So, now that I’ve measured all the cameras in the house (well almost, we bought a D5300 for our grandson, but I’m refraining from taking out of the box until we actually give it to him… ) I’m working on collecting data from other projects. My first incorporation is the camspec database, Camera Spectral Sensitivity Database. Their data is licensed CC BY-NC-SA 4.0, and I’ve included all the relevant attribution. You can find the repo here: GitHub - butcherg/ssf-data: Spectral sensitivity data for digital cameras
I’ve included three files for each camera: 1) .csv column-major text file of the data, 2) .json of the data suitable for ingestion by dcamprof, and 3) .icc profile, a A0toB0 LUT profile based on a cc24 spectral reference.
Here’s a list of the camspec cameras:
Canon 1D Mark III
Canon 20D
Canon 300D
Canon 40D
Canon 500D
Canon 50D
Canon 5D Mark II
Canon 600D
Canon 60D
Hasselblad H2
Nikon D3X
Nikon D200
Nikon D3
Nikon D300s
Nikon D40
Nikon D50
Nikon D5100
Nikon D700
Nikon D80
Nikon D90
Nokia N900
Olympus E-PL2
Pentax K-5
Pentax Q
Point Grey Grasshopper 50S5C
Point Grey Grasshopper2 14S5C
Phase One
SONY NEX-5N
Yeah, a rather ‘interesting’ selection, but I’m hoping it’ll hit at least a few Canon or Nikon users. This is in addition to the Nikon D50, D7000, and Z6 measurements I did, and the D50 now has two measurements. I’m working on other datasets, so the collection should become more useful over time.
This keeps getting better and better Glenn! I’m not sure how much time you’d like to spend on this, but maybe if you can contact your local photography shop (especially if they do repairs and rentals), you can get your hands on many more camera’s to play with
I’ve thought about that, but I’m a bit reticent as I don’t do regular business with them. I’ll think about it; they might appreciate credit in the README…
Thanks for your efforts. I plan to read your series on developing the profiles, too.
I’ve tried the D7000 profile in darktable, and on some pictures it worked well, on others all highlights were clipped. I assume that’s because it’s not a matrix, so won’t simply map overexposed areas (which would then be brought back to the SDR using e.g. filmic).
What I’ve done is to move one instance of exposure before input colour profile to tame the highlights, and left one instance of exposure on its default path in the pipe, after input colour profile, to shift midtones where I wanted them. This way, the profile works on all photos. Can you confirm this is the right way / an acceptable way to use the profiles under darktable?
BTW, I like your attitude a lot. I used to work with a chap, who you remind me of: he’s a physicist by training (we’re programmers, but work on enterprise (= boring) stuff); a tinkerer like you, always working on some project: a microcontroller, a Raspberry Pi experiment, his sailboat, woodcrafting…
I would defer to @anon41087856 on the best way in darktable to do that, but it sounds okay from a generic standpoint. In rawproc, I’m currently not using a working profile so the color transform doesn’t take place until the display or output, so all the tone transform takes place before that and I just control it to make the end result look okay.
I’m essentially a tinkerer, most else is onerous and challenging. Oh, and a teacher, since an instructor stint at military school for my career field at the tender age of 19. After the satisfaction of building something that works comes the satisfaction of explaining a thing to folk and watching them use the knowledge…
) I’m working on collecting data from other projects. My first incorporation is the camspec database, Camera Spectral Sensitivity Database. Their data is licensed CC BY-NC-SA 4.0, and I’ve included all the relevant attribution. You can find the repo here: GitHub - butcherg/ssf-data: Spectral sensitivity data for digital cameras