wgerrard
Veteran
Vicky, and everyone, I'm curious. I've used the Color Synch tool Apple puts on iMacs. That seems to have done a reasonably good job, at least per some tests I've found on the web. (Don't know how reliable those are, though. And, you're just eyeballing things with the Apple software.)
But, since I don't make prints, at least not yet, I wonder if the increased precision a commercial calibrator would offer is worth it. We lack control of the monitors other people use to look at our online images. And, does an image processed on one calibrated monitor appear the same on any other calibrated monitor? I'd think not.
But, since I don't make prints, at least not yet, I wonder if the increased precision a commercial calibrator would offer is worth it. We lack control of the monitors other people use to look at our online images. And, does an image processed on one calibrated monitor appear the same on any other calibrated monitor? I'd think not.
Lilserenity
Well-known
It is worth it if you want to get accurate prints. I don't have an inkjet at home but the labs I use offer colour profiles for their printers. So the process is:
- Calibrate your screen using the device, could be a Huey, Spyder, or screen with built in calibration (expensive Eizos or NECs)
This should give your screen a colour accurate display, although you will want consistent ambient lighting or adjust the calibration if the ambient lighting in the room changes, most devices can compensate for this by checking the ambient room lighting every minute or user specified interval.
So, in fact two calibrated screens should show the same colours I believe, there may be differences between CRT, TN 6bit LCD and IPS 8bit LCD admittedly.
- The real benefit comes from printing though. Having got my image how I want it to look on screen, I can then take it into Photoshop and convert the colour profile of the image to the colour profile of my lab's printer in the CMYK colour space, this may make some subtle changes as CMYK has a smaller colour gamut to RGB colour space) - meaning I can send them an image with their printer's colour profile assigned to it and tell them not to automatically tweak it, meaning I should get the result I see on screen, on the print virtually identically as the screen was calibrated to show colour at the right temperature, intensity etc.
My tests so far have shown this to be the case.
There are some good articles here: http://www.northlight-images.co.uk/article_pages/colour_management/prints_too_dark.html
Vicky
semrich
Well-known
I've shot a few rolls recently and like the results, here are a few:
wgerrard
Veteran
luuca
Well-known
after reading this thread I went to a roll of ektar 
here you are some samples, MP+summicron 35, developed in tetenal colortec
I already love it
here you are some samples, MP+summicron 35, developed in tetenal colortec
I already love it
maggieo
More Deadly
Gorgeous shots, Luca!
Lilserenity
Well-known
Seconded, they are great! I especially love the last two, the colour is wonderful.
luuca
Well-known
thank you very much, I think this will become my 100iso color film!
Roberto V.
Le surrèalisme, c'est moi
The following are all sunny 16, adjusted to my preferences, I just love this film
Ive even used it in very low light:
All pics except the last one were taken with a Zeiss Ikon Contaflex I , Tessar 45mm f/2.8. The last was with one of my Canon SLRs + 50mm f/1.8 wide open
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Renzsu
Well-known
I'll throw a few more in the mix.. I have to say when I was a bit casual with metering on the M6 I wasn't so sure about the results, but with a proper lightmeter and medium format it looked a lot better, more natural. Still, I thought I'd post some 35mm shots:
luuca
Well-known
more shots from the same roll:
Srono
Established
I found it difficult to scan ektar100 myself.
Lilserenity
Well-known
I found it difficult to scan ektar100 myself.
....
Glad you made the effort as that last one is an absolute stunner.
Vicky
Pirate
Guitar playing Fotografer
Hasselblad 500C/M, 60mm Distagon, Ektar 100
1/125th, F/11 -ish
Same cam,
1/15th, F/4
Wurzberg, Germany, last Saturday. Developed in Neofin Blau, Stopped with Tetenal 60% Acetic Acid stop-bath, fixed and washed. Scanned with Canoscan 8800F @ 6400dpi, some lint removed in Photoshop.
1/125th, F/11 -ish
Same cam,
1/15th, F/4
Wurzberg, Germany, last Saturday. Developed in Neofin Blau, Stopped with Tetenal 60% Acetic Acid stop-bath, fixed and washed. Scanned with Canoscan 8800F @ 6400dpi, some lint removed in Photoshop.