D2H Skin Tone

[DougThompson]

[ QUOTE ]

For me...I'm tired on beating my head against the "D2h is bad" individuals. It's not perfect, but there are many, many serious photographers that seem to think its works pretty well. If you need a Canon 1Ds or 1DMkII, go for it. I'm sure they are great cameras as well. For me the D2h has been a great investment and other than wondering how to justify the D2x purchase whenever its stable and widely available, I have no buyer's remorse.

Paul

[/ QUOTE ]

Paul:

Excellent point (as were the other points in your post). I also think some are forgetting that the D2H is targeted to photojournalists, sports and action-oriented photographers. It is not a studio camera nor was it intended to be. I use my D2Hs to shoot NASCAR, basketball, spot news, grip & grins and an occasional sunset or two and it has produced the kind of results I have come to expect from Nikon. Not one client has said "what's wrong with the color?"

When I am forced, by necessity and kicking and screaming, to go into the studio, I use a Mamiya with a Leaf digital back. If I shot weddings for a living, I'd probably opt for something else. But I'm a news shooter and Nikon has been my tool of choice for 40 years. Other choose different tools because they fit their needs.

Doug

[James Haba]

Tony,
If you would like to look at the RAW file it is now posted along with the jpeg version at:
www.2020communications.com/image

This man's face looked this way every time I took his picture, as did one older female, others in the group did not exhibit this problem. This image was at Mode 1 color space.
I would just love to find out why this happens and how to avoid it in the future.
Jim

[David_Buzzard]

I can't seem to download the NEF. Can you compress it as a .ZIP or .SIT file, and see if that works any better.

David Buzzard

[JackBingham]

So there are a host of potential issues here. First and formost it is impossible to make any real serious judgements about what is going on without a custom gray balance. That means one main light source and a good gray card. Second, as soon as you start mixing light sources the gray balance comes into question. Third if you are using an SB type flash it is important to determine where it actually gray balances rather than just picking flash. I have seen quite a variation from camera to camera and flash to flash whjen it comes to where they actually gray balance. Once these things are assured, then you can pin down the actual problem. Assuming all the above has ben taken care of, and the problem still exists, I of course would recommend a custom profile. I have eliminated many a bad skin tone problem on many models of camera by doing that.

[James Haba]

David,
I have a .sit and a .zip up now at:
www.2020communications.com/image
I hope this helps.
Jim

[Dennis_Stiff]

Jack...I have a question about profiles. Just when do you assign them. For instance my PS color workspace is Adobe RGB 1998. Most of the D2H images if downloaded are sRGB to which I change to my workspace. I also have a D1 profile that I got with Qimage years ago. If I strip the profile from the incoming image I can change the way it looks on the monitor in PS by changing the profile settings for workspace under Edit>Color Settings>Working Spaces. If I have a custom profile made for the camera when and how do I assign it to the image?. I assume that I would want to make my adjustments in PS with the custom profile as my workspace.

DennisS

[JackBingham]

Dennis, first i would recommend you set your working space to adobe rgb asnd leave it there. Second, when I bring images into Photoshop, I assign a custom camera profile and then convert to adobe rgb. Then I edit. Cameras don't shoot to adobe rgb or srgb, no matter what they are set to and one look at a profile mapped in 3d with either srgb or adobe rgb shows this clearly. So as much as we would like a simple solution like one working space or another, it just ain't that simple.

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