Remove me from this list
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- Subject: Remove me from this list
- From: "Raj Patel" <email@hidden>
- Date: Fri, 23 Nov 2007 14:05:01 -0600
Please remove me from this mailing list.
Thank you.
On 11/23/07, email@hidden <
email@hidden> wrote:
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> Today's Topics:
>
> 1. re:jump (eugene appert)
> 2. Re: jump (Klaus Karcher)
> 3. Eizo CG241W vs. NEC 2690 SpectraView (H. Teeuwen)
> 4. Re: Eizo CG241W vs. NEC 2690 SpectraView (Andrew Rodney)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 22 Dec 2007 18:46:43 -0500
> From: "eugene appert" <email@hidden>
> Subject: re:jump
> To: <email@hidden>
> Message-ID: <005001c844f4$ecc101c0$0500a8c0@mind>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Klaus,
>
>
>
> Thanks for your answer.
>
>
>
> There is something I don't understand about "applies your working
> grayscale space".
>
>
>
> I would have thought that the file data and not the L* would be affected
> by the target working space. Such that though L*50 is represented in a
> 1.8 space as 61% and as 54% in a 2.2 space, the L* value remains the same.
>
>
>
> Unless you mean the info pallet applies the algorithm normally employed by
> Photoshop for mode conversions (.3 R + .59G + .11 B). But then why would the
> anticipated conversion values that the info palette displays change simply
> by extracting the a* and b* channels?
>
>
>
> I am using the Gretag color chart as reference. If I convert the Lab file
> to grayscale via Photoshop menu mode conversion, I will always preserve the
> L* values, no matter what grayscale space is configured by default in my
> color settings. Equally the info pallet will display the exact L* values of
> the Gretag chart regardless of the grayscale space configured in my color
> settings. Yet if I deactivate the a* and b* channels the file brightens
> visibly on the screen, even though the info palette continues to display the
> original L* values. But if the lab file is now converted to grayscale or if
> the L* channel is dragged into another file ( even to another Lab file)
> , the info palette will now display the L* values as they appear on the
> screen, that is at least L*10 brighter.
>
>
>
> Eugene
>
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Fri, 23 Nov 2007 02:44:51 +0100
> From: Klaus Karcher <email@hidden>
> Subject: Re: jump
> To: colorsync-users <email@hidden>
> Message-ID: <email@hidden>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> eugene appert wrote:
> > There is something I don't understand about "applies your working
> > grayscale space".
>
> It's hard for me to explain, but maybe you want to conduct an experiment:
>
> Make a new Lab document, fill it with Lab 50/0/0 and set the first color
> readout in the info palette to actual color and the second to Lab.
>
> When you open the channels palette, you will notice that the L* channel
> looks different (typically brighter) than the composite image.
>
> Select the composite image. When you use the eyedropper tool, the info
> palette will show Lab=50/0/0 in both halves.
>
> Now click onto the L* channel in the channels palette and use the
> eyedropper tool again: The first color readout will show 50% K now and
> the second readout will show something *different* than Lab=50/0/0 (e.g.
> L=54 when your grayscale working space is set to Gamma 2,2). When you
> change the grayscale working space, the L* value will change, but the K
> value will still be 50%: Photoshop did not change the file data: there
> is still the same gray level (128, i.e. 50%) in the file, but Photoshop
> interprets it differently.
>
>
> > I would have thought that the file data and not the L* would be
> > affected by the target working space. Such that though L*50 is
> > represented in a 1.8 space as 61% and as 54% in a 2.2 space, the L*
> > value remains the same.
>
> That's true when you /convert/ e.g. L=50 to gray gamma 1.8 or 2.2.
>
> > Unless you mean the info pallet applies the algorithm normally
> > employed by Photoshop for mode conversions (.3 R + .59G + .11 B).
>
> No: the info palette also uses the (embedded- or working space-)
> profiles. But since a single channel has no embedded profile, Photoshop
> uses the grayscale working space to interpret its contents.
>
> > But
> > then why would the anticipated conversion values that the info
> > palette displays change simply by extracting the a* and b* channels?
>
> Photoshop no longer assumes a Lab but a grayscale image.
>
> > I am using the Gretag color chart as reference. If I convert the Lab
> > file to grayscale via Photoshop menu mode conversion, I will always
> > preserve the L* values, no matter what grayscale space is configured
> > by default in my color settings.
>
> Yes, but this L* value is represented by different levels in different
> colorspaces.
>
> > Equally the info pallet will
> > display the exact L* values of the Gretag chart regardless of the
> > grayscale space configured in my color settings.
>
> ... as long as the composite image is selected in the channels palette.
>
> > Yet if I deactivate
> > the a* and b* channels the file brightens visibly on the screen, even
> > though the info palette continues to display the original L* values.
>
> The remaining L* channel will be shown as grayscale image on the screen.
>
> As long as the other channels are only hidden, but still selected, the
> info palette still shows the composite values.
>
> Klaus Karcher wrote:
> > I made a custom dot gain curve that maps Y to L [...]
> > I expected to get L=50 for K=50 in the info panel with this curve ...
> > but I got L=56. ... curious. Can someone explain what's going on?
>
> okay, I've got it now: If you want a grayscale working space that won't
> change the lightness, you need a dot gain curve that maps K to 100-Y(L)
> where L=100-K (i.e. 0%K <=> L=100; 100%K <=> L=0; 50%K <=> L=50 <=>
> Y=18.4 => output=81.6)
>
> +-----+-------+
> | in | out |
> +-----+-------+
> | 0 | 0.0 |
> | 2 | 5.1 |
> | 4 | 10.0 |
> | 6 | 14.7 |
> | 8 | 19.3 |
> | 10 | 23.7 |
> | 20 | 43.3 |
> | 30 | 59.3 |
> | 40 | 71.9 |
> | 50 | 81.6 |
> | 60 | 88.7 |
> | 70 | 93.8 |
> | 80 | 97.0 |
> | 90 | 98.9 |
> | 100 | 100.0 |
> +-----+-------+
>
> Please note: this is *not* my recommendation for a production
> workstation, but my setting to find out how Photoshop works.
>
> Klaus
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 23 Nov 2007 14:50:08 +0100
> From: "H. Teeuwen" <email@hidden>
> Subject: Eizo CG241W vs. NEC 2690 SpectraView
> To: <email@hidden>
> Message-ID: <000001c82dd7$c3341c90$9600000a@prive4sxxl5rcf>
> Content-Type: text/plain; charset="us-ascii"
>
> I'm looking for a replacement for my aging Sony Artisan and have narrowed
> down my shortlist to Eizo CG241W and NEC 2690 SpectraView.
>
> Has anyone actually used / compared both displays and prefer one to the
> other (and why)?
>
> Thanks in advance.
> Herman
>
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 23 Nov 2007 08:13:26 -0700
> From: Andrew Rodney <email@hidden>
> Subject: Re: Eizo CG241W vs. NEC 2690 SpectraView
> To: "H. Teeuwen" <email@hidden>,
> "email@hidden" <email@hidden>
> Message-ID: <C36C3C26.4A805%email@hidden>
> Content-Type: text/plain; charset="US-ASCII"
>
> On 11/23/07 6:50 AM, "H. Teeuwen" wrote:
>
> > I'm looking for a replacement for my aging Sony Artisan and have
> narrowed
> > down my shortlist to Eizo CG241W and NEC 2690 SpectraView.
>
> I also had an Artisan but replaced it as well, with the NEC 2690 running
> the
> NEC SpectraView II software and I'm very pleased. The software functionary
> is very similar to the Artisan which is great (one button
> calibration/profiling, control over contrast ratio etc).
>
> I'd love to know what the Eizo provides over the NEC for the extra money
> as
> would Karl Lang who requested Eizo send him units for testing for his
> excellent seminar with Chris Murphy at PPE in October. He did test the
> NEC's
> and they got superb reviews. So until Eizo steps up to the plate and
> provides someone I highly respect who can test the units in an unbiased
> and
> scientific process (Karl), I'm sticking with the NEC line. Karl tested the
> 2490, 2690 and the LED wide gamut (and if memory serves, Apple Cinema
> displays). I'm hoping he will soon publish what we saw in his and Chris
> Murphy's seminar on his site in the near future (www.lumita.com).
>
> Andrew Rodney
> http://www.digitaldog.net/
>
>
>
>
> ------------------------------
>
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> End of Colorsync-users Digest, Vol 4, Issue 421
> ***********************************************
>
--
Priyank Patel
Email: email@hidden
Home: (630) 883-0390
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