Trying to understand color management for C-prints from LF film.

[Tyler Boley]

what if a type C material/process comes out next week that has a much bigger gamut? You've reduced the information available from film, capture, working spaces appropriate for image editing, etc.. down to what one paper has to offer, by chance.. and you won't get it back. There's something to be said for working spaces more suited to conversion to output spaces, but for now it seems better, to me, to keep all that info in a master file, then convert or rework as needed for specific output or use.
Hope that makes sense.
Tyler

[bob carnie]

Makes absolute sense. The colour inkjet printers that I now use exceed the colour gamut of my C Print printers. Mind you its certain areas and not by a large amount , I can see a day where adobe 98 just won't cut it for the equipment we use.

Keeping a master file , then working from that for different purposes is a good basic workflow everyone should use. I keep an un - sharpened version for this purpose as well. Different papers can take more or less sharpening.

what if a type C material/process comes out next week that has a much bigger gamut? You've reduced the information available from film, capture, working spaces appropriate for image editing, etc.. down to what one paper has to offer, by chance.. and you won't get it back. There's something to be said for working spaces more suited to conversion to output spaces, but for now it seems better, to me, to keep all that info in a master file, then convert or rework as needed for specific output or use.
Hope that makes sense.
Tyler

[Preston]

Keeping a master file , then working from that for different purposes is a good basic workflow everyone should use. I keep an un - sharpened version for this purpose as well. Different papers can take more or less sharpening.

I heartily agree, Bob. I work this way, as well. My master files are never sharpened.

Another thing I do is create a layer 'Group' at the top of layer stack and title it 'Print'. If need to tweak the image for printing, say, on Premium Luster, I'll add adjustment layers to the group. If I then need to print on, say, a glossy paper, I'll turn off the layers for Luster and add layers for the glossy paper. This way, I don't have to target the adjustments of a master file for a particular paper: I can just turn off (or on) the layers in the 'Print' group that I need.

--P

[Tyler Boley]

the 9900 already exceeds adobe 98 in gamut, and with some photo papers, significantly. Probably some of the other newer printers as well, I can only speak from my own experience. Even some of the larger spaces we used to contain good scans, or captures, like BetaRGB and some of Joseph Holmes' spaces, are no longer large enough, if you want to be picky...
As output continues to evolve in every way, I'm sure this is a continuing trend.

[bob carnie]

I have noticed it on our IPF9400 with the new inkset.

It may be time to consider prophoto space for some of my printers but not all.

the 9900 already exceeds adobe 98 in gamut, and with some photo papers, significantly. Probably some of the other newer printers as well, I can only speak from my own experience. Even some of the larger spaces we used to contain good scans, or captures, like BetaRGB and some of Joseph Holmes' spaces, are no longer large enough, if you want to be picky...
As output continues to evolve in every way, I'm sure this is a continuing trend.