Here is my workflow. I think it’s quite neat, I’m pleased with the results, though I think it’s not 100%. I don’t print lots of photos. This process works with various papers and doesn’t involve fancy calibration hardware or a big learning curve. I’d be interested to hear what you think, especially the validity or otherwise re. colour science. The workflow to produce a print is this -
- Edit in DT to taste for a normal jpeg as viewed on screen.
- Choose paper type and add a new instance of Color Calibration selecting the preset I’ve previously created for the paper to be used.
- Move this instance in the pipe to just before Filmic or Sigmoid and set opacity to 50%.
- Output a fairly high res. high quality sRGB jpeg.
- When I have a few prints to do, boot up Windows laptop with printer, which is a Canon G550. This was well reviewed a few years ago and has a red ink as one of the six. I use the Canon print software which comes with the printer. It is flexible, easy and reliable. I turn off auto “enhancements”, set high quality, and set the max drying time between head traverses. And choose the paper setting I used when I made the CC preset.
- So load the jpeg into the software, choose the option where I just drag the borders until happy with the fit on my A4 sheet, and hit Print.
This is how to make the preset. Below is what I should have done rather than what I did do. I will re-doing my presets later this year hopefully to make them better.
A. Get a photo of the standard colour checker as supported by the CC calibration function. Adjust it in Gimp or something to ensure the patches are as per the published RGB values. Save as a jpeg.
B. Using the printer settings as above, print this jpeg on the paper in question. For the paper setting for the printer, choose what seems nearest to the target paper, e.g. select Canon matte if calibrating for XYZ brand matte.
C. Carefully photgraph the resulting print in good daylight including in the frame a grey card. Careful to avoid e.g. trees, buildings making a cast.
D. Load into DT and White Balance off the grey card. Set exposure for decent histogram. Go into the CC calibration function and let it do its work.
E. Save the result as a preset including the name of the paper it applies to. The preset comprises nine numbers. Done.
Why do I set the opacity to 50%? I found 100% was too colourful but 50% seems about right.
Why do I move the CC instance to the tone mapper? Can’t really justify this, just think it might be best to get all the other modules adjusted then do the calibration just before Filmic/Sigmoid.
I have found prints on non-Canon paper too poor without the calibration. With it they are quite good IMO. I like that this is a home-grown solution not even needing a colour checker if you can find a photo somewhere and verify/adjust the patches.