That's where these widgets have pins on the other side to unscrew from the back end of the lens.

IIRC the genuine Pentax adapter has a widget that releases the spring clip (next to the "A" of Asahi) on the K-mount.

You don't overwrite your original image.

And you must have the full version of Photoshop (not Elements) AFAIK.

Let me give you a ProPhoto example:

* Edit as much as you can in LR (because it's working in its own colour space that will give the best results)
* Export to a PSD, TIFF (but not JPG!!) in 16-bit ProPhoto colour space
* Open in Photoshop and edit and apply PP as required
* Save your image

When you want to print from this image:

* Use the print dialog
* The settings vary depending on your printer, whether you have a custom profile, and what your results your drivers give you.
- e.g. Color Management: "Proof", "Photoshop Manages Color", "Printer Profile = Epson blah blah blah", "Rendering Intent" = Relative Colormetric. (and turn OFF colour management in the printer's specific dialog settings)
- e.g. Color Management: "Proof", "Printer Manages Colors" (and turn ON colour management in the printer's specific dialog settings)

Now, when you want to output to screen:

* Flatten image
* Resize and sharpen
* Edit / Convert to Profile / sRGB
* File / Save for Web
* Use a different name, like "MyImage_1000px_sRGB.jpg"

(Do not overwrite the original image!)

When you want to prepare for professional online printing:

* Flatten image
* Resize and sharpen according to their requirements
* Edit / Convert to Profile / [ their colour profile ]
* File / Save as JPG
* Use a different name, like "MyImage_18x12_ProAM.jpg"

(Again, do not overwrite the original image!)


You need a clear distinction between LR, files-in-process-of-editing, and finished-output-files.

I tend to use subdirectories for that purpose.

If you don't have to use Photoshop you can, as I said, just use the Export dialog to convert directly to the professional printer's profile. But again, it's best to name the file appropriately.

AND, unless you are saving space it's a good idea to embed the color profile in the output image. That way, you'll always know for sure what colour space it's in!

Matt

I know, hence my comment about ONLY using ProPhoto if you edit in PS

But the OP isn't about editing.



I downloaded both the "example" images. Neither have the profile info embedded so the browsers are viewing as if they are sRGB (because that's assumed).

Actually, I can see that they've been wrongly labelled
The one marked as "sRGB" (the bottom of the two) was ProPhoto. It looks dull because the colour space is wrong.

To prove this I pasted each image into Photoshop as an sRGB image.
Then, the bottom image I used "Edit" / "Assign Profile" and picked ProPhoto. Bingo - now both images look the same.


That's too simple a statement. You can print perfectly well in sRGB colour space. Other colour spaces may have benefits - but even with printing you need to go through a colour management check to ensure that it's all necessary.

The professional printer service I use (ProAM) use their own profile which is extremely close to sRGB. Yes, you should use their profile, but sRGB will do nicely, and AdobeRGB is wider than their colour gamut (and ProPhoto definitely is).
Pretty much all online printing services expect sRGB.

Sure, using a wider colour space - and AdobeRGB is perfectly fine for printing in 8-bit colour - gives more colour range. ProPhoto is perfect for editing where there's a great deal of PP required (and especially if colour matching is needed for products etc).

Colour management need not be difficult, but a user needs to understand the difference between "Convert" and "Assign" when it comes to profiles, and what they're trying to achieve

There's more to be gained from sRGB and a decently calibrated monitor


Converting to the appropriate colour space for output is crucial if using anything other than sRGB. Even if you use AdobeRGB for home-printing then you still need to understand the nuances of where the colour management is applied, and how (including the 'intent'). Certainly if you use ProPhoto you must understand all of this, and also the implications of editing in a gamut that is certainly wider than the gamut of your output device (which is where soft-proofing and gamut clipping comes in).

Sorry about the ramble

Matt

*ist-DS sold to thingsthatihaveseen. Thank you!

K10D bits for back+door reserved for malross73.

Still available: K10D boxed, *ist-D kit, DA18-55 lenses, Metz flash, Auto 110 stuff.

What I meant was that it will not matter which colour space they are edited in.
The ProPhoto MUST be converted to sRGB before saving for web.
And therefore if they look different here your process is wrong.

Actually in LR you should use 16-bit ProPhoto ONLY if you are editing in PS. When done convert to sRGB for web and output.

So, answering your question - use sRGB

Matt

They should look the same, even with different colour spaces (especially on the Mac)

You must be doing something wrong...
Matt

Michael,
They are sticky topics under the General Digital forum section.
Here is a link - https://www.pentaxuser.com/forum/topic/basic-colour-management--c1--amp--ps-2384

Hope that helps!
Matt

Generally (especially if unsure), sRGB

ProPhoto gives an absolutely massive colour gamut. When using it you MUST use 16-bit, and it gives a huge degree of latitude for editing and colour matching. You only ever edit in ProPhoto. You always have to convert (not assign!) the profile to the destination colour space - which may well be sRGB.

I have some stickies on colour management. Have a read
If they don't make sense to you then always use sRGB.

99% of the time you won't be missing anything

Matt

IIRC you can do wireless P-TTL HS when using an AF360 or AF540 as a master controller on the camera and one or more slaves.

My understanding is it's primarily due to the way HS has to work - by 'peppering' the frame with smaller bursts of light as the shutter curtain moves down the frame. The only pop-up that could do HS wireless was on the *ist-D. (Somewhere I read that the bursts of energy and resulting electrical noise on the power rails on the flash caused problems for SR - who knows!)

You can use manual camera exposure with P-TTL flash though and that does give a modicum of control

Matt