Something that some folks have asked for in PL is to be able to do “soft proofing”. This is a window that shows how the image should look when it is output to a certain device or printer. What it does is to translate the values produced by a selected profile and adjust the display to give the impression of what the colours and tones will look like if you were looking at them on the target medium.
macOS has a ColorSync utility that, if you open a file with it, shows you a soft proof of whichever profile you select for a given rendering intent.
Provided you have used a correctly profiled screen, the image should be as you want to see it printed. Then you export it to a tiff or jpeg for printing, with the AdobeGRB profile.
Then your printer should apply the correct profile for their paper/ink combination and the printer driver will “translate” the colours to match.
Applying a profile to a bitmap file is a bit like suggesting a colour temperature when you take a RAW.
This is because you chose a “full” preset, which overwrites all tool settings applied so far. The only way to avoid stomping all over stuff like this is to use partial presets, which only change specific settings.
One of the advantages of getting FilmPack Elite is that you get the channel mixer and coloured filters.
Here’s a straightforward conversion to the Fuji. Neopan™ Acros 100 film emulation with no filter…
That part worked fine. It was only when I returned to the default (Standard) setting that the cropping was lost. I just re-opened the same image, clicked “Presets”, and all five choices were cropped. I click on Black & White, and I get the cropped image in Black & White. Then I click on Presets again and click on DxO Standard - the image opens, in color, cropped, then instantly the crop is removed and I’m again looking at the full image.
If it worked going to B&W, seems to me it should have worked again when I went back to Standard.
herman
(Leica M9 | iPhone 15 Pro | iMac M1 | PL6, FP, VP)
233
On my Windows box I can see that already in the preset previews, see attached screenshot.
If you do not see this on your Mac it may be another difference between Windows and Mac implementations.
Thank you - I most likely will buy Film Pack Elite in the near future.
If I start with a B&W negative, can Film Pack Elite do most of the things in a dng file, that Nik Collection would do when adjusting to save the output as a ‘tiff’ ?
Essentially, yes. You start by duplicating the existing preset and then editing it.
Word of warning, whatever you do, don’t remove the tone curve from any preset you edit, there is a bug which occurs if you do and which DxO are currently fixing.
I have never been without it, buying it in a bundle deal when I got PL. IMO, well worth the money.
Yes. you should be able to do everything apart from using the Nik presets. What’s more, because of the way it is integrated into PL, it feels no different to using anything else that is part of PL.
I’m learning the most by taking new images in RAW format, and using the tools that all of you and PhotoJoseph have been teaching. While thinking about this, I was wondering about the previous 10 or 20 years worth of digital photos that I’ve taken. Back then I didn’t understand RAW, so they were all shot in jpg format, with whatever camera I had with me. I enjoyed taking photos in India the most, as they were so… unusual to me.
I went looking through them a couple of hours, and found a photo from 2005 that I remember liking, but not knowing how to make it look good. I think I was using an old copy of Lightroom at the time. I copied it to a new folder, and tried to improve it, without losing the “flavor”. - a dry, dusty day in India, bright clothing but not much of anything else. I saw the scene out of a car window and shoved my Nikon D70 out a ways (but not quite far enough).
I’ll post the original file here, if anyone wants to see what they can do with it. It’s not RAW, so none of the raw tools including DeepPrime will work. It’s not what I would call “sharp” nowadays, but it’s typical of what I was able to do back then. The lens was very inexpensive, and it was limited in what it could do - or maybe I was just limited in what I knew how to do with it.
If not already noted – always EXPORT your images as sRGB, either for web or for printing. That’s the normal case.
Only when you want something printed as FineArt print etc and/or the printshop is asking for AdobeRGB colour space (check the printshop’s recommendations), you do so. – Only then you have to live with your screen’s limitations.
Normally, sRGB colour space is perfect for you, as it suits your monitor (100% sRGB, see manual).
Make sure, your screen is properly calibrated – accordingly to your monitor settings!
Example:
Let’s say, your monitor is set to factory settings (e.g. 6.500 Kelvin, 120 cd/m², Gamma 2.2)
and you are happy with that ( your choice ! ), but now, in the calibration process
you choose different settings,
adjust contrast, R-G-B and luminance to other values
You might think that’s the normal case but it’s not what I do for printing.
I usually export as ProPhotoRGB and then either I or the printshop output the file to the printer with the correct profile for the printer/paper/ink combination being used to make the print.
It’s a bit like assigning a colour temperature to a RAW file - it’s there but it can be changed.
Here I use 240ppi as the resolution because it is adequate for most prints at normal viewing distance.
In both cases, I output to an Export folder under my home folder, to avoid confusing myself with exported files all over the place which I am going to delete anyway as soon as I’ve used them.
Since you don’t do it the standard way, you might not know this, but the default for exports is to create a sub-folder within the folder for the originals, titled PL Exports, which prevents the confusion of all the exports going into the same folder as the originals. That’s what I’ve been doing. I know where to find them, and it’s easy enough to delete the PL Exports folder later.
Can’t agree
for me Originals folder is only original, and all my developing results get a proper name for each file and will be stored in different folders outside original folder for example \Poster or \Kalender
You will not find one way fits every users method of operation
Since you don’t do it the standard way, you might not know this, but the default for exports is to create a sub-folder within the folder for the originals, titled PL Exports, which prevents the confusion of all the exports going into the same folder as the originals. That’s what I’ve been doing. I know where to find them, and it’s easy enough to delete the PL Exports folder later.
Yes expert! I’m pretty sure, Joanna knows what she is doing. So …
