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Re: colorsync-users digest, Vol 3 #1047 - 1 msg
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Re: colorsync-users digest, Vol 3 #1047 - 1 msg


  • Subject: Re: colorsync-users digest, Vol 3 #1047 - 1 msg
  • From: Jim Mitchell <email@hidden>
  • Date: Tue, 11 Nov 2003 14:00:50 -0600

On 11/10/03 12:00 AM, "email@hidden"
<email@hidden> wrote:

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> Today's Topics:
>
> 1. Re: Black Bodies and Suchlike Magical Stuff (Nick Wheeler)
>
> --__--__--
>
> Message: 1
> Date: Sun, 9 Nov 2003 13:37:26 -0500
> Subject: Re: Black Bodies and Suchlike Magical Stuff
> Cc: email@hidden, email@hidden
> To: Andrew Rodney <email@hidden>
> From: Nick Wheeler <email@hidden>
>
> On Saturday, November 8, 2003, at 09:39 AM, Derrick Brown wrote:
>
>> Id rather do than theorize here.
>
> On Saturday, November 8, 2003, at 10:34 AM, Andrew Rodney wrote:
>
>
>> That's the bottom line. The other question is how much time and work
>> will
>> the "average" photographer spend to get the color appearance in a file
>> he/she wants? The debate among many photographers today in this regard
>> is
>> still "to shoot RAW or not to shoot RAW" which in itself splits up how
>> to go
>> about dealing with the color files. NOT all Photographers by a long
>> shot are
>> embracing RAW (mostly due to either education, a bad experience with a
>> RAW
>> converter or the workflow hit you get in a RAW workflow).
>>
>> And strive for better tools. We are getting there but have a way to go
>> (especially with respect to building camera profiles IMHO).
>>
>>
>
> Derrick, Andrew:
>
> This is it precisely. Here we see a problem and we as early adopters of
> the technology have to hack our way to a solution. We work at the
> application level with the tools available. We may not be able to make
> a hammer, but we have to use one every day. If we can't find a hammer
> we use a brick and moan and groan loudly until finally someone comes up
> with a hammer.
>
> I am reminded of George Adam showing Mark Doyle and I his early Monaco
> development (before Colorsync). George came over one day to show us the
> latest iteration of his product. We would always end up wailing,
> moaning and gnashing our teeth about why was Adobe using the monitor
> color space as its working space and how that made no sense at all and
> it sure wasn't the same as the Fujix or Scanner color space.
>
> George would simply say: that's the way it is and we have to work with
> it and shut up already. So we did the best we could. We worked with
> that space and our reptilian minds finally developed little routines
> that would get us into it from the scanner and out of it to the
> printer, and it all worked after a fashion.
>
> Obviously Mark and I were not alone, and lifting our heads out of the
> primeval swamp we noticed folks a lot smarter than us were working on
> the same problem. Along comes Colorsync, Live Picture and Colorblind,
> tools change, consciousness grows and ultimately Adobe adopts a
> flexible RGB workingspace architecture with paths in and out. Praise
> the lord, and fast computers.
>
> We are in a similar fix with the camera now, stuck between things as
> they are and things as they could be. My initial post was simply to
> remind the casual reader of this list that almost every post on the
> subject of dealing with raw files has some validity and is worth
> exploring. There is no one right way. There is a software architecture
> in place that we have to understand and work with, there are a lot of
> paths through that architecture.
>
> As the more clever among us discover the better paths, that knowledge
> will work its way back to the manufacturers and better tools will
> evolve. Right now we're stuck with bricks. To argue that a red brick is
> better than a brown one is to miss the point. Try them all.
>
> My guess is that at some point in the future we will be able to
> accurately describe or calibrate the behavior of a camera, or be
> provided with such. Then we can custom tailor transformations from that
> calibrated behavior into a known and user definable RGB working space.
> The Phase One and Adobe products that I have seen are certainly a step
> in the right direction.
>
> One of the arguments has been how you go about figuring the behavior
> thing out. I sure don't know, there's that little problem of the
> scanner bulb constantly changing. Derrick is right, we can argue til
> the cows come home about white balance and gray balance, it doesn't
> mean diddly in the world. Try everything and see what works best. I
> think by guess and by gosh for the moment. From the heated discussion
> of this topic it should be obvious that no consensus currnetly exists.
>
> The problem has been that the manufacturers want to provide us with
> something like the film experience when we buy a digital camera and
> they don't want to introduce any complexity into that experience. But
> no one wants to be stuck with a narrow range of film choices when
> buying a camera. They should know better, maybe there are acceptable
> calibration standards.
>
> Again, try to think of these batch conversions from raw to working
> space as being something like film and filters. Sometimes you'll want
> Velvia, sometimes EPN, sometimes the Gold 200 that comes with the
> camera. The tools are available to get started on that project now.
> They're a little blunt, like a brick.
>
> Best wishes,
>
> Nick
>
>
> --__--__--
>
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> End of colorsync-users Digest
Thanks bud! Now I need to get motivated!

Love You Man!

jim
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