FW: Digital Camera Profiling
FW: Digital Camera Profiling
- Subject: FW: Digital Camera Profiling
- From: "Derrick L. Brown" <email@hidden>
- Date: Thu, 17 Apr 2003 20:36:47 -0400
Bruce writes.............
>
Note: this is not an argument about whether or not custom digital
>
camera profiles are useful or not. I have mixed experiences on that
>
(like almost everyone else). But the point you just raised is a red
>
herring, and the comparison to Knoll Gamma is seriously misleading,
>
whereas Andrew's original comparison to color neg is right on the
>
money.
You are correct in that this wasn9t an argument as to if custom profiles
work or not. It certainly did turn into that though. It's a good thing
this isn't a sensitive topic. : )
Well on your request I'll provide more detail.
Good camera profiles are based on consistent grey and/or white balance
procedures being followed throughout the course of any given shoot..
As it has been noted, digital cameras can easily see 20 to 50 degrees of
kelvin shift very quickly.
One of the more important tools a modern digital photographer can own is a
color meter.
As a fan of making camera profiles we evangelize that in order to maintain
consistent results, in camera grey/white balancing is a must. If you do not
do this be prepared for unpredictable color shifts (casts).
Now believe it or not, I'm actually going to say, ACR is certainly better
than having nothing. If you are confronted with digital captures and you
know little about how they were performed then it offers a "starting point".
This is where I did compare ACR to Knoll Gamma (of the past).
Please hear this out.
In ACR you open a raw capture, a "White balance" is read/diplayed. Then
pick a targeted workspace. A multiple choice question. Change the
selection with no apparent changes to the image.
The user now continues down the path with "sliding bars" to create pleasing
color.
To this end you have completed your first corrected image.
Now open the next raw capture. Instead of the previous image which may have
been shot in the open field at noon, this image is one hour warmer (later)
and under the shade tree. Firstly white balance will obviously be way off.
So now you observe the read/displayed balance value reading cooler than it
should be. So you in turn shift the "Temperature" slider more warm. But
alas, now we are getting a major color shift now so please adjust the "Tint"
slider. Again, I cannot help but thing of how time intensive this is
process becomes.
On the other side of this process sits the custom camera profile. By strict
compliance with a white balance procedure the photographer calls the shot of
accurate on set, or in the field using a grey card of some type. Lets use
these same examples already discussed.
The show at noon in the open field. Grey card balance of the camera in the
direct sun yields neutral. The raw or jpg for that matter capture is
"piped" through the custom profile to a desired PS workspace. The result is
a well balanced file with the desired neutral point from the set, not trying
to use "memory" color later, after an all day shoot.
As for the second shot, an hour warmer (later) under the shade tree making
it cooler. Again, this is the photographers call at that moment. Its a
creative call. If you want the the cool shade represented then the balance
from the sunny field should be used. Want to eliminate it? Just re-balance
then and there, under the tree. Either way, process that file through the
standard profile to the desired workspace and again no working from memory
color.
Again, all I'm really saying here is if photographers learn why (and how )
to deliberately grey/white balance a custom profile can bring them 95% of
the way to their goal all the time. If they ignore it or worse yet perform
it improperly, you in fact will create headaches for either approach.
I am also saying that though you obviously will spend additional monies to
build your own profiles, you will in fact be camped out for far less time in
front of the computer.
Derrick L. Brown
Integrated Color Corporation
81 Rogers Street
N. Billerica, MA 01862
tel: 978-670-1416
fax: 978-670-8701
url: www.integrated-color.com
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