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Re: Unsharp mask was Re: filmscanners: Getting started question
At 01:11 PM 7/16/01 -0400, Dave King wrote:
>I disagree with him (Margulis) on one point however, and I consider
>myself a color balance freak. Why? In an "average" color photograph,
>global color contrast is maximized at one point only -- the most
>"accurate" color balance possible for that scene. I just don't see
>how one can get there working by the numbers only (unless one also
>wants to make prints by the iterative "hard" proofing process), but I
>do see how one can get there on a properly color calibrated system.
>Or at least much closer. I would guess it's 80% vs 95%. There's no
>substitute for *looking* at actual color when judging this (that I'm
>presently aware of). The most accomplished fine art color
>photographers also making digital prints would seem to agree judging
>by their approaches.
Early on in Professional Photoshop (v.4 -- the one I
read, way back) Dan explains how he had a color-blind
friend doing color corrections, using the basic
principles/goals that he outlines. This friend
made a few errors, but in fact most of his corrections
yielded beautiful results, which do appear in the book.
Dan insists that you could use a monochrome monitor
to do color corrections. Now, I admit I haven't
tried that. But it is quite a provocative claim,
and follows logically from Dan's numerical approach.
I don't remember Dan using the word "accuracy" anywhere
in that book. Ie., color accuracy, per se, isn't held
up as a major goal. Speaking for myself: my goal is to
produce pleasing, believable photographs, of subjects
I've chosen. Matching colors to Pantone swatches is
nowhere on my list of priorities.
In this regard, I reserve for my own color work the
freedom that BW photographers enjoy, where nobody
argues about the "accuracy" of the rendition. It's
So, maybe it's not for everybody. If you have clients
with specific demands for color accuracy, you may need to
go with the more mainstream, ICC-sanctioned methods.