I should probably clarify that I'm of the school of thought that I want "colorimetric" accuracy first and THEN I'll start making "artistic" decisions about my photography.....I don't want or need the raw capture workflow to make certain assumptions about what should be pleasing to me or "perceptually" accurate. Give me the cold/hard truth about my capture and let me take it from there. tw On Jun 6, 2013, at 2:22 AM, Graeme Gill <graeme2@argyllcms.com> wrote:
Terence Wyse wrote:
As someone who uses photography for both "artistic" reasons and art reproduction, I've been watching with interest this whole discussion and Andrew hit's on something that should've been laid down from the beginning.......colorimetric matching has EVERYTHING to do with art reproduction but I think "perceptual" matching is what we're looking for in general photography...or artistic photography if you will.
Yes, but that's not the point. The point is how you get to a perceptual pleasing result. Just because the end result isn't colorimetric, doesn't mean that it's a good idea to skip colorimetric as a first step.
Unless I can put a spectro on a leaf or a bird or the sky or a flower, colorimetric matching for this kind of photography has virtually no meaning to me.....there's simply no WAY I can know if I'm getting a match to the original scene....
You can if you have confidence that the capture process is essentially colorimetric, with no imposed artistic "look" in it. You create such a process by calibrating/profiling it under controlled conditions.
Doing so in a way that you can apply in general situations has it's challenges if the camera spectral sensitivities don't match the human observer very well.
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