JPG compression/colors altered... Help!

I'm using Java 1.4 ImageI/O to create a JPG from a buffered image and save the JPG to a file. It works okay, except I had thought that it would save the JPG with no compression if none was specified. But it was compressed... So, I got an ImageWriter for JPG and tried this bit of code:
JPEGImageWriteParam iwparam = new JPEGImageWriteParam(null);
iwparam.setCompressionMode(ImageWriteParam.MODE_EXPLICIT);
iwparam.setCompressionQuality(compressionQuality);
where compressionQuality is set to 0 so that there would be NO COMPRESSION. It looks better, but is still fuzzy. And my colors are all darker than they should be. The buffered image is defined as such:
BufferedImage bi = new BufferedImage(390,420,BufferedImage.TYPE_INT_RGB)
Is there another way to set some parameters or anything so that there is no compression and the colors will be right???
I cannot use GIF b/c ImageI/O does not support writing that format. I thought about using PNG, but am unsure of browser support for this.
Any suggestions will be greatly appreciated!
Thanks

I've seen several posts on here where people have done similar things as I: created a jpg from bufferedImage that consisted of simple drawLine, drawRect type images. No one else's jpg's are as crappy looking as mine?? Why not?

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Flash JPG compression is terrible. Can I use Photoshop JPG compression with transparency?

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However this doesn't work when I need the image to have transparency. In this case I save as PNG-24 in Photoshop and then let Flash do the JPG compression. But now the image looks terrible unless I go for JPG 90 or above.
Is there some way to get the best of both worlds? Good quality JPG compression plus transparency?

Well first off, .jpg does not have transparency. So no, you can't have
Good quality JPG compression plus transparency?
For that you'll need a .png or a .gif.
I agree with Rob, never do any compression or resizing of images in Flash .Prepare the image of the correct file type and exact physical dimensions (as it will be used in Flash) before importing into Flash... use PhotoShop or whatever.
There is no free lunch... If your image is physically very large 1000+ x 1000+.... and you want high quality, it's going to be a pretty large file.
Since we have no examples of what size you think is too large, what quality is good/bad, or what the image dimensions are... we can only offer limited advice.
Correctly designing the project from the start is also very important. you might not be able to use a 1680 x 700 background image (too large a file), so you might look into using a much small image and tiling, that is repeating the same small image over and over... for example. So besides "image compression", there are design methods that can help reduce the final Flash file size.
Best wishes,
Adninjastrator

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Due to the current unavailability of clairvoyants and mind-readers in the forum, we respectfully request you supply sensible, complete details.
BOILERPLATE TEXT:
Note that this is boilerplate text.
If you give complete and detailed information about your setup and the issue at hand,
such as your platform (Mac or Win),
exact versions of your OS, of Photoshop (not just "CS6", but something like CS6v.13.0.6) and of Bridge,
your settings in Photoshop > Preference > Performance
the type of file you were working on,
machine specs, such as total installed RAM, scratch file HDs, total available HD space, video card specs, including total VRAM installed,
what troubleshooting steps you have taken so far,
what error message(s) you receive,
if having issues opening raw files also the exact camera make and model that generated them,
if you're having printing issues, indicate the exact make and model of your printer, paper size, image dimensions in pixels (so many pixels wide by so many pixels high). if going through a RIP, specify that too.
etc.,
someone may be able to help you (not necessarily this poster, who is not a Windows user).
a screen shot of your settings or of the image could be very helpful too.
Please read this FAQ for advice on how to ask your questions correctly for quicker and better answers:
http://forums.adobe.com/thread/419981?tstart=0
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Color management help needed for adobe CS5 and Epson printer 1400-Prints coming out too dark with re

Color management help needed for adobe CS5 and Epson printer 1400-Prints coming out too dark with reddish cast and loss of detail
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Also I am confused as to what ICM color management system to use with this printer and CS5:
What is the best ICM to use with PS CS5 & the Epson 1400 printer? Should I use the same ICM for both?
Do I embed the ICM I choose into the new files I create?
Do I view all files in the CS5 workspace in this default ICM?
Do I set my monitor setting to the same ICM?
If new file opens in CS5 workspace and it has a different embedded profile than my workspace, do I convert it?
Do I set my printer, Monitor and PS CS5 color settings to the same ICM?
Is using the same ICM for all devices what is called a consistent workflow?
I appreciate any and all advice that can be sent my way on this complicated issue. Thank you in advance for your time and kind help.

It may be possible to figure out by watching a Dr.Brown video on the subject of color printing. Adobe tv
I hope this may help...............

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Color range HELP #2

OK - I guess I need a little more guidance with the specifics of the step-by-step - do you have time to explain a little more in detail? Many thanks again, it's greatly appreciated! Original post below:
I need to change the color of this boat hull from blue (which is very monochromatic, solid blue) to a sage green (also attached for reference as per client request) and I'm having a really hard time with it. I need to be able to maintain the reflective nature of the paint on the sunny side and subtle shadow variations, so can't simply paint it in with replacement color. Maybe a combination of desaturation in an HSL layer, and channel mixer or replacement color in some way? At least it's easy to mask...
A Curves Layer to edit the luminance and a Solid Color Layer set to Blend Mode Color might help, both in a Group with a Layer Mask.

As basis for the Mask I actually used the a-channel of a copy of the image in Lab-mode, which I edited with curves and painted out the regions that exceeded boat and reflection.
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Edit:

Importing Olympus Photos both jpeg and raw (ORF) only jpg is visible. Help.

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See this answer:
Re: How to see both RAW+JPEG files?
dannyfromberlin
Apr 9, 2015 9:03 PM
Re: How to see both RAW+JPEG files? https://discussions.apple.com/message/28035102#28035102
in response to Hersco
Solved
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Go to File>save for web.
I usually make the long side 800 px
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At the top, select JPEG in the dropdown for the file format.
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Woke up and my phone was completely dead. Won't turn on, no charging, nothing at all. Thought maybe some kind of water damage because it was on my windowsill, but neither of the water detectors have turned a color. Help?

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No that’s probably what I’ll do. I'm thinking the guys at the apple store can only do basic technical support since most of them are sales people that don't know how to physically repair phones. It seems kinda silly that, as fine as a product the iPhone is, when something like this happens they just tell you to replace the entire device without doing any proper diagnostic. If it was any other phone you could simply take it to a cell phone repair shop and they'll usually fix it. It’s almost as though Apple assumes their products will never fail so that when they do, the only solution is to replace the entire device at a cost higher then it would be if it was just a simple fix. So hopefully the local cell repair shop can do something instead of having to replace the entire phone. I'll accept the fact if I have to replace it after taking it to a few places and having some real technicians look at it, instead of a 5 minute trial and error diagnostic done by a sales associate at the apple store being quick to tell me that the phone is useless and has to be replace for several hundreds of dollars.

Aperture converts color jpg to negative image - help

I've installed the Aperture 2.0 trial and I'm having some difficulties. This is my first time with Aperture. I have a 24 page PDF of a playbill (from a high school play). In Acrobat Standard I exported the playbill to 24 JPG files. I've viewed the files on a Windows PC in its viewer plus in Adobe Photoshop. All files look great. I then put them on a USB memory drive and imported them into an album in Aperture. The black and white pages look fine. However, three pages are in color or have detailed photographs. These appear converted to some other type of image. Best I can describe is that it looks like a film negative. Why would this be?
Second question? When I import files (accepting all defaults) where are they stored on my hard disk? I wanted to look at them with Leopards Preview but I can't find the actual files...only the thumbnails in Aperture.
Thanks.

I re-exported the images from Acrobat and saved them at the highest JPG settings. That seemed to work.

InDesign JPG Compression vs Illustrator/Photoshop

I am working on a website and need to put in a lot of images. For most images, I use photoshop. I create the correct size then export using "Save As for Web & Devices." This works great, but I need to display several small images in a grid format. What works best for me right now is to layout the images in InDesign and then export the layout as a .jpg. I realize I could use CSS to create a grid of the individual images and I also realize I could layout the document in Photoshop, however, for now I want to use InDesign.
Doing this got me thinking about the compression qualities of the different programs within CS (I am using CS4). From what I understand each program is built a bit differently. For example, the text engine in InDesign is different than the text engine in Illustrator (making working with text between the two programs seamlessly a total *****). I believe differences in the programs is the same for compression engines used to create formats like jpg? I've heard people note differences between Photoshop's Save As for Web & Devices and Ilustrator's Save As for Web & Devices so maybe that is the case? (I personally cannot tell the difference). I want to know what's underneath the hood of these programs and am having trouble finding this information.
So in short, what program does the best job optimizing images (jpg or png) for the web?
My guess is Photoshop, but this is a guess. If correct, why not InDesign or Illustrator? What compression engines do Illustrator, InDesign, and Photoshop use? Are there strengths and weaknesses? Why doesn't all the programs use the same compression engines?
I realize, in the end, if it looks good it works. But curiousity is killing me and I want a deeper answer.
Thanks!

ComputerGeekette,
I don't doubt for one second that this is indeed your experience and that you have settled into what I can best describe as a very degenerate workflow in order to get your job done under the conditions you describe.
Having said that, I must say that your experience and the fact that you believe that this is the best workflow you can achieve given the conditions is an exceptionally sad commentary on the state of the graphic arts industry in general and the printing industry in particular. The workflow you describe is a “lowest common denominator” workflow that almost guarantees that in most cases in which you have anything other than pure raster imagery to print, you will get results that are not optimal.
You should be able to use PDF/X-4 files as the means of passing artwork from your clients to you and then subsequently from you to your printers. Source files (i.e., native Illustrator, InDesign, and Photoshop files as well as assets such as imagery and fonts) should not be the currency of the realm here.
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Color Correction help...

Hello,
In still working on these issues, when I turn on the Range Checker, and scroll thru the clip, I notice an “X” on the upper-right-hand side of the clip in the Viewer - what does this mean?
Then, when I start color correcting w/the color correction 3-way wheel, a different wheel opens up each time for each clip. By the time I get to the end of my project, I had opened and closed several color correction tabs, How do I know which color correction tab corresponded to which clip, if I want to go back and do more color correction? Do I have to count clips to correspond w/wheels? There must be a better way - thanks so much.

kristina,
what robbosaur is too diplomatic to say is you need to crack open your manuals and figure this out. if you would have looked around for the range check filter in the manual, it would have told you what the x or the check mark signifies.
also, you should probably get real cozy with the manual when it comes to applying filters and then altering them, this is real basic but confusing stuff. i highly recommend the tutorials and there are excellent 3rd party texts out there, especially from peachpit press.
it will help you to gang the canvas to open your sequence clip in the viewer, that way your sequence clip will already be open in your viewer when you stop the playhead and then when you open the "filters" tab, you'll see what you've applied to that clip.
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Jpgs different color in bridge

Starting today, jpgs that i save look different in bridge than they do in photoshop.
This is not true about jpgs that I saved before today. They look the same in bridge and PS.
The jpgs I'm saving now appear distinctly warmer than they do in Photoshop.
It also appears to be a bridge only problem. I've imported some examples to iPhoto. They look the same in iPhoto and Photoshop, but look reddish in Bridge.
It also seems to be specific to .jpgs. I'm not having the same problem with RAWs from ACR, or if I save a file to tiff. In both those cases, bridge previews the image to look the same as it does in Photoshop.
Any ideas?
Duffy Pratt

I've also seen a magenta shift in JPG thumbnails in Bridge. I've isolated the problem on my computer to when JPGs are saved in progressive format. Choosing Baseline ("Standard") in the jpg options dialog box is the workaround.
This one appears dangerous because it CHANGES the RGB color numbers of a file upon opening if you use Camera Raw to open it from Bridge. BTW, I'm using Camera Raw 4.3.1.
Steps to reproduce:
*Make a new document in Photoshop.
*Fill with 50% gray - check color numbers with eyedropper ->128,128,128
*Save file as a jpg with Progressive selected. Close.
*View in Bridge - looks fine
*Click on thumbnail in Bridge - it turns magenta.
*Double-click to open in Camera Raw from Bridge (a preference setting) and hold cursor over the now magenta-ish gray document. New numbers are 132,125,132. Definitely magenta.
*Click the Open Image button to open it in Photoshop and the altered color numbers (132,125,132)now show in Photoshop.
As I mentioned, an experiment using Baseline settings in the JPG options works around the issue for me.

Color management help - exporting JPEG

The attached image was shot in RAW (Nikon D70 NEF) and imported to Lightroom 1.3.1 for some contrast and toning tweaks. The image on the right is shown as LR displays it. When I export it as a JPG, however, and open the image in Photoshop or InDesign the image (as shown on the left) is much more red. I'm using sRGB as the exported colorspace and the same as the working space in PS and ID. I've also tried exporting using AdobeRGB and ProPhoto RGB with similar results. What's going on? I'm using a MacBook Pro with OS 10.4.11.

What are you using to calibrate your monitor? And how are you calibrating? Does the jpeg look wrong in preview.app (a color managed app that cannot be wrongly configured, contrary to Photoshop) too? We have seen some cases here of certain calibration devices creating bad monitor profiles. Sometimes it helps to simply select the default color profile (Color LCD on most Macs) to see if the difference disappears or to try another calibrator. Make sure your calibration software only creates a single rendering intent. Differences between Photoshop and Lightroom are usually caused by the calibration software creating a perceptual intent next to a relative rendering intent. Lightroom uses perceptual if available, while Photoshop uses relative. You can check whether this is your problem by softproofing in Photoshop to the monitor profile. Do not check preserve RGB numbers and select perceptual as the intent. If it looks the same as Lightroom, this is your problem.

LR2 and PS Eelements8 show different RGB for the same color - Please, HELP

LR2, Elements 8, Color Chart 24 (CC24),
Please help. I may need to reset LR2 to factory default or to something else.
For the following RAW adjustments the tone curve set to Linear, Contrast and Brightness to 0
I have photographed a CC24 in RAW. Opened image in Elements 8 and adjusted Exposure to 243 for the White patch #19
Then with with WB tool clicked on the 50% Gray and then readjusted exposure for the CC24 listed 243 for #19.
Now all Gray patches #19 through #24 as listed in the table or very close R=G=B (243, 200, 160, 122, 85, 52)
The RGB numbers for Red Patch #15 are R=169, G=58, B=63
The CC24 listed RGB for Red patch #15 are R=175, G=54, B=60
Also saved the adjusted image as JPG
Then opened the image in LR2 and adjusted exposure and WB as described above for Elements 8.
The Gray patches #19 through #24 show RGB numbers as listed in the table or very close.
The RGB numbers for the Red patch #15 are R=138, G=84, B=64.
However the CC24 RGB for Red patch #15 are R=175, G=54, B=60
Exported the image as JPG
Then opened the two saved JPG images in Elements. these two images read almost identical RGB numbers for each patch.
How can I fix LR2 RGB reading. Recently I have saved as defaults the tone curve set to Linear, Contrast and Brightness to 0 and probably did it wrong. My be I need to reset LR2 to the factory defaults to restore its correct reading or something else.
Please help.
Leonid

Q1. Is that means that when LR2 Exported RAW to JPG the correct numbers resulted from conversion?
You should be careful with the term RGB numbers. Such numbers are only useful when you know the working space. For example, sRGB, adobeRGB, prophotoRGB, melissaRGB, etc. The numbers I calculated are simply the reference numbers (find them here: http://www.brucelindbloom.com/index.html?ColorCheckerRGB.html ). I recalculated the values in the display space used in Lightroom from Bruce Lindbloom's values in normal prophotoRGB which is a simple arithmetic excercise. When Lightroom exports a jpeg, you can set the color space in the export panel and it will do the conversion for you meaning that it will translate between its internal colorspace and the desired export color space. In an external program, you will usually be working in sRGB, adobeRGB, or prophotoRGB, which are the three main spaces that Lightroom exports to. As you can see from Bruce's tables in the link above the RGB values for these patches in all these spaces are different.
For example RGB for MacBeth CC24 Red patch (#15) was shown as 203, 0, 0 and x-rite RGB is 174, 54, 60.
They are actually the exact same chart. As I say above the values are meaningless if you don't know the colorspace. The first RGB triplet you quote makes no sense at all. It does not correspond to any colorspace listed for the MacBeth chart. The zeros indicate that the color is far outside of the gamut of the used color space, so the value is basically useless. The second is sort of close to the sRGB value.
Q.2 Would it mean that your shown table should not be applied to (used with) x-rite CC24 but to MacBeth only?
They should be pretty good for both as the chart is supposed to be the same.
Q3. Have you created your posted LR table or it was provided by Adobe?
I created it myself. Since you have a colorchecker, you should look into creating a camera profile using it. This can be done with X-rite's excellent passport utility (free download from their website), or with Adobe's free DNG profile Editor. Simply shoot a chart in the right light conditions and run the raw/dng file through this utility and a profile is created that will allow you to get very good color rendering from your camera if you shoot raw.

JPG compression/colors altered... Help!

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