Mystical Tint Tone and Color

Hi Folks, I am running PS5 32 bit on Windows 7, when use Mystical Tint Tone & Colour filter in PS5 it opens as a standalone version which means it does not open the active image from PS5, it all works fine but of course I have to save the image then reopen it again to make further adjustments, any ideas please
Regards Carl

How did you install it? If not via an updated installer that knows CS5, is it possible there are components that didn't get properly moved?
Is it supposed to be Photoshop CS5-compatible?
Though many legacy plug-ins are fine with Photoshop CS5, if the plug-in maker did something tricky instead of following the SDK to the letter it could be that this particular one just can't work with Photoshop CS5 unless the software developer updates it.
Also check to ensure the bit depth and color mode of the document you're working with is one that the plug-in supports.
-Noel

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Feature request -- "seamless tones and colors" to content aware move tool

The Content Aware Move Tool works pretty doggone well, except that differences in brightness or tones in the selection's new position frequently fail to match. For instance, moving a bird from near the top of the frame, where the sky is lighter blue, to nearer the horizon in the middle of the frame, where the sky is deeper blue, reveals a huge difference in the sky color. In the past, I would put the selection on a new layer, clone out the bird's original location, then use the Auto Blend Layers>stack images>seamless tones and colors to match things up.
Is there any way of integrating that "seamless tones and colors" into the new move tool? Or, barring that, have some way of selecting "move to new layer" when using the Content Aware Move Tool, so that after the move, one could merge the layers using the Auto Blend function?
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Thanks for the feedback. We will evaluate the customer feedback and consider some of the requests for a future version of Photoshop. I agree with Pierre that posting your request to the feedback link may allow it to be heard better as this is primarily a forum for problems with the Photoshop CS6 beta.
Pattie

Using plug-in "mystical tint tone" with photoshop CS5 extended x64

Good evening,
I have installed this plug-in at the location C:\Program Files (x86)\Adobe\Adobe Photoshop CS5\Plug-ins (default location). But I don't find this plug-in anywhere when photoshop CS5 is open.
Thanks for your help,
gv

You're right, Win32 is the API, so x86 would be more appropriate to describe the architecture. Hardly anybody uses the term "x32". But wouldn't just "32 bit" and "64 bit" have been better, if they want to make it less geeky?
By the way, the choices in development systems are "Win32" and "x64", and sometimes "x86". "Win64" is not used that way.
-Noel

AVI Clips Imported to CS.5.5 Has Green Tint and Colored Lines

NOTE:
I'm using the video monitor in the CS5.5 program.
Still trying to upgrage to CS5.5 and testing out the trial version. The new challange is the green tint and colored lines on the imported .AVI files.
Any tips would sure be appreciated. Thanks.

This is crazy.
These are AVI files in CS5.5 that have been used for over 10 years in other versions of Premiere.
If I double click on the Monitor when the video is paused, the color corrects to original. Play again and crazy green color and lines.
Now, if I play the clip without double clicking on the monitor window, the clip will play out green and pause green, but if I double click in the monitor window, the video will correct in pause, but still play out green.
Here's one AVI file:
Type: AVI Movie
File Size: 423.1 MB
Image Size: 720 x 480
Frame Rate: 29.97
Source Audio Format: 48000 Hz - 16 bit - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00;01;57;00
Average Data Rate: 3.6 MB / second
Pixel Aspect Ratio: 0.9091

Evening Out The Brightness and Color of a Set of Images

So I have a set of images, usually between 500-700, all taken in a 20min period or so. Natural light through a window. It's shot handheld with my Canon rebel with a 18-55mm lens. Due to the slight change in light over the time period, the fact I'm zooming in and out, and moving around the subject, I get a lot of value and color variation. See the images below...
My current process is to manually color correct each image so they match in terms of brightness and color. This gets very tedious of course. Could someone suggest a faster, preferably completely automated way to even out the brightness and colors of a set of images like these in lightroom so they all look pretty similar to each other?
Thanks for any help!
- Neil

Hi léonie,
>> One problem - it is not only the different color of the light because of the setting sun.
>> Your Harry and Harold are receiving the sun light from different directions. Harold is
>> facing away from the sun and the light in the shadows is much bluer. I doubt you will
>> be able to "Lift&Stamp" the adjustment between these two groups of images without
>> fine tuning it. The "shady" Harold will need additional color correction to turn the bluish
>> shadows into sunlight, because the shadow regions need contrast stretching and
>> more vibrancy as well.
Yup, that's one reason I think I need a color correction after the fact method to handle this situation, obviously taking a shot that's mostly in shadow will look different than one where the character is almost all in complete sunlight.
I guess I'm really having three issues here, first is the blue tint that gets introduced when I zoom in, and then second is the natural lightening and darkening that occurs as I take photos of the subject from different angles, and third is the fact since its sunlight the light does change somewhat over the 20minute period.
Hopefully the first issue can be solved by turning off automatic white balance, and I'm still hoping there may be some automated method for evening out the value difference introduced by the 2nd and third issue. Although even if I can just solve the first issue that would save me a ton of time.
Thanks for the info so far.
- Neil

Using image processor from RAW format to JPEG, the images are suddenly very muted colour, greyish tone, and just awful looking.

Any ideas as to why, when I am converting a group of images through image processor into JPEG, the resulting images are AWFUL. I have been using this process for years without a concern, and suddenly the JPEG files are very greyish, muted tones and just terrible looking… HELP! I'm WAY too busy right now to be dealing with this and having to manually save each image to JPEG

Which Color Space are the images in?
What are your Color Settings?

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

Vignetting added and color adjusted immediately post import into Lightroom5.

Vignetting added and color adjusted immediately post import into lightroom5.
My photos from my most recent trip, when imported into Lightroom, have a heavy vignette very close to all 4 corners of the photo, and seem to have some small adjustments being done to them immediately when I import. The thumbnail looks great, and when i import --> then select it to open it as if I was going to view it full size in Lightroom, it looks great [no vignetting or tone/color adjustment] for about 1-2 seconds while a 'loading' footer is shown, following which the color is slightly altered and the vignetting is added (at this point then the thumbnail changes as well). This is a significant and noticable change to the photo. The pictures also do not have these issues if I view them through any other software. I have Can any one help me figure out what is causing this and remove it?
I shoot
with a Sony Alpha6000
shoot in RAW (.ARW)
use the standard sony kit lens that comes with the camera bundle, lens SELP1650 (3.5-5.6/16mm-50mm)
edit on Windows 7 64bit with Lightroom5
and don't believe I've adjusted any camera settings since last taking pictures 1 week ago with the exact same lens. I looked at photos from my last trip (only one week ago), and none of them are having these or an alterations/changes upon import.
I took over 300 photos last weekend wthout any sign of these issues post import
Every single photo I took this weekend seems to have this same issue.
Any help is appreciated!

Vignetting added and color adjusted immediately post import into lightroom5.
My photos from my most recent trip, when imported into Lightroom, have a heavy vignette very close to all 4 corners of the photo, and seem to have some small adjustments being done to them immediately when I import. The thumbnail looks great, and when i import --> then select it to open it as if I was going to view it full size in Lightroom, it looks great [no vignetting or tone/color adjustment] for about 1-2 seconds while a 'loading' footer is shown, following which the color is slightly altered and the vignetting is added (at this point then the thumbnail changes as well). This is a significant and noticable change to the photo. The pictures also do not have these issues if I view them through any other software. I have Can any one help me figure out what is causing this and remove it?
I shoot
with a Sony Alpha6000
shoot in RAW (.ARW)
use the standard sony kit lens that comes with the camera bundle, lens SELP1650 (3.5-5.6/16mm-50mm)
edit on Windows 7 64bit with Lightroom5
and don't believe I've adjusted any camera settings since last taking pictures 1 week ago with the exact same lens. I looked at photos from my last trip (only one week ago), and none of them are having these or an alterations/changes upon import.
I took over 300 photos last weekend wthout any sign of these issues post import
Every single photo I took this weekend seems to have this same issue.
Any help is appreciated!

Confused about the use of TONE and AUTO buttons

After moving an image from Library module to Develop moddule (in LR4) , I open the basic panel. In the basic panel, I see two text buttons: TONE and AUTO. The AUTO button seems to be the default setting. I could re-adjusst the tones as it requires. I have no problem with the ATTO button.
When I press the AUTO button, the TONE button is activated. Then, colors and tones changed immediately. When I move one of the tonal sliders (e.g., Exposrure), it activates the AUTO button. I thought that the TONE button was intended to use for manual tonal change. I am confused. What is the TONE button for?

hummer,
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When you push the Auto button, it becomes de-activated because the tone sliders have been moved to where Auto thinks they ought to be. When you then move one of the sliders, the button becomes activated again because the sliders are no longer where Auto wants them, and you can push it again to take the sliders back to where it put them the first time.
Hal

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ID CS2

If there's any transparency, it won't work.
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Select the graphic with the direct selection tool (white arrow) and then
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If Photoshop manages color, you need to pick the correct profile for the printer/paper. The profile will be called something like e.g. <printer name> Epson Premium Glossy, if that's the paper you're using.

I want to have the tint to the color information of the Cos Object.

I have developed a plug-in now.
My plug-in is creating a color with a Cos Object.And, It is used to fill the art object.
I would like to have the information of tint to this color.
Please tell me how to have a tint.
--- The following is the code which creating a color. ---
    PDEColorSpace spotColorSpace;
    CosDoc cosDoc = PDDocGetCosDoc(pdDoc);
    char *functionText = "{50.0 -128.0 -128.0}";
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    CosObj domain = CosNewArray(cosDoc, false, 2);
    CosArrayPut(domain, 0, CosNewFloat(cosDoc, false, 0.0f));
    CosArrayPut(domain, 1, CosNewFloat(cosDoc, false, 1.0f));
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    CosObj range = CosNewArray(cosDoc,false,6);
    CosArrayPut(range, 0, CosNewFloat(cosDoc, false, 0.0f));
    CosArrayPut(range, 1, CosNewFloat(cosDoc, false, 100.0f));
    CosArrayPut(range, 2, CosNewFloat(cosDoc, false, -128.0f));
    CosArrayPut(range, 3, CosNewFloat(cosDoc, false, 127.0f));
    CosArrayPut(range, 4, CosNewFloat(cosDoc, false, -128.0f));
    CosArrayPut(range, 5, CosNewFloat(cosDoc, false, 127.0f));
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    CosDictPut(tintTransform, ASAtomFromString("Domain"), domain);
    CosDictPut(tintTransform, ASAtomFromString("Range"), range);
    ASStm asStm = ASMemStmRdOpen(functionText, strlen(functionText));
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>lrosenth
Thank you for the reply.
Sorry... I forgot to write createLab() function.
I am trying to create a color in the separation color space.
I just have to set the lab to the AlternateSpace.
Please tell me how to make the separation color and how to have the tint to the separation color.
PDEColorSpace createLab(PDDoc pdDoc)
    PDEColorSpace labColorSpace;
    CosDoc cosDoc = PDDocGetCosDoc(pdDoc);
    // Lab
    CosObj csLab = CosNewArray(cosDoc, false, 2L);
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    CosArrayPut(csRange, 0, CosNewFloat(cosDoc, false, -128.0f));
    CosArrayPut(csRange, 1, CosNewFloat(cosDoc, false, 127.0f));
    CosArrayPut(csRange, 2, CosNewFloat(cosDoc, false, -128.0f));
    CosArrayPut(csRange, 3, CosNewFloat(cosDoc, false, 127.0f));
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    CosArrayPut(csBlackPoint, 0, CosNewFloat(cosDoc, false, 0.0f));
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    CosArrayPut(csLab, 1L, csLabDic);
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E71 and Color Correction

I have noticed even with the new updated version firmware that when using the camera it still has a blue or purple tint and lacks sharpness.I preceded to http://mosh.nokia.com/content/4F546B0D59DD282DE040050A45300EA2 and D/l this file and installed on the E71.
I took two pictures using the normal camera on the E71 and the conditions were set that both images not use flash. The first image was taken in the living room by the door leading to the deck and the other image was taken in a room just using the overhead fixture.
I then preceded to using the installed program and went to camera-color correction and color corrected blue by adding yellow and increased the contrast slightly. I will add another post so that you might see Roomlight 1.jpg
You decide if its better or worse and i also noticed and using the installed program that the file size just about doubled.
Message Edited by iraf1 on 16-Feb-2009 04:13 PM
Message Edited by iraf1 on 16-Feb-2009 04:17 PM
Message Edited by iraf1 on 16-Feb-2009 04:22 PM
Solved!
Go to Solution.
Attachments:
Living Room.jpg ‏237 KB
Roomlight.jpg ‏257 KB
Living Room1.jpg ‏480 KB

Somebody asked me to make a comparison of that living room photo with and without contrast.
All photos reduced to 640x480 as if they were sent mms.
Original Living room Photo
Living Room Photo color corrected by adding yellow and slight magneta
Living Room Photo same as 1. except contrast added.
Color corrections done on the spot via photoeditor
Message Edited by iraf1 on 17-Feb-2009 11:00 PM
Attachments:
Living Room.jpg ‏75 KB
Living Room1.jpg ‏75 KB
Living Room_Contrast.jpg ‏81 KB

Tool to shine up or tone down color, in small part/ areal

Hi I can Blur, sharpen, smudge with the Blur tool and I can Dodge, burn and sponge with the Dodge tool -
but is there as easy way to shine up or tone down color, with a kind of pentool as easily ?
It's sometime smill part/area of a picture what need to get a littelbit of more color og to be tone down .
Using Photoshop cs5

I agree on the Sponge Tool, which is Saturate, or Desaturate, but often use Donald's suggestion with an Adjustment Layer (with a Layer Mask) and Hue, Saturation, Brightness. I like being able to go back and alter things later, and an Adjustment Layer allows me that control.
Good luck,
Hunt

HP Photosmart C47000 lacks yellow tone in color copy

HP Photosmart C47000
Installed new color cartridge - lacks yellow tone in color copy Is there a way to adjust color?

Hello,
Please click HERE to access the steps that should resolve the issue .
If issue still persists, please call HP Tech Support for further assistance.
If you are in US , the toll free # is 1-800-474-6836 .
If you are not in US , then log on to www.hp.com , at bottom-left corner there is a world map icon, click on it and then select the region you belong to, which would then provide support options for you for that region.
Regards,
Jabzi
Give Kudos to say "thanks" by clicking on the "thumps Up icon" .
Click "Accept as Solution" if it solved your problem, so others can find it.
Although I am an HP employee, I am speaking for myself and not for HP.

Mystical Tint Tone and Color

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