This does not provide enough information for us to be able to assist. Please go to
http://www.moderncolorworkflow.com/troubleshooting-ppw-panel-for-cc2015-v-4-0-6
which offers solutions to many common problems. If you are not able to resolve the issue with what is found there, we need information about the specifics of your system, an exact description of the problems you are having, and which of the suggested solutions have you tried. The questions we would need responses to to are found under
“If you have what appears to be a successful installation and can open the panel, but certain features aren’t working properly”

Of course modern writers, including me, have similar faults, but we have the enormous advantage that he did not: professional editors, or our technical peers, get to read the manuscript before publication and point out the necessary changes. That’s the role I am assuming with Chevreul. About 75 percent of the manuscript is left approximately as he wrote it, but if I find a change that I believe he would agree with, I make that change. Plus, he did not have the technical ability to produce the color graphics that his text needs. And I have made extensive commentary, including five full chapters of my own.

https://baselbern.swissbib.ch/Search/Results?lookfor=chevreul&type=AllFields

Did he write the “On the Law of (…)” in english or in french? – On the german Wikipedia, this title is listed in english, although all (?) his other books seem to be written in french.

I’m a language teacher – that’s why I always want to read books in their original language. I can understand your concern about translations that are either no joy to read or that change the original meanings (as for Aristoteles: At university I prooved that his work on rhetorics is fully appliable on modern movies if you consider the artistic instruments (diaphragm, cutting rhythm, scene lighting, …) as speech figures. Aristoteles did – IMHO – not limit the SPEECH figures on speeches but intended to explain the power of language – that also contents the work of a DOP today).

I’m looking forward to seeing the result of your work and still hope to see one day another book on colors in photography.

btw.: Yesterday I got a brochure of Kremer (european leader company for pigments/paints etc.) and they provide color samples of unspoiled pigments – drawn as fields of 2x5cm on papersheets, in hundreds of samples…. So everybody can very cheaply (some dollars only) have created his/her own colorchart that won’t fade within time. Together with Adobe’s DNG creator you got yourself your personal colorchart! With hundreds of sample fields, that brings me closer to the LAB-values of Vermeer, Caravaggio, Rembrandt, Gaugin etc. . I know that’s not your main goal, but your explanations on LAB also help for 1:1 reproduction of given colors. Especially if one has the reference sample to compare (chart vs. painting).

And as a philolog, of course I also studied the etymology and psychology of colors. Indoeuropean languages share their origins also for their denominations of colors and e.g. ‘black’ with the same origin like ‘blank’ (supposingly the opposite) is one of the reasons why you can get stuck in this subject for …. years! 😉

Agreed about the use of PPW in travel photography.

The purpose was to have an paper a 1:1 reproduction of the colors. When I went back to the museum, I held the (expensive) 12-color printed cotton paper in my outstretched arm to get it to the same size as the original paiting behinde (with one eye closed) and the colors often matched 100%, even though our eye would have spotted the slightest difference. To spot any difference, I moved the printing in my hand OVER the original painting (within a permitted distance) to get the original color and the printed color next to each other. – Goal achieved!

What for? -> a) (nearly) perfect reproductions (I’d like to get printers to print with oil and 3-dimensionally… probably some can already) and b) to BRING BACK lost colors

That’s where your LAB lessons come in handy! – Let’s say, one specific yellow tone from van Gogh has changed within the years (or the famous blue of Vermeer). Then I just need the AB-values of the original (e.g. by mixing it with van Gogh’s receipe today or by discovering a similar painting that was less exposed to UV / heat etc.) and adapt just that color tone by leaving the others.

I did that on egyptian wall paintings that had been covered by beeswax some millenia ago and 99,9% have lost it. With LAB you can reproduce the color state of 3000 years ago. Not 100%, but much closer than it is today.

So, besides the reproduction, I’m interested in RESTORATION of lost colors. Conservators do that with chemicals on the original canvases…. I do it ‘losless’ on the reproduction and that way I can go as far as I like (-> layer transparency 😉 ) and never do any harm…

As for the book of Michel Eugène Chevreul: I’m gonna order a book he wrote about color harmony (300 pg., before 1923) for our schools library. I just LOVE this subject!

And about travelling: During my studies at Basel University and my marriage, I had 100 journeys to other countries (best: French Polynesia – 1 year, divided on 5 times). And the purpose often was the same as for you. I LOVE iconic photography (iconic Venice, iconic Santorini, Giant’s Causeway, Jerusalem etc.) and so many places CHANGE or get lost. That makes me wanna travel even more often. I was at the pyramids between egyptian wars, because I was afraid, some fundamentalists are going to blow them up, as they did with Palmyra…. I HAD to see them, before they’re gone (as are some artifacts from Tut Anch Amun after terrorists robberies). I missed the beautiful West Pier in Brighton (burnt down 1 year before I got there – didn’t have a clue…). And I missed other places that are gone now… Covered bazaar & Egyptian bazaar in Istanbul: Getting equipped by ugly red LED advertisement screens. Absolutely anti-photogenic! – No oriental feeling any more… And the souk in Marrakech is next

Babylon, Ninive, Yemen, … so many places out there to see, but impossible to visit.

And as a lover of iconic photography, your PPW was the best that could happen to me .

Best regards
Peter