Hybrid workflow for 35mm film: Interested in a workflow discussion/Photoshop tutorial?

[koraks]

These have nothing to do with different color spaces and their interrelationships.

Where do the color spaces come from all of a sudden? Nobody mentioned this.

color management does not protect against color casts

That's the exact reason it exists in the first place.

Sounds like you're very deeply confused.

 

[Andreas Thaler]

Maybe the color checker software only accepts raw files from digital cameras or converted to DNG?

You could photograph the scanned target from the monitor (profiled/calibrated) with the digital camera for which you created an ICC profile. The RAW file from the camera contains the profile and saves it as a DNG. That might work.

 

[Andreas Thaler]

Sounds like you're very deeply confused.

You lack respect.

I don't want to argue with you.

Please stay away from my threads unless you are a moderator.

 

[4season]

You could photograph the scanned target from the monitor (profiled/calibrated) with the digital camera for which you created an ICC profile. The RAW file from the camera contains the profile and saves it as a DNG. That might work.

It could have something to do with the way I created my scanner DNG:
Silverfast AI Studio > TIFF > Adobe DNG Converter > DNG file

 

[koraks]

You lack respect.

I don't want to argue with you.

Please stay away from my threads unless you are a moderator.

It's a forum, people discuss things. You want a monologue, write a book or a blog. As long as you post here, you'll have to accept the fact that people will sometimes disagree with things you say. And sometimes they'll let you know that.

 

[Andreas Thaler]

It's a forum, people discuss things. You want a monologue, write a book or a blog. As long as you post here, you'll have to accept the fact that people will sometimes disagree with things you say. And sometimes they'll let you know that.

I'll discuss any opinion with anyone, but not with people who get personal and insulting. That doesn't interest me. Behave the way you expect others to behave here, and you'll be welcome like everyone else. If not I will no longer respond to your posts.

 

[Andreas Thaler]

It could have something to do with the way I created my scanner DNG:
Silverfast AI Studio > TIFF > Adobe DNG Converter > DNG file

Once a raw file is converted to TIFF or another format, it loses its raw properties. I suspect that the software for the Passport color checker expects raw files directly from the camera.

 

[Andreas Thaler]

Full control: color correction with curves

There are many ways to achieve your goals in Photoshop.

Some are convenient but offer less control, while others require a bit more effort but offer more control.

Curves provides a control center that allows you to change the color of any part of the image, within certain limits.

You can use it to correct color casts or experiment with color effects, among other things.

Yesterday, I took this photo in RAW format with my Canon PowerShot G5 X in downtown Vienna.

The default settings in the Adobe Raw converter produce a pleasing image, but I notice a slight yellowish tint. I'd like to neutralize that in Photoshop.

I placed a measurement point on the car door and opened the Info palette. The car door is my reference point for neutral gray.

The Info palette shows Red = 119, Green = 112, Blue = 104 for this point.

If all values were equal, it would be neutral gray.

Red and green are dominating over blue, creating the yellowish tint.

I create a Curves adjustment layer and place the activated Midtone Eyedropper (we already know it from Levels) on the measurement point.

One click with the mouse, and the three color values are already close together (112/111/110).

The color cast is partially removed, but not completely.

For fine-tuning, I decide to adjust the green and blue channels to the red.

To do this, I use the On-Image Adjustment tool and position it on the measurement point.

While holding down the mouse button, I move the cursor up one notch until the green channel matches the red channel in the Info palette (112/112/110).

Alternatively, I can do this by clicking once in the image and using the arrow keys.

This bends the curve for the green channel slightly upward.

A second point left the midpoint is now visible on the curve, positioned slightly below the center of the histogram. This indicates that we are working on the midtones of the image.

I do the same with the curve for the blue channel, which needs a bit more adjustment.

You can see that the curve now curves more noticeably upward.

The measurement point on the car door now shows identical values for red, green, and blue at 112/112/112.

This sets this spot to neutral gray, eliminating the yellowish color cast in the image.

The RGB composite channel of the Curves adjustment layer, which shows all three color curves together, indicates the changes to the curves.

Red remains unchanged, while green and blue have been adjusted.

Using a layer mask, I could now apply this global adjustment only to specific parts of the image. For example, only to the car's body. Whatever I want.

The color-corrected photo on the right, the original on the left.

 

[Andreas Thaler]

The color corrections in Photoshop discussed are worthwhile for individual images that you want to optimize.

You can also work with a single correction setting for photos in a series. This is ideal for raw files in Adobe Camera Raw which are converted into common image formats such as JPEG or TIFF anyway.

If, for example, you have ten photos taken under identical lighting conditions, such as a portrait session in the shadow of a house, you can adjust the white balance for all of them together. This saves time and effort. Camera Raw also processes other image file formats.

If necessary, you can do detailed work in Photoshop, although Adobe Camera Raw is constantly being developed further and now allows for very precise interventions.

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Have fun editing your images, no matter which program or which techniques you use. It's always worth it