Damien Symonds

I'm so sorry, I can't think of any solution to this.

Right. Because only the Adobe apps are colour-managed. That is, only those programs recognise and utilise your monitor profile. That's another pointer towards a problem with the calibration profile.

Hi @Windy1, given that I can't see what you're talking about, it suggests a problem with your screen or calibration, not with the files (which is good news!). First, how long since you last calibrated?

Well, there are no federal laws governing print labs, if that's what you mean.

PLEASE don't print any canvases before you know how to do it properly. https://www.damiensymonds.net/trainingsharp.html Truth is, even 100ppi is higher than you need for canvas. But it's hard to convince people of that.

Hi @Jadegirly2k, PLEASE don't wait any longer to dive into your Raw Class. You've paid me the money, don't let your membership dwindle away.

Yes, you do have to use the DNG converter, and yes, it does add some time to your workflow, but not much. https://www.damiensymonds.net/dng-video

@cathm, where are you?

That box must always be checked, everywhere you see it, ever. NEVER allow your images to be without their profile, under any circumstances.

The other reason File>Place is important is that it automatically makes the layer a Smart Object.

Because it means you have EVEN MORE 16-bit files open in Photoshop, of course! Putting even more burden on it. Only have your main file open. Never copy/paste or drag/drop.

Yes. Something else occurs to me. Please make sure you never copy-then-paste photos into your composite file. Only File>Place, or drag and drop from Bridge. Which method did you use?

It sounds like you're the victim of what is technically known as "a wanker". Wankers think they know stuff about imaging, but actually they know stuff-all. Among the nonsense that wankers demand is "The file must be Adobe RGB", or even "The file must be ProPhoto RGB"; "The file must be saved as a TIFF", and in your case "The file must be 16-bit". Needless to say, wankers are a pain in the ass. If this wanker engages you for another one of these jobs in the future, just work in 8-bit as normal, then convert it to 16-bit at the end. The wanker will never know.

Brian will have some insight when he comes along, of course, but I truly don't think there's any mystery about this. 16-bit files are enormous, even ones with only one layer ... and I bet yours had a heck of a lot more than one layer.

Well, because 16-bit files are HUGE, of course. What kind of project is it, exactly? There are very few types of work where 16-bit is genuinely necessary.

Did they say why, though?

No, it's really not. Externals are for archiving and backup, not for working files. For what reason are you working in 16-bit?

You don't work off the externals, though, I trust? The photos that you're actually editing are on the internal?

Hi @Awsomesauce, what size hard drive do you have, and how much of its space is used? Also, how regularly do you restart your computer?

@cathm, have you fixed your room lighting situation?

I just woke up (it's 6am here) and sent you the email.

Happy new year, @Rae. Please dive into the Raw Class this year. You've paid me for it, so make me work really hard for your money

Ok, yep, just the one then. To take the Raw Class again you don't need to pay full price, only the renewal price. There isn't a package bundle, but there are some discounts. Eg there's a $5 discount on Levels after you've taken Raw; and there's also a $5 discount between the Channel Mixer and Advanced Levels classes. I urge you to also consider the Bridge Class. It's only ten dollars, and packed full of really important info for your overall workflow.

Hi Donna, I can only find a record of you taking one class (Raw). Is it possible that you took the others under a different name, or have you always been Clemons?

Oh, right! Bugger.