On Dec 15, 2005, at 11:32 PM, William Robb wrote:
Also a colour chart is of little use to me because I tend to be
quite frugal with film. I'd end up having to do charts on every
2nd or 3rd exposure due to the different lighting.
Back when we got enough film through the labs to be bothered........
We used to balance our film channels with a "standard" negative set.
I suspect that something similar could be applied to your film
scanning, where you take a standard negative (shoot a gray card and
some colour swatches), then adjust the curves until it looks right
and save that adjusted colour balance as that film's profile.
I expect it would be a pretty close starting point.
Exactly. And you only do the rough adjustments at the time of
scanning so as not to lose data. Do the fine tuning in Photoshop.
A little secret from the processing industry:
It's all done by eye.
Yup.
This rather anal retentive insistence on playng a numbers game on
your pictures is pretty much a waste of time. Calibrate your system
so that what you see really is what comes off the printer, and then
make the picture look right on the screen.
Trust your eyes, they are a far better tool than any colour picker
in Photoshop at determining if the image is right or wrong.
Yes again. Get the equipment set up and calibrated correctly so that
it is consistent, then your eyes are the best measuring tool around.
The numbers game is all about getting the calibration right in the
first place.
Godfrey
