Re: In search of a D50 Editing colorspace
Re: In search of a D50 Editing colorspace
- Subject: Re: In search of a D50 Editing colorspace
- From: Peter Miles <email@hidden>
- Date: Fri, 05 Sep 2014 19:52:39 +1200
On 5/09/2014, at 6:49 AM, Steve Upton wrote:
>
> On Sep 3, 2014, at 8:02 PM, Peter Miles <email@hidden> wrote:
>
>> As far as I can see, the problems caused by Adobe doing this, …..
>
> Lars may back me up for refute me but, I think that it’s important to recognize that Photoshop is, primarily, a relative-color tool and not an absolute-color tool.
Thanks Steve for the thoughtful reply.
From what I have been experiencing I can see that this is true.
Looking at the options available in photoshops 'convert to profile' dialogue box, a user could be forgiven for thinking photoshop was a little more flexible in it's color handling than it really is .
> The types of continuous tone images that Photoshop is typically used to process are not single-color absolute-matching exercises.
> That’s why, to me, it made sense that Adobe changed the behavior of abs col conversions from non-D50 working spaces. It’s more in line with what the mass majority of users of that type of tool expect.
I can see why they did that and that it was the sensible thing to do.
> (and I don’t mean they dumbed it down, although that’s an argument)
> The color science geek in me is a bit sad that it’s gone (made for a good demo sometimes).
> I also agree that unavailable rendering intents should be greyed out in working-space to working-space conversions.
Yes, giving me the option to select something thats never going to happen seems a bit tragic to me.
> But from a produce management & evolution perspective I think Adobe is probably making the right choices
> Which begs the question. Respectfully, are you making the right choice in using Photoshop for some of these color operations?
Knowing when your at the limit of a tool, is a good time to put it down and pick up another.
Thanks for taking the time to reply
Best regards
Peter
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