Red Lily or Daylily.

Another one of my rainy-day flower shots for you to play with. This one I came across this morning and it gave me another opportunity to give this lens another go (handheld).

Hope you like it and have fun playing with it!


Sidecar: lily.or.daylily.red.xmp (10.9 KB) darktable 3.0.2
RAW: lily.or.daylily.red.nef (30.2 MB)
License: CC BY-NC-SA 4.0

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Playing with channel mixer.


lily.or.daylily.red.nef.xmp (24.1 KB)

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lily.or.daylily.red.jpg.out.pp3 (12.9 KB)

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Darktable 3.0.2

lily.or.daylily.red.nef.xmp (21.2 KB)

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darktable 3.0.2


lily.nef.xmp (12.1 KB)

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I though this would lend itself for B&W as well:


dt310.lily.or.daylily.red.nikon.d750.xmp (35.1 KB) darktable 3.1.0 (hybrid version)

Added some grain. Still not sure if that is a good idea…

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Very nice photo. It is difficult to get these flowers steady as they sway at the slightest of breeze. Nice job @Jade_NL. Here is an attempt using RawTherapee 5.8. I creatively used some vignetting to get some gradient in the background, that is so evenly lit.
lily.or.daylily-1.jpg.out.pp3 (12.6 KB)

RT 5.8


lily.or.daylily.red.jpg.out.pp3 (12,2 KB)


lily.or.daylily.red-1.jpg.out.pp3 (13.6 KB)

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Nice clarity in the focus range. I have some Nikon D750 spectral sensitivity data, so I decided to do a straightforward post-process with a camera profile made from it:

When I compare this image with the equivalent processing and the default matrix profile, the greens are less yellow-ish. I’ve seen this in other such comparisons, and when I finally conquer my lawn sprinkler nemesis I’m going to dig into the reasons for it…

Here’s the profile:

Nikon_D750_ssf.icc (212.5 KB)

Edit: here’s the matrix profile-processed version:

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Here a “negative” channel mixer version in b/w.


lily.or.daylily.red.nef.xmp (20.1 KB)

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You just did me (and other D750 owners) a big favour by uploading this d750 profile! Thanks doesn’t do my appreciation and your efforts justice.

I’ve been going back and forth between the standard profile and the D750 and the difference is very noticeable. The greens are fresher looking and the deep reds are less saturated and more detailed. Here’s an example of the reds:


Left D750 vs right standard profile. All the (very basic) settings are the same in both images, only the input color profile is different.

Again: Thank you!

1 Like

You’re on a roll again aren’t you :smile:

I like the colour one. Very nice indeed. Only minor issue would be the use of the high pass module; It produces a (very slight) green halo around the flower petals (only slightly visible in the uploaded version). I tried attenuating it but that takes away too much of the sharpness, a different module might be in order. But who am I to tell you what to do!

It is by far the most interesting edit and together with @heckflosse’s edit the best two. Not trying to step on anybodies toes here, just my opinion!

Both our B&W’s are nicely contrasting. I do need to take a look at the xmp to see how you accomplished this.

1 Like

darktable 3.0.2

lily.or.daylily.red.nef.xmp (10,8 Ko)

Makes a big difference. At the same time, makes it duller and darker perceptively.

Ah, indeed it does. The tone curve for both renditions is based on the matrix image, so this would indicate the need for a bit more lift in the curve for the LUT profile…

Disclaimer: this profile is a bit “slap-dash”, in that I just quickly ran the scripts without making sure each step did what it was supposed to. Also, the data is based on my processing of the Open Film Tools spectrum and calibration images for the D750, so you’re not getting a calibrated monochromator-based profile. That said, what I’m finding is, “exact” is what to strive for, but “close enough” seems to be better than any matrix profile.

At any rate, You’re welcome… :smiley:

:grinning:

Ooops! This mitigates it somewhat: lily.or.daylily.red_01.nef.xmp (31.5 KB)

I’m not going to be pointing any fingers if something doesn’t satisfies me or has an unexpected result. :wink:

I did some more checking (“testing”) and it is definitely a big step in the right direction. Especially with, what I would call, problematic colours (purple, orange, violet and the likes). It is, however, rather unforgiving when you clipped your highlights. Might be that I need to change my workflow to tackle this when it happens.

:+1:

Interesting consideration. I’m going to start another thread on “where in the raw workflow do/should color transforms happen?” Kinda related to my Article: Color Management in Raw Processing endeavor…