All Forum Comments
Comment by Lilly posted on B/W images that have some color highlighted in them at 11/04/2007 - 23:14
Apologies if this sounds a bit daft, but In the two months since I have had my camera I have not had it connected by the USB cable to my computer. I have had no reason to as I have a card reader on my PC.
My question is :
Should I connect it up to install Pentax K10D camera profile on my PC?
.........as I did notice in a magazine illustration a picture of the Color Management Settings window box with Camera Product and Camera Profile underneath, which I do not have.
My question is :
Should I connect it up to install Pentax K10D camera profile on my PC?
.........as I did notice in a magazine illustration a picture of the Color Management Settings window box with Camera Product and Camera Profile underneath, which I do not have.
Comment by Lilly posted on Camera Profile? at 05/04/2007 - 10:04
I have just discovered RAW
and also what a wonderful bit of kit this K10D is; as you know I have been going along slowly, but WOW !!!
I don't think I will ever shoot in jpeg again (unless it is for quick snaps of stuff, whatever that may be!) never will I ever contemplate sharpening in camera either after seeing the effect of using unsharp mask in CS2 on a RAW file, WOW! I just want to blow up images poster size to see what they are like..
You know I was a little sceptical about purchasing this camera before and after, whether it was worth the notes.
When you are first faced with the images straight out of the camera compared to those ready made instant meals of the Canon compact I have ...I thought Oh Dear
Now, the penny has just dropped....what I have purchased is the ability to create a cordon bleu meal with the 'finest' ingredients, instead of the instant ready TV dinners of the compact.
Only taken me two months ...but I got there....I have joined the RAW club for sure
and also what a wonderful bit of kit this K10D is; as you know I have been going along slowly, but WOW !!!
I don't think I will ever shoot in jpeg again (unless it is for quick snaps of stuff, whatever that may be!) never will I ever contemplate sharpening in camera either after seeing the effect of using unsharp mask in CS2 on a RAW file, WOW! I just want to blow up images poster size to see what they are like..
You know I was a little sceptical about purchasing this camera before and after, whether it was worth the notes.
When you are first faced with the images straight out of the camera compared to those ready made instant meals of the Canon compact I have ...I thought Oh Dear
Now, the penny has just dropped....what I have purchased is the ability to create a cordon bleu meal with the 'finest' ingredients, instead of the instant ready TV dinners of the compact.
Only taken me two months ...but I got there....I have joined the RAW club for sure
thank you all so much for the positive feedback, it is very encouraging to know I am heading in the right direction, I want so much to prove my worth as a photographer and portray this beautiful county at its mystical mono best!
Comment by Lilly posted on Mono shots from Cornwall at 30/03/2007 - 18:14
Quote:
I'm just wondering how the cross would look if shot at more of an angle instead of straight on.
Detail is good on both, though duo toning is not evident to me. they both look like mono shots. What colours did you use for duotone?
Thanks Andrew, the duotone I applied was quiet subtle in both shots, perhaps too subtle, not as dramatic as the ones I have seen on your siteI'm just wondering how the cross would look if shot at more of an angle instead of straight on.
Detail is good on both, though duo toning is not evident to me. they both look like mono shots. What colours did you use for duotone?
For the cross I used:
Blk., Pantone Cool Gray 5c & Pantone 461C
I can't remember the bridge dutone spec. as I didnt save the profile for that one and I havnt got up to speed with the history button yet, on a steep learning curve!
Comment by Lilly posted on Mono shots from Cornwall at 30/03/2007 - 12:24
I have been experimenting with mono conversion with guidance from Joshua as posted a while ago.
I am trying to convey the mystical atmosphere of this celtic land and would appreciate any constructive comments if you feel so inclined.
Does the exposure look spot on to you?
This is of a railway bridge looking towards Hayle Estuary, not sure if it needs a walking figure on the road or not, what do you think?
I have duo toned, K10D, F16 1/45 ISO 100 17mm with 17-55mm kit lens
This is of a celtic cross at the head of a tomb I found in our local cemetary, originally it was a pretty mediochre image, I was testing out the K10D, but when I cropped it down by 50%, mono and duotoned, it became more interesting and atmospheric with the spooky trees out of focus in the background, well to me anyway
K10D, F5.6 1/125 with 17-55mm kit lens
I am trying to convey the mystical atmosphere of this celtic land and would appreciate any constructive comments if you feel so inclined.
Does the exposure look spot on to you?
This is of a railway bridge looking towards Hayle Estuary, not sure if it needs a walking figure on the road or not, what do you think?
I have duo toned, K10D, F16 1/45 ISO 100 17mm with 17-55mm kit lens
This is of a celtic cross at the head of a tomb I found in our local cemetary, originally it was a pretty mediochre image, I was testing out the K10D, but when I cropped it down by 50%, mono and duotoned, it became more interesting and atmospheric with the spooky trees out of focus in the background, well to me anyway
K10D, F5.6 1/125 with 17-55mm kit lens
Comment by Lilly posted on Mono shots from Cornwall at 29/03/2007 - 17:49
Quote:
John is right, 9300K is waaay too high. 6500k is much more realistic. However, your monitor should also be set to 6500K via its front panel settings
Regarding Epson printers... they have non-standard profiles For a printer there should be a profile for every paper type, and Epson bundle it all into one profile - and it's only their printer driver that can access the various profiles
So, that being the case, you have two options... and I'll suggest one of them
* Tell Photoshop to use the profile "AdobeRGB" when printing, and get it to adjust the profile. This means that if you shoot sRGB, Photoshop will do the colour transformation into the AdobeRGB space before sending it to the printer driver
* Use "Relative Colormetric" and check "Black Point Compression". (You could use "Perceptual" as the intent, but you may get a slight colour shift, so Relative Colormetric is more suitable for portraiture and weddings etc)
* In the printer driver, there should be a setting for "AdobeRGB" in the choice of settings (the other choices will be ICM etc). It's often buried away in a combo box.
* Be sure to select the correct paper type (as suggested in the paper pack) in the printer driver.
(Yes, I know that there's the possibility of two colour space transformations with this setup, but you really should be processing in AdobeRGB anyway )
The thing to remember is not that everything should have the same profile - but that it should have the profile applicable to the device. Photoshop and/or the printer driver does the mathematics to transform from one colour space to another (that's what the "Intent" is about - it's how you map from one to another).
I could bore you for hours on colour management... but I hope that'll get you started
Matt
Thanks Matt, It's not boring, I am hanging on every word, just wish I cd understand it betterJohn is right, 9300K is waaay too high. 6500k is much more realistic. However, your monitor should also be set to 6500K via its front panel settings
Regarding Epson printers... they have non-standard profiles For a printer there should be a profile for every paper type, and Epson bundle it all into one profile - and it's only their printer driver that can access the various profiles
So, that being the case, you have two options... and I'll suggest one of them
* Tell Photoshop to use the profile "AdobeRGB" when printing, and get it to adjust the profile. This means that if you shoot sRGB, Photoshop will do the colour transformation into the AdobeRGB space before sending it to the printer driver
* Use "Relative Colormetric" and check "Black Point Compression". (You could use "Perceptual" as the intent, but you may get a slight colour shift, so Relative Colormetric is more suitable for portraiture and weddings etc)
* In the printer driver, there should be a setting for "AdobeRGB" in the choice of settings (the other choices will be ICM etc). It's often buried away in a combo box.
* Be sure to select the correct paper type (as suggested in the paper pack) in the printer driver.
(Yes, I know that there's the possibility of two colour space transformations with this setup, but you really should be processing in AdobeRGB anyway )
The thing to remember is not that everything should have the same profile - but that it should have the profile applicable to the device. Photoshop and/or the printer driver does the mathematics to transform from one colour space to another (that's what the "Intent" is about - it's how you map from one to another).
I could bore you for hours on colour management... but I hope that'll get you started
Matt
I am embarrassed to say that I have just found that I can adjust the color space setting on the camera, it has been on default sRGB all this time.
Can you explain in simple terms the reasons for shooting in sRGB and AdobeRGB?
Comment by Lilly posted on Monitor Calibration & Profiling for DUMMIES at 29/03/2007 - 23:07
I have just realised I can adjust the color space setting on the camera
It has been on default sRGB all this time., I presume I am correct in assuming it should be set on AdobeRGB, if I have a main priority of printing images myself, editing in AdobeRGB :
Of course if I post them on the web I can convert them to sRGB in CS2 :
It has been on default sRGB all this time., I presume I am correct in assuming it should be set on AdobeRGB, if I have a main priority of printing images myself, editing in AdobeRGB :
Of course if I post them on the web I can convert them to sRGB in CS2 :
Comment by Lilly posted on Monitor Calibration & Profiling for DUMMIES at 29/03/2007 - 11:34
OK John, I have got a pair of post boxes here, sorry to go on about this but I DO appreciate feed back re: my problem from the top of the page, as I have now come to realise it will be a total waste of time setting up my website and trying to print images without there being any corellation between monitor,web, PP and printing.,
Please let me know folks if red post boxes look pretty representative of a normal hue to you all....
PS: they were RAW and I have done nuthin to them AT ALL!!!
Please let me know folks if red post boxes look pretty representative of a normal hue to you all....
PS: they were RAW and I have done nuthin to them AT ALL!!!
Comment by Lilly posted on Monitor Calibration & Profiling for DUMMIES at 26/03/2007 - 18:33
Thank you for the positive feedback re my red boxes, looks like monitor as you say is sound now.
Printer details:
EPSON STYLUS PHOTO R245
Always use EPSON paper & inks
One thing I did manage to do yesterday was download the ICC profile from SONY website for my TFT monitor.
They gave me a choice of two: 6500K & 9300K, I loaded the cooler 9300K.
Now tell me if I am wrong but I decided to load the same ICC profile as default on my printer, yes or no :
When I print in CS2 I let CS2 decide the color management output.
Printer details:
EPSON STYLUS PHOTO R245
Always use EPSON paper & inks
One thing I did manage to do yesterday was download the ICC profile from SONY website for my TFT monitor.
They gave me a choice of two: 6500K & 9300K, I loaded the cooler 9300K.
Now tell me if I am wrong but I decided to load the same ICC profile as default on my printer, yes or no :
When I print in CS2 I let CS2 decide the color management output.
Comment by Lilly posted on Monitor Calibration & Profiling for DUMMIES at 26/03/2007 - 20:14
another way to skin that cat is to convert your image to b&w in PS and then use the history brush to bring back the color to specific areas
for those you need a few more pointers this is what I did:
convert image to mono whatever way you normally do
adjust levels etc
switch back Image Mode to RGB
select History Brush Tool and rub over the area carefully you wish original color to be revealed
if I need to be corrected on this feel free to say so, just how I worked it out meself
It rather a thing to do...as long as its not over done