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Forum: Digital Processing, Software, and Printing 02-10-2020, 05:01 AM  
Monitor Calibration Tool Recommendation
Posted By TonyW
Replies: 36
Views: 1,256
May be worth stating that it is quite possible to get perfectly satisfactory prints without even having heard the words colour management. Just shoot and enjoy sending your files to any old lab for printing. Use half a dozen labs and you are likely to get half a dozen result that do not actually match for colour or density one to another and pretty certain that none will actually match what you see on screen looking at an edited image in soft proofing with your print near to screen and properly illuminated.

IF you and your work demands a WYSIWYG with finished prints or others viewing your images within a colour managed environment then calbration and profiling are essential parts of the workflow

It is important that profiles are updated regularly to account for imperceptible changes of the monitor over its life. Regularly means really what you want it to mean. Every 2 weeks is fairly common, once a month OK,some calibrate every time they start to edit or at least when they have critical work.

Using the supplied software vs seeing better in another product is a bit of a 'Red Herring' as in many cases it is likely to be attributed to operator finger trouble, assuming there is nothing wrong with the equipment or editing environment (ambient light, screen reflections). To try and judge by eye alone if a screen is too warm or too cold is folly. The reason I say this is because a white point of D65 or D50 is an exact temperature and not subject to variation. As an aside 6500k and 5000k are not exact and can be variation.

The problem most experience with software calibration is that once the White Point etc have been specified the user is then faced with trying to manually adjust the monitors colour to match as closely as possible what the software asks for. This may be either by adjusting the monitor controls manually or via the graphic card driver.

A much better, more accurate method and one that I would not be without is the ability of a monitor to be hardware calibrated, directly adjusting the monitor LUT's (originally limited to Eizo and NEC pro monitors now seen on quite a few consumer units)

Hardware calibration is the method of adjusting color directly by adjusting the settings inside the monitor. With hardware calibration, the target color is not reproduced through the graphic card output where all or a certain combination of white point, gamma, and brightness are reduced.

How could they tell that any tone was off? They would need to be sitting next to your monitor with the print illuminated correctly to see exactly what you were seeing.






QuoteQuote:

The difference is my workflow was not studio work for a lipstick company where colour accuracy is paramount. I'm questioning;

How important is external calibration of a newly purchased photography geared monitor for the purpose of photography work that sits outside the realm of studio absolute colour accuracy?



Only important if you require a WYSIWYG system

A quick aside if you are looking for a new monitor and photo editing is the criteria and colour accuracy of any kind is importance then I strongly suggest that you look for a monitor capable of hardware calibration is a very wise choice. Additionally I would be looking at an X -Rite device ideally the slightly more expensive i1 Display Pro to go along with it. If looking to purchase used then steer clear of the Spyder 2's and 3's in particular, first due to the inablility to correctly profile a wide gamut monitor and due to their variability between units.
....
Absolutely if you require WYSIWYG

Well R255 G0 B0 is a different beast in each of your potential editing spaces, sRGB, Adobe RGB, ProPhoto RGB (these are all synthetic spaces not based on any real world device) so why is a colour managed workflow using specifics any different? Because White Point of D65 or D50 is exact and affects the whole screen colour regardless of your editing colour space. This is something that gets reported to your colour savvy application to make a display of R255 G0 B0 look as it should within the colour space

Absolutely NOT! It is up to your clients to view or not view your images as intended using a colour calibrated device. Best you can do is try and educate them on the differences they may observe on their output device. Some websites acutally provide a step ramp and advises what to look for in shadows and highlight and how you may need to adjust - this only of course deals with the luminence issue of screens to bright or dark. Colour of course somewhat different although if you have a neutral known value in the image may help.
Forum: Digital Processing, Software, and Printing 02-07-2020, 02:12 PM  
Adobe RGB controversial?
Posted By TonyW
Replies: 61
Views: 1,914
What will happen potentially is CHAOS and confusion :D.

Best case you are making a 'Voodoo move' if you are dropping an sRGB file into the much larger colour spaces of Adobe RGB or worse ProPhoto RGB - you now have the potential to stretch the data too much within the larger colour space and cause banding artifacts - there is no point in doing this, but...

If you are editing from raw then use Adobe RGB or better yet Prophoto RGB for your file manipulation and then convert to whatever your print lab asks for - ideally they will tell you to edit and apply a specific ICC paper profile to your image. Worst case they will insist on sRGB

Do not send a lab either an Adobe RGB file or Prophoto file if they are assuming sRGB (many seem to!) then you will get wrong colours.
Forum: Digital Processing, Software, and Printing 02-06-2020, 09:37 AM  
Adobe RGB controversial?
Posted By TonyW
Replies: 61
Views: 1,914
It is not possible for a JPEG to be out of gamut (OOG) unless you or your editor modifies it). A JPEG is a baked file either from camera or your editing of a raw or other image. Anything OOG has already been discarded to fit neatly (or not!) into the JPEG container limited to 8 bit. If you are seeing OOG then your image is exceeding the gamut of either monitor or your chosen output profile. The OOG warning in PS and LR is rather buggy and very old and gives no degree of warning just how far OOG you may be.


Adobe RGB has considerably larger gamut than sRGB in certain areas such as greens, blues, oranges etc - many of the colours found in nature. Looking at a 2d representation of colour spaces ommits a lot of info - view in 3D to get a better feel for differences (see attached sRGB sat inside Adobe RGB)

Photo Labs demanding sRGB are doing this for their own convenience rather than follow a colour managed workflow. Printing needs an ICC profile for the paper in use and as you say many can exceed the colour gamut of Adobe RGB

Adobe RGB was a happy accident by Adobe engineers. They were copying coordinates relating to SMPTE RGB colour space and a typo was made. They found even with the error the colour space had value
Forum: Digital Processing, Software, and Printing 02-05-2020, 08:08 AM  
Monitor Calibration Tool Recommendation
Posted By TonyW
Replies: 36
Views: 1,256
Bruce this is a known issue with some of the Datacolor products after the Windows 1903 updates middle of last year. They have published a suggested workaround including uninstall of the Spyder software a MS patch and if that does not work disabling of "DisplayEnhancementService".

Details contained in this doc:
Windows 10 May 2019 Update (Windows 10, Build 1903) Unable to Create and / or Activate an ICC Profile in - SpyderX, Spyder5 and Spyder4 - Powered by Kayako https://support.datacolor.com/index.php? Help Desk Software

Bruce, with respect I think you may be under some misapprehension regarding monitors and particularly colour management and why we would want to calibrate a monitor.

I would say that no monitors right out of the box have colours bang on - how could they, as you have not defined your calibration points yet. Similarly turning brightness down or up needs to be calibrated for your ambient light editing conditions. This is not a matter of colour space sRGB or Adobe RGB they are merely colour gamuts which your monitor may be capable of displaying all or a percentage of.

If you are calibrating and profiling a monitor then by definition you are aiming for colour accuracy and far better than good enough, as this will just not do and has no place in a colour managed system.

So the first question is why would we want to calibrate a monitor? One answers may be so that we can be sure that others viewing our images on screen (with calibrated monitors of course!) will be seeing what we are seeing on our monitors within a colour savvy application regardless of system differences. Another answer, perhaps more important is so that we see our data exactly as it is and how it will print to paper via soft proofing facilities in our software.

Basically there are two parts to the calibration process. First we need to set our target/aim points which may be similar to White Point D65, Gamma 2.2, Contrast *, Luminence 80 - 160 cd/m2. Once we have these set and start the process then the application will measure how close we get to these points. The second part of the calibration process is the recording of these reading differences against our target points in the monitor profile that it produced.

It is with this accurate profile in place that colour savvy application e.g. Photoshop and Lightroom can adjust the display to take into account monitor differences (between aim points and actual) and therefore show an accurate representation of our image data on screen within the limitations of the monitors available gamut. Without this we could be editing an image to correct for a cold cast that is not in the actual image data which when viewed on another calibrated system may appear too warm both on screen and on paper. Similarly luminence too high and prints likely to be too dark or vice versa luminence too low and prints likely to be to light, because we have tried to compensate in editing for something that is non existing in the image data
Forum: Pentax K-3 02-04-2020, 05:30 AM  
Manual white balance test card for K-3
Posted By TonyW
Replies: 3
Views: 390
As long as the white balance card is accurate in equal RGB it should not really matter if it is light or mid grey. Be aware that some 18% grey cards are not actually neutral (they do not need to be as they are designed for exposure estimation). Note: I have not looked at 18% reflective cards other than those produced by Kodak which do exhibit colour variation, my own being towards the warm side of neutral

See attached. Left to right Kodak Gray Card, X- Rite Colour Checker Passport, Lastolite 12% Ezybalance. The X Rite passport also has a white balance and grey card built in. Using white balance on the Kodak card produces too blue an image, but really only a small difference that can easily be accounted for if needed
Forum: Flashes, Lighting, and Studio 01-11-2020, 04:40 PM  
Sekonic L478D have I got it right?
Posted By TonyW
Replies: 12
Views: 497
Precise colour rendition is not part of the profiling process with Sekonic meters and DTS software - the software and for that matter the meter does not understand colour, only luminance values can be measured by the meter and those values interpreted by the DTS software to produce a meter profile

It is also important to understand that you cannot profile your camera with the Sekonic meters. What you are doing with the DTS software is programming the Sekonic meter by supplying a profile that has recorded how the camera system responds and records light hitting the sensor.
Forum: Flashes, Lighting, and Studio 01-11-2020, 01:18 PM  
Sekonic L478D have I got it right?
Posted By TonyW
Replies: 12
Views: 497
I use the L758DR which is an earlier 1degree spot or incident meter. The DTS software allows you to calibrate the meter exactly (1/10th stop) to the way your camera system responds to light and save a camera profile (or several) to the meter. To achieve this there are a few ways including purchasing the very expensive (for what it is !) Sekonic exposure target or use either the Macbeth Colour Checker target or the X-Rite Colour Checker Passport (my preference).

Roughly the process of profiling the meter to the camera is:

Take a series of exposures as recommended by the software (a simple three shot or a mor accurate 5 shot) varying exposure as instructed.
Import the shots into the DTS software and run the process
Set clipping points and warnings as required.
Then attach meter to computer and download profiles direct to meter.

For more information about the practicalities seek out tutorials by Joe Brady e.g.:















You Tube




I think that most camera systems meter calibration point is between 12 - 13%. But as matrix and centre weighted metering is weighted towards manufacturers preferences and algorithms applied to interpret these preferences then actual figures may vary according to mode. Spot reading is the only way to be sure measuring and exact ROI.


An example would be that reading a highlight area and increasing exposure by +3EV to reach the clipping point would mean that the system calibrated to 12.5%. If the system was to be calibrated to 18% (I think unlikely!) then you would have about +2.47EV before your metered area reached clipping

Attached example of output of DTS software profiling the meter for spot reading showing a DR of 12 EV with clipping reached at around +3.5EV above meter indicated ROI
Forum: Digital Processing, Software, and Printing 01-04-2020, 02:51 PM  
.dcp file compatibility between Lightroom and RawTherapee?
Posted By TonyW
Replies: 11
Views: 1,399
You listed DCP (***.dcp) which is a Camera Profile and also asked about lens profiles which is a different beast LCP (***.lcp). It is possible to store in different places but the defaults (Windows) I believe are:


Camera Profiles
C:\ProgramData\Adobe\CameraRaw\CameraProfiles\Camera\Pentax 645Z\

Lens Profiles

C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Lens Manufacturer\

Also look here
C:\Users\YOUR USER NAME\AppData\Roaming\Adobe\CameraRaw\CameraProfiles
Forum: Digital Processing, Software, and Printing 01-03-2020, 10:13 AM  
Giving focus stacking a try
Posted By TonyW
Replies: 34
Views: 1,755
Why not try the demo of Zerene Stacker comparing the results from your best Combine Z stack

stacker [Zerene Stacker]
and

Helicon Focus

Helicon Focus - Helicon Soft

I have tried both and find them excellent.
Forum: Film Processing, Scanning, and Darkroom 07-18-2019, 09:06 AM  
Digitalizing negatives with Darktable
Posted By TonyW
Replies: 15
Views: 2,409
Not sure how much help as I do not use darktable, but correction should be reasonably easy (at least manually per image!). Effectively you are correcting per channel for both colour and contrast

Invert RGB curve first is a good start but then you will also need to correct individual channels or/and WB. The problem for producing a preset is really getting colour balance correct. You may be able to set up to sync images taken in the same light?

A quick play using LR (Darktable should be very similar?). Invert RGB composite (get blue/cyan image first) then adjust individual R, G and B channels to taste.


It is worth noting that you should really be cropping to the image area in camera rather than showing the surrounding as you have done here as this will make correction easier
Forum: Film Processing, Scanning, and Darkroom 07-02-2019, 06:20 AM  
What's happened to these negatives?
Posted By TonyW
Replies: 16
Views: 1,403
Photoshop Elements should be good enough for the job as would some of the free offerings such as Gimp which is Open Source editor
GIMP - GNU Image Manipulation Program

If you meant to type LR then this refers to Adobe Lightroom.
Forum: Film Processing, Scanning, and Darkroom 07-01-2019, 06:24 AM  
What's happened to these negatives?
Posted By TonyW
Replies: 16
Views: 1,403
Could be any of the points already mentioned or indeed a combination

Storage is another possible issue even in archival sleeves as temperature and humidity can have an adverse effect on long term storgage of film material.
Forum: General Photography 06-26-2019, 06:49 AM  
Print saturation.
Posted By TonyW
Replies: 20
Views: 872
Professional printers used for photographic prints generally fall into one of two catagories, dye types where dye is water based and pigment type where fine solids are held in suspension in a solution (not water). It used to be the case that dye printers capable of producing higher saturated prints than pigment. I suspect that this is not the case with recent pigment printers. Dye types gets absorbed into the paper surface whereas pigments tend sit on the surface

Colour gamut of many inkjet printers can exceed even Adobe RGB in certain areas, but is heavily dependent on print surface and substrate. The highest saturation, contrast and Dmax will be had on photo glossy materials and as already mentioned metallic and acrylic type printing may offer the maximum. Generally canvas type inkjet prints lose out in terms of contrast and potential resolving power to glossy surfaces

IF you have a wide gamut monitor AND you are soft proofing correctly on a calibrated monitor AND printing on a suitable substrate there is no reason that you should not get a print to screen match either spot on or very close. How close to the different media of oil or acryllic paints you can get I would not like to say but would suspect that for most purposes you should get quite close - assuming no special brighteners in the paint
Forum: Photographic Technique 06-11-2019, 08:48 AM  
Landscape Hyperfocal / landscape focus advices are wrong
Posted By TonyW
Replies: 38
Views: 2,508
Should you really need or wish to use a DoF calculator there are two that I can recommend:

Lumariver DoF (Android and iOS) - Has many customisation settings including airy disk and or pixel pitch and of course CoC. Anders Torger also has an excellent profile designer
Lumariver Depth of Field Calculator
And
True DoF. iOS only
Intro to TrueDoF-Pro

Then there is Harold Merklingers method not using hyperfocal
DoF Merklinger
Forum: Digital Processing, Software, and Printing 05-27-2019, 01:57 AM  
K1 in print test
Posted By TonyW
Replies: 84
Views: 5,077
This paper is not silver photo paper C type it is for inkjet printers.
No point comparing back of print the Baryta coating only on one surface.

The best advice I can offer you at this time is to do a little more study of colour management if you are keen to match print to screen. You could do worse than read one of these

https://www.amazon.co.uk/World-Color-Management-Bruce-Fraser/dp/0201773406/r...gateway&sr=8-2

https://www.amazon.co.uk/Color-Management-Photographers-Techniques-Photoshop...gateway&sr=8-2
Forum: Non-Pentax Cameras: Canon, Nikon, etc. 05-26-2019, 10:26 AM  
Canon Removing Universal Hot Shoe Pin? No 3rd Party Flash Compatablity?
Posted By TonyW
Replies: 2
Views: 601
The ‘removal’ of the pin seems strange as that pin is the trigger pin on every flash I have come across. The other pins function as Quench, Ready, ETTL and AF assist.

https://i.stack.imgur.com/6zha4.png

Anyway only a matter of time until someone posts an adaption or third parties introduce their own
Forum: Digital Processing, Software, and Printing 05-26-2019, 04:01 AM  
K1 in print test
Posted By TonyW
Replies: 84
Views: 5,077
So you have effectively given up on colour management in its real sense. You sent them an sRGB and handed over to them the task of managing your data to make what to them would be a nice print. There is no way that they could possibly see what you see on your monitor that would represent your edits through their profile. The only way to get close is for you to make your edit using soft proofing through the ICC profile for the printer and hope that their colour management up to the task.

You cannot correct for paper base white differences. Paper white is just that the white of the paper and this may take on bluish or warmer casts. If a paper has OBA's then it is likely to appear more blueish than a non OBA paper.

What process, papers and equipment did each lab use? Were they the same?


The good thing for you is that you have at least identified where not to send for prints


---------- Post added 26-05-19 at 12:35 ----------


And what standards did you settle on for:

White Point ?

Black Level ?

Gamma ?

Luminence ?

---------- Post added 26-05-19 at 12:39 ----------

You cannot correct paper white it is fixed and no printer other than specialist uses white ink
Forum: Digital Processing, Software, and Printing 05-26-2019, 12:32 AM  
K1 in print test
Posted By TonyW
Replies: 84
Views: 5,077
You have already made errors in the way you think the print process works and PPI vs DPI and I am afraid you are also making errors with the following assumptions. However I will try but it is going to be difficult as you are not actually in control of the process passing to certain labs

Providing ICC profiles is only the start, they need to actually encourage you to use and embedd the profile in your edited image where you will also have chosen a rendering intent. Did they tell you to do this or just ask you to supply an sRGB JPEG?

No surprises there then as they probably do not follow colour management practices preferring instead to send 'acceptable' prints






QuoteQuote:

- For the two companies that provide ICC profiles, only one inkjet print is close to what the ICC soft proofing give to my display (my display is calibration over 4 hours, 100% matching of sRGB volume), the inkjet print from the other company contains a magenta tone. I've filed a customer complain sent them a shot with a gray card in front of the print to show the difference, but they didn't care much, they offered me a voucher for ordering more prints.(more B&W print with the same tone shift? laughs... I get the customer support lady did not understand my concern).



Display calibration of over 4 hours makes zero sense. Display calibration should not take long at all once you have set your required display standards. You monitor may be capable of displaying the full sRGB gamut however you do not calibrate to sRGB you calibrate to standards e.g. White Point (D65), Black Level, Gamma and luminence. The latter based on your ambient light and print viewing conditions including correct illumination of the print.
As a matter of interest what standard values are you using?
What is your ambient editing environment like, consistent, variable, dull, bright?
When viewing print next to monitor, how are you illuminating the print?






QuoteQuote:

- The third company using silver base print , but provide no ICC profile , give the best B&W print with not tone shift, and their prints are cheaper...



If they were using C type photo paper then AFAIK this is still a colour process requiring equal RGB values to produce a neutral depending on paper substrate colour it should be easy to achieve



---------- Post added 26-05-19 at 06:51 ----------







QuoteQuote:

The problem of soft proofing is that it relies on monitor calibration and viewer appreciation, which is very subjective. I've found another way to evaluate prints, using my camera with WB calibration on X rite gray card, and shooting an 18% gray print under the same light at the same moment, the histogram clearly show the tone shift but is it not possible to fully correct for it with inkjet if the tone shift come from the paper because ink will only correct the color in areas of prints where there is a lot of ink... That's why I wrote that the silver process is better.



There is nothing subjective about soft proofing if your colour management is working quite simply soft proofing works, unfortunately yours at least from what you say is broken

---------- Post added 26-05-19 at 06:58 ----------


Inkjet prints can exceed areas of Adobe RGB
Forum: Digital Processing, Software, and Printing 05-25-2019, 02:34 PM  
K1 in print test
Posted By TonyW
Replies: 84
Views: 5,077
Sorry but the very purpose of ICC profiles IS to accurately describe a printer, ink and paper combination. A good profile will do this and give you a very good print to screen match in a properly colour managed system using soft proofing. This includes evaluation of the print under proper conditions of illumination - many miss this important step.

Initial print illumination for evaluation is probably best using Soloux 4700k or similar, however if you know the exact end viewing conditions you can mimic this
during print run.

There really should be no issue printing C type or inkjet in B&W, these are colour materials.

The biggest problem most face in trying to match screen to print is that they are not printing themselves and many labs pay lip service to colour management. A good lab will supply an ICC profile and also allow you to soft proof and embedded the paper profile and importantly select the rendering intent in you data file
Forum: Digital Processing, Software, and Printing 05-25-2019, 07:51 AM  
K1 in print test
Posted By TonyW
Replies: 84
Views: 5,077
Viewed in isolation either high gloss or matt print should look good for many subjects - just don't try to compare them side to side. As you have already identified glossy finish paper usually offers a greater Dmax and can appear to resolve more detail than a matt surface. My preference tends to be for semi gloss, lustre finishes as viewing angles and lighting not quite as critical as high gloss


If your lab offers icc profiles for its range of papers then you may get some idea of the contrast loss by soft proofing if you own a suitable application (PS or LR)
Forum: General Photography 05-23-2019, 03:32 AM  
This Airport Made Fence Holes for Planespotting Photographers
Posted By TonyW
Replies: 16
Views: 1,354
What a helpful idea. They may need to rethink the hole size for some of you though :D

https://i1.wp.com/pixelpluck.com/wp-content/uploads/2015/03/sigma-200-500mm-lens.jpg

Our nearest airport is Manchester and they do have viewing areas but AFAIK not made any holes, yet! I do not envy the people that live in the houses at the end of one runway. Aircraft seem to be so low on landing passing the rooftops by an insane distance then crossing the road just before the runway end. Should imagine that there would also be a good deal of noise from aircraft positioned for take of on the same runway.
https://www.manchestereveningnews.co.uk/incoming/gallery/worlds-biggest-pass...ne-a380-781980
Forum: Photographic Technique 05-23-2019, 02:04 AM  
Undies,Histograms,Reds,and Clipping.
Posted By TonyW
Replies: 26
Views: 10,570
Thanks for the confirmation which now suggests the image chosen as a 'correct' exposure is actually two stops from clipping the red channel. So effectively losing 2 stops of DR !
Forum: Photographic Technique 05-22-2019, 12:12 PM  
Undies,Histograms,Reds,and Clipping.
Posted By TonyW
Replies: 26
Views: 10,570
Just a quickie to show an image of a very red jumper capture 645z deliberately over exposed showing clipping in Rawdigger of the red channel only.

Looked worse on initial import into ACR due to Adobe applied adjustments but red channel still clipped. Fairly straightforward correction to pull back to look the same as the more conservative 'correct' exposure. The ACR colour represents the jumper colour fairly accurately on a wide gamut monitor and can be reproduced closely on some colour print materials

More severe clipping may be recoverable with some work in PS. Just to be absolutely clear I AM NOT advocating exposing to clipping point on the contrary get it right in camera has got to be the best advice.
Forum: Photographic Technique 05-22-2019, 06:35 AM  
Undies,Histograms,Reds,and Clipping.
Posted By TonyW
Replies: 26
Views: 10,570
That is clear and you also seem to want to move the goalpost. My image not corrected but showing that you do not have clipping or full saturation in LR and confirmed in Rawdigger. Your posted 'corrected' images bear no resemblence to your original screenshot and in the process of editing you have lost the yellow/gold thread next to the dark blue, this may or may not be intentional!

This is not as much about image colour as approaching saturation/ clipping and yet you still choose to ignore the evidence in Rawdigger as it contradicts you theories. Presenting as proof your image file in DCPU is flawed as you are still not getting it - you are not looking at the raw data you are looking at a rendering of that data in DCPU and in this case the rendering chosen favours the look of clipping and yet I bet that if you actually edit the image that you will see that the red channel has not hit a wall

I did say that:This is purely an editing issue but with a full unclipped file should not present any problems

Below first is your orignal image in your editor with your newly edited version below. You have made a huge change to the reds, but that is your perogative!
Second image is a quick edit in ACR not wasting any time trying to match your edit in any way but showing again that there is no clipping.
Forum: Photographic Technique 05-22-2019, 12:59 AM  
Undies,Histograms,Reds,and Clipping.
Posted By TonyW
Replies: 26
Views: 10,570
Just the one image that you claim overexposed (assume by this you mean from the metered reading?). From what you said about your method of placing red value to the right in camera histogram (you are increasing exposure) then subsequently you are increasing exposure by +0.3EV your value of +2EV is probably actually close to +3EV as shown below


Shows zero signs of clipping either in Rawdigger of ACR - I have never seen clipping without an associated histogram climbing the wall. See attachment of a view of your raw data for this image. You may also note that the red value is nearly at +3EV and you may also wish to check back what I said about taking a meter reading of a specific area and increasing the suggested exposure by +3EV which may get you very close to saturation - this represents a meter calibration point of 12.5% which may be representative of your system, there may be even a little more at a pinch

As already hinted the raw editor application of profile can make a huge difference to how the render appears and this will be reflected in the histogram. The attached gif once again showing no clipping even with one of the Adobe standard profiles or the Pentax embedded profile in place. Bearing in mind this not taking into account the fact of adjustment by the editor under the hood.

Now should the colour or any other aspect be wrong in your opinion then it should be obvious what you need to do to correct in your application. If not then you may indicate a ROI that must be a particular colour and supply the values for that area. I suggest Lab values as then there is no colour ambiguity when using different working spaces

There is no guessing here. And as you seem to want to be mildly agressive I will reiterate that your testing and conclusion appear to be flawed.

Including this nonsense which does not deserve an answer.
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