[argyllcms] Re: [argyllcms]

  • From: Ben Goren <ben@xxxxxxxxxxxxxxxx>
  • To: argyllcms@xxxxxxxxxxxxx
  • Date: Sat, 9 Sep 2006 22:15:41 -0700

On 2006 Sep 7, at 7:01 PM, Graeme Gill wrote:

> Ben Goren wrote:
>> Just to  make sure  I've been  doing this  right-- I  use Bruce
>> Lindbloom's BetaRGB  as my  working space in  Photoshop, etc. I
>> convert images  to that space  early, and only convert  them to
>> something else  for a specific reason  (such as to sRGB  as the
>> last  step in  making something  to post  on the  'Net). Images
>> (etc.) that I print (that I  care about) are always in BetaRGB.
>> I feed the BetaRGB profile to -S. This is correct, no?
> That's a  straightforward way  of approaching  it, and  may work
> well enough in most cases.
> You may find  that it is not optimal  though. Using a colorspace
> to define a gamut [. . . .]

Thanks much for this  introduction to selecting colorspaces. Seems
I've got a lot more to learn.

Up till  now, I've  been mostly  printing with  Photoshop's (etc.)
perceptual intent,  as that's  produced the  best results  for the
kinds of  photos I've been printing. Some  large-gamut images have
lost their  punch, though,  and I've attempted  manual adjustments
with the soft proof and  gamut warning turned on. At first glance,
I  got  better results...but  I  also  completely obliterated  the
detail in the photo.

Now I've got a good idea of  where to start in figuring out how to
solve the problem correctly. Like I said: thank you!



P.S. Damn you, too,  for opening my eyes, making me  take the time
to learn new  things, and all that. But don't  worry. I don't hate
you for it. Much. b&

P.P.S. I'm mostly working with RAW files  from a Canon 300D; I use
Adobe  Camera  Raw  to  get  it into  Photoshop  in  the  ProPhoto
colorspace, and then convert immediately to BruceRGB for a working
space. And, yeah,  some of the  images really  do have that  big a
gamut. I just don't  (yet) know the best way to  deal with 'em. On
the other hand, they also tend to be the photos with the trickiest
lighting, with a few blown highlights and some invisible shadows--
direct sunlight on an Arizona summer afternoon, for example. b&

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