Candace wrote:
> OK, Ken, I did what you said.
> I processed the same image 3 times. One at SRGB, one at
> AdobeRGB, and one at my settings...
Who's Ken? ;)
Tonight or tomorrow I'll take a look at all of my settings and
let you know what they are. That might give you a place to
start over again from.
The flatness could be caused by having the shadow fill set too
high. If you crank down the highlight contrast (highlight
recovery), this will affect the flatness too. I find that it is
best if I crank everything to where I think I want them then
back it all off a bit.
The colorcast is troubling. Orange is not something I typically
run into. Makes me think that your video driver is setup to
some strange setting.
aRGB vs sRGB. Pick your poison. I prefer working with aRGB for
some projects, but as a general rule of thumb, sRGB is the best
all-around way to go. I set my cameras up for in-camera sRGB
and may use aRGB during conversion. The only time where aRGB is
a major advantage is when post-processing a portrait where there
are saturated colors in the scene. The difference in skintone is
similar to using Kodak Portra vs Fujichrome Provia. aRGB with
the E-1 gives a very decent "peaches and cream" look, wheras
sRGB from the E-1 tends towards the pink.
Case in point: Last night I was photographing a daughter
getting a haircut. Her skin was perfectly captured (in-camera
JPEG, sRGB), but the hairdresser's skin turned very reddish. Had
this been shot RAW and converted into aRGB, the reddish skin
would have been greatly neutralized without skewing the
background colors.
With landscapes, I find that aRGB conversions tend to maintain
more tonal detail in the greens. Blues stay neutral, whereas
they'll skew green or purple in sRGB.
Eventually you will have to convert back to sRGB for display or
printed output and the conversion becomes another issue
altogether.
AG
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