Nice! Have a sidecar?
@Underexposed: This was done using GIMP
You can check which program was used, or at least the last one used in the workflow if there are more than one.
These are Linux examples, but both are available for Windows (not sure about the (e)grep, but thatâs just there to limit the output):
identify -verbose name.jpeg | grep icc
exiftool -icc_profile:* name.jpeg | egrep "Profile Cop|Profile Des|Device Mfg"I have to admit, I donât understand at all how that would be used. However, all is not lost. Knowing that some people have the smarts to check this, Iâll figure if they havenât asked for the sidecar, I donât need to.
I though that command line examples would be the easiest. Some graphical GUI based programs have the possibility to show this info. Not all of them though.
For example:
- ImageMagick also has a simple GUI variant. It has an Image Info button (right mouse click to access),
- XnView has the Properties button. (This is freeware, not FOSS)
You can always try to load the jpg as xmp (that is assuming you use darktable, which I believe you do). Worst thing that can happen is that nothing happens 
Asking about a more detailed description of a particular workflow might be the better question in my opinion.
Agreed. Thanks.
As it turns out, XnView says dt, but there is no embedded xmp.
Are you sure about that?
Just to be sure:
$ identify -verbose 6b550a0b79e32c394c497ddc6af9eec442f03ef2.jpeg | grep icc
icc:copyright: Public Domain
icc:description: GIMP built-in sRGB
icc:manufacturer: GIMP
icc:model: sRGB
Profile-icc: 672 bytes
EDIT: Did you by any chance look at the XMP tab in the properties window? You shouldnât. If you load an image in darktable it will create an XMP, which holds its signature. This doesnât have anything to do with the original image though. Look at the Properties tab (or the ExifTool tab).
Great harbour view! Thanks for sharing
RT 5.8.2816
As I already noticed before, Raw Colour Suppression > 0 often produces red fringing around yellowish highlights. Here on top of the wooden pole
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I was looking at the EXIF info for the wrong image. Iâm not real familiar with XnView. I was looking at lylejkâs image, and then I wasnât. Iâve looked again; it does say GIMP.
I would also like to know what @lylejkâs workflow has been with Gimp, since it seems that he has used several filters and the result is different from how it looks with DT or with RT only.
You caught me; definitely used several filters since thatâs what I do. I first used Filter Factory (User Filter) with Unplugged Effects Ink Rubber (set layer property to value on dupllicate layer) which tends to darken the blues. I then enhanced the details using GâMICâs Freaky Details but forgot that it can lead to edge artifacts (if you look at the full rez, thatâs obvious). I can clean up that, but have to head off to work soon (work weekends for my full time job).
Just as a side, I really like Ink Rubber preset since it does darken the sky the way I like it leaving other details the same. Just my laziness I suppose. 
Thanks Lyle! I will look at these filters this weekend
Wow, what a wonderful picture, thanks for sharing. Here is my attempt with darktable 3.5 master:
DSCF2925_06.RAF.xmp (8,2 KB)
White-balance was a bit tricky. First I thought about using the white surface of the boat, but from which area? The cabin in the shadow or the side towards the water, which is probably illuminated by reflections from water, sky and street lighting? At the end I used the whole picture as area for the color picker in color calibration, and used the 4 ways tab in color balance rgb to compensate the color cast for different luminance levels.
I used tone equalizer to lift the shadows in the foreground, supported by a really low black relative exposure of -16 EV in filmic. This aims at giving the cabin a more ânaturalâ visual experience, while the pier should remain just noticeable in the dark shadow.
Color grading is finalized again in the master tab of color balance rgb, by increasing global contrast and vibrance, and increasing linear chroma in highlights and a bit of brilliance in the midtones.
To increase the detail sharpness I use my preset in contrast equalizer, and added local contrast with a parametric mask on Jz input range to exclude shadows and highlights. Custom settings in denoise (profiled), especially scattering, central pixel weight and preserve shadows, also help increasing the separation of objects (boat, ropes) vs. smooth areas (water, sky).
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Still havenât figured out where my .xmp files are going. They arenât showing up in the same folder as the Raw files. Will post once I find it.
Went for something deviating a little more from the raw with the colors (for me at least)âŠ
Wonderful capture, btw. What a great photo.
First of all: The edit info is stored inside the jpg, unless you disable it (you did not), so if people want to have a look at your edit steps they can load the jpeg as sidecar file.
About not being able to find the xmp files: Does dartable actually create them? Thereâs an option in the preferences that takes care of this:
preferences -> storage -> XMP -> write sidecar for each image
It should be ticked (it is by default if Iâm not mistaken).
Trying to get a handle on color grading; wanted to make the color of the waterfront go with the blues. Threw a lot of modules at it until I got what I wanted. Perhaps not as efficient as could be.
Made my color calibration on the light bulb showing in the oval window on the boat.
dt 3.5
DSCF2925_25.RAF.xmp (24.6 KB)
Obviously, this photo has something special going for it, as witnessed by all the contributors.
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Thanks. In the past I must have had that option picked, becuase it always created the xlm files.
Serves me right for running the development version without knowing more
Thanks again. Learning a lot around here.