If they shoot at 5600K there will be a color cast on their monitor because they do not have a common WB reference point. Don’t forget photography is more an art than a science.įor those who don’t have a calibrated monitor, like John, their monitor White Point is usually 6500K. For most people, it’s more about whether it “feels” right rather than some technical precision. So, set your camera to “daylight” or 5600°K, leave it there and if you like the colour when you view your images on the computer, you need do no more if you don’t, change the temperature to what you think it should look like. The only time you absolutely need things like white cards and “perfect” colour matching is shen you are shooting stuff like brochure and catalogue shots where you need to very precise with colour representation. On the other hand, most of the time, I shoot at 5600°K because it represents an average external light and then I look at the image in PL and, if necessary, adjust the temperature to suit how I remember the light “felt” when I took the shot. Thus, for example, sunsets will no longer appear that lovely warm colour and will look insipid. Matching the WB on the camera to the prevailing light simply means that the dominant light will be made to be as close to white as possible. But, for the RAW file, it is only a “suggestion” as to how the image should be rendered, but which can be changed to personal taste. Setting a WB on the camera simply means that the screen on the back of the camera, which shows the embedded jpeg, will look different. Then all tonality things as contrast and such.Īfter this all pixels are defined to preview on your screen and ready to be used in the pixel editing part as local adjustments and cloning and repair.Īt least that’s how i resume all info i read splintered across several threads.Īll this talk about matching the camera to the monitor is something I have never needed to do in many years of photography. It also states Chromatic Aberation is done before demosiacing and CA is part of the optical module so optical correction is thus also done before Demosiacing.Īfter that the workspace colorspace (sRGB or AdobeRGB) is applied with the colorprofile like generic. I am always thinking that a WB needs to be pinned on a colorspace which is the working space to be acrurate. My englisch isn’t good enough to grasp this nuances correct. Or yes you nailed it we do WB before demosiacing. The answer to this state it makes perfectly sense, but… Is it right after demosaicing? – in other words, do the tonal operations like Exposure Compensation happen… What I’d like to know is which tools operate before demosaicing (my guess would be Raw White Balance, PRIME, Chromatic Aberration?), and do the colour manipulation tools come before the tonal tools? I’m specifically interested in when the Color Rendering tool takes place. I think it should be in the manual somewhere. New Dxo user quick question, order of adjustments DxO PhotoLab
0 Comments
Leave a Reply. |