Thank you for purchasing NEGMASTER. Please read these instructions carefully for best results. If you have further questions you can reach me via the contact form or join the NEGMASTER group on Facebook for help from the community.

Negmaster is an extension for Photoshop and can work with any bitmap file Photoshop can open.
When working with raw files from negative scans, the scans must be prepared in either Lightroom or Adobe Camera Raw (ACR). For this, Negmaster offers special camera profiles that ensure that the entire usable dynamic range is available and the color reproduction is as true to color as possible. When applying one of these profiles the image gets inverted. After performing white balance, the result will be a flat positive with linear brightness.
After preparation, the image data is transferred to Photoshop and can be automatically optimized with Negmaster according to your specifications in the process configuration panel. After processing, the program offers the tools you need to compensate for irregularities or to further optimize the results according to your own taste.
When you have finished editing, the program offers the possibility to save the image data with export presets or to return them to Lightroom with the key combination “ctrl/cmd+S”.



Negmaster relies on “Anastasiy’s Extension Manager”, which is included in the zip-file you downloaded. This ensures a reliable installation process independent from the operating system you are using . It allows for deinstallation as well and updates itself.

  1. Unzip the NegmasterSetup.zip you downloaded
  2. Install the extension manager for MacOS / Windows from the “01_INSTALLER” folder
  3. After installation open the extension manager and drag the com.negmaster.negmaster.zxp from the “02_PROGRAM” folder in the extension manager window
  4. After successful installation, restart your machine
  5. Open Photoshop > Window > Extensions > NEGMASTER
  6. Enter the serial you received via mail and your email adress. Press “submit”.*

*Depending on your software and hardware configuration you might have to enter your credentials twice. This is a known bug in Photoshop’s interface.

Updating to a newer Version

Please uninstall the older version with the extension manager and install the newer version as discussed in the installation instructions. Same for downgrading to an older version.

Preparation with Lightroom

For best results, the image should be handed over to Photoshop as a 16bit/channel (48bit) Tiff without compression.

  • Select all shots of the same scene in the develop module
  • Choose one of the presets according to the speed you shot your frames at.

Gamma prepped: Shots taken at boxspeed
Linear Brightness: Underexposed shots
Gamma 1,0: Overexposed shots

  • Use the eyedropper tool to set the white balance on the edge of the film.
  • Make sure no color information gets lost by pixels exceeding the histogram (except fim border). Otherwise adjust exposure.
  • Right click on one of the thumbnails to open the whole scene in Photoshop.

Preparation with Adobe Bridge & Camera RAW

An example workflow starting with ACR / Bridge looks like this:

  • From Bridge, open all shots of the same scene in Camera Raw
  • Make sure the raw converter transforms the color space to AdobeRGB
  • Select all frames by pressing ctrl/cmd+a
  • Choose one of the presets according to the speed you shot your frames at.

Gamma prepped: Shots taken at boxspeed
Linear Brightness: Underexposed shots
Gamma 1,0: Overexposed shots

  • Use the eyedropper tool to set the white balance on the edge of the film.
  • Make sure no color information gets lost by pixels exceeding the histogram (except fim border). Otherwise adjust exposure.
  • Click on “Done” if you want to prepare the next scene, otherwise you can now click on “open” to open the whole scene in Photoshop.

Short Instructions

Although the program itself is working quite intuitively and has tooltips for all functions, some preparations should be made for best results:

  • Scan your negative as raw 16bit/channel
  • Set your source color space in Camera Raw or Lightrom to AdobeRGB
  • Set your working color space in Photoshop to AdobeRGB
  • The installer installed presets and profiles in ACR / LR for preparation of your files for Negmaster. Please use a preset according to the type of film / file you wnat to convert
  • Set white balance on the edge of the film or on an area which you want to appear as neutral.

The actual processing is straight forward:

  • Open the image in Photoshop
  • Press the “PROCESS” button to reveal two buttons under it.
  • Press the right button to process the image or press the left button to load the process config panel.
  • When starting Negmaster for the first time click “Set defaults”
  • If you want to invert with film border, remove it first by using the crop tool with “Delete Cropped Pixels” turned off (unchecked). Or use the “Auto Border” slider in process config. Make sure “Auto Reveal” is checked for revealing the border again after processing
  • Hit “Process Image”

If you wish you can edit the image further with the tools NEGMASTER offers and finally export the result with the export presets or just give it back to Lightroom via “ctrl/cmd+s”.

The Main Interface

The main interface provides quick access to the most commonly needed functions for converting and retouching analog photographs.
The idea is that you first configure and save the conversion to your taste in the converter config panel , and from then on you can convert consistently from the main interface using this configuration.
Hover your mouse over the icons to see a description of the functions.

Dust removal: Use this option to create an empty layer and select the spot healing tool. Underneath that layer a duplicate pixel layer is created that is filtered by Photoshops’s dust and scratch removal function. The function tries to remove fine dust by calculating the values for the filter dependent on the image size. To make this visible, paint on the mask with a white brush.
Crop tool: Shortcut to selecting Photoshop’s crop tool. Use it for simple cropping or in case you are converting an image with film rebate, use it to crop away the rebate / sprocket holes. When “Auto Reveal” in the converter panel is activated, the border will be revealed again after converting the image.
Before / After: Switches visibility of all layers off and on again.
ColorCom: Opens the ColorCom panel. A tool for tonal correction. It works similar to an enlarger.
Process: Reveals the buttons for opening the conversion config panel and starting the conversion according to the settings in the conversion panel. The yellow ring shows that settings in the conversion config are active. While conversion is running it wil turn into a spinning animation. Will show warnings in case White Balance is low, when a non-raw file was converted or when a not recommended camera profile was used in preparation.
Auto Gray: Will create a correction layer that tries to remove any color cast by shifting the RGB channels.
Rotate left: Rotates the canvas counter clockwise
Flip Canvas: Mirrors the canvas on the vertical axis
Rotate right: Rotates the canvas clockwise
Levels Adjustment: Creates a levels correction layer. Useful for making a gamma or black and white point correction.
Color Balance: Creates a color balance correction layer. Useful for correcting or creating color casts
Vibrance/ Saturation: Creates a vibrance/saturation layer
Scanner Emulation: Opens the panel with buttons for scanner / minilab emulation profiles
Paper Emulation: Opens the panel with buttons for darkroom paper emulation profiles
Style Emulation: Opens a panel with buttons for various style emulation profiles
Camera Raw Filter: Creates a smart object from all layers and opens it in the camera raw filter
Contrast Adjustment: Opens a Panel with buttons for various contrast presets
Split Toning: Opens a panel with buttons for various split toning presets
Sharpen High Pass: Uses an image size based algorithm for creating a pixel layer overlay that enhances contrast for the edges in the image while separating them from colors. Default opacity for this layer is 30%.
Enhance Details: Uses an image size based algorithm for creating a pixel layer overlay that enhances micro contrast in the image while separating it from colors. Default opacity for this layer is 50%.
Auto Dodge and Burn: Creates a pixel layer that brightens bright areas and darkens dark areas. Useful for crating depth in the image and a good alternative to global contrast. Default opacity for this layer is 35%.
Run Diagnosis: Runs a special conversion on the current image. When the conversion is done it will show the diagnosis results in a new window.
Export Presets: Opens a panel with buttons for quick exporting the current image in various file types and sizes. The resulting files are saved in a subfolder of their source folder.
Reset image: Undoes all changes made to the image and returns it to it’s state of origin. If pressed accidentally, press ctrl/cmd+z to return to the state before reset.
Burger Menu: Opens a submenu where you can activate dark mode, read the “about” section and open the helper extension
Processes the image according to your configuration
Opens a modal window with configuration options

The Converter Config Panel

The Converter Config Panel is the interface between the user and the algorithm Negmaster uses to convert your images. It consists of range sliders, checkboxes and buttons.

Checkboxes have a gray font and light up yellow when activated by clicking on them. The functions behind checkboxes and are processed after the conversion has been started.
Range sliders have a control range between 0-200 percent in 1 percent steps. The control range is set by dragging one of the round yellow dots with the mouse. The functions behind range sliders are processed after the conversion has been started. An exception is the Auto Border slider, which has a preview function to show the area to be cropped.
The functions behind buttons are triggered immediately.

Point with the mouse on one of the points in the image below to see a description of the functions.

Processes the image with the settings you choose below
Resets the image to it’s state of origin
This range slider crops the image by the given percentage while conversion. It has an inbuilt preview function. Once adjusted it will crop every frame with the same percentage independent from image size.
This slider adjusts the strength of trimming of the histogram tails with a custom logic function. It searches for stray pixels on the tails of the histogram. When a significant increase of pixels is detected it will stop trimming. Values over 100% will override the logic what is useful when we have to deal with dust.
This slider adjusts the strength of auto contrast and brightness optimization what scales each value of the image according to its relative position on the range of the histogram. Also known as “normalisation”
Auto Balance calculates the overall color balance of the image. Slider values up to 100% are only affecting color balance when the overall color of the image is more cool than warm. Values over 100% will override this logic and affect all color casts.
Auto Reveal is useful if you want to convert frames with film borders and sprocket holes. For finding the correct tonal values in a frame we have to hide the sprocket holes from the converter algorithm. This function reveals the border again after conversion.
The ColorCom checkbox automatically opens the ColorCom panel after conversion.
Inverts the image during conversion. Useful for file types that can not be opened in the raw converter or in Lightroom like .raw files from Pakon scanners.
Keep mood alters the trimming algorithm that is bound to the Auto Trim slider. It will force the converter to keep the overall color mood of an image and will only trim the composite histogram tails. Useful when preparing frames with the NEGSETS
Will detect black pixels after trimming the histogram tails and trigger an HDR function to make the pixels dark gray
Will detect white pixels after trimming the histogram tails and trigger an HDR function to make the pixels light gray
Auto Gamma reads the histogram median and mean before and after conversion and tries to darken midtones in images brighter than medium gray. Will not affect images darker than medium gray (night scenes)
Runs high pass sharpening during conversion
Neutralizes the histogram channels against each other until a maximum amount of gray is reached. Useful for expired film or frames with stray light or negative flaws from wrong development. This function is not recommended as “daily driver” for frames without such flaws.
Desaturates the image after all other functions ran through. Recommended for black and white frames.
Matches the color of the current frame to all other open documents. Will create a new pixel layer (“Match Colors”) in blend mode color. Useful for creating absolute consistency for images of the same scene, even if they have flaws that keeps the converter from finding the exact same tonality.
When this checkbox is checked, all open documents will be converted with the settings you made above
Will start a batch process which will convert all files in a given folder with the settings you made above. The output file type will be .tif.
Will start a batch process which will convert all files in a given folder with the settings you made above. The output file type will be .jpg.
Will revert the settings to their default values
Will save the current settings and close the conversion config panel

Batch Processing

Batch processing in Negmaster is pretty straight forward. Negmaster will use the conversion settings from converter config panel for batch conversion.

Pease prepare the images in LR or ACR as described in chapter workflow. This means that the white balance and the assignment of the correct camera profile should already be done.
After clicking on one of the batch options, Negmaster will ask you if you have already cropped the images and if you prefer a conversion with film border. If you click on “Yes” Negmaster will display a cropping frame for each image during conversion. Make sure that the entire film border is removed when cropping. Pay special attention to the sprocket holdes or other residues of the light source. If there is any of this left, Negmaster will include it in the calculation, which will inevitably lead to strong color casts or a wrong black or white point. Cropping can also be done with the Auto Border option in the conversion config panel, but cropping manually can be more accurate.
Then a file input dialog will open. Select either multipe images while pressing ctrl/cmd and clicking on them or select all images in the folder by pressing ctrl/cmd+A. Then click on “open” and batch conversion will begin.
After the batch processing is finished a confirmation window will open. This will show the file path to the results, which is always located in the source folder of the files, where a subfolder will be created. This folder can then easily be imported to Lightroom.

For the Jpg option the quality is 12/12 and the color space is sRGB 8bit. Tiff is uncompressed 16bit without layers in color space AdobeRGB.

Working with Color Commmander

The tools you need most after conversion

Negmaster ColorCom is used for fast correction after conversion. You can either activate it on the main interface of the program or you can have it called up automatically after each conversion by activating it in the converter configuration.
Most functions are self-explanatory or have tool tips that provide sufficient information about how they work. But some require a detailed explanation. In this case we emulate the operation of a color mixing head of an enlarger. These worked with color filters in cyan, magenta and yellow to filter out color casts. For the beginner it is confusing at first, but as soon as you start working with it, it works intuitively.

Emulating a color mixing head against color casts

Basically, each button moves one of the RGB channels in the direction we want. Taking the complementary colors cyan and red as an example: Both colors are in the red channel. If you move the red channel to the left, red becomes weaker and cyan becomes stronger. This is what happens when we press the cyan button. If we press the red button the red channel shifts to the right and red becomes stronger while cyan becomes weaker.

Suppose we convert an image and ColorCom opens, we examine the image for color casts. Color casts are not always immediately visible, but can be easily detected by comparing the areas of the image that should be neutral to the neutral gray of Photoshop’s working surface. A cyan color cast can often be detected by looking closely at the sky in an image. Does the blue in the sky have a high cyan content? Does the sky appear more saturated than the rest of the image? If so, it should be enough to press the button with the complementary color of cyan once or twice, what is red.
This is how to proceed after each conversion. We look for a color that disturbs us and then compensate it with its complementary color. This is how we used to work with the enlarger. Over time, we get very good and very fast at it, because this function is designed exactly for our needs, whereas Photoshop’s color balance has to be set individually for different brightness ranges, which often leads to unnatural results. Film works differently here than digital photography.
Of course you don’t have to compensate every color cast if you find it beautiful. ColorCom can also be used to create color casts. For example, sepia toning for black and white photography or for moody orange sunlight on the beach in the evening

Creates a levels adjustment layer for adjusting black and white points or gamma either for the composite or every single color channel
Creates a color balance adjustment layer for adjusting color balance in shadows, midtones and highlights
Creates a vibrance/saturation layer for adjusting global saturation or vibrance (desaturated colors getting more saturated as colors already saturated).
Creates a contrast adjustment layer if not existent. Each click will increase contrast by five increments.
Creates a saturation adjustment layer if not existent. Each click will increase saturation by two increments.
Creates a levels adjustment layer if not existent. Each click will increase gamma by .02 increments.
Creates a contrast adjustment layer if not existent. Each click will decrease contrast by five increments.
Creates a saturation adjustment layer if not existent. Each click will decrease saturation by two increments.
Creates a levels adjustment layer if not existent. Each click will decrease gamma by .02 increments.
Creates a channel adjustment layer if not existent. Each click will shift the red color channel more towards cyan.
Creates a channel adjustment layer if not existent. Each click will shift the green color channel more towards magenta.
Creates a channel adjustment layer if not existent. Each click will shift the blue color channel more towards yellow.
Creates a channel adjustment layer if not existent. Each click will shift the red color channel more towards red.
Creates a channel adjustment layer if not existent. Each click will shift the green color channel more towards green.
Creates a channel adjustment layer if not existent. Each click will shift the blue color channel more towards blue.
All values above are stored in a variable. When changing documents the variable should be emptied. This is what the button does. It also removes all existent layers created by ColorCom in the current document.
Before/After: Turns the visiblitiy of ColorCom layers off and on again
Copies all ColorCom layers of the current document to all other open documents

Keyboard Shortcuts

Using shortcut keys in Negmaster can be a time saver.
Once you have internalized the buttons, you can not only convert images quickly, but also correct colors intuitively.
The key assignment is compatible with the inexpensive Contour multimedia controllers, which can be programmed accordingly.
Negmaster works like any other window in Photoshop. For shortcuts to work, Negmaster must be “in focus”. This means that as soon as you click on an item outside of Negmaster, it is no longer in focus and the shortcut keys perform the functions of the other window.
However, once Negmaster is in focus you can use the shortcut keys as you please. For example, you don’t have to open colorcom first to use the color correction keys.

Key Result Key Result
1 Contrast + Num 1 Shift to red
2 Contrast – Num 2 Shift to green
3 Saturation + Num 3 Shift to blue
4 Saturation – Num 4 Shift to cyan
5 Gamma + Num 5 Shift to magenta
6 Gamma – Num 6 Shift to yellow
Backspace Reset conversion Num 7 Call ColorCom
Num 8 Call conversion config
Num 9 Start conversion
Num 0 Reset ColorCom
Num , Compare before / after
Num Enter Copy layers to open docs

File Export

NEGMASTER offers its own functions for exporting the finished files. The functions bypass the dialogs in Photoshop and enable quick saving in common formats. If a file already exists, a duplicate will be created and the current time will be appended to the file name. This is not the case for batch processing, where existing files will be overwritten. The table below shows what the functions do.

Function Resolution Quality Color Space Export location Overwriting
TIFF Current uncompressed current source folder/NEGMASTER-TIFF/ NO
JPG Current 10/12 sRGB source folder/NEGMASTER-JPG/ NO
BATCH TIFF Current uncompressed current source folder/NEGMASTER-BATCH-TIFF/ YES
BATCH JPG Current uncompressed sRGB source folder/NEGMASTER-BATCH-JPG/ YES
INSTAGRAM 1350px longest side 7/12 sRGB source folder/NEGMASTER-INSTAGRAM/ NO
FACEBOOK 2048px longest side 7/12 sRGB source folder/NEGMASTER-FACEBOOK/ NO


File Formats

NEGMASTER can process any type of file that Photoshop can open. There is no 512 megabyte limit like in Lightroom.
I recommend processing RAW files. Tiff files are not RAW files, but they can produce just as good results as RAW files if white balance was performed correctly while scanning.
JPG Files can also be processed if white balance is correct out of the box, but they lack the dynamic reserves of Tiff or RAW Files.

RAW files are not image but data files. Roughly speaking, these files contain the number of photons per color channel the image sensor has recorded. They have no color space other than the device color space of the camera. For these reasons, you can change the white balance in a relatively huge range without creating a color cast. This is not the case with all other file formats. If you change the white balance there you create a color cast. In RAW files you create a color shift up to a certain limit. Above this limit, parts of the pixels become supersaturated whereas others will begin to produce noise. This is the reason why you should scan with a light source that neutralizes the orange mask of the negative before scanning.

These file extensions indicate that your file is a raw file. Whether you can open the files depends on how current your version of Adobe Camera Raw is:

  • Adobe Inc. Digital Negative: .dng
  • Canon: .tif, .crw, .cr2, .cr3[4]
  • Contax: .raw
  • Epson: .erf
  • Fujifilm: .raf
  • Hasselblad: .3fr, .fff
  • Kodak: .dcr, .dcs, .kdc, .raw
  • Leica Camera: .raw, .dng, .rwl
  • Mamiya: .mef, .mfw, .iiq
  • Minolta Raw: .mrw, .mdc
  • Nikon: .nef, .nrw
  • Olympus: .orf, .ori
  • Pakon: .raw
  • Panasonic: .raw, .rw2
  • Pentax: .pef, .dng
  • Phase One: .iiq
  • Ricoh: .dng
  • Samsung: .srw, .dng
  • Sigma: .x3f, dng
  • Sinar CaptureShop forMacintosh: .cs1, .cs4, .cs16
  • Sony: .arw

Defining the right Color Space

Make sure that your source color space in Camera Raw or Lightroom is AdobeRGB or sRGB and the color depth is 16bit per channel.
Working with sRGB as source color space can in theory lead to clipping reds and greens. If this is the case, those colors look supersaturated. Use a color space with a wider gamut like AdobeRGB then. So far the only exception are files from Pakon scanners scanned with TLX Client demo, which are limited to sRGB.

Export color spaces are predefined with the export options here.



Helpful links

Changing the working color space in Photoshop
Changing the source color space in Camera RAW
A complete guide to color management from Adobe

Recommendations for Scanning

NEGMASTER wants to bring the colors of film stock onto your screens as they were meant to be. It can save negatives that have been developed incorrectly, but it will also show you whether you have errors in your digital workflow. This will lead to better results in the long run.

Prior conversion NEGMASTER makes use of it’s own camera profiles for raw files. These serve to compensate for contrast generated by Adobe’s standard profiles, which are of no use for us. You can decide for yourself which profiles you like more, but the “invertrue” camera profiles are recommended. During conversion NEGMASTER converts the image into it’s own color working space with a gamma angle, white point and color gamut that is corresponding well to film. These infrastructure was made to have a uniform starting point for all use cases.

These introductory words ask us how you can prepare your negatives to get the best results. As with your work as a photographer, light quality is of paramount importance. Not every light source is suitable for digitizing negatives. The following criteria are important for DSLR-scanning as well as for film scanners:

Scanning with DSLR:
  • Use even Backlights. Evenness is key for finding correct tonality in your negatives.
  • Avoid stray light. Use a lens hood and mask out the area around your negs.
  • Use “hot light”. It provides full CRI* and GAI* what will lead to correct saturation and tone value distribution.
  • Try to compensate the orange mask with your light source as it was done in enlargers.
  • If you can’t compensate it with you light source consider using filters in front of your lens. Like an 80a for example.
  • When DSLR Scanning, set white balance in Camera on the film border thus it will alter histogram and therefore exposure.
  • The more you compensate the orange mask with white balance, the more noise you will get in the blue and green channel (cyan cast).
  • Use bright backlights. The brighter, the shorter the shutter times, the better the sharpness.
  • Shoot in AV mode without film rebate and sprocket holes to achieve proper exposure for the different densities of every frame.
  • Stop your lens down to at least f8 for good corner sharpness.
  • Avoid dust. Although NEGMASTER is very tolerant, too much dust can mess up tonal values during conversion. Rough dust and scratches can be removed in Camera Raw Converter or Lightroom prior to conversion.

Important note about white balance with dslr scanning: Try to compensate for the orange mask with your backlight as much as you can. Changing white balance in the raw converter or in camera will result in loss of dynamic range! Camera sensors are working best at around 5000K.

Scanning with a scanner:

Please understand that i can not give support for third party scanning software. But i can give you some global information for best results. You’ll find the correct settings for Vuescan and Silverfast on the below screenshots

  • Scan as Raw DNG. Do not scan as TIF. TIF is rendered Raw data and therefore a bitmap image. A raw file is a pure light data file and it is not an image. There is no “Raw Tif” even when Vuescan says so. We need DNG RAW data. DNG is not always Raw. DNG is a container for different bitmap file formats. Make sure you are scanning as pure RAW DNG as can be seen on screenshots below.
  • Output of your scan should be 48bit (16bit per channel). Vuescan can bake in the infrared dust removal channel. Silverfast can not.
  • NEGMASTER provides camera profiles for both, Silverfast and Vuescan*. Until now both programs give very good results when converting with NEGMASTER. In general Vuescan is on the bolder side, whereas Silverfast seems to be more accurate in color rendition.

*NOTE EPSON V3200, V4990, V700/800 SERIES: Vuescan does not work well with these scanners out of the box. Consider profiling the scanner with an IT-8 target or use Silverfast.

Settings for Vuescan and Silverfast



What are the minimum system requirements?

Any PC or Mac able to run Photoshop CC will be fine.

Does this work with Photoshop Elements or CS6?

Negmaster requires Photoshop CC. The oldest version reported working is Photoshop CC 2018.

Are updates for free?

Yes they are!

How do i receive updates?

When an update is available you will receive an email with a changelog and download link that leads you to your account on negmaster.com.


I can't find the NEGMASTER INVERTRUE profiles

In Lightroom or Camera Raw click on the four squares right to the profile dropdown menu and it will show all camera profiles installed on your computer.
You can set the NEGMASTER INVERTRUE profile as favourite by clicking on the star in front of it.


Why do I get oversaturated reds after conversion?

Please change source color space in ACR or LR to AdobeRGB or ProPhoto.
Make sure you are scanning RAW, not Tif or Jpg.
Vuescan is known for bolder results than Silverfast.

Why do i have dark and oversaturated colors after conversion?

Please make sure you use the Negmaster invertrue profiles in ACR / LR. Make sure you are in a wide gamut source color space like AdobeRGB or ProPhoto.

Why do i get a strong blue or yellow colorcast after conversion?

Make sure you crop away sprocket holes or any other occurence of your backlight. Remove holes in your negatives with the clone tool before conversion. Same for deep scratches or lots of dust.


Which DSLR do you recommend for scanning negatives?

I recommend a Canon or Nikon full frame DSLR with bellows and Apo Rodagon N enlarger lenses as an alternative to expensive modern macro lenses. Sidenote: The “N” in Apo Rodagon N is crucial because it has a much better coating than the non-N version.

Which scanner do you recommend for scanning negatives?

I recommend Plustek film scanners from series 7000 to 8000 with the bundled Version of Silverfast for smaller 35mm archives. If you have a bigger archive or shooting more than two rolls per week i recommend the Reflecta RPS10M with Silverfast. For medium format i recommend scanning with the Epson V700 – 850 and Silverfast. If you are on a low budget i recommend Epson V600/3200/4990 with Silverfast.


I can't activate my license

Negmaster product activation requires an internet connection. Please check your firewall / antivirus settings.

I have bought a new machine and want to transfer my license

Transfering license keys is easy. Just download “Negmaster Deactivation” from your account. Install it and deactivate your license key. After that Negmaster can be activated on your new machine.


NEGMASTER refuses installation

We need to install NEGMASTER manually:

  1. Download the setup.zip und unzip it
  2. Locate com.negmaster.negmaster.zxp in the 02_Program folder and rename it to .zip
  3. Unzip the file from step 2. You’ll get a folder with subfolders
  4. Locate another com.negmaster.negmaster.zxp in the HTML subfolder, rename it to .zip and unzip it.
  5. Copy the resulting com.negmaster.negmaster folder to the destination given below
  6. Locate the camera profiles folder for your OS and copy it to Adobe’s camera profiles location given below.
  7. Locate the presets folder for your OS and copy it to Adobe’s settings folder location given below.
  8. Restart your machine.
  9. Start Photoshop and start NEGMASTER from the top menu: windows > extensions > NEGMASTER

Extension folder location:
MAC: ~/Users/username/Library/Application Support/Adobe/CEP/extensions
WIN: ~/Users/username/Appdata/Roaming/Adobe/CEP/extensions

Camera Profiles location:
MAC: ~/Users/username/Library/Application Support/Adobe/CameraRaw/CameraProfiles
WIN: ~/Users/username/Appdata/Roaming/Adobe/CameraRaw/CameraProfiles

Presets location:
MAC: ~/Users/username/Library/Application Support/Adobe/CameraRaw/Settings
WIN: ~/Users/username/Appdata/Roaming/Adobe/CameraRaw/Settings

These are hidden system folders. make sure to make them visible in Mac Finder / Windows Explorer