If you are only doing one preference file the may well be others involved with color and other color related setting. Adobe documentation is also often not up to date. Preference file functions, names, locations | Photoshop CC 2014 ... View more

Same with an Epson scanner.  The Epson software it pretty good.  If I ever decide to do a lot of scanning, I will try VueScan based on the positive reviews. Workflow would be to scan to a dedicated folder registered in LR.  Sync the folder and Edit in Photoshop. ... View more

Fyrblade wrote: Is this a commonly known issue or is there something I have done wrong somehow? I fail to see how this issue seems to be undocumented after a google search. Yes, this would fall under the "commonly known" heading. Software in the professional segment usually has color management, while consumer-oriented software very often doesn't. By the looks of your screenshot your monitor is a wide gamut model. In that case full color management is an absolute requirement. Without it, these monitors will always display standard sRGB material oversaturated. It has to be remapped into your monitor profile, and that is what color management does. ... View more

Thank you ... View more

If ACR and Photoshop don't match, the monitor profile is either defective or corrupt, or the wrong profile is used in a dual display setup. The latter is less common, but sounds like it might be the case here (since ACR main and ACR filter are different). This has been reported in some cases lately, mostly under Mac OS in a laptop <> external display configuration. Try to swap the main/secondary displays, just as a test. Whether this is an OS issue or a PS/ACR issue I don't know. I don't think it was ever resolved. It doesn't happen to everybody, which I suppose is the definition of a bug. ... View more

OK. As I said, some recent Canon profiles have been problematic, so maybe they updated those. Check the ACR forum for this. I don't normally follow that forum because 95% of the questions are "why isn't my camera supported".... ... View more

Thank you for your answer, D Fosse! Maybe it's still possible in the Lightroom's curves? When I am raising up the Red curve in the left end corner and in the middle, the reds look almost like in jpegs. However, other colors are also getting shifted by this correction. Maybe I should also move the Green and Blue curves somehow in order my correction of the Red curve to be neutral to other colors? ... View more

"Taking away cyan from red" is just another way of saying "increase red saturation". They are complementary colors. Yes, you can do that in ACR. ... View more

PBArtattack wrote: I'd dearly love to have a chat with the party who came up with the concept of "online installer"... Yeah, me too. It's fine as long as everything works as advertised, but we all know that isn't always the case. Anyway, Adobe now in fact offers offline installers as well. This is new, and from what I gather the direct result of customer nagging. The CC2017 installers aren't there yet, but they will be soon: https://helpx.adobe.com/creative-cloud/kb/creative-cloud-apps-download.html Background info here: http://prodesigntools.com/adobe-cc-2015-5-direct-download-links.html ... View more

Thank you, you are right! ProPhoto gamma 1.0 is used only in internal working spaces. I don't  know where the two propfiles with gamma 1.0 and gamma 1.4 are coming from. I have searched in C:\Windows\system32\spool\drivers\color, and in C:\Windows\SysWOW64\spool\drivers\color those two profiles are not present. I can't understand why Photoshop proposes them in the profile list. Fortunately, ProPhoto.icm is still present in C:\Windows\system32\spool\drivers\color. I'll use it as before. ... View more

D Fosse wrote: The profile policy could affect this too. Matrix and version 2 always seem to be the safer options. That's interesting.... I'm fairly certain I'm using a matrix-based profile and I had been using version 2. I just recalibrated my monitor about a week ago and used version 4 this time.... I'll switch that back to version 2. I'll recalibrate my monitor again and use version 2 and make sure that it's matrix-based as well. This is the first Black and white photo I've edited since the calibration. However, if I open other black and white photos I've edited in the past, the banding and cyan tones aren't there. Or maybe they are, but just not nearly as noticeable in those photos as they are in this one. I'm guessing this could be the culprit for the blacks looking clipped as well. According to the histogram, no blacks are clipped and I have a good 10 points worth of room before any do get clipped. Thanks again for all your help! ... View more

I'e said this for a long time. You can work perfectly non-destructively in Photoshop and go back to a pristine original at any time, just like Lightroom. Reversible vs. non-reversible doesn't quite work either - same argument. I just call it parametric editing and pixel editing. If you're thoughtless you can turn a file into mush in Photoshop. But no need to. ... View more

I don't doubt it's doable with a top-spec machine and plenty of time, the question is if it's workable, or necessary. Just to get specific, consider what 100 ppi really means. It means each pixel is 1/4 mm in size, or to you in the non-metric world, 1/100 inch. Put a one-inch marker at the tip of your shoes, and divide it into one hundred segments. That's what we're talking about. JJ's question is a good one. Where will you get 200 000 pixels? The highest resolution commercially available in a sensor today, is the Phase One IQ3 100MP, which will set you back roughly $50 000 (yes, that's USD fifty thousand). Its files weigh in at 11608 x 8708 pixels. That's still a lot of photomerging. ... View more

after your suggestions the program is still crashing when I am trying to download images/ importing from flash card ... View more

Adobe started that in CC 2015.  Must have been a management edict.  I do not think adobe programmers would think removing working softer on users without them first testing  the new software  would be a good thing to do to users.  Good Adobe management would also agree with the programers.  So IMO it muts have come from Adobe high command. ... View more

No, what you want is sRGB IEC61966-2.1 - not ColorMatch RGB. ... View more

thanks guys I think I pretty much get the just the big picture now, I understand that a jpeg is really only for the web/emails etc I I get the concept of saving the master PSD file. You have all been most helpfull thank you ... View more

Yeah, I actually meant to ask if it's officially supported, not really sure why I asked it like that. Anyway, looks like it is and 2015.5 is still not, according to the link mytaxsite included: Photoshop system requirements​ ... View more

Before you wrote your display was 3200 by 1600 now its 3200x1800??? If it is 3200x1800 toy should be able to scale it 225%  a 1422x800 UI display.   Photoshop support scaling up to 400% but you need the pixels requited for that amount of scaling 4096x3072px scaled 400% is 1024x768UI pixels.  Its a physical requirement.  Resolution is a pixels size thing the higher resolution smaller the pixels are, A 65" 4k HDTV  has a low resolution display its pixels are large. A 5" 1K 1920x1080 hdtv  would be a high resolution display and you would need to be very close to it to see the image and if is was Photoshop UI you would not be able to use it.  Its a physical size thing I do not think even you would think one could use Photoshop on a iPhone size display. If you  set your 3200x1800 display scaling to 250% your display would be like a 1280x720px UI display 48px short of the 768 pixels required. If your display was a 3200x1920 display  scaled 250% it would be a 1280x768 UI display. With CC 2017 you can set Photoshop's UI scaling to 100% and force Windows scaling onto CC 2017 and scale to 250% Your display will still be short 48 pixels but Photoshop will not complain. However, both Photoshop's UI and Image display will be scale 250% not just Photoshop's UI. Whane Phtoshop scala you images to 100% soom Windows will scale the to 250% you will never see toy images actual pixels except in your prints. ... View more

Thanks for the suggestion. Yeah like you said this isn't working with the "legacy" export, and maybe you are right this probably won't be updated anymore but this function isn't fully replaced with the new one, I find a lot more useful the old one, even if the saving directory is a loss of time. ... View more

not everyone is steeling art I do hi gloss automotive style murals and font always have the best environment to photograph my work. but i still need to remove my reflection from the photo or at least lessen its fx ... View more

A device link profile works only in one direction: RGB ––> CMYK CMYK1 ––> CMYK2 Of course D Fosse is right - for any application of a device link profile except printing one has to know the source profile and the target profile (for printing these informations were used implicitly, making the device link profile.) Now let's assume AdobeRGB (aRGB) as source and ISOcoated-v2-eci as destination profile. An image in aRGB can be converted to ISO eventually faster and more accurate than by using the standard workflow aRGB ––> LAB ––> ISO. In fact the creation of such a profile, as explained for the RIP Colorgate Productionserver requires an optimization:   DEVICELINK PROFILER Modul DLPFM   Voraussetzung: Sie haben das Devicelink Profiler Modul (DLPFM) erworben,   den Proof Workflow gewählt und ein Referenzprofil des zu simulierenden   Drucksystems erzeugt.   Der DEVICELINK PROFILER ist ein eigenständiges und optional erhältliches Modul.   DeviceLink Profile enthalten eine Farbraumtransformation von einem Gerätefarbraum   (Simulation) in einen zweiten Gerätefarbraum.   Der DEVICELINK Profiler Assistent optimiert DeviceLink Profile für den Proof Workflow   in iterativen Schritten, wobei das Messergebnis über einen weiteren iterativen Schritt entscheidet.   Erst durch eine Optimierung des DeviceLink Profils erreichen Sie eine optimale Farbsimulation   im Proofergebnis. Der DeviceLink Profiler kann auch Multi-Color-Profile optimieren.   Hier sehen Sie eine Übersicht der Schritte im Assistenten: ... The creation requires as well Rendering Intents, in the mentionened RIP either equal or different for raster graphics and vector graphics. Furtheron some rules how to Preserve (or not) pure colors, especially the reproduction of RGB-black by K-only, as mentioned in the original post. Now let's assume, we have told Photoshop the RGB space (aRGB), the CMYK space (ISO) and the Rendering Intent (only one, for raster and vector). Then we can read, using the color picker, aRGB-values and ISO-values without any application of "convert to profile". The problem seems to be solved: get aRGB numbers from CMYK numbers. Unfortunately this task doesn't have a general solution. Some RGB colors might have been reproduced in CMYK affected by gamut clipping, especially if the source data were delivered by usually highly saturated web sites. Even if we knew that gamut clipping happened for a certain color, the source color could not be reconstructed. So far about a strict solution of the problem. If the conversion from aRGB to ISO had been executed professionally, e.g. for book printing, then images in RGB were prepared by Soft Proofing so, that no loss due to gamut clipping happened (RGB colors were somewhat desaturated, blues shifted towards cyan, for instance), and Rendering Intent is always Relative Colorimetric, then the method as mentioned above should work satisfying. The interpretation of vector graphics (lines, rectangles, text), which exist in PDFs as independent elements besides raster graphics, will still be doubtful. Best regards --Gernot Hoffmann ... View more

NVIDIA DRIVERS NVIDIA Studio Driver Finally: Adds support for 30-bit color on GeForce and TITAN GPUs ... View more

I see. I have now set it like these and I can see right colors, as were shown in my LR and PS, after calibration. So far so good. I am also sending test prints to my studio, so I can confirm, that I have right colors and we're set. Thanks for everything. ... View more

I suspect the vendors simply use the 300 number to cover themselves in those cases when people use non-vector path text. This is very helpful though -- I am having problems with overly large image sizes. ... View more

The purpose of working in ProPhoto is to have editing headroom without premature clipping while you work. Sooner or later you have to remap into an output color space, and then you need to handle any clipping that might occur. A wide gamut monitor can reproduce practically all of any print color space. This means you can soft proof with confidence - any clipping that affects your print will be reliably previewed on screen. There's no particular reason your document and monitor color spaces should match. However, the final remapping will naturally be easier if you start out from a smaller color space like Adobe RGB - provided you can handle the data within Adobe RGB without clipping. With some care and planning that's often possible, but you usually have to start in the raw converter. ProPhoto has some downsides. One is very compressed shadow values, making it difficult to spot and correct color casts in the shadows. They don't show in the histogram, while they can be obvious in an Adobe RGB histogram. Another problem is that GPU code doesn't handle ProPhoto well when converting into the monitor profile - resulting in shadow color banding on screen. This happens in Photoshop with GPU in "normal" and "advanced" modes. ... View more

Thanks, appreciate the replies from ACP members. Knowledge is power! ... View more