Set Black Point to 0 by default in Aperture 2.x?

Hello
(First post - have lurked a little on here for a while, but have not had a question of my own until now)
Has anyone found a way to set the Black Point slider on the Exposure brick (or any other slider for that matter) to zero as a default? Otherwise, with the Exposure control is off a Black Point of 3 is applied, which clips my images.
(by a happy miracle, my camera gets the black point right most of the time, provided I set it right)
So far I've had to create an image with my preferred 'flat' settings to Lift & Stamp across to new imports, or create a preset for the Exposure brick that then has to be manually applied, and both of these methods seem rather clunky for a Pro app. I'm not averse to hacking text files, if that is what it takes...
Thanks,
Matt

I'd like to know as well, is there a way to set the default black point to zero instead of the 3.00?

Similar Messages

  • When I set black point on windows, the image switches between blank and full image, why?

    when I set black point using windows, the image switches between blank and full image, why?

    I set black point with alt button down while I move sllider. When black
    dots show, I stop and back off a bit.  That's the normal result. Normally a
    white screen appears until I release the alt key. In my case, sometimes the
    screen goes from white to full image. It's not all the time. I view my
    power and ram use as I work and it doesn't spike when this happens.  It's
    as if the alt key command is not holding.  I've used both alt keys with
    same results.
    Thanks for responding.  I hope you have some ideas.

  • Confused on setting black point in Camera Raw 7

    Hi,
    I just upgraded to CS6. I was wondering how the new Blacks slider in Camera Raw 7 correlates to the same in the older version. The slider in CS5 went left to right from 0 to 100. The new slider defaults in the center and goes from -100 to +100. I never seemed to have a problem setting the black clipping point in the old version. In the new version I'm not sure if I'm getting it right.  Any advice would be appreciated.
    Kindest regards

    Once you have some contrast added (if it's an underly contrasty shot), or some contrast removed (if it's an overly contrasty shot), then simply move the blacks slider left until you have the desired amount of black clipping.  You can also move the blacks slider right if you need more light in the pic, and PV2012 will keep the blacks fairly-well seated (if its a full dynamic range shot), or it will let the black point slide up more (if original tonal distribution was not occupying whole histogram). But consider, before +blacks, whether +exposure (and maybe +shadows/-highlights) wouldn't do ya better. Note: +blacks will reduce contrast, so sometimes if you opt for +blacks you need +contrast (and/or +clarity) to go with it. Likewise, -blacks increases contrast, so you may need some -contrast to go with it (and you may find you need less clarity if you have blacks plenty-well seated).
    Legend:
    '+' = positive (right)
    '-' = negative (left)
    "plenty-well seated" = clipped enough but not too much .
    "fairly-well seated" = not unclipped too much .
    Clear as mud? ,
    Rob

  • Setting Black and White as the default when printing to a Canon Image Class 4080i

    Hi,
    I've got two Canon Image Class 4080i's that we are printing to at the school I work at.  I have installed the Canon UFRII V2.40 Printer Driver for Mac OS X and we are able to print to them fine through any macbook running 10.5 to 10.7.  My question is, how do I make the default printer setting be Black and White instead of color?  I know how to change it from Color to Black and White by navigating to the Quality menu through the Print screen but I have to do this every time I print.  Is there a way to make black and white the default?
    Thanks in advance,
    Cheryll

    You’re really going to take photos straight out of camera on a 5d3 and print them with a blindly applied B&W conversion from the printer?  I would highly discourage that, but if that’s what you want to do I’m sure it’s possible.  Sorry, I have no experience with that printer so I can’t help.
    Do you have a laptop?  My recommendation would be to use a photo processing software like Lightroom (if you don’t have it LR5 is ridiculously cheap right now), play around before the event to get a B&W conversion that you like – even the preset ones are going to be better than whatever conversion the printer does -  and then print from LR.  It’d hardly take any extra time, and you could get a brief review of the conversions on a laptop screen before printing. 

  • Black point setting?

    Now I've come back to using Aperture, I am finding it overall a much better experience than a year ago, when I dumped v1.5.
    I have a couple of minor niggles though, but mainly the default setting of the black point slider. One trick with the Olympus E series is to shoot at -0.3ev to preserve highlights better. However, with the black point slider at a default of 3.0 (at whatever scale it's using), this invariably clips the dark end of the scale.
    I have a preset to knock it back to 0.0, but it's gets a pain having to do this with too many photos. Is there any way to set this to default at 0.0?
    Cheers.

    It's not as bad as every single picture, but it's enough that I'd rather it did default to 0, or better still be user definable.
    Which beings me to another little annoyance I've found too, and perhaps that a 'Pro' app such as Aperture should have just a little more user control. I really get fed up with having to untick the 'constrain to' button in the crop box, I almost never crop to a fixed aspect ratio, so this is another one I have to remember to click on whenever I use it. Actually it does stay unticked for a session, but a relaunch sets to ON again.
    Thanks,
    Andy

  • How to set HP OfficeJet 4500 used as a network printer to print in black not color as a default.

    I have my HP officejet printer set as a network printer but it prints color when I had initially set it for B&W as my default during set-up
    How do I set my HP OfficeJet 4500 used as a network printer to print in black not color as the default.
    Thanks,
    Bob

    OK, go to Start > Control Panel > Printers.  Right click the printer in question and choose Printing Preferences.  Set it the way you want, then click OK. 
    That should set the defaults for all programs using the printer.
    Say thanks by clicking "Kudos" "thumbs up" in the post that helped you.
    I am employed by HP

  • Setting  a White Point and Black Point

    I would like to suggest for future versions of lIghtroom to have an ability to set the white point and black points similar to levels and curves in Photoshop. This would be in addition to setting middle grey in the white balance settings currently in Lightroom.  I find that the method of using Threshold to find the closest white and black pixels and then using these points to set the black and white points in curves or levels provides a better way to fix a color cast than the methods available in Lightroom.

    MB,
    There is no real need for Black and White point eyedropper type tools in Lightroom.  By holding down the Alt key while changing the Blacks or Exposure sliders the display will show the areas that are being clipped.  This is much faster than looking around for the darkest and lightest areas manually.  If you just like to click to taste (like using the White balance dropper) then forget the Alt key and just move the sliders until you get the desired look.
    Remember that the problem with Photoshop is that there are so many ways to do the same thing that it has become difficult and bloated.  Lightroom strives to keep the interface as clear as possible.

  • Setting black and white points

    Dear friends,
    I am shooting some pics with a "Whibal like" target card which has a white, black and 18% neutral grey shades.
    In Camera Raw I I can easily correct the white balance with the provided eyedropper on the top row by clicking on the grey target.
    I cannot find any way to set the black and the white points though and have to resort doing that for EACH picture in Photoshop via a levels or a curves adjustment layers.
    It would be great to be able to set those in Bridge/Camera Raw so that I can then copy those settings to other similar shots.
    Any ideas ? Thank you
    Marco

    I am having the same problem, although its now Camera Raw 7 - where can you set the white, mid, and black points in Camera Raw with the eyedropper tool. It seems you have to create a new psd file in Photoshop to do this, which does not make much sense since it is a basic levels adjustment. I am batch editing a bunch of CR2 files, and I just need to select the black, mid and white points on a grayscale that I've shot in the images - is there a way to do this in Camera Raw 7? Thanks!!

  • Setting White, Mid and Black Points in Camera Raw 7

    I am using Camera Raw 7 and can not seem to locate where can you set the white, mid, and black points in Camera Raw with the eyedropper tool. It seems you have to create a new psd file in Photoshop to do this, which does not make much sense since it is a basic levels adjustment. I am batch editing a bunch of CR2 files, and I just need to select the black, mid and white points on a grayscale that I've shot in the images - is there a way to do this in Camera Raw 7? Thanks!!

    ACR doesn’t work that way.  There is an eyedropper for the overall white-balance that you can set by clicking on a relatively bright, neutral area, but there aren’t black and white-point eyedroppers.  But, what is clipped black or white is determined by the output colorspace you have set at the bottom and you can get some idea of what will be clipped black and white by turning on the clipping indicators and watching for the areas you’d be eye-droppering on (the black and white patches in your grayscale) to start showing the clipping color overlay for black and white, but any further toning adjustments will move data in and out of what is darker than black and lighter than white so what is clipped for output will change as you fiddle with the various toning sliders.
    The reason things are different:  In PS, when you set a black-point and white-point in Levels and click Ok, the data below and above those is thrown away and that is the starting point for the next adjustment.  In ACR, things are non-destructive and all the adjustments occur simultaneously, rather than sequentially as in PS, and no clipping occurs until you create the output file.  This means that the pixels that are darker than your black-point and lighter than your white-point are still there, and can be moved into the black-to-white range if you do further toning adjustments.  Having more headroom of the pixels that are outside the black-to-white range is good because you won’t get the posterization or banding that occurs when colors and levels are clipped after each adjustment in PS.
    Can you describe what you intend your overall workflow to be on an image:  how much adjusting will occur in ACR and how much, if any, might happen in PS, after the image is opened into PS from ACR, or opened from a file saved from ACR?  There might be other ways to approach what you’re trying to accomplish.

  • When to set white/black point

    Hello,
    My apologies if this is a dumb question.
    I am new to Photoshop and am making a start on tidying up all my photos. I am keen to establish a good workflow but am unsure on which steps to take first.
    At the moment after opening up my image in Photoshop, I first check the histogram and then if necessary use the sliders in Levels to make any adjustments.
    I've started trying to set the white/black point values too but am unsure as to when to set them. Please can anyone tell me whether I should take a sample of each at the very beginning before I make any adjustments or at the very end.
    Many thanks.

    First of all one should apply Adjustments as Adjustment Layers and the fewer the better as regards potential banding (but this can occasionally be alleviated by switching the layered version to 16bit).
    It may be a matter of taste, but if one does use the white- and black point I’d rather have it used at the beginning (or farther down below as an Adjustment Layer).
    Additionally I’d recommend trying to do as much of the global Adjustments as possible with a single (Curves-) Adjustment Layer.

  • Setting White/Black Points using the Tone Curve

    I'm trying to set white/black points using the tone curve, but when I try to slide either of the end points of the line in the tone curve tool I can't get them to move. Could those be locked somehow...?

    That's what it is supposed to do. Without the sliders, you are working with the curve itself. Now you have direct control of the curve, and can drag any part of it. Have you considered setting your white and black points using the whites and blacks in the basic panel while holding down the alt/opt key? I suppose the reason it says point curve is because that icon is what you used to switch to the point curve.

  • Setting white point in LR

    I'm almost sure I'm missing something but I cannot find a solution. I'm using LR (currently 2.2) for quite a while (since 1.2) but I simply cannot find an easy, user friedly and predictable way how to set a white point of edited pictures.
    In PS, CR, DPP and most other editing SW and RAW processors, there two typical easy tools how to set the white point.
    1) a white point picker which (when used) defines a desired tone as white and the relevant SW then redistributes the tones accordingly;
    2) in "levels" or "curves" dialog (or their equivalents it is possible to move the "White level" treshold below which the remaining tones are redistributed accordingly - the iterface varies (sometimes it is the border of the histogram or curve diagram that can be moved (DPP), sometimes it is the slider in histogram or curve diagram setting this limit
    botw ways generally lead to the same and quite uniform result. I.e. I'm usually able to get almost identical result by setting white point in PS, DPP, CR, .... and other SW by such simple operation when working over identical picture data.
    However in LR it is virtually impossible to achieve similar result in LR. No white point picker, no slider enabling setting the white limit, no chance to move borders in the histogram chart. The only available tools for this purpose are
    "Exposure" and "Brightness". None of them providing for the desired functionality alone - their combination giving sometimes acceptable but hardly predictable results (definitely not as predictable as achieved e.g. in PS by simple and single move of white limit slider in "level" dialogue or equivalent step in CR.
    Do I really miss something important (I hope so) in this respect or is LR completly lacking this (for me really core/basic) functionality present in all other photo and RAW editting SW I know - even from Adobe?
    thanks

    I agree with the original poster - I find it troublesome to set the white point in an image. In a situation where a traditional (PS, Aperture) levels control would make it convenient to push a particular tone to white, I find myself going back and forth between exposure and the tone curve a fair amount. Another description of what I want, effectively, is a 'recovery' slider that goes up as well as down.
    (See end of post for replies to a few specific points.)
    An example:
    Here is the original image, with its histogram and tone curve - black to middle gray:
    I want to push the small hatch/door to white, but that also overexposes my middle grays (I haven't yet touched the tone curve):
    So now I go to the tone curve, and pull down both darks and lights:
    However, at this point I've lost my whites (they are not quite clipped any more); and probably more importantly, since the tone curve is at the extreme low values, I have little working room or control.
    Rather than working together or providing complementary functions, in this case exposure and the tone curve, to me, seem to be fighting; it requires back-and-forth to get the desired effect.
    (To be clear, most of the time - that is, when my white point starts out more or less where I want it - being able to drag the histogram and smoothly-transitioned segments of the tone curve is brilliantly easy and useful. It's specifically the exposure control's nonlinear behavior/effect that I dislike, as it makes it difficult to adjust near-white tones.)
    Responding to specifics:
    > Also, hold the ALT key (David Edwards)
    Cool! (However, not a fix for this issue.)
    > the controls themselves are not linear (Lee Jay)
    > attempts to preserve highlights (Lee Jay)
    > the exposure slider is almost exactly equivalent to the white point slider in Photoshop's levels/curves (Joa V. L.)
    I think this is the root of the issue, for me - the exposure control is being intelligent in a way to protect hilights, which is counter to my intent. My experience leads me to disagree strongly with Joa's comment (though I would be very happy to discover I was wrong) - my problem is specifically that adjusting exposure up (brightening the image with exposure) affects tones less, the brighter they are.
    > I need to decrease the Brightness (Henry_Deer)
    > you may need to generate a higher-contrast tone curve and work with that (Lee Jay)
    The brightness adjustment seems analogous to my use of the tone curve, though it's an alternate approach I haven't tried. However, both seem to suffer from the 'several rounds' problem.
    Edited to reply to a few specific points

  • How to set the fiscal year period as default in variables

    Hi All,
    How to set the fiscal year period as default it shoud take previous period when the report is executed.
    And also I need to do the same changes in reporting agent.
    Could you please any one help me.
    Points will be given.
    Thanks!
    Best regards,
    Ajay.

    Hi Ajay,
    Create a customer exit variable.Write the code in the include 'zxrsru01' using system date.
    take the system date from the system date variable and using that you can get the current fiscal year period.use this value and using string commands, you can get period.
    subtract 1 from this value.Using this you can get the previous fiscal period..
    Please let us know, if you need the coding part
    Hope it helps
    Thanks,
    Teja

  • Adobe CMM Black Point Compensation

    Hello list members,
    I have been trying out the Adobe CMM in combination with Adobe Photoshop.
    By testing the Black Point Compensation (BPC) preferences, I get strange
    results on my PowerMac. This is not happening on an IntelMac for me.
    The discussion started on the ColorSync users group and is still going on there,
    so maybe others might report there too.
    This is my testing basis (All done with ISOcoated to ISOuncoated, relative colorimetric):
    (Abbr. Adobe Photoshop Convert to Profile BPC Setting: PS)
    (Abbr. Adobe CMM preferences BPC setting: CMM)
    PS CMM Expected Happening
    On On BPC taking place OK
    On Off BPC taking place NOT Ok, no BPC happening
    Off On BPC taking place OK
    Off Off NO BPC OK
    Any feedbacks are welcomed.
    Regards
    Rolf Gierling

    In rare cases using Black Point Compensation can cause unacceptable results and the effect is usually washed out detail in the very dark regions of the final image. In our experience this problem usually rears its ugly head with some RGB output profiles.
    Adobe recommends, and we agree, that in almost all cases, Black Point Compensation should be on when dealing with CMYK files (doing
    RGB to CMYK conversions or CMYK to CMYK conversions). In most cases, doing RGB to RGB conversions without Black Point Compensation will produce desirable prints. However, depending on the profile, doing a conversion from RGB to RGB with Black Point Compensation can produce
    poor output with washed out blacks.
    It appears that this problem with some RGB profiles is dependent
    on the software that is used to generate the profile. Apparently there is a Black Tag feature in ICC profiles that in some cases can be used or unused depending on the software that actually creates the profile. For this reason, there is no hard and fast rule that says we should or should not use Black Point Compensation with RGB output. Our recommendation is to turn off Black Point Compensation with RGB output profiles or if possible, try a test with Black Point Compensation
    on and off.
    There is one other case where you may want to turn off Black Point Compensation. When you want to soft proof output for a printer that has a low dynamic range like newspaper, where the blacks are
    usually not very dense. By turning off the Black Point Compensation, the soft proof is more accurate in predicating the effect of this low dynamic range. Black Point Compensation should be turned off
    in the CMYK Set-Up. You can view full information for this problem source www.digitaldog.net/files/Black_Point_Compensation.pdf
    Sincerely, Shair

  • Establishing White Point and Black Point

    Hi,
    How do I Establishing a White Point and a Black Point in Lightroom 1.4.1 and especially in Lightroom 2 Bata?
    Thank You,
    Hersul

    The last post by OP might have closed this thread, but given the relative lack of activity on this and LR2 forums (summertime?) - I'll go a little deeper.
    i White point
    - If your white balance is right from the start, you just use the Exposure slider to set the white point. If not, first set the white balance - that effectively sets a preliminary white point for each channel separately, or, to be more precise, matches the right side of the histogram for each channel - then set the Exposure. So, with the white point you have complete control over the histogram, as well as over each channel.
    i Black point
    - here the situation is different. You can move the left side of the main (composite?) histogram using the Blacks slider, but there's no means for moving channels separately. In theory, with digital capture, there probably should not be need for this, blacks should be always black, so that's OK, but...
    I once had a batch of pics scanned from film. The film was poorly developed so it has some strong brown-magenta cast in the shadows. In Photoshop it was a piece of cake to set the black point by dragging the left ends of each channel to the left edge of the histogram (heck, even Auto Level did a wonderful job). In Lightroom, there's just no way you can correct this, because you can't control the channels separately.

Maybe you are looking for