November 2023 - colorsync-users

Re: colorsync-users Digest, Vol 20, Issue 25
by Louis Dina 19 Nov '23

19 Nov '23

Andrew and Andrew... Thanks for your responses. (My internet has been down for 3 days and I just switched to a new carrier, so please pardon my delay in responding.) I suspect editing for "pleasing results" is probably the most sensible approach. I like my initial WB to be reasonably close, mainly as a point of departure. When editing and staring at the monitor for a while, it's very easy for my eyes to adapt to the displayed image and fool me into thinking my edits look good, when in fact they are not. When coming back to revisit an image after some time away from my computer, problems with color, saturation, brightness and contrast often slap me in the face. Defeating "eye adaptation" has always been my biggest challenge, so getting WB close initially helps. That is what prompted my question. I find that using some sort of reference (white card, gray card, Color Checker, etc) can help, but I also find that forcing those neutral patches to be truly neutral often results in a WB that that seems to disagree somewhat with what "I think" my mind remembers. I suspect our eyes pick a WB that lays somewhere in between AWB that camera suggests and forcing a gray card to be perfectly neutral. So, I was hoping to learn more about how our visual system "white balances" a scene. If I am photographing a portrait in the woods under a canopy a green leaves, a gray card works very well. I want the skin tones to be accurate so the person doesn't look sickly greenish yellow, and the rest of the scene is less critical. But, if the scene is of the woods themselves, I find that a gray card often results in overcompensation. Anyway, thanks for your responses. Color is complicated. Lou

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HDR and ICC
by Jeff Nova 19 Nov '23

19 Nov '23

Can anyone share any news about the ICC committee on HDR’s status? We’re starting to feel the HDR heat! Very best, Jeff

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WB Questions
by Louis Dina 17 Nov '23

17 Nov '23

Okay you gurus, I have some questions about white balance, and I’ll use an example to hopefully make it clearer. I often take nature photos in the woods, and it’s not unusual for my DSLR’s AWB to set the WB to something like 4200K and a tint of -3 or so. The camera sees all the greenish yellow leaves on the trees, reddish yellow leaves on the ground and probably assumes there is a yellowish cast, so it assigns a cooler WB to neutralize the “color cast” it thinks it sees. The result is an overly bluish image, and depending on the amount of green leaves or yellow-red leaves, it adjusts the tint as well. Not very accurate. If I use a gray card and use it to set an “accurate” WB, it forces the card to be perfectly neutral. That’s great for portraits, skin tones, or when you want a specific object in the scene to look more like it would when shot under daylight conditions (I.e., no shady woods to influence the color). However, if the goal is just a photo of the woods themselves, I often find this gray card WB to be overly warm and yellow. I’m guessing that our eyes and brain pick a WB that is somewhere between the above extremes. Perhaps we don’t really see a gray card as perfectly neutral under these conditions, so forcing it to be 0a/0b, may not be the best choice. I did a search on the internet, but didn’t find anything other than the “accurate” gray card method. There’s probably no simple answer, but I thought I’d see what folks on this forum have to say (assuming anyone hangs out here anymore!!). Thanks, Lou

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Unlock the World of Color in Paris: Join Us at CIC31 Mon. 11.13.23
by Roberta Morehouse 07 Nov '23

07 Nov '23

🌟 Exciting News! 🌟The 31st Color and Imaging Conference (CIC31) begins Monday, Nov. 13 and it will be an amazing week at the Sorbonne Université. If you find yourself in the beautiful city of Paris, don't miss this opportunity to connect with the global color community and immerse yourself in a week of dynamic talks, the latest research and methods, and invaluable networking opportunities. hashtag<https://www.linkedin.com/feed/hashtag/?keywords=cic31&highlightedUpdateUrns…> is just around the corner, and it will be an amazing week at the Sorbonne Université 🎓. If you find yourself in the beautiful city of Paris, don't miss this opportunity to connect with the global color community and immerse yourself in a week of dynamic talks, the latest research and methods, and invaluable networking opportunities. Here are the options to participate: 🔹Full technical program registration - includes access to the APPAMAT Material Appearance workshop. 🔹Discounted student registration 🔹1-day technical registration 🔹 Short course or workshop-only 🔹 APPAMAT Material Appearance workshop Secure your spot now by registering in advance or onsite! Don't miss out on this incredible opportunity 👉 https://bit.ly/CIC31_About November 13-17 November 2023 Centre International de Conférences Sorbonne Université (CICSU) Campus Pierre & Marie Curie Paris, France https://bit.ly/CIC31_About Roberta Morehouse, CMP Communications and Marketing Manager Society for Imaging Science and Technology (IS&T)<http://www.imaging.org> —imaging across applications— IS&T is a non-profit organization dedicated to advancing science and technology in imaging. Please consider a donation.<https://www.imaging.org/site/IST/About_Us/Donations/IST/About/Donations.asp…> Please contact info(a)imaging.org<mailto:info@imaging.org> for immediate requests! Connect with us on LinkedIn<https://www.linkedin.com/company/society-for-imaging-science-and-technology…> and Twitter<https://twitter.com/ImagingOrg> @ImagingOrg

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