![]() ![]() Which lens did you use for this photo? In my experience, it is above all the quality of the lens that determines image quality, especially the colors. Now, I do manipulate colors arbitrarily sometimes, but this image’s colors are based completely on what I described above. It was really the rich greens in the leaves that caught my eye the flower made a good counterpoint. Now, I’m still figuring all this out myself, but this is the sum of my learning to date. Most raw converters have a dialog somewhere to do this assignment. Making one is rather simple, you just take a well-exposed shot of a reference color patch target, and use the FOSS Argyll software to make a ICC profile that you assign to your raw camera file before you start editing. Actually, this is probably not as important as #1 or #2, as all the raw converters I know have measured data for most cameras, but I don’t think you have sufficient control over the process until you do so. Make and use a calibrated camera profile. Others might put this task higher on the list, and I’d be hard-pressed to disagree. Doing this requires access to a measurement instrument like a ColorMunki, but I found the investment to be worth it. My displays at home are decent, close-to-sRGB, so I didn’t notice the importance of this until I looked at some of my images at work, on three less-than-stellar LCD panels. ![]() It’s hard to gauge what you’re getting until you do this. Use a large gamut working profile in your editing, like ProPhoto or Rec2020, convert to sRGB only when ready to save to jpeg for viewing, or to the particular printer profile for printing.Ĭalibrate your display. Starting with a sRGB JPEG has truncated your colors already, compelling you to dial them back in with the saturation tools. So, I think the tasks, order of importance, are: After my experience, I think the overall thing to aim for is to protect the colors the camera is capable of presenting, so you don’t have to consider the saturation tools to restore them. ![]()
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