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J Isner
Enthusiast
J Isner
Enthusiast
Activity
‎Sep 27, 2023
08:48 PM
@Chuck Uebele Pasting the two files together works. By the way, I am using single slashes for the pathnames without any problems (no need to escape anything). I will mark your answer as correct. Thank you.
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‎Sep 27, 2023
05:35 PM
Thank you for your generous offer. But the two simple scripts I'm trying to combine have exactly the functionality I need, and I would prefer to work with them if possible. I'm also interested in finding out why the combined script doesn't work.
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‎Sep 27, 2023
04:45 PM
Thank you. Using forward slashes solved part of the problem. Now the first script runs just fine, but the second script appears to do nothing. I'm attaching the three scripts (I'm attaching them as .txt files because jsx file attachments aren't allowed).. They're short, so I hope you'll take a look and tell me what I'm doing wrong.
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‎Sep 27, 2023
03:28 PM
5 Upvotes
First, let me make it clear that I do not know Photoshop scripting. But I have found two scripts (written by someone else) that do exactly what I want if I run them one after the other. Guide Maker.jsx
Guide Stroker.jsx I'd prefer to run a single script, rather than two. Based on what I've found by searching, I created a new script called Grid Maker.jsx with the following contents: $.evalFile("C:\Program Files\Adobe\Adobe Photoshop 2023\Presets\Scripts\Guide Maker.jsx");
$.evalFile("C:\Program Files\Adobe\Adobe Photoshop 2023\Presets\Scripts\Guide Stroker.jsx"); However when I execute it, Photoshop > File -> Scripts > Grid Maker nothing happens. What am I doing wrong?
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‎Jul 03, 2023
03:58 PM
1 Upvote
Ahhh! I apologize to everyone who commented on my OP. I have been reading your comments too quickly. I was looking for Scripts in AppData, not Program Files. Problem solved.
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‎Jul 03, 2023
02:48 PM
There is no Presets/Scripts directory in Photoshop 2023. The examples quoted in the comments are all from 2021 or earlier. I'm moving from a Windows 10 PC to a Windows 11 PC. I have the latest Photoshop 2023 running on both machines. On my Windows 10 PC, I had somehow managed (quite some time ago) to install scripts. It may be that I installed them in an earlier version of Photoshop, and when I upgraded, the scripts were also migrated. My Windows 10 notes show that I installed them using File > Scripts > Browse... and navigating to the .js or .jsx file. The script was "remembered" but shows up in the File > Automate menu (not the Scripts menu). I can't find the .js file anywhere in AppData, so Photoshop must be hiding it somewhere. In Photoshop 2023, File > Scripts > Browse... RUNS the script, but Photoshop does not remember it. Could this is be a security improvement to prevent people from installing malicious scripts?
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‎Jul 03, 2023
02:27 PM
That's the solution for Photoshop 2021. I'm using Photoshop 2023.
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‎Jul 02, 2023
01:07 PM
2 Upvotes
If I want Photoshop to run a script, I do this: File > Scripts > Browse... I locate the script in my Documents folder and click Load. This runs the script. But the next time I do a File > Scripts the previously-loaded script does not appear in the menu. Once again, I must Browse to its location in my Documents folder. How can I get Photoshop to "remember" scripts that I load? Latest version of Photoshop CC 2023, Windows 11 Pro 64-bit.
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‎Apr 18, 2023
02:20 PM
This helps very much. I will contact Epson.
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‎Apr 13, 2023
12:40 PM
I am running Photoshop CC on a Windows 10 computer and printing on an Epson SC-P700. I have created about ten Photoshop printer presets. Some of them are "sticky" while others simply disappear from the presets menu in the Epson print dialog. I have checked my permissions on the folder "D:\Users\John\AppData\Roaming\Adobe\Adobe Photoshop 2023" and I have all needed permissions. I'm guessing that the printer presets are hiding somewhere else.
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‎May 08, 2022
08:04 PM
Digitaldog, I have a sincere question about where I should have posted this. If I had posted in the Color Management forum, I would have quickly concluded that ICC profiles were impractical, since every user of my system would be required to make a profile for their specific combination of printer and clear film medium. Then I would have posted to this forum (Photoshop Ecosystem) regarding the application of a tint in the printer driver. But that raises another question: Is the printer driver part of the Photoshop Ecosystem? Or, when you click "Print Settings," do you leave the Photoshop ecosystem and enter an Epson ecosystem? If so, then my question might have been deemed inappropriate for this forum as well.
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‎May 08, 2022
03:43 PM
My system will be used by people with different printers who are also using a variety of clear film media. An ICC profile is specific to the printer and the media, so everyone using the system would have to either make their own ICC profile or to pay someone else to make it for them. That would not be practical. I mentioned earlier in this discussion that I had experimented with tints in the printer driver, but had found that tints did not make a significant difference. Reviewing those experiments, I see that they were done on an Epson P400 which never developed high enough density to exhibit the dreaded "hockey stick" pattern (the p400 printer driver does not allow you to control ink density). Today I repeated the experiment on a P700 printer, which has ink density control. I printed three 255-step tables on clear film, using photo black ink and maximum Color Density (+50%). The first step table with no tint, the second with a red tint, and the third with a green tint. I applied the tints in the printer driver. For example, for the red tint... I measured the step tables on the transparency using an XRite 361T transmission densitometer and plotted the densities against grayscale tone (K=0-100%). The results show that either of these tints completely removes the hockey stick. The tint curves also have a steeper slope in the vicinity of K=0% (the other problem area). So I think I found a solution.
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‎May 08, 2022
12:19 PM
The "printer" is a component of a model of tone reproduction that I'm using to simulate alternative process printing. The printer's job is to transform digital tones to transmission densities. Transmission densities control exposure. The model works mathematically as long as transmission densities increase monotonically from K=0% to K=100%, so any continuously upward-sloping curve will work, at least in theory. However in practice, if you consider error propagation, portions of the curve with very steep or very shallow slope do not sort out the corresponding tones very well. A linear curve is ideal for error propagation. A solution found in other digital negative calibration methods is to add color to the negative using an adjustment layer or LUT (e.g., a Color Fill layer in Overlay mode). Here is an example comparing a grayscale negative with one that has been colorized with a certain shade of red: As you can see, colorizing has exactly the effect on the negative that I'm looking for. However I cannot use such adjustments to the photoshop image because my model assumes a single gray channel, and these adjustments involve multiple channels. I have experimented with applying tints in the printer driver, but they have minimal effect compared with a color adjustment layer.
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‎May 07, 2022
04:45 PM
There is no Media type or ICC profile for clear film, and I have yet to hear of anyone who has made one, at least not for pedestrian photographic applications. I'm happy with the printer thinking it's printing on some kind of paper surface. I simply want less of a "hockey stick" effect in the deep shadows (something like below). I don't need to control the output any more than that.
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‎May 07, 2022
01:07 PM
Sorry for the confusion. My document profiles could easily be Gray Gamma 2.2. Then there would be a single gray channel. My images are Adobe RGB, so they have three channels, but R = G = B for every value from 0 to 255 so they're effectively grayscale. Since many of my documents start out as color images before conversion to B&W, I keep them in RGB mode to preserve color information. It does seem that Photoshop should be managing color. Then I would need to specify an output (a.k.a. printer) profile. Correct me if I'm wrong, but I assume that working profiles like custom gamma and custom dot gain cannot be used as output profiles. It should be obvious that I'm a complete novice when it comes to color management.
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‎May 07, 2022
12:03 PM
I print digital negatives from Photoshop. A digital negative is a grayscale image printed on clear film that is used for contact printing in the darkroom. The document profile is Adobe RGB, but the components R, G, and B are all equal. I allow the printer (an Epson P700) to manage color. When I choose a Media Type in the print dialog, I choose one of the photo papers, since there is no such media type as "clear film." Since Photoshop thinks it is printing on paper, it lays down ink in such a way that the print, will match the image on my screen when viewed by a human observer in reflected light, which is to say it applies some kind of gamma correction. As a result, print density increase rapidly as tone approach RGB=0 (K-100%). In the following plot, the X axis is digital grayscale tone and the Y axis is log density. For digital negatives, these rapidly increasing densities near RGB=0 are a problem. A more linear curve would be desirable. Is there is anything I can do to make the curve more linear? A gamma correction of 1.0 would be ideal, since it would produce a negative with linear tones. Or perhaps the solution is to let Photosop manage color and use some kind of output ICC profile that would straighten the curve. If so, can you suggest how to either find or make such a profile?
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‎Sep 04, 2021
05:07 PM
After posting, I continued looking forevidence that the plugin had been installed, and I found it. In the Filter menu, under Other, there's an entry called HSB/HSL.
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‎Sep 04, 2021
01:11 PM
I downloaded Optional_Plug-Ins_Win64.zip from this page on helpx.adobe.com. I only need Optional Multiplugin.8BF, so I extracted it and moved it to C:\Program Files\Common Files\Adobe\Plug-Ins\CC\ When I started Photoshop, I did not see anything in the Plugins menu. So I moved the .8BF file to C:\Program Files\Adobe\Adobe Photoshop 2021\Plug-ins\ but I still did not see anything in the Plugins menu when I restarted Photoshop. What's the problem? For your information, I am only interested in HSBHSL functionality. Windows version: 10.0.1942 Photoshop version: 22.3.0
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‎Jul 31, 2021
02:12 PM
Same problem as with the original example. Setting the black point on the rightmost cell makes Lightness of that cell = 16%. I can click and drag it down to 7%, but Curves won't let me go any lower. Also, the tone is unequally distributed among the other cells. I think it's a limitation of Curves when the tones are so close together: I tried Gradient Map without success. I suspect it can be done with a LUT, but I'm not clever enough to figure out how to do that.
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‎Jul 31, 2021
12:24 PM
It turns out that my method of redistributing tone works just fine EXCEPT when the tonal range being redistributed is very short, as it was in the example I posted. I believe this results from Curves limitations when the points of the curve are very close together. For 10, 20, 25, and 50 cells, setting the black point redistributes the tones in perfectly equal steps from 255 to 0.
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‎Jul 31, 2021
10:30 AM
There is no hue. All tones are gray.
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‎Jul 30, 2021
05:06 PM
I have the following working spaces in my Photoshop Color Settings: RGB: Adobe RGB Gray: Gray Gamma 2.2 I open the following Photoshop document, which is in Adobe RGB The image has six square cells with HSB values (0,0,100), (0,0,99), (0,0,98), (0,0,97), (0,0,96), and (0,0,95). I included the marching ants in the screenshot so that you can see the pure white cell on the left. I add a Curves adjustment layer and set the black point (using the black eyedropper) on the rightmost cell. I expected this to change the HSB values to (0,0,100), (0,0,80), (0,0,60), (0,0,40), (0,0,20), and (0,0,0) but it did not. The actual values, measured with the eyedropper, are (0,0,100), (0,0,80), (0,0,61), (0,0,41), (0,0,22), and (0,0,2) OK, so maybe there's a numerical issue, since HSB is not a real color model and Photoshop is working in its own internal numbering system. I thought I should be able to fix it by using the "click and drag" feature in the curve adjustment. But when I tried to click and drag in the (0,0,2) cell, Photoshop would not let me lower the value below (0,0,2). It let me raise it, but not lower it. This is really puzzling, and I hope someone can explain why. One possible solution is to (1) fill the last cell with solid black and then (2) "click and drag" to adjust the tone of the other cells. However this would defeat the purpose of the exercise, which was for this to happen automatically when I originally set the black point. I have two questions. (1) Why won't Photoshop allow me do click and drag the rightmost cell down to (0,0,0) and (2) where else is my thinking wrong? EDIT: If I work in RGB, setting the black point does the right thing. For example, if I have eighteen cells spaced one unit apart from 255 down to 238, and I set the black point on 238, I get 255, 240, 225, ..., 15, 0 (equal steps of 15). This only works for numbers that evenly divide 255: 1, 3, 5, 15, 17, 51, 85, and 255 itself.
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‎Jul 28, 2021
08:26 PM
1 Upvote
I watched your video "Photoshop CC Color Settings and Assign/Convert to Profile video" and passed along to my colleague.
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‎Jul 28, 2021
07:49 PM
1 Upvote
On further investigation, I discovered that my colleague was right, but for the wrong reason. It turns out that the original document had a false sRGB profile. The document was actually Adobe RGB. By Assigning Adobe RGB, he fixed the problem (your case #2). Now I hope to convince him in the future to use Assign only in cases 1 and 2.
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‎Jul 28, 2021
06:29 PM
Yes, I agree 100%. Now convince my friend. He doesn't accept arguments that begin with "you should always."
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‎Jul 28, 2021
05:23 PM
1 Upvote
I have a colleague who insists on using Assign Profile to convert documents having an embedded sRGB profile to AdobeRGB. I have told him he should be using Convert to Profile, but he insists that using Assign gives better results (I have no idea how he measures "better results").
I understand that when you assign a profile, the color numbers do not change; they are simply reinterpreted in the new color space. I would expect this to result in a change of appearance if the assignment goes from a large color space (like AdobeRGB) to a small color space (like sRGB). But my colleague is assigning from a small to a large color space, so perhaps the appearance of the colors does not change (assuming Adobe RGB uses the same color numbers for the colors in the sRGB subset). If so, assigning the larger profile would seem to be harmless.
However I notice that even though there is no apparent change in color, the gray levels change (the K numbers read with the eyedropper). This is plainly visible if you change the mode to Grayscale. How do I explain what is happening here, and how it might lead to problems?
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‎Jul 27, 2021
04:04 PM
What value would you specify as the solid color, such that when applied over the step table in Color mode, each cell of the result has the a and b components of the solid color and the Lightness of the underlying cell? I played around with this in Lab and couldn't get anywhere close to what I need. For example, if done correctly, the white cell should be white, the black cell should be black, and the intermediate cells should be intermediate shades of green.
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‎Jul 26, 2021
01:53 PM
I'm going to try to answer my own question. I just read Gimp's description of Color mode: "This mode combines the foreground hue and saturation with the background lightness. Lightness ... is always a bit less bright than value. The expression for this blending mode is R=[h(F),s(F),l(B)] where h(F) and s(F) are the hue and saturation of the foreground, and l(B) is the lightness of the background. ------ Value is what Adobe calls Brightness in HSB, which some people write as HSV. HSL is a different system from HSB/HSV, and the L of HSL is "always a bit less bright than value." In other words, gray levels are NOT preserved when when you colorize using Color mode. They are made "a little less bright." So instead of the expected brightness values of B = 0 5 10 15 20 ... I get B = 0 4 8 12 14 which seems quite a bit less bright to me! Anyway, mystery solved. I can say that Color Mode does NOT preserve gray levels. It makes them "a little less bright." I think I need a correction to scale the values back up from L to B.
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‎Jul 26, 2021
01:18 PM
The document profile is Adobe RGB. The RGB working space is Adobe RGB and the Gray working space is Gray Gamma 2.2. When I'm working on this document, the eyedropper grayscale (K) readings have a fixed relationship to the Brightness values of HSB, specifically: B = 1 - K. For example, I know that if the gray working space and the RGB space have different gammas, this relationship does not hold, although the appearance does not change. My goal is to colorize a grayscale step table in such a way that the gray levels (Adobe's terminology) in the original table do not change. The Hue and Sat may change, but the brightness is constrained to go in equal steps from 100% to 0% in steps of 5% (exactly opposite to the original grayscale values, which went from 0% to 100% in steps of 5%). That's all there is to it. This has nothing to do with human perception of tone. It's strictly a requirement that gray levels be preserved when the step table is colorized. This is what I THOUGHT Color blend mode was supposed to do. If you read Adobe's definition, how could you come to any other conclusion?
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‎Jul 25, 2021
06:01 PM
According to Adobe "Color mode creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images." This is exactly what I needed! I have a grayscale (R=G=B) step table in Adobe RGB mode having 20 equal steps from K = 0 to K = 100. I want to colorize the step table but I do not want the grayscale (K) values to change. But if I add a Color Fill layer in Color Mode, the K values are NOT preserved. Instead of 0% 5% 10% 15% 20% ... 95% 100% The corresponding eyedropper readings are 0% 4% 8% 12% 14% ... 93% 100% Furthermore, the Hue and Saturation of the result color is NOT the same as those of the blend color. For a blend color of (120,100,100), the Hue and Saturation of the result color is (120,0) (120,12) (120,24) ... I suspect that Adobe's definition refers to the HSL model, rather than HSB, but I have no way of verifying that since the eyedropper doesn't offer HSL. Since my results contradict everything in Adobe's definition, I must be doing something really wrong. Photoshop file attached.
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