Hello everyone,
I have a query. My photographic background comes from the days of chemical photography (not digital). We used to make use of toning to preserve prints (Selenium, platinum, sepia, etc.).
In DT I used to use the color correction module. Now obsolete in Ansel. This module had a virtue very appreciated by me because it allowed me to tacked the images without "tinting" the whites. In the current modules I have not been able to do this. They all end up "coloring" the whites. The tacking only attacked exposed and developed silver halides, the whites not having such halides, were not affected.
Any suggestions?
Comments
S
you can try applying a parametric mask where you protect the whites
J
But it is not the same in terms of operability. With the "color correction" it was two clicks: set the white in the center and move the black to one of the color/tone boxes.
I will look for a solution and create a preset. I will comment if I find a good solution
The problem of color correction is the transition to black to white is done linearly in CIE Lab space, assuming a display-referred (bounded white) image. That assumption is voided in our pipeline.
You can tint shadows only in color balance RGB, using the "4 channels tab", and a mix of offset and shadows lift, possibly even the midtones power.
J
I will try it and let you know if it works for me.
Thanks
J
While trying to achieve a tonal shift using 4-way color balance, I noticed the following.
As I have not seen any reference in the Ansel or Darktable documentation, I ask if this is normal and what is the purpose of the percentage being so different between the different vias.
I leave an image
Any ideas or advice?
Yes, it's normal. The same number does not have the same effect depending on the setting, so the GUI has been adjusted for consistent visual effect. Numbers are just symbols, they don't mean anything in themselves.
J
To match the ease of converting my B&W photographs to a tonal tonal shift such as Sepia, Cyanotype, Platinum, Selenium, etc., I have to use a tonal shift to convert my B&W photographs to a tonal shift such as Sepia, Cyanotype, Platinum, Selenium, etc.
I have only found with this tool that it allows to be worked by independent channels and allows the "scene mode".
Would it be acceptable in a scene mode workflow?
Again, this is a GUI that expects 100% to sit at the far end of the graph, aka display-referred framework. It can work to some extend in scene-referred, but I don't see why you would want that for toning monochrome.
I wrote that just for you : https://ansel.photos/en/workflows/monochrome-toning/
It's work in progress, but the fundamentals are there.
J
But, there is always a but...
In photos with speculars or areas with some saturated channel. I have my doubts...
Here is an example:
This is the complete image
You can increase chroma until you get the amount of tinting you want.
What is the problem with saturated regions ? B&W conversion will remap them to white, and then it's business as usual. Or it should be.