A fun observation: My calibration software can show me the diff between the idealized chart and a real chart. It reveals nicks scratches dust stains thumb prints uneven lighting. You can do the same in Photoshop. These contaminants can have a huge impact on the measured color and need be compensated for. Not sure these effects are worse than aging. When I tell partners they need a better chart they often say they have none. :-( Take good care of your charts! Lars
Lars, and that's just the charts - now when I look at the calibration tile of my spectro ... Edmund On Tue, Nov 5, 2013 at 12:02 AM, Lars Borg <borg@adobe.com> wrote:
A fun observation: My calibration software can show me the diff between the idealized chart and a real chart. It reveals nicks scratches dust stains thumb prints uneven lighting. You can do the same in Photoshop. These contaminants can have a huge impact on the measured color and need be compensated for. Not sure these effects are worse than aging. When I tell partners they need a better chart they often say they have none. :-( Take good care of your charts!
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Thanks to all for your feedback. As usual on this list, lot's to ponder. I'll read my color checker and try to use those readings, see if the RPP 64 error is lessened. I'll also compare them to the online spreadsheet to see how they compare. I also need to get my spectro back to the factory for recalibration. Ben- I've read with interest your writings on fine art reproduction, and making custom targets. I'm assuming that the effort you've put into this has paid back in greater efficiency in your work flow. Can you summarize on average how many test prints it takes to get to a saleable product? I also need to follow up on the RPP profile generator. I've read, and will re-read the manual regarding the profiling procedure, and follow up with some questions on their forum I also need to review my camera technique (or lack there of) in shooting the target and art to debug that process. I'm finding success in fine art reproduction to be an elusive goal, partly from technical problems I need to solve, and partly from what I would call macro economic issues. The prevalence of much shorter runs from individual artists makes the amount of tweaking of a file needs to be lessened to do any of this profitably. I keep trying to channel Todd & Zakia with limited success. I've had great results with profiling my inkjet printers and have been producing really nice prints from a variety of files supplied to me by my commercial clients for many years, and print rejection due to color issues is pretty much nill. I know that's because it's the world of pleasing color I'm working in for them, and I can reflect on my 28 years in this business and marvel at how the science has improved. Thanks to all of you guys who have worked so hard behind the scenes to move us this far forward!
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-- Marc Sitkin digitalmomentum, llc. 1700 NW 15th Ave Suite 360 Pompano Beach, FL 33069 954-973-2670 phone 888-880-5851 web site: www.digitalmomentum.com marcsitkinphotography.com wideandnarrow.tumblr.com
Hello Marc: I have arrived late, and the answers and your final post make me question how is configured your working space and tools for art reproduction. What is your photographic system and light source? I have been working with ColorChecker SG and RPP profiling tools and works fine; sadly I can't show you the report because the data is at institution and can't find the mail where Illiah instruct me with menu options, but from memory dE was about 2. RawDigger and MakeInputICC. El 05/11/2013, a las 14:54, Marc Sitkin escribió:
Thanks to all for your feedback. As usual on this list, lot's to ponder.
I'll read my color checker and try to use those readings, see if the RPP 64 error is lessened. I'll also compare them to the online spreadsheet to see how they compare. I also need to get my spectro back to the factory for recalibration.
Ben- I've read with interest your writings on fine art reproduction, and making custom targets. I'm assuming that the effort you've put into this has paid back in greater efficiency in your work flow. Can you summarize on average how many test prints it takes to get to a saleable product?
I also need to follow up on the RPP profile generator. I've read, and will re-read the manual regarding the profiling procedure, and follow up with some questions on their forum
I also need to review my camera technique (or lack there of) in shooting the target and art to debug that process.
I'm finding success in fine art reproduction to be an elusive goal, partly from technical problems I need to solve, and partly from what I would call macro economic issues. The prevalence of much shorter runs from individual artists makes the amount of tweaking of a file needs to be lessened to do any of this profitably. I keep trying to channel Todd & Zakia with limited success.
I've had great results with profiling my inkjet printers and have been producing really nice prints from a variety of files supplied to me by my commercial clients for many years, and print rejection due to color issues is pretty much nill. I know that's because it's the world of pleasing color I'm working in for them, and I can reflect on my 28 years in this business and marvel at how the science has improved. Thanks to all of you guys who have worked so hard behind the scenes to move us this far forward!
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-- Marc Sitkin
digitalmomentum, llc. 1700 NW 15th Ave Suite 360 Pompano Beach, FL 33069 954-973-2670 phone 888-880-5851
web site: www.digitalmomentum.com marcsitkinphotography.com wideandnarrow.tumblr.com _______________________________________________ Do not post admin requests to the list. They will be ignored. Colorsync-users mailing list (Colorsync-users@lists.apple.com) Help/Unsubscribe/Update your Subscription: https://lists.apple.com/mailman/options/colorsync-users/jbueno61%40gmail.com
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participants (4)
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edmund ronald
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Jose Bueno
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Lars Borg
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Marc Sitkin