Hello All,
I've been processing negatives with color perfect for a number of years. I now also use color perfect for my digital photographs as well. I much prefer it. Adobe Camera Raw and iPhone both introduce various contrast ratios and colors that are distinct to their software and the overall ubiquitous digital look. Color Perfect brings me much closer to sort of an en plein air type photography where the colors you see with your eye are closer to the ones in the print, and you can go back and forth between the real scene and the print.
I'm very much looking forward to testing out CP3 on my upgraded M3 laptop.
I read Christoph's remarks on collaborating with Dave, and I appreciate them. It reminds me of a friend who co-wrote a book with his friend. He was saying he'd written 80% of the words, and his friends was always late and short on his chapters. He took more chapters over himself, and then observed that he didn't mind at all, in the end, because 0% would have happened if it weren't for his friend.
I've posted some of my work here. some are processed with ColorPerfect others just snapshots--
https://www.instagram.com/ifulikexseey/
Night Time Photographs
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robyferrero
- ColorPerfect User
- Posts: 155
- Joined: Wed Aug 20, 2025 4:12 pm
- Location: Italia
Hi Wilmotk, welcome!
I also use Color Perfect for everything.
I also use Color Perfect for everything.
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C.Oldendorf
- Developer
- Posts: 186
- Joined: Fri Sep 02, 2022 10:31 am
- Contact:
Wilmot, welcome aboard.
What you write about using ColorPerfect not only for negatives but for your digital photographs as well is very much to the point. A great many current imaging pipelines impose their own preferred contrast relations, colour biases, and that recognisable contemporary digital look. Once one has become aware of that, it becomes rather difficult not to see it everywhere.
I was especially pleased by your comparison to an en plein air kind of photography — that sense that the print should remain in meaningful correspondence with the real scene as seen, rather than merely with the rendering conventions of a particular piece of software. That touches very closely on what ColorPerfect has always been about. It is also good to hear that you are looking to run CP3 on an upgraded M3 laptop. That is very much one of the environments for which the new generation was meant to remove old friction and let the work itself come forward more directly.
And thank you as well for your kind words regarding Dave. Your anecdote about the co-authored book is a fine one, but in our case the important point is perhaps even simpler: Dave is ColorPerfect, and I am ColorPerfect. The work cannot be meaningfully separated into a greater and a lesser part. Neither of us would have belittled the other, because what ColorPerfect became grew out of our collaboration as a whole. That said, Dave was a truly exceptional mind, and I remain very grateful for his friendship.
Best regards,
Christoph
What you write about using ColorPerfect not only for negatives but for your digital photographs as well is very much to the point. A great many current imaging pipelines impose their own preferred contrast relations, colour biases, and that recognisable contemporary digital look. Once one has become aware of that, it becomes rather difficult not to see it everywhere.
I was especially pleased by your comparison to an en plein air kind of photography — that sense that the print should remain in meaningful correspondence with the real scene as seen, rather than merely with the rendering conventions of a particular piece of software. That touches very closely on what ColorPerfect has always been about. It is also good to hear that you are looking to run CP3 on an upgraded M3 laptop. That is very much one of the environments for which the new generation was meant to remove old friction and let the work itself come forward more directly.
And thank you as well for your kind words regarding Dave. Your anecdote about the co-authored book is a fine one, but in our case the important point is perhaps even simpler: Dave is ColorPerfect, and I am ColorPerfect. The work cannot be meaningfully separated into a greater and a lesser part. Neither of us would have belittled the other, because what ColorPerfect became grew out of our collaboration as a whole. That said, Dave was a truly exceptional mind, and I remain very grateful for his friendship.
Best regards,
Christoph