AW: colorsync-users digest, Vol 3
AW: colorsync-users digest, Vol 3
- Subject: AW: colorsync-users digest, Vol 3
- From: Dietmar Wüller <email@hidden>
- Date: Thu, 24 Apr 2003 16:29:06 +0200
>
Maybe this is just semantics, but I think the discussion is important.
>
>
Digital photography allows users to completely separate and control
the
>
'capture' and 'development' processes that are an inherent part of
film
>
work. This is not well understood and most photographers do not use
the
>
cameras to their best advantage. Although one could claim that the
>
principles are the same for analog work, most photographers
concentrated
>
almost completely on the capture phase when working with color film.
They
>
had little or no control over the 'development' process and therefore
>
were forced to produce film negatives for a specific purpose.
>
>
Not that everybody should work this way all the time, but to use a
>
digital camera optimally, the photographer should set it up so that
the
>
maximum possible amount of information is collected from the motive.
>
Important is full use of the sensor dynamic range, and strict
avoidance
>
of under or overexposure. At best, one would also like to have
complete
>
control over all the internal transformations that todays cameras
>
normally perform on the raw sensor data. These problems and processes
>
potentially decrease the amount of information about the motive that
is
>
available. Information that is lost can frequently never be recovered.
>
The resulting image is almost never finished at this stage, rather it
>
is much more like an ideal film negative.
>
>
Using profile and image processing tools, this ideal negative image
can
>
produce an unlimited number of renderings of the motive. Necessarily,
>
the renderings can not contain more real information than was present
>
in the original image, but different renderings may be more
appropriate
>
for printing, viewing, web work, or for scientific measurements. The
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important thing is that the original image can be used for all these
>
purposes. Information lost to rendering is under complete control of
>
the photographer.
>
>
The various RAW converters are attacking this problem, but
photographers
>
are so used to old analog techniques that they frequently overexpose
or
>
manipulate the original images for effects that are better acheived in
>
post-processing.
>
>
Most current photographers ignore or misunderstand this separation and
>
expect the perfect printable (or viewable) image direct from their
>
camera. This is convenient, but also means that the information that
>
high quality cameras could collect is physically destroyed or ignored
>
in order to render immediately. It is possible to use such an image
for
>
the one purpose that is anticipated, either by the photographer or the
>
camera manufacturer, but the advantage of the ideal negative is lost
>
and can not be recovered.
>
>
Just my $.03
>
>
Greg Remington
>
YxyMaster GmbH
I completely agree that a lot of the optimization which was in the hand
of the film manufacturers lies now in the hands of the photographer. And
as we see in a lot of cases the photographers do not have the background
to use the possibilities. But anyway it is nice to have them and the
manufacturers have to develop the tools a photographer needs to handle
them. One is the Camera RAW and there a re others as well.
Dietmar Wueller
Image Engineering Dietmar Wueller
Dietmar Wueller
Augustinusstr. 11e
50226 Frechen
Germany
Phone +49 2234 965620
Fax +49 2234 965611
e-mail email@hidden
www www.image-engineering.de
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