No, you are right, you are just using your camera profile as your working work space, with no other intermediate work space.
That is what I had understood from your claiming of not making transforms to the camera data.
It is OK, I think it might be the best way of not altering or changing the colors captured by the camera.
As long as I know you can work that way in dxo optics too. I am not sure, but I think you can do that in Capture one too.
And I have read we can do that in darktable too, just using the camera profile as input profile and as working space profile (I have not try this, using the camera profile as working space).
Anyway using other working space wide enough to keep your camera color should not make a difference (if everything works OK).
I donāt use that way of doing things because I donāt have camera profiles. I donāt shoot in controlled illumination conditions.
Actually, you do. In all raw processing software there are per-camera primaries, usually 9 numbers, that provide the starting point for the first color conversion, whether it be to a working profile or in my case directly to display/output. āCamera profilesā as ICC or DCP files are just another way of conveying that information. When you tell your raw processor to use a file-based camera (or input, in some softwares) profile, youāre telling the raw processor to use that instead of the 9 numbers from itās huge internal table.
Yes but i donāt use a profile, just the camera matrices less acurate than a profile.
And they are multiplied by the xyz to working space transforms, so you end directly in that working space.
So i am not using camera primaries for editing, but working space primaries.
Got it - Iām probably too hung up on the āfileā in āprofileāā¦
I do pretty much the same, but I have a couple of images that vexed me in extreme colors that just turned into a blob in the output JPEG. Tried all sorts of pet tricks, all compromises of the overall colors, until I found a decent LUT profile for my camera. That has been a bit of a journeyā¦
I cannot argue that.
I am a less experiment photographer and have less knowledge about the developing process. Just an over all picture.
And am just beginning with darktable. It caught my eye, but I am having a hard work understanding how it works.
The necessary transition from colorLAB to linear at the current point does not help beginners to understand it.
I am sure there are going to be great improvement and progress in the fore coming versions.
But I have had good results and there are things in dt than impress me (contrast equalizer is wonderful, tone zone mapping similar to Ansel Adams lovely, even if just as an approach to understand anse Adams method).
Hey sounds coolā¦ havenāt had a chance to check out rawproc yetā¦thanks for the details ā¦this would be cool to see in a videoā¦I just thought you were talking about dark table and I thought I was missing something
Iāve considered doing an introductory video to rawproc, not so much to promote the software but to show the toolchain concept. Iāve learned a lot about digital imaging both writing the software and using it. Based on current projects, Iāll probably do something like that after I release version 1.0, in a few months it would seemā¦
