Published: April 10th, 2008
Duration: 27:33
Stephen from Washington
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Mark: You sort of lost me on this one. Guidance that the ProPhoto colorspace requires soft-proofing, Adobe RGB 1998 does not, and going direct to sRGB if you send out for prints without even mentioning the amount of color data lost with that decision left me a little stunned.
Perhaps I misunderstood you. However, I suspect you were trying to keep it simple, and I applaud that, but the net result is that people who do not know better will have it wrong from the get go. Maybe a bit of a workshop could be devoted to the difference between assigning a colorspace and converting to a colorspace, along with some counsel on what happens to the color data when you do that?
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This is a welcome return to form. I would say that I am an advanced photoshop user, none fo these techniques nor their application are new to me, but this was still very valuable. I find this much more helpful than they more niche workbenches of late. I find it very useful to see your process.
Alex
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Mark:
Nice transition from an overly dark scene to Velvia. I have a question about the use of Exposure and Black sliders in Cam Raw - specifically about the aggresive movement of the sliders until you see white or black, respectively (using opt button). I have nothing against having pure whites and blacks in scene. As CamRaw inherently adjusts in Normal Blending, one can easily clip colors when shifting Exp & Blks that far, resulting in banding in one's prints. (Of course, were these sliders to work in Luminosity mode, none of this would happen.) I'll see Jardine next week and will ask what is generally preferred by his teams. Will report next week.
Rick
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What a great Workbench! Thank you for taking the time to do a walk through of your workflow. Though I've picked up many of the pieces/parts from your previous Workbench tutorials, I'd hesitated to shift to processing in the RAW converter because I'm so familiar with Photoshop adjustment layers. This demonstration gives me some confidence to dig in and trust that the results will be just as good, if not better!
P.S. The Nikon D300 has two color space settings: sRGB or Adobe RGB, so it would seem to be coming into the converter with a profile attached. ("None" is not an option.)
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AprilS, I think what Mark was saying was that if you are shooting RAW then those images have no colour space assigned to them (by default). The options of sRGB and Adobe RGB only apply when you are shooting JPEGs.
In peace
Brett
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Well that was a most interesting and informative video Mark, which raises quite a few points.
It is the first time I've seen CS3 demonstrated and I had to laugh to see that Adobe are now charging for a feature that has been free for over 2 years to Photoshop users from Elements upwards - namely HSB adjustments - and they have implemented it as crude sliders instead of curves. For those of you who do not have CS3, but want to play with Hues, then see my web site - EasyCurves is under the Actions page and you can download it for free! (http://www.broadhurst-family.co.uk/lefteye/)
At the risk of being blown out of the water, I have to disagree with two fundamental steps of your work flow.
Perhaps the first is more of terminology - in no way were you "Colour Correcting" the image, rather you were "Colour Painting" it to present your interpretation of the scene. The white house is no more white than a dirty T-shirt and the colours you painted emphasis the aspects of the scene you wanted to convey to the viewer. Colour correction is all about trying to correct what the camera took and should be the first step before Colour Painting. But I would agree that this is the artistic way of adjusting an image - what I personally call Ph(oto)Art.
However the more serious aspect I want to raise is using a wide colour space to make the adjustments and then throttling it down to a smaller space to print/present. There seems little point in finely turning in a wide space to then loose it in a small one - to exaggerate the idea, it is rather like adjusting the image in colour and then printing it in black and white - bit of a waste of time!
It is vital that your intuitive approach and fine colour balance is performed on a good calibrated monitor, otherwise the final presentation (on a different screen or print) will be (completely) different.
Thank you for taking the time to present the video, I enjoyed seeing how you played with the image. Out of interest have you ever tried the Lab colour space - it has so many advantages over the more normal RGB space?
Chris (AncientSnapper)
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