Quote:
Originally Posted by Cmike2780
Color correction never turns out the way you want it and a critique on color correction from different perspectives is a bit silly to be honest. It could be numerically perfect, but different monitors will always project images differently. That's not to say you shouldn't take Z&I's advice. Just don't lose sleep if it's not 100%. I like to shoot with a custom WB & a gray card. I shoot jpeg+RAW and use the jpeg file as a reference to start off from. As much as I love Photoshop, sometimes, it's just overkill and you end up with an image that looks.....well...photoshoped.
If you plan to print your pictures, I'd calibrate it to the way your printer is set up.
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I agree somewhat ... In the end, you do need a reference calibration for the printer and why not take it a step further - why not nuetralize the camera sensor and image file ?
Trying to Color Correct looking at a monitor and then printing out can be hit or miss at best.
Your eyes can easily deceive you.
Going by the numbers is a proven way to produce a color accurate file.
Couple that with a correctly calibrated/nuetral printer and you are all set.
I started my life in photography some years ago as an apprentice to a pair of commercial photographers back in the days of film.
They shot primarily large format and 120 roll film.
I got to do the developing and printing...so I got my hands wet and my butt reamed when I ran a bunch of prints not up to their standards.
These guys were not only accomplished photographers but also technicians as well.
You really needed to know your stuff to get good repeatable results especially for demanding clients.
They drummed it in to my head to start off by making an in camera nuetral negative or transparency, and correctly exposed of course.
Various film emulsions required some amount of filtration to compensate for production batch differences and varying color temperature of the strobes or hot lights.
After that, everything else would fall in to place naturally - and they were right - good negatives made good prints.
The same holds true for digital files.
The steps I outlined only seem to be complicated at first, like reading an exciting technical manual.
They are in fact simple once you do it once or twice.
A couple of clicks with the eyedropper and you are pretty much done.
You've got a great foundation for added creativity if you so desire.
If not, you can always lessen the effect by fading the adjustment layer to your personal taste if you so decide.
From the Old School
