Re: Nikon D-1 Colorsync workflow
Re: Nikon D-1 Colorsync workflow
- Subject: Re: Nikon D-1 Colorsync workflow
- From: email@hidden
- Date: Sat, 28 Oct 2000 18:37:34 EDT
In a message dated 10/28/00 8:21:29 AM, email@hidden writes:
>
> Unless you are working in a studio with fixed lighting, and a custom
>
profile
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> built for those conditions, then you might as well open the file directly
>
>
> into your Photoshop workingspace, and adjust visually on a calibrated
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monitor.
>
>
I'm no photography expert, but are you sure? I can understand that without
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controlled lighting and a profile for that condition that the white point
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will vary, so it'd be impossible to use one profile to turn
camera-subject-white
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into monitor-image-white, because camera-subject-white will vary with time
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of day outside, lighting indoors, etc. So you'd have to treat everything
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like absolute matching...if it was 5pm when you took the picture of the
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white plate on the picnic table, it's going to be a yellow plate onscreen.
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But I'd think you'd still want to use a profile to take care of behavioral
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anomalies within the gamut of the camera. Let's take an extreme case,
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say there's something about the light gathering chip in your camera that
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makes it overly sensitive to green, this big spike in a small section of
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the green frequency response. That'll affect all your images no matter
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what the lighting condition is. If you had a profile that took care of
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that then you're back at !
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a one to one correspondence of input to output, at least in an absolute
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sense. So to test the camera profile I guess you'd shoot a target in
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controlled lighting at say 6500, then open the image in that profile space
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(softproofing to your screen). The extent to which image that looks like
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the original target under 6500 (did you get rid of that green spike?) should
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tell you how well the profile behaved during the softproofing proof
operation.
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I'm just theorizing here, but does that sound reasonable?
It's a standard debate; can ICC profiles be used for the partial correction
of images, even if major features are not standardized? Let me say that if
you find a method of using ICC profiles to convert film negatives, then I
will agree that this method will easily convert digicam shots under any light
conditions as well... the neg film having the same undefined elements as the
digicam shots, plus reversal and orange mask removal. But since scanner
software typically gives up and uses tables, not profiles, for this process,
I suspect that it will be a while before even specialized programs have a
viable digcam correction system for undefined lighting situations using ICC
profiles, let alone straight out ICC profile conversion.
C. David Tobie
Design Cooperative
email@hidden