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IanBarber Profile
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Re: Understanding the Color Managed Workflow


Stick to what I have put and you won't go far wrong

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Re: Understanding the Color Managed Workflow


well I have been printing using ProPhoto, but this does raise interesting questions.

We have all seen what happens when you try t posta n image in prophoto on the web, that exaggerates the problem of course but must to some extent illustrate what happens albeit t a lesser extent , what you edit in prophoto and then print

Im sure nothing is noticed when doing mono but I can sure imagine it could cause problems with colour

Colour printing it seesm to em is yet another minefield over and above B+W printing. Dan Marguilis in his book about LAB colourspace asserts that you can go back and forth between Prophoto and LAB numerous times with no ill effect upon colour, yet when I tried it ONCE the result was colours so scrambled that what should have been postbox red wanted to print as almost pure megenta, and when I posted on several forums about this , n one could explein wy it had happened.

this is complicated stuff my friends

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Re: Understanding the Color Managed Workflow


This is a good listen and might tell you Simon about the colours in ProPhoto causing problems with certain files




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IanBarber Profile
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Re: Understanding the Color Managed Workflow


quote:

martinimages wrote:

With respect Ian that is your workflow, there are dozens of threads about this on the net that are for and against either.

It has to be the end user to study both and come to an educated decision as which suits them.

It should read The workflow YOU use emoticon



I stand by my statement :P



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Re: Understanding the Color Managed Workflow


ProPhoto will only cause issues with certain saturated colours because the devices we use today (2015) are only capable of displaying a smaller gamut of colours.

Surely it makes sense to preserve all the data we capture in the RAW file. We do this by placing into the largest box at our disposal which today (2015) is ProPhotoRGB.

I accept that we may not be able to print or display all these colours which is why soft proofing and rendering intent is there to guide us.

But what about the future ?
What happens in 3,5,10 years from now when the output devices can output a gamut range of ProPhoto.

Those that decided to place all that data they captured into a smaller box (sRGB, AdobeRGB) will be kicking themselves as they will have to go back and re-edit from scratch.

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Re: Understanding the Color Managed Workflow


This is a very interesting subject which I can only just begin to understand however, what I would like to know is what effect, if any, the chosen colour space could have on what I am trying to do.

Firstly, does a digitised colour slide and/or colour negative have the same sort of colour range as would be captured by a DSLR (assuming a RAW image) and how are the images formed by a black and white conversion affected by the colour space set?

Norman
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Re: Understanding the Color Managed Workflow


Think of colour space as nothing more than a box. As photographers, we have 3 sized boxes which we use

Small = sRGB
Medium = AdobeRGB 1998
Large = ProphotoRGB

When you scan your slides, the scanner software will give you a list of options as to what colour space you can have. Choose the largest available.

Just remember though that if you scan in Adobe RGB for example, you can still work in ProPhoto in Photoshop but you will not gain any extra data simply because you scanned the negative in at AdobeRGB.

Black and White is another Rat Hole i'm afraid. Some like to work in the Grey colour space which I can understand if your original file started its life as black and white but for DSLR where the original RAW capture is colour, then using an RGB Colour space for your digital black and white edits will give you greater control of the conversion.

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Re: Understanding the Color Managed Workflow


Thanks Ian, things become even clearer and I will see what the future brings.

Norman
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Re: Understanding the Color Managed Workflow


As I've only recently discovered, there is at least one disadvantage to using the ProPhoto colorspace.

Ian, if you recall, several months ago, I asked for your assistance because my black and white prints were coming out very dark using my Epson 3800. Even when I shared my screen with you on Skype neither one of us could diagnose the problem. Well, I've gone back to Adobe 1998 and the print output is perfect. What I see on my screen and print preview is exactly what I get. No more fussing around with curves or shadow boost actions. I just wanted to make you aware of this.

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Re: Understanding the Color Managed Workflow


quote:

StevenZ wrote:

As I've only recently discovered, there is at least one disadvantage to using the ProPhoto colorspace.

Ian, if you recall, several months ago, I asked for your assistance because my black and white prints were coming out very dark using my Epson 3800. Even when I shared my screen with you on Skype neither one of us could diagnose the problem. Well, I've gone back to Adobe 1998 and the print output is perfect. What I see on my screen and print preview is exactly what I get. No more fussing around with curves or shadow boost actions. I just wanted to make you aware of this.



Having gathered more information, I now understand that QTR expects to receive a file with a gamma value of 2.2 which is probably why You are getting better results from Adobe 1998.

I still feel it is better to edit all the way through and then save the image in Adobe 1998 prior to printing



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