Re: Nikon D-1 Colorsync workflow
Re: Nikon D-1 Colorsync workflow
- Subject: Re: Nikon D-1 Colorsync workflow
- From: John Gnaegy <email@hidden>
- Date: Fri, 27 Oct 2000 10:46:23 -0700
C. David Tobie said:
>
Unless you are working in a studio with fixed lighting, and a custom profile
>
built for those conditions, then you might as well open the file directly
>
into your Photoshop workingspace, and adjust visually on a calibrated monitor.
I'm no photography expert, but are you sure? I can understand that without controlled lighting and a profile for that condition that the white point will vary, so it'd be impossible to use one profile to turn camera-subject-white into monitor-image-white, because camera-subject-white will vary with time of day outside, lighting indoors, etc. So you'd have to treat everything like absolute matching...if it was 5pm when you took the picture of the white plate on the picnic table, it's going to be a yellow plate onscreen. But I'd think you'd still want to use a profile to take care of behavioral anomalies within the gamut of the camera. Let's take an extreme case, say there's something about the light gathering chip in your camera that makes it overly sensitive to green, this big spike in a small section of the green frequency response. That'll affect all your images no matter what the lighting condition is. If you had a profile that took care of that then you're back at a one to one correspondence of input to output, at least in an absolute sense. So to test the camera profile I guess you'd shoot a target in controlled lighting at say 6500, then open the image in that profile space (softproofing to your screen). The extent to which image that looks like the original target under 6500 (did you get rid of that green spike?) should tell you how well the profile behaved during the softproofing proof operation. I'm just theorizing here, but does that sound reasonable?
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John Gnaegy
email@hidden
colorsync testing, colorsync user list