against a pre-defined list of profiles known to be appropriate for offset printing. When exporting a PDF as PDF/X-1a with the ICC profile ISO Coated v2 300% (ECI) from Affinity Publisher the preflight returns this error: Looking at the preflight report in the section Output Intents I noticed a difference between a PDF exported from InDesign and Affinity Publisher: The Output Intent is stated as ISO Coated v2 300% (ECI) for the InDesign-PDF and as ISO Coated v2 300% (ECI) (Custom) for Affinity Publisher The Color Management Module had a value of HDM (InDesign) and lcms (Affinity Publisher). Primäre Zielplattform (in English probably: Primary Target Platform): empty (InDesign) and Apple Computer, Inc. (APPL) (Affinity Publisher) Profil erstellt mit (in English probably: Profile created with): Heidelberger Druckmaschinen AG (HDM ) (InDesign) and lcms (Affinity Publisher) The other fields were the same in both files. So I suspected this to be the reason for the different MD5 checksums. But not being an expert on the ins and outs of PDFs and colour management I turned to HilfDirSelbst.ch where we discussed this (in German) in this thread. Olaf Drümmer of callas concluded (my translation): So the question is Is Affinity Publisher correct in changing the meta-data of the profile when writing the PDF file? And if so: Would PDFX-ready need to append their list of MD5 checksums to include those of profiles created with lcms? Any insights and suggestions would be greatly appreciated! Best phph
  5. In an attempt to get my head around Publisher’s PDF export behavior (compared to Adobe’s which I’m rather familiar with), I stumbled upon this thread which only touches some of my problems: Some settings in the export process (under File > Export > PDF > More) don’t seem fully developed yet, so I hope to find some clarity here: PDF/X-1a: The standard only allows CMYK and spot colors, so the options “As document” and “Grayscale” don’t make much sense, right? PDF/X-4: The standard allows several color models, but if I want to output CMYK-only (despite enjoying other X-4 possibilities), then I’d expect the option “CMYK” to yield a CMYK-only PDF. This only happens as expected if I choose to “rasterize everything” which is never a true option with my kind of projects. In other words: Why can I choose between three options when according to standards there’s only one possible result (= X-1a), and why is there only one result when according to standards there would be at least three options (and Publisher lets me even choose) (= X-4)? What part of the story did I miss, or am I just too deep into Adobe thinking to realize that what’s going on here is perfectly reasonable? Or is it really? Is it like “take it or leave it” – if I want CMYK-only files, I have to deal with losing transparencies and all in X-1a, and if I want e.g. transparency maintained, I have to accept all other X-4 possibilities not as options but as obligations? I admit I’m very used to (and have grown very fond of) the Adobe approach of being able to throw anything into a layout regardless of resolution, color model, file format, and ICC profile – and only having to decide in the very last seconds what to get on the far end. Thanks a lot for any insight!
  6. So, down the rabbit hole of color management for us! I'm on a Windows 10, 64-bit operating system with a run-of-the-mill Dell P2414H. I purchased a ColorMunki Display to calibrate my monitor. In the preferences of the program delivered with it, you have the choice of ICC profile version 2 or version 4. It defaults to version 4, but my Googling appears to suggest that version 4 may be problematic in numerous situations. However, I'm also having a hard time finding recent AND reliable info (ironically X-rite's own information is very dated). Of course, I'm most concerned about all this in Affinity Photo, so, first question: Do you advise ICC version 2 or 4? Can AP handle both of them (if that even comes into question), or is it better to use the older ICC version 2? And more largely (second question), is there anything specific that I need to do to make sure that AP is... correctly calling upon the monitor calibration information in the icm file? I'm asking because I also use RawTherapee for more "in-depth" raw development, and in that program, you have to indicate the monitor's color profile (point the program to the current monitor calibration icm file, so to speak). I don't see any such thing in Affinity Photo, although I do think Affinity Photo is completely "color managed"(?). So, I suppose there i a third implicite question: How does AP insert itself into the color management pipeline on any given computer? De excuse me if my terminology is off; I hope everything is understandable and thank you all in advance for your feedback!
  7. I'm trying to touch-up my Drone photos, but they look horrible in Affinity Photo compared to Windows Preview or even Gimp Here, the original file has a very very smooth gradient coming from that lamp. But as soon as I open the file in Affinity Photo, the glow from the lamp turns in to blocky color bands.. It's almost like it tries to convert it to web-only colors or something because the quality is horrible. (below, you will probably see some banding in your web-browser, it's actually WORSE in Affinity Photo) Download this image and view it locally, to see it without banding. If you still see banding when you open it locally, sorry your monitor sucks
  8. I have to have good quality images for my YouTube channel and I have been reliably using Affinity for a while now. It's been producing some good stuff, but about a week ago it's been doing this: In the attached image - The far right is what I have in Affinity ready to be exported. When I export it, the center image is what I get no matter what type of export I do (PNG, JPG, etc.) It's all washed out and bright, I've used ImageGlass as well as Windows native photo viewing software in order to look at it and this is what turns up. Even stranger, if I open the center image in MS Paint, I get the image to the far left. Where everything's greenish and strange. So what's changed? It just started a little while ago for me and I'm unsure what to do. If it continues I'll have to ditch the program (Which, ironically, I was just recently praising to a friend who uses PS a few hours ago) and find something else.
  9. Hi, For some reason, starting about a week or two ago, Affinity Photo now imports my raw files with a dull pale greenish tint. If I import the same photo in Photoshop CS17, it looks fine. I have color management turned on in both programs, converting Sony RAW from Adobe RGB (98) to ProPhoto. I am in Windows 10. Where do I start? I don't think Win 10 is color managing.
  10. Hello everybody ! First, LOVE to the Affinity team and the software because it's great ! The question that I have is about color editing in affinity photo "photo persona". I'm working a lot on color tweaking now to get some great emotional and powerfull results ! I really love using the channel mixer adjustment to change colors, and mostly toutching the CMYK, because you can change the colors on the picture kind of individually. On the other side, when you are tweaking colors using the mixer adjustment layer with RVB, all the colors of the picture are moving when you toutch to a color. You have more flexibility tweaking CMYK. But, problem ! I noticed that when I was tweaking the CMYK channel, the quality of the colors inside the image was quite bad compared to the same image tweaking the RVB channel... And some quite bad artifacts are appearing, in the shadows areas mostly. Is it normal ? Is there any way to tweak the CMYK channel without having this bad color artifacts ? Is the color format of the picture is changing from RVB 16 bits to CYMK 8 bits when I apply this layer ? What is the best way to do a really nice and creative color editing without loosing so much quality ? Thanks a lot, I really hope somebody is able to respond to this question. Ken.
  11. I use Affinity Phote ( on an Acer Notebook with Windows 10 and an attached wide gamut monitor (EIZO CS2420). The screens are profiled with i1 display. The bug is, that Photo always displays colors in relation to the profile of the first monitor. Im my environment this is the notebook screen with a sRGB profile. So Photo treats the wide gamut monitor like a sRGB monitor. Conequently Photo displays colors on the wide gamut monitor over saturated. I could verify the assumption by activating an ICC profile with interchanged color channels, which delivers a very strong effect (red becomes green). The attached screen copy shows the EIZO display. In the color configuration of Windows the EIZO has a measured profile, the notebook monitor has a profile with interchanges color channels. Workaround: Since I use the Notebook to display the picture browser, true color is not so important here, The workaround is to give the notebook display the same color profile as the wide gamut monitor. Consequently I have correct colors on the EIZO, but under saturated colors on the notebook. Hope for a future bug fix: Photo should be able to detect on which screen it is running and pick the correct color profile from the windows color configuration.
  12. RAW development in Photo limits color gamut to sRGB. This is independent from the color settings. On my system color space is set to Adobe RGB. See picture. The status line during raw development shows "sRGB... (linear)" for a brief moment. See second picture. May be this is the bug in the processing cue. Color gamut was checked with softproof layer. No other colors than sRGB, i.e. no grey areas. Same raw file with different raw development tool results in wider gamit, i.e. appearing gray areas when checking against sRGB. The behaviour is in Photo and in the beta version I use Photo on a Window 10 Notebook. Camera is Sony Alpha6000.
  13. Using, Windows10, Epson SureColor P800, Xrite 1iDisplay calibrated 4k monitor I'm seeing very strange color shifts and a much lighter image printing using the app for color management. I'm choosing the correct Epson provided profile. When I let the printer control color it is fine. Is this a known issue? Any workarounds?
  14. I have noticed a problem with Affinity Photo's rendering intent. The brightness values of digital color represent the square root of the brightness as perceived by humans. We are able to spot differences in contrast much better in dark image areas. The problems start when images are blurred. The average of two square roots is less (or equal, but in most cases not) than the average of the actual brightness values. The purpose of the 'perceptual' rendering intent is to provide natural looking colours. It achieves that by squaring the rgb values, then applying the image manipulation and afterwards taking the square root. I had thought that Photo would do exactly that. So I tried it out. Between a green and a red area there should be an equally bright gradient when blurring, showing a slight amount of yellow. But in no case should there be a dark strip. Which sadly is exactly what I observed. Is it a bug? Because nothing changes when trying different rendering intents. In the attached file you can clearly see the dark stripes in the middle. Does anyone know how I can fix this? Or does Serif has to do that? Similar experiences? gradient_problem.tiff gradient_problem.afphoto
  15. Greyscale become multicoloured when printing from Affinity Designer. Obviously a conversion to/from color profiles happens inside Designer. How can I prevent this from happening? (This happens to all colours. It is just shown best with greyscale.) My printer expects data in the same colour profile as my AD files working profile. (ISO coated v2 (eci)) When exporting a PDF/X1a and printing with Adobe Acrobat everything is OK.
  16. Hi I recently have a heatmap that I wanted to edit in affinity designer. But when i inserted the image into affinity designer (drag and release), it loses its color dynamic range. Here is what it looks like in windows photo And in affinity designer: I suspect this is due to color management issues. Anyone has the same issue?
  17. Affinity Phote shows oversaturated colors on soft-calibrated wide gammut monitor under color management of Windows 8.1. While colors are rendered correct with Adobe Photoshop and ACDSee Pro, the rendering of Affinity Photo looks like the monitor profile is ignored or replaced by something like sRGB profile. For examle the gammut of red color of the monitor is larger than AdobeRGB. A picture containing RGB=255,0,0 is showing the same intensive red color, independend of the embedded profile (AdobeRGB, sRGB, untagged). It is always the maximum displayable red of the monitor. Photoshop and ACDSee are limiting the saturation according to the embedded icc profile. They work like expected.
  18. Hello, I am considering changing my workflow based on Adobe “Bridge + Camera Raw + Photoshop” on Windows to another product and I was pointed to Affinity Photo. Before trying I would like to check if this makes sense at. So if possible I would like to profit from your experience to help me make a start on some questions to see if this a road worth pursuing for me. I use Bridge for photo selection, Camera Raw for work on photos and Photoshop for refined work and printing (with color management). Can I do these with Affinity? Can Affinity support non-destructive workflow? Does Affinity support colors management and preview with other color profiles? How does it manage printing? Can I print letting Affinity manage color profiles as I do in Photoshop? Can Affinity read and use my existing CR2 files with the companion XMP file generated by Adobe Camera Raw (these XMP files contain not only the IPTC data, but also the work on the photo I did with Camera Raw) Can Affinity read the Photoshop PSD files? I use layers layer masks and have Smart Objects embedded. Many thanks for your patience and help. Regards
  19. Affinity Photo and Designer show wrong colours when importing screenshots on macOS. How to reproduce: Make a screenshot with macOS Screenshot Tool Drag & drop or place the image into an existing document The displayed colours are wrong Workaround: The Screenshot Tool applies the ACES CG Linear Profile In the macOSPreview App: Change the the profile to "Adobe RGB" before import. Original screenshot and picture of the result attached. Thank you very much, Harald
  20. When I open a document in Adobe RGB, which uses a white point of D65, and allow Affinity to convert it to my working space, which is Colormatch RGB (D50 white point), and have the rendering intent set to Absolute Colorimetric, I don't see the expected blue-ish tint in the whites. Absolute Colorimetric should NOT maintain the white point, and thus, a white in a D65 based color space should shift slightly towards blue when mapped to a D50 based color space. (and this is the behaviour I have observed in the past, using Photoshop) Is the rendering intent setting even used when opening a document and converting to the working space? If it's NOT used here, when is it used?
  21. Hello everyone, I currently own a monitor which is used for color management, but unfortunately I am still very confused on how everything works. I read so many articles, etc., and I still don't feel that things are clear to me, mainly because when I try to experiment with these things I get mixed results. My monitor is capable of 99% adobeRGB and I set it in windows to always use adobeRGB. My concern is that the colours I see in Affinity photo differ quite a lot to those I see in lightroom (I use a standalone version of lightroom to do cataloging and some pre-editing). I read that lightroom used ProPhoto RGB as its main icc profile for the develop module. Well, I set the "RGB color profile" in the AP's color profiles as the same (I downloaded it from the icc website). Nonetheless the colors are still different. Is this somehow a conversion from the higher gamut ProPhoto RGB to adobe RGB (screen's icc profile) that uses different engines and therefore the colours are different? What are the steps between the photo's RGB values->screen when in AP? I need guidance or someone to really dumb down the information and feed it to me, because I am very confused with this ordeal. Thanks for anyone's time, all the best, -JA
  22. I cannot find an answer to this in the documentation. I have been using Affinity Photo as a replacement for Photoshop and am pleased with the performance. I have a question about printing and whether I can print profile targets with no color management. Photoshop CS6 does not allow this (there is a 'null transform' work around) and Adobe suggests using the Adobe Color Print Utility (ACPU) for this purpose. Unfortunately with WindowsOS, patch sizes are reduced by 4% using ACPU. Adobe is aware of this issue but shows no signs of wanting to fix it. I would like to be able to use Affinity photo to print ArgyllCMS generated profile targets with no color management if possible so that target size is retained.
  23. I have an issue with color management printing from AD where the printed color is not what I would expect: The document is set to AdobeRGB, there are some red shapes (RGB 255;0;0) and a small image - printing to an HP CLJ M452. Color management is turned off in the printer driver. In the print dialog under color management, I´ve chosen "Color Handling: Performed by App" and my ICC profile for the paper type in question. The resulting print is shifted to orange instead of the pure red defined in the document. When I print the document by letting the printer driver manage color (and selecting AdobeRGB in the print driver), the result is as expected. I would have do some more tests but from what I see with this document, there seems to be something fishy about the color management handling in AD. The ICC profile is OK - I use it successfully in various other apps (Indesign, Lightroom, Photoshop). Any ideas?
  24. I just found out that I made a serious error by purchasing AP. It does not support color management! When converting or assigning to a different profile one has to be able to preview what happens and also one has to be able to choose the rendering intent (the usual 4 intents + Blackpoint compensation BPC). This is not offered at the moment when doing a conversion. It is possible to chose the intent in the default options, but this is not enough. This only makes sense for "standard conversions", but often one has to decide on an individual basis if which rendering intent is best for a given photo. I must say I am very disappointed now. Of course I tried the demo and checked different features. Everything was fine. I also have seen that ICC conversion is offerered, so I did not try that out. I know how that works. It never came to my mind that an ICC conversion could be offered without a preview and without an individual choice for the rendering intent. No real professional will be able to use AP alone for that reason. Of course I know there are thousands of "half-professionals" who do not care or know enough about color management. But the ones preparing photos for high-quality, predictable output, be it on screen or in print, will not be able to use AP in a meaningful way on it's own. See also a post like this, which says the same: https://forum.affinity.serif.com/index.php?/topic/17884-icc-profile-conversion/ This feature must be included as soon as possible in the 1.x version IMO. AP is announced and discussed as a Photoshop alternative. This is totally not the case when this simple, but basic and important feature is missing. BTW, it should be clear somewhere how to the default color rendering to the screen is done. In some programs you can choose that on your own. In Photoshop the default rendering is fixed to: relative + BPC.
  25. On one windows10 workstation I have the problem, that ONLY in Affintiy designer, everything looks covered yellow. Nothing real white. In all other applications on this workstation all is brilliant white. Are there any settings in affinity designer for this color problem? Or is this a general bug in version See screenshot.

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