Understanding Camera Profile

In my quest to better understand (at least a portion of ) the vast spectrum of color management, I continually hear about establishing a profile for the camera. Other than selecting either sRGB or RGB color space on my 400D, what else is involved?

Thank you for your help.

AdobeRGB.

jeromego wrote in post #9548027
AdobeRGB.

camera profiles not color spaces.

I am interested in this also. subscribing

I know you are asking about the camera, but there are lot of color profiles in Photoshop.

Are you talking about shooting the X-rite color checker with your camera and then using the Adobe or X-rite software to create a camera profile tuned to your specific sensor? If so, I've done that and it works pretty well. Theres a thread about that in the Raw,Post Processing section with examples etc.

partsman wrote in post #9548775
Are you talking about shooting the X-rite color checker with your camera and then using the Adobe or X-rite software to create a camera profile tuned to your specific sensor? If so, I've done that and it works pretty well. Theres a thread about that in the Raw,Post Processing section with examples etc.

I'm not sure. sorry to sound so vague, but I'm just trying to get an understanding of profiling a camera.

Actually, I'll just move this discussion to the Raw, Post Processing forum.

Thanks.

See:

https://photography-on-the.net/forum/showthre​ad.php?t=774903

or

https://photography-on-the.net/forum/showthre​ad.php?t=602420

Kirk

Profiling the camera is not something that many people do unless the demand for color accuracy is very stringent, as in product/catalog photography, for several reasons: A. It is only the first step in an entire workflow that is strictly color managed from camera to output medium, unless the output is also well profiled the system loses much of its validity. B. A profile is specific for a given light source and is therefore usually considered practical only in the controlled and repeatable lighting of a studio. C. It is meaningful only for RAW conversions, but every RAW converter comes with generic profiles for every camera model that it supports that, while not as accurate as a profile for an individual camera, are nowadays pretty good. In past years there was dissatisfaction with the profiles in ACR and LR, so these converters provided the interface to customize the profiles, but in newer versions of the software the canned profiles are much better.

Thank you, tzalman. I must admit that when I read about camera profiling that it seemed like a logically theoretical step in the quest for the most exacting standards of color management. However, for a mere mortal like myself who dabbles in the art for my one enjoyment only, I suspect this is far from the most critical consideration in controlling color from camera to printer.