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03-27-2016, 12:46 PM   #946
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QuoteOriginally posted by D1N0 Quote
Shooting modes don't affect raw just jpeg. You can use them for in camera processing. You will see the processed jpeg on you're camera screen when using a certain mode, but the raw is unaffected by that. (shoot in monochrome raw mode and import the pic in lightroom. It will revert to colour.)
Yes, with one (for some) important point... as well as the effects appearing in the embedded JPEG visible on the camera screen, the settings get passed with the raw file and Pentax's Digital Camera Utility picks them up so you can reproduce them when processing the raw image.

03-27-2016, 12:58 PM - 1 Like   #947
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QuoteOriginally posted by BigMackCam Quote
Yes, with one (for some) important point... as well as the effects appearing in the embedded JPEG visible on the camera screen, the settings get passed with the raw file and Pentax's Digital Camera Utility picks them up so you can reproduce them when processing the raw image.
So Ricoh should make a lightroom plug-in that can do that as well.
03-27-2016, 01:03 PM - 1 Like   #948
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QuoteOriginally posted by D1N0 Quote
So Ricoh should make a lightroom plug-in that can do that as well.
That would be a very neat idea
03-27-2016, 02:51 PM   #949
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QuoteOriginally posted by PALADIN85020 Quote
I visited this link and found it to be very informative. Pentax engineers really proved their mettle on this camera by using a lot of technical innovations to overcome traditional limitations. I recommend that everyone check this out to appreciate the hurdles that Ricoh/Pentax jumped in creating the K-1. Although due to financial limitations I will probably be late to the K-1 bandwagon and stick with my K-3 for a bit longer, I really do appreciate the effort to produce it. Down the road, it's definitely on my "must list."

John

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The bit about the IBIS design is impressive.



03-28-2016, 12:34 AM   #950
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QuoteOriginally posted by HopelessTogger Quote
Challengers | PENTAX K-1 Special site | RICOH IMAGING

Hmmmm Is this just in JPEG or does it affect RAW? I'd sooner they concentrated on reproducing colours accurately leaving the user to decide which colours to pop in post processing. They mention blue and green, how about red and specifically detail in reds?
Many people buy Pentax lenses just for that you know and many users want some brand just because of the type of color rendering... I have head of the Canon and Fuji color rendering too. People buy the brand for that.

Back in time people were choosing a specific film to get specific rendering. A Kodak portra doesn't behave the same at all as a Fuji Velvia.

If you really care of perfect color reproduction, you should calibrate your cameras and lenses as well as your printer and screen. Remember that the room you work receive different light from outside because of weather or time of the day it change color rendering and also overall contrast. If you put artificial light, that change again... So you'd want a room with a north window or no window if possible...

If you finally do all of that, you'll discover that 99.99% of people don't so if you share on the net, people will see it very differently depending of their monitor, ambiant light... and even if you bring your own print, the overall feeling of it would be impacted heavily by the ambiant light of were the print is to be seen . For me it is enough to see the different in rendering from the monitors I have at work and also the difference at home depending of the day light to see this is far from simple issue.
03-28-2016, 02:52 AM   #951
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QuoteOriginally posted by Nicolas06 Quote
Many people buy Pentax lenses just for that you know and many users want some brand just because of the type of color rendering... I have head of the Canon and Fuji color rendering too. People buy the brand for that.

Back in time people were choosing a specific film to get specific rendering. A Kodak portra doesn't behave the same at all as a Fuji Velvia.

If you really care of perfect color reproduction, you should calibrate your cameras and lenses as well as your printer and screen. Remember that the room you work receive different light from outside because of weather or time of the day it change color rendering and also overall contrast. If you put artificial light, that change again... So you'd want a room with a north window or no window if possible...

If you finally do all of that, you'll discover that 99.99% of people don't so if you share on the net, people will see it very differently depending of their monitor, ambiant light... and even if you bring your own print, the overall feeling of it would be impacted heavily by the ambiant light of were the print is to be seen . For me it is enough to see the different in rendering from the monitors I have at work and also the difference at home depending of the day light to see this is far from simple issue.
I've had colour calibration problems with the new 4K Clevo laptop and LG 31" monitor, Seems to be the Nvidia software for the GTX980 graphics card. Tempted with a Spyder5Pro, wonder if that will sort it.out.
03-28-2016, 03:34 AM - 1 Like   #952
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I have a color calibration device for my (expensive) monitor. Problem: when I show the images at my local camera club, the projector used is not calibrated the same way, nor is the big TV in our living room, and the printer is different still. When I put those images on my laptop, they look different again, and any effort to get laptop, big monitor, printer, etc. exactly the same has failed. And also, if the laptop screen is tilted slightly forward or back, the image changes dramatically. So, I've more-or-less given up worrying about color-calibrating the monitor, and certainly not doing it every time the software tells me I should have done it several months earlier. It was not that way with chromes. Aside from the extreme difficulty of altering color balance after film is processed, the Kodak projectors used at home and at the camera club pretty much gave identical color balance to a projected image. The only exception I encountered was when visiting another club where they used an ancient ceiling-mounted screen probably installed in the era of glass-mounted lantern slides. The fabric had yellowed substantially, and the reflectivity was poor, so every image was dark, dull and yellowed.
03-28-2016, 03:51 AM   #953
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QuoteOriginally posted by WPRESTO Quote
I have a color calibration device for my (expensive) monitor. Problem: when I show the images at my local camera club, the projector used is not calibrated the same way, nor is the big TV in our living room, and the printer is different still. When I put those images on my laptop, they look different again, and any effort to get laptop, big monitor, printer, etc. exactly the same has failed. And also, if the laptop screen is tilted slightly forward or back, the image changes dramatically. So, I've more-or-less given up worrying about color-calibrating the monitor, and certainly not doing it every time the software tells me I should have done it several months earlier. It was not that way with chromes. Aside from the extreme difficulty of altering color balance after film is processed, the Kodak projectors used at home and at the camera club pretty much gave identical color balance to a projected image. The only exception I encountered was when visiting another club where they used an ancient ceiling-mounted screen probably installed in the era of glass-mounted lantern slides. The fabric had yellowed substantially, and the reflectivity was poor, so every image was dark, dull and yellowed.
Frustrating, isn't it. Yellow has been my problem. It looks terrible and whatever adjustments I make do little to solve it.

03-28-2016, 06:58 AM   #954
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QuoteOriginally posted by HopelessTogger Quote
Frustrating, isn't it. Yellow has been my problem. It looks terrible and whatever adjustments I make do little to solve it.
I find that transferring the image file from LR to PS, then hitting the "AUTO TONE" will sometimes give decent results. It has generally given better results with old color-shifted chromes that I've scanned than I can get by fiddling with the LR sliders. I always send it back to LR and experiment a bit with those controls if I don't quite like the "AUTO" rendering. BUT, some scanned chromes are hopeless, for which the next step is B&W.
03-28-2016, 07:11 AM   #955
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QuoteOriginally posted by WPRESTO Quote
I find that transferring the image file from LR to PS, then hitting the "AUTO TONE" will sometimes give decent results. It has generally given better results with old color-shifted chromes that I've scanned than I can get by fiddling with the LR sliders. I always send it back to LR and experiment a bit with those controls if I don't quite like the "AUTO" rendering. BUT, some scanned chromes are hopeless, for which the next step is B&W.
Do you know if the LR auto-tone performs the same as PS's auto-tone?
03-28-2016, 07:14 AM   #956
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QuoteOriginally posted by Zen4Life Quote
Do you know if the LR auto-tone performs the same as PS's auto-tone?
I think not. When I've used the LR autotone it almost always produces an image that is too bright with washed-out colors.
03-28-2016, 08:16 AM   #957
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QuoteOriginally posted by HopelessTogger Quote
Hmmmm Is this just in JPEG or does it affect RAW? I'd sooner they concentrated on reproducing colours accurately leaving the user to decide which colours to pop in post processing. They mention blue and green, how about red and specifically detail in reds?
Lightroom colour profiles: Pentax SLR Talk Forum: Digital Photography Review A recent discussion on color profiles.

Pentax has traditionally had a problem with reds bleeding to magenta. They are not the only ones however. The red channel always clips first.

The RAW files are effected by the image processor. The Sony A900 and the Nikon D3x both had the same sensor, but different color profiles because they had different image processors. Sony used a heavier RGB filter than Nikon which gave the Sony better color, but the darker filter hurt high ISO performance and that is where the Nikon had the advantage. Everyone criticized the A900 for poor high ISO, but the colors were excellent at lower ISO making it a great studio camera.

Every RAW processor is using a different logarithm to process RAW files and they will all give you slightly different colors. Lightroom is the easiest to work with. I think Capture One gives you the most control and best colors, but I prefer DxO for a lot of my work. The Adobe Standard Color profile for the Pentax K-3 is not very good. The in-camera RAW processor produces better colors than the Adobe Standard Profile assuming you nail WB and exposure. The Embedded profile is better, but an X-Rite custom color profile is the way to go if can.


QuoteOriginally posted by WPRESTO Quote
When I've used the LR autotone it almost always produces an image that is too bright
LR is assuming you are going to print the image and you need to increase brightness for prints. The illuminated screen will always be brighter than the reflective print.
03-28-2016, 02:56 PM   #958
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Q&A with imaging resource CP+
Ricoh Q&A @ CP+ 2016: The Pentax K-1 design story; video feedback solicited; sub-frame lens test update
03-28-2016, 03:10 PM   #959
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I don't buy the shake-reduction during video answer. There must be a technical reason Ricoh switched to digital shake reduction, it worked fine with past cameras. No one who seriously records video records audio with the on-board mic. And if you're using a K-1 for Christmas videos of your family where you don't care about microphone audio, the K-1 is the wrong camera for you. No one is happy with this change, I don't get it.
03-28-2016, 03:32 PM   #960
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Interesting Imaging Resource interview with Pentax people..

I found this interesting. FYI on development of the K-1.

John
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Ricoh Q&A @ CP+ 2016: The Pentax K-1 design story; video feedback solicited; sub-frame lens test update
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