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8 Megapixel vs 6 Megapixel SLR Cameras
Wednesday July 7, 2004
by Peter K. Burian

Peter Burian compares 8 megapixel and 6 megapixel digital SLR cameras in his latest article.

Profile Maker 5.0
Monday June 28, 2004
by Bruce Fraser

Bruce Fraser gives us his expert critique of GretagMacbeth's professional color management suite - ProfileMaker 5.0.

Getting it Right: Correcting Skin Tones with Hue/Saturation
Wednesday June 9, 2004
by Jon Canfield

Jon Canfield shows us how to achieve accurate skin tones in Photoshop using Hue and Sat.

Book Review: Color Confidence by Tim Grey
Monday May 24, 2004
by IR Staff

IR Staff reviews Tim Grey's new book Color Confidence. Included is an excerpt from the book, Chapter 3, which deals with choosing and calibrating Displays.

Creating Panoramas
Monday May 10, 2004
by Ellen Anon

Ellen Anon illustrates the creation of Panoramas in Photoshop.

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Color Management/WorkFlow > Workflow > ProPhoto RGB and display saturation

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AuthorSubject: ProPhoto RGB and display saturation   [Go to Bottom of Page]
Christopher Campbell
Posted on Sat May 15, 2004 8:32 AM

Thanks to the advice and prompting available on this site, I have recently switched from using Capture One to ACR 2.2 to convert my RAW Canon 10D files, and I have also switched my working space to ProPhoto RGB. Second, as part of my attempt to upgrade the quality and accuracy of my whole system (G4/LaCie & Mitsuibishi monitors/basICColor Display/Epson 1280), I took advantage of the IR profiling service to have a 2880 dpi profile built for the Epson Premium Semigloss Photo paper. To see the effect of the IR profile, and to begin to compare it with my previous canned profile from Cone Studio, I called up one of the target files (TC918 iCColor 3_3.tiff), and split the screen with two copies (the monitor is carefully calibrated to D65, 2.2). I left the first as a reference, and soft proofed the new IR profile to the second. The soft proof window immediately shows all the brightness distinctions in the columns of magenta patches that the Epson print shows, but I was astonished to see that given my prior choice of ProPhoto RGB as a working space in Photoshop CS, those value distinctions are nearly invisible in the reference file window on the monitor (instead I see long columns of nearly undifferentiated blazing magenta). The differences between patches become clearer if I choose a smaller gamut as a working space (for instance, Adobe RGB), but this leads me to wonder if there is any issue here related to working space, display saturation and "real world" images.

I realize that ProPhoto is a much larger space than any camera's sensor, any monitor's display, or any printer's gamut (the whole idea of imaginary primaries is pretty wild!), but does that ever mean that there are times when choosing it as a working RGB space is eliding or obscuring distinctions that I need to see on screen when editing an image? Or is my inability to make a meaningful on-screen comparison between the test file and the soft proof simply follow from the fact that the test file is explicitly untagged, and has been brought into Photoshop in the "Leave as is (don't color manage)" category? Perhaps if I follow Jeff Schewe's advice in one of the threads to simply stay in 16-bit mode, and never to boost saturation carelessly in ProPhoto, such that one is asking for levels impossible to display or output, the issue will never arise.

I just purchased Bruce Fraser & David Blatner's _Real World Photoshop CS_ this past week (something I clearly should have done long ago), and have to say that the combination of that superb book and the wealth of information on this site is transforming my sense of what is possible photographically. Six months ago I thought I was reasonably adept at color management, digital capture and editing, and I now know enough to realize that I've hardly begun! Strange to feel like a newbie all over again . . .


... this thread contains expert advice from John Paul Caponigro and Bruce Fraser.




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