Re: Color accurate workflows (was in search of a D50 Editing colorspace)
Re: Color accurate workflows (was in search of a D50 Editing colorspace)
- Subject: Re: Color accurate workflows (was in search of a D50 Editing colorspace)
- From: Peter Miles <email@hidden>
- Date: Fri, 05 Sep 2014 19:26:54 -0700
Lars wrote...
.... Further to note, the scanner output is in a non-D50 color space.
So what's not supposed to be working?
Hi Lars
I am not saying that what is implemented doesn’t work. In fact the whole process does an amazing job. I truly am in awe at how well it does it work. And it’s so easy to use too. I am deeply impressed. really!
Recently, I was doing work for a staff member who is a photographer who makes his own albumen prints. The fine colour relationships from the original to print are critical to him. He is careful to point out to me the color differences between a two coat Alubmen print from a single, from a one gold toned and one thats not. And how his favourite paper is influencing the appearance of his image.
Striving to meet his needs (and other staff with a similar passions) is whats driving me to want to explore the excellence thats available to me in photoshop.
I am still wrapping my head around the absolute colorimetric handling of RGB spaces, and a few other things you’ve been bringing up in your posts. I am trying to work through what the implications for them might be, and if there is anything I’d do differently in photoshop, for knowing this. There could well be nothing I’d change. But I’m trying to think them through none the less, with a desire to…
- change what I do if needed
- change my conceptions around whats happening with color,
- change my conceptions around whats happening when I request photoshop to do something.
All so that I can more intelligently use photoshop.
When I scan a albumen print on a flatbed scanner the scan colors on screen on my 5K monitor come quite close. but not not perfect. I am mindful that not only is the RGB file I’m editing is going to be a means of making a print, but that the file itself will be an digital archive of the appearance of this object into the future.
Before I start pushing the color of those pixels back in the direction of ‘perfect’, I want to be sure that the pixel color in the scan I acquired are as close as possible as it could be. (with in the limitations of the scanner) I am not going to convince my boss to invest in spectral capture tools any time soon. So in addition to eyeballing the monitor with the photographer beside me, on occasion i’ll use the i1pro to sample a representative tone from the albumen print, calculate the RGB value, and use it as an aid in photoshop to help guide moving those pixel colours back in the direction of ‘almost perfect’.
The color changes we are making adjusting the Albumnen scans are smaller than the color shifts caused by scaling color to paper media white when printing. Which is why they are printed absolute colorimetric ‘in house’. For publication the scans we make are than good enough for a paper media relative-color reproduction.
I had a look at the scanner RGB cloorspace ICC profiles I had available on my hard drive in colorthinks gamut viewer. They all display within a whisker of D50. And the pixel plot in colorthink of the scan of my gretag chart in scanner space has the neural patches nearly along the L axis.
If the scanner colorspace departed significantly from D50, I’m beginning to think a relative colorimetric scale to D50 would be exactly the thing I’d want?
So at this point of time. The only the only thing I see that I’d change is to use D50 based editing spaces for when I turn a reading from an i1pro to its equivalent RGB value. Because that process is a lot easier in a D50 space for me.
Thanks for your time and clarifying whats going on.
Best Regards
Peter Miles
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