Re: fine art reproduction questions
Re: fine art reproduction questions
- Subject: Re: fine art reproduction questions
- From: Ben Goren <email@hidden>
- Date: Sat, 1 May 2010 14:22:56 -0700
On 2010 May 1, at 9:55 AM, neil snape wrote:
> If you want to find out more about HDR , then go ahead there are lots of
> sources,
>
> If you don't know a thing about the DR of a DSLR then you had better take a
> look around.
Neil, I think Roger and I are both fully aware of what HDR is and have a solid understanding of the dynamic range of modern DSLRs. Where we're getting confused is that the dynamic range of a DSRL far exceeds the dynamic range of an externally-lit non-fluorescent non-specular reflective object. HDR is great for, say, a scene of the deep shade at the bottom of Muir Woods with just a hint of sun striking a few treetops in the distant background...but that's quite a far cry from acrylic on canvas evenly lit with strobes -- even if said acrylic is a painting of that exact same forest scene.
Could you point us to some examples of art you've shot that required HDR for optimum results? Ideally, a side-by-side comparison of the baseline exposure and the final HDR composite?
Also, I wasn't quite clear on your workflow. You image the X-Rite Passport with multiple exposures, composite them (with what software? what settings to ensure consistency?), and then profile them with...what software? As far as I'm aware, the Passport only ships with software to make DNG profiles.
And are you really satisfied with the Passport as a target for this kind of work? The ColorChecker by itself is obviously inadequate, but are those extra half-dozen near-spectral patches really enough for a significant improvement? And why the Passport instead of the SG?
And, again, how are you printing these once you've imaged them? Surely your printer doesn't have more dynamic range than the original artwork...or does it? If so, what's your secret?
Do please share!
Cheers,
b&
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