Re: Workflow for Photographers
Re: Workflow for Photographers
- Subject: Re: Workflow for Photographers
- From: Andrew Rodney <email@hidden>
- Date: Tue, 25 Nov 2003 18:28:27 -0700
on 11/25/03 4:24 PM, email@hidden wrote:
>
- The image has an embedded profile (sRGB)
>
- I can either open the image using the embeded profile or convert the
>
document's colors to my working space.
Well is the file really in sRGB or only telling you a lie? I ask because
with some digital cameras, you get some bogus EXIF tags that say this.
Assuming you did indeed set the camera for sRGB (and you realize that the
camera really isn't giving you this but hopefully something close), there's
no reason to convert to Adobe RGB. You've got a much smaller colorspace
(sRGB) so unless you are going to do some composite work where that data
will end up in Adobe RGB, you're "stuck" with sRGB.
>
At this point do I save the sRGB file to disk and send it to the lab or do I
>
first have to convert the file to the printer profile?
No, I'd do the edits either on a layer or on a duplicate (because you're
editing the file based on a single output device and you might want to print
the file elsewhere). I'd convert to the output profile if you are not sure
that the lab will do this (they should) or you find any compelling reason to
edit in output space (usually not very productive for RGB but useful in CMYK
where you have that black channel to mess with IF necessary).
>
When soft proofing the image for a specific printer the soft proof will show
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the limitations of the printer space. If the printer space clips all of my
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bright reds and greens then there is really nothing that can be done. Is this
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correct?
Yup. That's the sad news.
>
I guess I could also choose another rendering intent to see if it does a
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better job of mapping the out of gamut colors to something a bit more
>
pleasing, but that's about it isn't it?
Yes. This is what's nice about the Convert to Profile command (or just make
3 soft proofs for each output profile. One for Perceptual, one for
Saturation and one for Relative Colorimetric which I'll bet you use most
often). Then when you convert, pick the intent. I would think you'd want to
settle on an intent in your soft proof BEFORE you do the output specific
editing.
>
Is there any point to color correcting any image without soft proofing to an
>
output space?
Only if you like surprises!
Andrew Rodney
http://www.imagingrevue.com/
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