Aperture 2.0 color Q.

in aperture 1.5x the color is exactly the same as I wanted it and now in Aperture 2 it seems to desaturate everything when it looks perfect on my screen.
I am working with D300 raw files.
When I open with CS3 and than save to the desktop it looks exactly as it should with no desaturation. I did not do any changes in CS3.
Any ideas?
-Peter

the issue was only in the previews..... so It may not have generated the previews yet.
Thanks for the read.
-Peter
Message was edited by: PeterWPhoto

Similar Messages

What is aperture's working color space

When I print from Aperture 2.1 or 2.1.1 to my Canon ipf5000 and use Aperture's print dialogue to set the colorsync profile to me printer/paper profile, prints are very dark and have a yellow cast. I don't experience this problem with Apple Preview or with Photoshop CS3, so I believe it to be an Aperture issue.
If I print without any color management, my prints look reasonable (not dark and yellow). I'd like to note that when I get the dark output I've been certain not to enable color management in the driver.
As a workaround, I am trying to set up color management in the printer driver. I leave aperture set to "System Managed" and then in Canon's ipf5000 driver interface (version 1.3) I set color matching to "ICC Correction." I then set the matching method to "Perceptual" and the output profile to the profile I'd like to use for my printer/paper, but I'm not sure what to enter in the 3rd field - "Input Profile."
I've called Canon Tech Support and confirmed that "input profile" expects the Application's working profile, and I've already tried "Wide Gamut RGB" "Adobe RGB" "sRGB" and "Generic RGB Profile" without finding a setting that matches the output I get from CS3's build in color management (and how it looks on screen). "Generic RGB Profile" is very close, but slightly more saturated.
Can anyone here tell me what Aperture's working space is, or give me ideas about why Aperture's Colorsync color management produces such dark/yellow prints?

Actually when you export JPGs (or other formats as well) you can set the export profile to any profile on your system. Aperture will convert the image to that profile and embed the profile in the image file so that other color managed applications display it properly. The JPG presets that come with aperture happen to convert to sRGB except for whatever reason the preview JPGs that Aperture generates are Adobe RGB and the downloadable JPGs that it sends to MobileMe web galleries are also AdobeRGB, unfortunately there is no way to pick/set a profile for these two operations at the moment.
RB

Aperture's internal Color Space?

Does anyone have any information about Aperture's internal color space?

The thread you linked to starts of with the same link I had already posted. Some people in that thread say they think it uses ProPhoto but without having any evidence to back up that claim.
As I also wrote in that thread, if you import ProPhoto tiffs into Aperture and do any kind of modification and then export again (using ProPhoto) you get something that is clipped to Adobe RGB. That's a pretty clear indicator that Aperture uses Adobe RGB internally.
Mies van der Robot wrote:
However, your display system is going to clip everything to AdobeRGB or smaller (depending on the gamut of your display),
That is most likely correct but I have not found any authoritative source for this (the question being whether the conversion from an image color space to the monitor color space is done via relative colorimetric or something else).
and Aperture doesn't have the degree of sophistication for working out-of-gamut that Photoshop does, so as a rule of thumb it probably doesn't hurt to think of the internal space as equivalent to that of your display.
Aperture cannot deal properly with images that have a larger gamut than its internal color space (ie, ProPhoto) but it can easily deal with Adobe RGB files which easily can have a larger gamut than your monitor (you might not be able to see what you are doing, but the same problem exists in Photoshop).

Aperture Dual Monitor Color Profile Problem

I have 'discovered' an interesting problem when using my MBP with a Cintq tablet as a secondary monitor. The displayed colors agree very well in Aperture until I go to full screen and then the laptop monitor develops a greenish tint. I have tried all the different secondary display options, and in all cases where an image is displayed on both monitors the tint develops. It goes away as soon as full screen is exited. The Thunderbolt port is being used to feed the display to the Cintq (with a thunderbolt to DVI (?) adapter. I would guess that the laptop must grap the cintiq profile as soon as it goes to full screen.
In perusing the discussion group I see similar problems were reported in the past. It persists with the latewt MBP and thunderbolt, and latest build of Aperture.

I have no real answer except to say that on an older setup pre-Aperture I never did get the Cintiq 15 color well managed. I used the Cintiq mostly for palettes in Photoshop.
-Allen

Aperture 3 embedded color profile bug still unsolved (worked in Ap 2)

RE: Aperture 3.x cannot display images with certain color profiles embedded. This bug was reported
on March 11, but is still unsolved and basically makes Aperture 3 unusable for my large collection
of scanned slides which have a special color profile embedded. Viewer and sometimes Browser turns
either black or go haywire.
What is it about:
When you scan slides with a scanner, you can generate a special color profile so that the image
looks good and you can then embed this profile in the scanned tiff and jpeg images. Most pro applications honor the embedded profile and display the image correctly. In our case, we
generated a special profile named Nikon-LS5000 (it was tested for correctness!):
1) It worked fine in Aperture 2.x
2) It never worked in Aperture 3.x
3) It does not depend on the Operating System (i.e, the bug manifests itself in 10.6.2, 10.6.3 and now in 10.6.4)
4) It is no question of a special Mac Model (the bug shows on iMacs, ibook profs, and iMacs 2010)
5) It is irrelevant whether you start Aperture 3 in 32-bit or 64-bit mode
6) It shows with jpegs or tiffs, no matter
7) Preview.app or Photoshop CS4 display the images correctly!
8) If one changes the embedded profile via PS CS4 to sRGB or ProPhoto, Aperture 3 works (but the
image then has radically different colors - so no solution!)
9) The conclusion is that something affecting the processing of (some?) embedded color profiles has radically changed from Aperture 2 to Aperture 3.
I put a few jpegs with embedded color profiles and screenshots of how Aperture 3 behaves on the Picasa web:
http://picasaweb.google.com/114939413495021552399/TestapertureBilder#
you are invited to download the jpeg- images and retry in your ownAperture 3 Library.
Maybe together we can find out what causes this bug which is very annoying for any
serious photographer.

I have put the test material on another server - you can download a
zipped folder (Aperture3profilebug.zip) of all test images AND the color profile from
https://depot.uni-konstanz.de/get/txau69
with any browser. (The problem was that the Picasa Software seems to strip the color profiles from
the test images, so I had to put them on another server. It will remain there until July 1).
Regards and thanks for helping

Aperture vs Lightroom Color Renderign

Like many I have downloaded the Lightroon beta to stack against Aperture. It is an interesting excercise to run the two side by side on a 30" screen. Takes a bit of grunt.....
I have a question that maybe someone can answer:
If I open the same image (either RAW or JPEG) in both Lightroom and Aperture, and ensure that all auto editing is turned off (I think!) there is a MAJOR difference in the color rendering of the same image between the two applications. I have to say that Lightroom seems to be doing a MUCH better job on flesh tones than Aperture. But why are they different???
An explanation, would be greatly appreciated.
Rgds
Chris

I think I am doing better than that. In the small cog menu at the top of the Aperture adjustments pane there is a menu option 'Remove All Adjustments' which I select prior to comparison. Likewise in LIghtroom there is a Reset button bottom right corner of the Develop pane. I would point out however that even pressing this reset button produces a different color rendering than that in the Library area of Lightroom. I therefore see THREE raw states
1.Lightroom Library
2. Lightroom Develop (with reset pressed)
3. Aperture Master Image.
This used to be a problem with the likes of iView Media Pro in that it was not color managed but both Aperture and Lightroom are color managed and yet producing completely different renderings of color.
Chris

Aperture 2 double color management?

Hello,
I printed out from Aperture 2.0 on a HP B9180 / Hahnemühle Fine Art Baryta. I used the profile preview option with the selected HM Baryta ICC profile. CM in printer dialogue was application managed with this profile choosen, black point compensation. The printout shows paper simulation (light grey printed in white areas outside the image/crop boarder. Well, I don´t wnat a paper white simulation on the paper to be simulated. And I don´t want to deactivate the profile preview, because I´m color correcting for output. So is this a fault or a feature?
Mike

the issue was only in the previews..... so It may not have generated the previews yet.
Thanks for the read.
-Peter
Message was edited by: PeterWPhoto

Why is Aperture Resetting my Color Saturation?

I recently bought a Canon T3i and have been getting into photography a little. Today I took some pictures with the color saturation moved up slightly on my camera just to see how the images would compare. I noticed that when I imported those images into Aperture, at first it would show them with the color saturation adjustment that I made on the camera, but then after about 5 seconds (and a loading... dialogue), the color saturation would disapear and the image is now like I never adjusted the saturation at all...
Does anyone know why this is happening? I am importing RAW+JPG files with RAW as the original. I'm sure there is some setting somewhere, but I'm a newbie at this and could use some guidance.
Thanks!

This trips up everyone new to RAW.
RAW describes a family of proprietary sensor data file formats. Your in-camera settings (other than exposure) are applied after the sensor collects the data. You camera creates a JPG file. When you import RAW+JPEG w. RAW as the Original, Aperture will often use the in-camera JPG as a place-holder while it converts the RAW file to a displayable image format. The RAW file contains no in-camera tweaks. In your case, you are seeing the camera-created JPG, with extra saturation, and then it is being replaced by an image of the converted RAW file, which _by definition_ does not have the added saturation.
RAW is, imho, the only way to go for anything but snapshots. It does require a new workflow. To me, a camera is a data collector. I use my computer (and Aperture) to make pictures from that data.
Read some of the many posts on this in the forum, or Google for "RAW", "RAW+JPEG", or "RAW workflow".
The User Manual is excellent. At the very least, read the first seven chapters to familiarize yourself with Aperture's workspace.
I found this Adobe whitepaper very helpful as I tried to understand the difference between RAW and JPEG.
Message was edited by: Kirby Krieger -- slightly beefed up.

Aperture 3.1 color label problem

After the recent 3.1 "upgrade" I notice the following: 1. Keyboard shortcuts for color labels no longer work. 2. Filtering images by color label no longer works.

They still work for me.
I had some trouble understanding the filter choices in the Color Label Rule. Fwiw, it is hard to tell which colors are selected (often more than it seems), and it isn't immediately clear that this rule has multiple selections with a fixed "or" operator.
Regarding the keyboard shortcuts -- have you altered your command set in any way? When happens when you press "{command}+1" (do any of the menu items in the menu bar show in reverse-video)?

Color consistency printing in Aperture 2.1, Epson R2880

I just got a new Epson R2880. After a lot of initial test printing, looking there, reading that, I have come to the conclusion that Aperture has a major issue with color management printing from it- I have been reading others with Epson R1800, R1900, R2100, R2200, R2400 and Canon Pixma 9500 having similar issues.
I realize I have to turn off the Epson color management, and that improved the printing, but it still looks like a muted sRGB print. When I print from Preview using the Epson sRGB or Epson Adobe if the photo has an Adobe profile or a wide gamut (16 bit tiff), I get much more accurate prints and the colors that I would expect to see. Reds are vibrant and so on.
From Aperture again, it's muted. So as far as I understand Aperture manages the colors for you and the Epson driver has to be turned off in color management, and set to the right paper. I think what needs to happen it hat we should be able to turn Aperture's color management off, and have Aperture send the data to the Epson driver, enable the Epson driver and let it do its job (we enable the Epson driver beforehand, before printing).
I have not been able to find a way to turn Aperture's color management off. This is a major workflow issue for me because I can't really print directly from Aperture which is not very good.
Any ideas?
- Raist

Raist,
First of all, thanks for giving notice that Epson has somewhat quietly introduced the replacement for the R2400 -- I had missed that.
Are you running Tiger, as your Profile info indicates? In Leopard, I see the same issues with properly setting up printing whether printing from Aperture 2, Photoshop CS3 or Pages. Conflict appears to result from allowing the printer to control printing vs the application.
My understanding is that if Color Management is selected, the printer and driver may ignore the color tweaking you have done, and based upon algorithms in the driver make its own adjustments -- this is not something I want to happen. In choosing the color profile in Aperture (done by selecting the paper type and quality) I achieve the better and consistent results. To get equal results from printing from Photoshop, the same settings must be used, but I find the Print Presets in Aperture much easier to accomplish this with. Recently I printed a photo from CS3 (because the final retouching required the use of layers) rather than Aperture, the first attempt was horrible simply because I forgot to turn off color management in the print dialogues.
Again, my understanding is that by selecting the proper Color Profile for the Epson paper being used, and by further turning off color management, you should expect the best, most proper, use of the Epson driver, managed from Aperture.
Ernie

Aperture color space / working space

Something I have been wondering for some time now, and didn't find a real answer so far: what is Aperture's internal color space? Is it ProPhoto RGB? Does Aperture know about the camera's color space (i.e. how does it map my RAW data to its internal color space)?
What I noticed is that images are converted to AdobeRGB before sending them to Photoshop for editing; unless this is Apertures working space (which I hope it is not), it would make sense to change that to the working space. One could work around that by first exporting a TIFF in the appropriate color space, editing that and then reimporting it to Aperture, but this sounds rather unpracticable. And again, one should know what exactly the internal working space is, to avoid conversion losses.
I'm grateful for any suggestions,
Bernhard

I don't know that there is a background color space. As I said, if someone is working with a point and shoot digital camera vs. a Canon 1Ds Mark II, the range color the chip can capture is likely to be very different. In that case Aperture make work differently for each camera. I don't really know.
I think your question touches on the ongoing debate (it's been years now on Photo Forums) as to whether or not you can really profile a digital camera. Some say yes, some say no. The ones who say yes are the ones selling profiling software and charts. Capture One allows for custom input profiles. The ones saying no are promoting software that doesn't allow for custom input profiles (ACR, Aperture, any camera manufacturer's software). I think the theory on the "no" side is that with a camera the range of color is limitless therefor there is no way to really profile it. This is as opposed to something like a scanner that has a limited amount of color it can see and needs to reproduce.
I know that ACR has two types of general guides within it (one for daylight, one for tungsten) for each camera and then interpolates between the two. I say "guides" because I don't know if they are really termed to be profiles or if another name is more appropriate.

Aperture, Color Space, Printing, Oh My!

Any help with these is greatly appreciated. I've read countless articles and forums, only to be left with these questions because no one can answer them.
1) In RAW only if I want to print with my B9180 and process in Aperture, does the in-camera color space settings even matter? I do use soft-proofing in Aperture for the HP papers I use. Everything I read about it says Adobe RGB in-camera should be used when making your own prints at home, but they are always referring to printing from within Photoshop, but I don't use PS, so I'm confused about this with Aperture.
2) Now, what if I shot JPGs? Will in-camera color space matter in this same scenario (Aperture, B9180 printing at home)?
3) Using Aperture in a JPG workflow, does the application see the in-camera color space I selected or does Aperture have its own color space? Or is it selected based on the soft-proofing profile I use?

Henrik,
That's an awful lot of words but none of it gets at the day to day use of the program or really provides and answer for the original poster of the thread.
Yes, of course a soft proof is a simulation. That's why it's a soft proof. It's also never going to match the output exactly. It can't.
Strip away all the science under the hood as it relates to soft-proofing in Aperture (part of Jerry's question #3) and the questions are:
What is this?
When should I use it?
How do I use it?
What? It's a way of getting a sense of how your image will look when output. It requires that you are working on a calibrated monitor and you need an output profile in order to use it. It will never match your output 100%. It cannot due to screen vs. paper, how the color on each is created, gamut and contrast of each, etc.
When? In Aperture you should work on your image with "Onscreen Proofing" turned off. Why? because you should work your images as best possible without initial regard for the output. It may end up being output for different uses in the future (screen, inkjet print, offset printed, etc.) You can use Aperture's "Onscreen Proofing" if you want get a sense of how your image will look when output. You don't have to, just like you don't have to in Photoshop. If all you are doing is outputting to an in-house inkjet printer you could just make a test print via color managed printing, see how it looks, and then adjust as needed. But if you want to get sense of what's what and whether you need to make any changes before you hit "print" then you can do the soft proof. The soft-proof would also be helpful heading off issues if you are not printing in-house (again, assuming you have a correct output profile.)
How? In Aperture to get a sense of how the output will be you need to select your output profile in View>Proofing Profile and then turn on Onscreen Proofing, View>Onscreen Proofing. Now, you can turn on and off the proofing feature to get a sense of how the image will be reproduced. If your image is not soft-proofing as you expected or want you can create a duplicate of the image file. Then alter that to bring the image as close as possible to the feel of the non-proofed image. This is similar to Photoshop where you can "Proof Setup" and the duplicate your image and/or create additional image layers to bring the image more in line with your intention or expectation.
Jerry - FWIW, I know you posted about an HP printer in another thread. See the comments here,
http://digitalmedia.oreilly.com/2007/02/13/insideaperturepodcast-9.html . There seem to be some HP printer based issues with regard to Onscreen proofing. This link also has a podcast with Joe Schorr, Apple's Senior Product Manager for Aperture, specifically about color management and onscreen proofing in Aperture.
Jon Roemer
site: http://www.jonroemer.com/
blog: http://jonroemer.typepad.com/jon_roemer/

DPI and PPI in Aperture 'Export' and 'Print' windows

Hi,
As mentioned in an earlier post, I just bought an Epson 3880 printer and some Epson Hot Press paper, so now I have to pay attention to PPI (term used for displays) and DPI (term used for printers).
In Aperture however, files being exported require DPI specs(!), while files being printed require that we specify PPI specs. How is that?
Also, my Epson manual indicates that I can print at 5 distinct "DPI" settings, from 180 to 2880. My Aperture Print window, however, only offers 3 options with 360 "PPI" as the highest (considered Draft quality by Epson - if "DPI"), plus a 4th referred to as Custom.
Also, I have a note jotted down a while back that says: "1440 dpi for most papers with 240 dpi files, at 2880 if 360" - whatever that meant 6 months ago at an Epson 3880 seminar, before I got the printer.
Can you guys sort this out for me? Please?
Thanks a lot,
Raphael

I'm not at my studio. My current driver is 8.x. The newest driver is 9.33. My remarks here may not fit with your more current version of the driver (but that would surprise me — the printer came out about 4 years ago, iirc).
The profiles are not, afaik, included with the driver, at least when you download it from Epson's site.
There are two profiles for each Epson Fine Art paper — one at 1440 and one at 2880. You should try each with every kind of print you make, and determine which is better. IME, _for my needs_, 2880 was never worse. I use the 2880 profiles.
The profile is selected from the "Color Profile" drop-down at the top of the "Rendering" section of Aperture's "Print" dialog.
(Set "Render Intent" to "Perceptual" for, in general, photographs or anything with smoothly graduated changes in color. Set "Render Intent" to "Relative Colorimetric" for, in general, graphics or anything with smooth areas of constant color and sharp transitions between areas of color. Generally, if "Render Intent" is "Perceptual", check "Black Point Compensation"; otherwise uncheck it.)
Leave "Print Resolution" at "Auto". I know of no reason to ever change this. (I don't, in fact, know what this control does, and have never changed it.)
When you click "Print" in Aperture's "Print" dialog, a short dialog opens asking you if you want to save any changes you made to your Preset. I always save my changes. Prints often need to be immediately remade — all transitions of data from electronic to physical media are problematic — and I like to return to my Preset ready to print the same Image(s) again.
When that dialog closes, the OS print dialog opens. Your 3880 printer should already be selected in the "Printer" drop-down. You need to create and should save an OS Preset for your paper. Note that on the "Color Matching" page (this dialog has pages, not tabs; direct complaints to Cupertino), all (two) options should be grayed-out. This indicates that Aperture is handling color matching, which is what you want (for best prints and anything approaching a color-calibrated workflow). On the "Paper Handling" page, the "Destination Paper Size" drop-down is grayed-out, but should show you the selection you made in the Aperture Print dialog. The "Printer Settings" page has two tabs. On the "Basic" tab, in the "Media Type" drop-down, select your paper ("Fine Art Paper ▹ Hot Press [Bright or Natural])*. The "Ink" drop-down should be grayed-out, but show "Matte". Matte is proper selection for Hot Press [Bright or Natural]. This dialog knows this from your color profile selection in the Aperture Print dialog. Chose "16-bit" output and any other options your want (you can experiment; I find no difference). I ignore the warning about print quality at the bottom area — this has never been an issue. On the "Advanced" tab of the "Printer Settings" page, it should tell you that "Epson Driver Color Management is Off". That's what you want. You want Aperture to manage the color.
Save your OS print dialog Preset. Use it every time you print to the same paper.
*If you cannot select your paper, you have not selected the correct paper size in the "Printer" section of Aperture's Print dialog. Note that the "Paper Size" selection includes not only the paper size, but also whether the feed is by sheet-feeder or manual, and whether or not the print is borderless. (I didn't design this; I assume there are reasons to have shoe-horned these options into the "Paper Size" selection.
This is all tricky on top of being actually complex and next to being new. It takes everyone time and mistakes (read: ink and paper) to canalize a flow that works for producing the prints they want. I hope this gets you there a little faster. Report back with what doesn't work.
—Kirby.

Leopard + Aperture 2 + Epson R1800 == very dark prints

Hi,
Before I upgraded to Leopard, I was able to get very nice prints from Aperture on my Epson R1800 printer.
After I upgraded to Leopard, the prints end up very dark. A bit of additional info follows.
My monitor is correctly calibrated.
I installed new drivers from Epson's website (v6.12), and I verified I'm using those, and not Apple's Gutenprint drivers.
In the print settings I turn color management off, and than select correct ICC profile in the Aperture that matches paper and quality settings. For example, for printing on Epson Premium Glossy paper with PhotoRPM settings, I select "SPR1800 PrmGlsy PhotoRPM.icc" profile. Hit print, and after a bit of time the print comes out of the printer very dark. This sounds like ICC profile got dropped someplace along the way (in Aperture? in driver?).
If I go the other route, and let driver/printer manage color by selecting either normal or vivid options in print settings, and than use "system managed" setting in Aperture, the prints come out bright (maybe even a bit too bright). However, in this case the colors are off. Very off. Skin tones are especially bad with strong yellowish cast (people on the prints look if they were seriously sick).
Has anybody managed to get usable prints from Aperture 2 + Leopard combo on Epson R1800? Or any other comparable Epson printer (R800, R2400, new R1900)?
Searching forums, I found a lot of articles discussing Leopard and Epson printers problems for Adobe products (CS2/CS3/LightRoom), but not much for Aperture 2.
Unrelated question... I attempted to ask this in Aperture forum, but there was no post link. Do I need something special to be able to ask questions there?

Well, believe it or not, with the help of Epson support on the phone, I've figured this out. First of all, there is definitely a problem with Aperture's color management. What used to work (setting a color profile in the Aperture print dialog, and selecting "no color management" in the printer dialog) definitely does not work at this point.
If you want color management, what you have to do is select "System Managed" in the Aperture print dialog, and select "Color Controls - Epson Standard" in the Epson dialog. What this does is select the standard Epson profile for the paper you have selected. For example, if you've chosen Epson Premium Glossy Photo Paper, the printer driver will use the "SPR1800 Premium Glossy" profile (Epson's standard profile for that paper, assuming you've downloaded it). Of course, that gives you Epson's version of what you want to print. If you have created your own profiles, using a spectrophotometer for example, you need to get the printer driver to apply YOUR profile instead of Epson's.
Here's how to apply your profile: Open Colorsync (in the Utilities folder), and select "Printers" in the Devices menu. Under the printer model, Stylus Photo R1800, for my case, select the profile for the paper you're interested in, say "SPR1800 Premium Glossy", and look on the right side of the window at "Current Profile:". Click the down arrow, and select "Other". Navigate to the profile you've created, and click "Open". This will set the profile you've created as what the printer driver will use when it thinks it's applying the SPR1800 Premium Glossy profile. Set other paper profiles (e.g., "SPR1800 Enhanced Matte") to whatever profile you've created for those papers.
Now, when you select "System Managed" in the Aperture dialog, and "Color Controls - Epson Standard" in the Epson dialog, it will apply your own profile.
Hopefully, Apple will fix the problem with color management, and we'll be able to go back to color management as it was before. In the meantime, this is the only work-around I've found.

Working with Aperture for the Press

I would like to change my workflo and make it faster to get images to my Co. website faster then my competition. I usually drag my images from my card to a folder on my desktop with the event title. I then do my metatag info about the event to my selections. After my selections I open Photoshop to crop, resize, color correct then save to a folder to be sent via ftp to my Co. website. Now this is the problem, after I have done all my editing in Aperture, and all Color corrections, cropping and metatag info is done I have to open my external editor Photoshop to resize the images to my required size which is 8" on the long side @ 300dpi.
Now, when I want to save the images as jpegs to be exported to my ftp client I don't get the option to save as jpeg, in the save as dialog box. WHY? In order for me to resize to what I need I have to export the versions to my desktop, which seems to take forever, then open photoshop just to resize my images.
It would seem easy to put in the option dialog box of the external editor a save as jpeg option as well as tiff pdn choices. I spent a lot of money on this software and a new Computer to run it. I have to go back to my Photo Mechanic until I can resolve this expensive investment.

If you are really just resizing the exported images in Photoshop, exporting in 8-bit instead of 16-bit tiffs will also mean you can save as JPG from Photoshop, without having to reduce the bit depth of each photo.
16-bit images are only better if you'll be making adjustments that affect the tones in the image.

Aperture 2.0 color Q.

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