RE: Camera Raw
RE: Camera Raw
- Subject: RE: Camera Raw
- From: "tlianza" <email@hidden>
- Date: Wed, 26 Feb 2003 07:35:40 -0500
Hi to all,
Graeme Gill wrote:
"I guess I'm surprised that Adobe chose this D65/A scheme as
the basis for camera profiles (although it has practical
advantages)."
I personally think that Adobe is listening to photographers. D65 is an
imperative because of the sRGB spec. Like it or not, each manufacturer of a
sensor provides an sRGB transfer matrix based upon least squares spectral
analysis of the sensor or phyisical testing. Naturally, tungsten (nominally
illuminate A) is a common source in many venues including stage, film and
television, so as Graeme wrote, there are plenty of practical advantages.
A typical professional daylight balanced film is balanced for CT's between
5500 and 6000. This is an imperative for use with common studio strobes.
There is a tendancy among many photographers to use such films, out doors
with a warming filter to shift the balance. This has a very predicatable and
well understood effect on the image. Changing a matrix to move the apparent
white point using and adaptation scheme such as Von Kreis or some of the
others, is definately not the same thing, particulary with strongly
saturated colors.
Adobe had to give some general form of adjustment, but frankly, there is
absolutely no technical basis for it unless there are some assumptions made
about what "Raw Data" really means. I don't believe that there are any
standards in this area, so I would assume that this control is more of a
visual nature than an analytical control. This is going to be a real time
waster for working photographer....
I feel badly for the camera manufacturers and the photographers. In the
good old days, the film guys did a tremendous job building films with
differing characteristics for photographers. The digital camera guys have
inherited this job and they have neither the years of experience or
background to provide the diverse range of responses that exsist today in
the film world. The poor photographer is left with a long test period with
EACH CAMERA BODY to arrive at perferred balance of tone reproduction, color
reproduction and sharpness. As the price drops, photographers will be
buying more and different bodies, and the whole issue qualative tone and
color reproduction is going to become a greater issue. On the other hand, I
could be wrong. Maybe the whole process will become more tolerant of the
slop and commercial photographers might actually start making money with
digital equipment. It's going to be an interesting few years in the
photography world....
Tom Lianza
Technical Director
Sequel Imaging Inc.
25 Nashua Rd.
Londonderry, NH 03053
email@hidden
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