Re: Black Bodies and Suchlike Magical Stuff
Re: Black Bodies and Suchlike Magical Stuff
- Subject: Re: Black Bodies and Suchlike Magical Stuff
- From: HD <email@hidden>
- Date: Mon, 24 Nov 2003 13:31:36 -0500
Nick Wheeler Wrote:
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.
This is a good point. It keeps sounding more and more like I have been
on the wrong track with my take on
Camera Raw, and profiling digital cameras. I had assumed that the
digital capture was being discussed as if it were a transparency. This
assumption made a complicated topic easier for me to grip, but it may be
that this is too much of a simplification.
While they don't necessarily accurately record the scene, transparency
film exposures at least look pretty close to a "normal" scene, unlike
the results seen when looking at a color negative. This is the way I've
thought about the digital capture - at least it is not an abstract like
a color negative. However, having heard the term "digital negative", it
had not yet occurred to me that this term might have been chosen for a
reason, rather than "digital transparency".
That there are standards associated without the processing and
reproduction of color negatives, there is still a great amount of
"flexibility" in a color negative where it will take an experienced
person to get the color and density correct-ish when printing or
reproducing the exposure. Some of the best automated approaches for
handling the translation of color negatives have relied on a scene
balance algorithm, or a set of statistical models for typical scenes.
When they work, they work fairly well, considering that it is terribly
difficult to predict exactly what a color negative is supposed to look
like. They often require some human adjustment to improve the resulting
assessment. So, it would seem, the issues involving Camera Raw and the
practicality of profiling a digital camera might fall into this same
kind of category. While the "digital negative" may have some
standardization, it might be that processing the capture might benefit
more from a scene balance algorithm approach, rather than trying to nail
a specific color (thinking mostly of batch situations here).
I know that I'm probably out of my league in even trying to ponder such
topics, but it might be that there are some others on the list who can
relate. If my thoughts are way off, then I will appreciate the
education the members of the list can offer.
Henry Davis
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