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전체 에 해당하는 글8 개
2007/10/12   High Dynamic Range Editing
2006/12/02   사진 얼마나 유지될까?
2006/11/02   The printing modes of the Frontier - Color spaces (1)
2006/09/26   "Chroma Plus" VS "Colorful" (1)
2006/09/25   Measuring the Quality of ICC Profiles and Color Management Software
2006/09/05   Fuji Crystal Archive Type 2 = Ever Beauty Type 2
2006/09/05   코닥로얄 정말로 좋은가 ?
2006/09/05   사진인화품질 비교 (스캔자료) (1)


High Dynamic Range Editing
디지털사진 | 2007/10/12 16:58
High Dynamic Range Editing

HD Photo supports a new paradigm for image editing.  , Higher fidelity images can be stored in a high dynamic range, wide gamut format using either fixed or floating point numerical encoding.  HD Photo retains image content that would otherwise fall outside the visible range and be clipped using the more typical unsigned integer numerical representation (TIFF, JPEG, PNG, and most other formats.)  This may happen when the camera converts from RAW, or during any other editing or conversion operation.  Take a look at a previous post on this blog for more information about high dynamic range wide gamut pixel formats.

This is a Big Change!

Most imaging applications aren't designed to understand high dynamic range, wide gamut pixel formats.  There are some specialized tools, used primarily by the visual effects world, that work with high dynamic range formats.  Adobe Photoshop CS3 (and CS2) supports high dynamic range wide gamut editing using the 32-bit editing mode.  You probably never realized that Windows Vista Photo Gallery - the simple, easy-to-use photo tools built into Windows Vista - also supports high dynamic range wide gamut editing.  That's right, Photo Gallery.

Let's walk through an example, using the Beta of the new Windows Live Photo Gallery.  This new update for Windows Vista Photo Gallery is coming soon, with some really cool new features (Big Hint: It now has "Live" in it's name), and it will also be available (with HD Photo support!) on Windows XP.  You can check out this post on the Microsoft PhotoBlog for more details on all the cool new features. 

This example works the same way using Windows Vista Photo Gallery, available today in all versions of Windows Vista.  (I've included links below to the source photos so you can try this out for yourself.)  I chose the new Windows Live Photo Gallery because they've added a really cool exposure histogram control, which will help us better illustrate what's going on.

Doing it Old School

Here's an 8-bit sRGB JPEG file, opened in Windows Live Photo Gallery.  This photo definitely has some problems.

It appears that either the camera or some automatic image adjustment program made an overall exposure adjustment decision based on an average scene illumination level.  The painted wall on the left, the dark background on the right and Anthony's dark clothes all biased this average exposure setting, causing his face and the balloons to be over exposed.  Let's zoom in on that area and select the Exposure adjustment controls under Photo Gallery's "Fix" tools. 

The histogram clearly shows the over exposure problem.  There is a large percentage of image content that is clipped at the upper limit of the exposure range.

We can try to fix the photo using the Brightness control to reduce the effect of the over exposure.

While this reduces the blinding brilliance of the image, we weren't able to recover any of the color or detail in Anthony's face, or in the balloons.  That topmost yellow balloon is still clipped to the limit in the red and green channels, resulting in a flat, featureless yellow surface for the entire balloon.   Again, the histogram clearly shows what's going on here.  Any image data that may have existed in this highlight area was clipped to the upper limit of the numerical range when it was encoded in an 8-bit JPEG file.  The Brightness adjustment reduced the levels, but all channels are still clipped at a fixed limit.  All this adjustment did was reduce the level of that clipped limit.  We haven't done that much to rescue the details and color in this over exposed photo. 

This problem isn't unique to JPEG.  We'd have the exact same results with any image format that uses unsigned integers (0-255 for 8-bit or 0-65535 for 16-bit) to encode the data, including TIFF, PNG, or even HD Photo if using an unsigned integer mode.

Once More, with HD Photo

Now let's load the same photo as stored in a 16-bit fixed point scRGB HD Photo file.  As you can see below, the displayed visible range of the image is the same as the JPEG image, so the initial appearance looks identical.  We can also see that even though this is a 16-bit image, the file size is about the same as the equivalent 8-bit JPEG image.

We're starting with the same apparent over exposure problem.  Let's go through the same editing process and see how things differ when using a high dynamic range, wide gamut pixel format.  First, we'll zoom in on the same over exposed area and open the Exposure tools under the "Fix" menu.

Note that the histogram for this version of the photo looks a bit different.  There appears to be a lower percentage of image content near the upper limit of the displayed exposure range, and there doesn't appear to be that same "pile" of image content pressed up against that upper histogram limit.  that's because there's a bunch of content in this image that's not currently displayed in this histogram.  The histogram only shows the visual range, but the HD Photo file includes image content that is outside of the current visual range.  There's more data that was captured by the sensor, but when the image exposure was adjusted based on the overall average level, this additional data wasn't clipped within the 16-bit fixed point scRGB HD Photo file, even though it appears to be clipped in the current display view.  Let's perform the same Brightness adjustment and see how things are very different when editing high dynamic range, wide gamut images.  We'll actually make a larger adjustment change because we're working with a larger range of exposure values.

Wow!  That's a big difference!  The histogram clearly shows that there was a bunch of image content that we weren't seeing in the original version, but in a high dynamic range wide gamut format, it wasn't clipped to the upper limit of the visible exposure range.  When we adjusted the Brightness, this content came back into the visual range; there is no hard clipping visible at the upper end of the exposure range.  The visible difference in the image is dramatic.  We were able to recover a great deal of color and detail in Anthony's face and the over exposed balloons.  Now we can see that the upper yellow balloon is actually translucent; all that detail was completely lost when the initial exposure decisions caused the highlights to clip at the upper end of the visual exposure range.  Now that we've undone most of the over-exposure damage, we could continue on and tweak the contrast, shadows and highlights as desired.

Comparing the Results

Here's a comparison of the two different results based on only the exposure adjustments from above.  You can really see the differences in Anthony's face and shirt, as well as the yellow balloons.  We can retain most of the desirable scene brightness while still recovering the lost highlight color and details.

This is just one example of the improved editing capabilities that are possible using high dynamic range wide gamut image formats (and editing applications that support these formats.)  This capability is here today for HD Photo using Windows Vista Photo Gallery, with expanded features and support for Windows XP coming later this summer in Windows Live Photo Gallery.  

High Dynamic Range Wide Gamut editing is also supported in Adobe Photoshop CS3 (and CS2.)   You can download the free plug-in to add HD Photo support to Adobe Photoshop on Windows Vista and Windows XP, and version for OS X (both PPC and Intel) is coming very soon.  Hopefully we'll see more imaging applications add support for high dynamic range wide gamut formats in the near future.  The new Windows graphics infrastructure, combined with HD Photo, can enable a whole new world of image processing innovation.

Your Turn

Here are links to the actual JPEG and HD Photo files I used for this example.  (They're low resolution images so they can download faster.)  Simply right-click and "Save As..."

AnthonyS.jpg      AnthonyS.wdp

Open these in the Windows Vista Photo Gallery editor and try this for yourself.  Better yet, ask you buddy to try to fix the JPEG version, then you show how it's done using the HD Photo version.  Have fun!

Published Thursday, July 12, 2007 9:03 PM by billcrow


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사진 얼마나 유지될까?
디지털인화지 | 2006/12/02 11:18

엡슨 :  105년
PictureMate (잉크젯) 

후지 : 40년
Fuji Crystal Archive Type One

코닥 : 19년
KODAK EDGE AND ROYAL


http://www.infocat.pe.kr/doc/Epson_Print_Permanence2005r.pdf

엡슨자료임

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The printing modes of the Frontier - Color spaces
디지털인화기 | 2006/11/02 12:41

The first thing to know is that the Frontier doesn't support the ICC profiles. The profiles possibly embeded in your file simply won't be considered. This doesn't mean that the Frontier does not manage at all the colors. It has a proprietary solution, with a simplified management compared to full ICC standards.

The Frontier has two main printing modes: "sRGB" and "Print Direct/no convert" ("PD"). The PD mode is pretty uncommon, most of the consumer/prosumer stores -if not all- use their Frontiers in the "sRGB" mode. The operators often know this latter one only. To get the PD mode, it's better to go to a small local store with its own machine, or to a pro store.

3.1 - The "Print Direct" (PD) mode

In this mode, the file is sent "as is" to the printer unit. The native gamut is therefore used. The comparison of this gamut to the sRGB's one shows that none of the two can entirely contain the other one: some sRGB colors fall outside of the native gamut (and hence can not be printed), while some colors in the native gamut fall outside of sRGB.

The file is actually supposed to be already in the Frontier native colorspace: it is therefore required to have the ICC profile of this colorspace,  in order to convert the files before sending them.

A generic ICC profile for the PD mode is available on request on the Fuji Europe site(see http://www.fujifilm.de/engl/serv/farbm_faq.html). If you contact me, I can also send it to you.

3.2 - The "sRGB" mode

In this mode, the files are supposed to be in the sRGB colorspace, which is the defacto standard for the consumer digital photography (even if  Adobe98 is often prefered by the prosumers). They are converted to the Frontier native space inside the Frontier itself.

The results are correct in terms of color fidelity, as long as the file are effectively prepared in sRGB. If they are not (if they are in Adobe98 for instance), they should be converted to sRGB before being sent.

The results are correct, yes, but not fully satifactory, with significant color shifts, mainly in the yellow and blue tones. Of course, since the native gamut does not contain the whole sRGB space, it is impossible to have prints perfectly identical to the files (this problem is very common on a vast majority on printing systems). However, I doubdt it can explain all of the observed shifts. In my opinion, a part of the problem comes from the internal conversion engine of the Frontier: we have no control over it (it is difficult to obtain such informations from Fuji), and it is a possibility that the algorithms do not fit all kinds of images.

Fortunately, it is possible to enhance the results when using the sRGB mode. This mode can indeed be considered like a "black box", which receives a file and outputs a print. What happens inside the box does not matter. If we have an ICC profile of this black box, it is valid to convert the files to this profile before sending them to the lab, trying various rendering intents and possibly various conversion engines, and retaining the combination that gives the "best" result. For this, the soft-proofing on the monitor gives a fairly good idea of the final (printed) result.

Indeed, the tests show that this method significantly enhances the fidelity of the prints. The main advantage is of course that we have the control over the conversion, instead of being tied to the Frontier internal conversion. It would in fact better stand to reason to work directly in the PD mode, but as stated previously, it is often difficult to find stores that use this mode in practice. 

A generic ICC profile for the "sRGB" mode can be downloaded from the Fuji Europe site, at http://www.fujifilm.de/eng/serv_1120.html. With this profile, we can check that, strangely, the "sRGB" mode doesn't use the whole Frontier native gamut, but rather the common part of this gamut and the sRGB's gamut.

3.3 - So what ? "sRGB" or PD ?

If you edit your pictures in the sRGB space and if you wish not convert your files before sending them to the lab, then the "sRGB" mode is the one to choose.

If you are willing to convert your files, then the PD mode is the most pertinent one: you have access to the entire Frontier native gamut. The only problem with this mode is its scarcity: only a local store with its own lab will eventually propose prints in this mode. The "sRGB" mode is hence often the only available solution, but it is a very acceptable compromise.


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eidos 2006/11/02 12:47 L R X
후지 Frontier장비가 sRGB 색공간을 지원한다고 하지만 장비 네이티브 스페이스를 아마추어들이 선호하는 색에 맞추어 임의로 왜곡 변형시킨 형태입니다.
그런데 사진한장뽑아들고 모니터랑 맞추겠다고 불가능한 시도를 하시는 분들 많더군요. 모두 헛수고임

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"Chroma Plus" VS "Colorful"
C.M.S | 2006/09/26 10:53
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GretagMacbeth Color Expertise

May 15, 2006 Authors: Erik Vlietinck With the Eye-One Pro Photo bundle comes a copy of Eye-One Match 3.x. This is GretagMacbeth’s entry-level semi-professional profiling application. Eye-One Match is a unified software suite, a one-window approach, to measuring targets, saving measurement files, and creating profiles for every device in your workflow. Eye-One Match profiles monitors, scanners, cameras, printers and with an optional hardware module, even beamers.

Eye-One Match excels at ease-of-use and guiding the user through the process. However, you can only do what the program will allow you to do, which is create profiles and save them. You can also save the measurement files, but creating new targets is impossible, and so are a number of other things, which are very much possible with GretagMacbeth’s flagship application ProfileMaker Pro 5.0.5. I had the pleasure of reviewing the most complete, the Packaging version.

While Eye-One Match 3.6 enables users to quickly create accurate profiles, the only way to measure a colour and compare it with others --as one example of what you would like to do-- is through the freeware application Eye-One Share. Eye-One Share is based on the open (XML-based) CxF standard, aimed at communicating about colour without ambiguity. Eye-One Share is great if you want to “play” with colours --even Pantone colours-- create colour harmonies, measure, evaluate and compare spot colours, and much more, but it is not primarily intended to measure two colours and then determine their deltaE value using whatever deltaE system you would prefer (CMC, E94...).

In other words, and to cut a long story short, the basic package delivered with the Eye-One Pro spectrophotometer is complete and feature-rich, but there may be circumstances when it’s just not enough. That’s when ProfileMaker Pro 5.0.5 jumps in. ProfileMaker Pro 5.0.5 allows you to create a colour workflow so that all devices can be profiled in an environment where profiling is done semi-continuously or continuously. ProfileMaker Pro 5.0.5 is needed for service bureaus, printers, professional photographers, and environments where multi-colour, Hexachrome, Generic Output Profiling (GoP) and other such more esoteric requirements are business as usual.

Device Link

ProfileMaker Pro 5.0.5 is a modular colour management solution. It includes the ProfileMaker application, ProfileEditor, ColorPicker, and MeasureTool. I’ll start with the latter. MeasureTool is the application with which targets and spot colours are measured using the Eye-One Pro spectrophotometer. It is also the tool which will calibrate the monitor (calibrate, not profile), compare colours, average profiles (useful when the device is subject to drift over time), and finally create test charts.

Indeed, the ProfileMaker Pro 5.0.5 solution allows you to create your own test targets and measure them with a whole range of measuring devices. MeasureTool will guide you through the process of each of its features, but will not take you by the hand as Eye-One Match does. MeasureTool --being a component of the ProfileMaker Pro suite-- is not for amateurs. It is for professionals who know enough about colour management not to need guidance from the beginning to the end. Having said that, I must admit the software suite has a very complete and handy help system that you access through a common web browser.

While calibrating and measuring is easy enough, the Test Chart Generator is somewhat more complex by nature. If MeasureTool is part of ProfileMaker Pro 5.0.5 Packaging, you will have the option of generating test charts for any output device. Even if your license is less generous, there are a couple of ways to create a new test chart. The easiest is to create a test chart based on an existing reference. GretagMacbeth includes a large number of those reference files with the software, so you can choose from a number of standard test charts. Each test chart having been optimized for a specific type of measuring device, the choice boils down to about two dozen charts to select from.

If that is not to your liking, you can also generate linearization charts (to linearize or calibrate --not profile-- your printer), or create a test chart from scratch. The latter involves choosing a number of patches, or pages, or even sheets. Test charts always relate to a measuring device, and MeasureTool supports the Eye-One, Eye-One iO, Spectroscan, IcColor, and two X-Rite spectrophotometers (but not the Pulse). However, if you have a reference file from a third party, and your measuring device supports the layout of their test chart, you can just open the reference and start from there --there’s no need to build a new test chart for that.

You create new test charts whenever you feel the default test charts are not enough for your purposes. While you can generate test charts for any device, including your monitor and scanner, the most important reason why you would choose to do so, is that your printer needs more patches to profile accurately, or that your multi-colour device is not covered by the default charts included with the software.

You can’t create completely new types of test charts with MeasureTool, however, and few desktop publishers, prepress pros or photographers will feel the need to do so.

MeasureTool is the preparation to what you will do in ProfileMaker. While you can measure targets in ProfileMaker too, doing so in MeasureTool is more efficient, especially when you’re measuring large test charts. MeasureTool also allows you to measure spot colours and compare them, and average existing profiles.

MeasureTool

ProfileMaker Pro 5.0.5 Packaging has a toolbar with six buttons. These apply to profiling a monitor, scanner, camera, printer, multi-colour device, and device link. The colour management workflow with ProfileMaker Pro 5.0.5 can be simple: you just profile your device using the ProfileMaker component in the suite and don’t bother about MeasureTool. If you need more control over what exactly gets measured and the measurement process itself, you will use MeasureTool to measure and ProfileMaker to process the measurement data.

In some cases, you will just use ProfileMaker by itself. With scanner targets, for example, there is little need to first pass by MeasureTool, because the standard IT8 target reference files have already been grouped together in the appropriate folder in the ProfileMaker application suite folder. But if you’re going to use a target that nobody heard about in the first place, and a reference file for the target is missing, you will pass by MeasureTool first, measure the target completely --perhaps even patch by patch-- and then create a reference file from those measurements.

Only then will you use ProfileMaker to start the profiling process for the scanner. The Printer button will allow you to create RGB or CMYK printers, including printing presses and inkjet proofers. The Multicolor button is targeted at profiling output devices that can handle up to 10 colours, including Hexachrome. The Packaging version also has GoP capabilities, meaning you can create Generic Output Profiles.

With the help of GretagMacbeth GoP you can replace the colours in an existing ICC profile and thus save a great deal of time and money associated with re-profiling from scratch. You print the test chart once, measure it and generate one ICC profile. Then you can calculate this ICC profile, without having to print or measure it again, for other print jobs on the same press in Generic Output Profiler with new settings. Obviously, GoP is closely linked to multi colour profiling.

Finally, if your colour management workflow frequently demands that files like photographs are managed directly from one device to another, a device link profile can automatically link those colour spaces and gamuts together, saving time in the process. With ProfileMaker Pro 5.0.5 and its associated software components, you are not restricted to creating ICC profiles only. With ProfileEditor, for example, Photoshop Colour tables can be created very easily as well.

Especially desktop publishers, using Adobe InDesign CS2 or QuarkXpress will like this capability, as will photographers.

ProfileEditor

Besides immediate calculation of an ICC profile, ProfileMaker also allows delayed calculation of a number of profiles of all three device classes, one after the other in a batch processing sequence. For printer profiles, for instance, you can perform Batch Profiling with a number of different separation settings. You only have to load your reference and measurement files once. For this purpose, the settings for calculating each profile are held and stored in a Batch window.

Of course, ProfileMaker Pro 5.0.5 will allow you to fine-tune separation settings for CMYK printers. I couldn’t test this feature as all inkjets I have available for testing and reviewing are controlled as RGB printers.

Multi Color

ProfileMaker Pro 5.0.5 has three gamut mapping variants: LOGO Chroma Plus, LOGO Classic and LOGO Colorful. The latter is new to ProfileMaker 5.x while the Classic method exists the longest. I tested both Chroma Plus and Colorful, and found the colours splashing off the paper, especially with the Colorful variant. Colours were brilliant, deeply saturated and still natural-looking with this variant. Not surprisingly, it is the best choice for photography.

Chroma Plus was somewhat more modest in its display of saturation, but it still showed more brilliance and saturation than was possible with the profiles delivered as a standard with each inkjet printer you buy. None of the profiles I created with GretagMacbeth’s solution showed colour problems, as I experienced with the large target measurement using the ColorVision PrintFIX Pro. On the contrary, whereas the default inkjet profiles showed a distinct magenta colour cast, the ProfileMaker profiles were right on the dot --and that’s what profiling is done for in the first place.

The ProfileMaker bundle comes with two more modules: ProfileEditor and ColorPicker. With ProfileEditor you can edit profiles, perform post-linearization, create a colour profile workflow, and adjust the settings in a profile so flaws in photographs and other images are handled by a profile rather than with the image editor’s functionality.

Finally, ColorPicker is a tool for converting custom colours into device colours using ICC profiles. Gray, RGB and CMYK output profiles are supported, as are MultiColor profiles with up to 10 channels.

PANTONE colour tables are supplied for coated, uncoated and matte paper, enabling you to measure your colours or by entering the CIELAB value of one of your colours manually. ColorPicker provides you with the CMYK, RGB or MultiColor combination closest to your own colour for your specific output process.

You can optimize the calculated device color even more by visually adjusting it or automatically calculating the smallest delta E value.
The CIELAB values, unedited and edited device colour values of one of your own colours are displayed in ColorPicker in true colour. Two independent gamut warnings identify any custom colours that are outside the device and/or the monitor colour space. ColorPicker colour tables can be saved as ICC Named Color Profiles, used directly in iQueue for proofing custom colours, or exported to an Adobe Illustrator, Photoshop, InDesign, or Macromedia FreeHand format.


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eidos 2006/09/26 10:59 L R X
profilemaker 5.05에 포함된 세 가지 gamut mapping변수

LOGO Classic -> 3.0 이전 버전에서 사용되던 계산방식
LOGO Chroma Plus -> 4.x 버전을 위해서 개발된 방식
LOGO Colorful -> 5.x 버전을 위해서 개발된 방식

"Chroma Plus"나 "Colorful"은 보기에 좋은 것을 골라잡으면 OK



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Measuring the Quality of ICC Profiles and Color Management Software
C.M.S | 2006/09/25 19:03
Measuring the Quality of ICC Profiles
and Color Management Software

BY ABHAY SHARMA

The aim of this review is to establish some baseline assessment for ICC profiles,
to assist user choice, raise the standard of profiling software and promote the
wider acceptance of ICC color management.

http://www.infocat.pe.kr/doc/prinect_profile_toolbox.pdf

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Fuji Crystal Archive Type 2 = Ever Beauty Type 2
디지털인화지 | 2006/09/05 19:51

http://www.worldofphoto.com/pdf-archiv/2004/04_August_September/13_15_Seite.pdf

PDF속에 주요 내용--->

At the center of this year’s Lab System
Show, which took place from June 22 to
24, 2004, at the Tokyo Big Sight convention
center was a mobile phone demonstration
area, featuring eight digital imaging
kiosks surrounding a graphics panel
showing the growth of prints from digital
media in Japan, cameraphone models
which can be downloaded to kiosks and
other statistics.

~~~~~
Fujifilm also chose the Lab Systems show to introduce
its new Ever-Beauty Paper Type II (which will be available
worldwide as Crystal Archive Type II in the 4th
quarter of this year),
as well as its Pro Laser Type II
paper which is offered in four finishes ? lustre, glossy,
semi-matte and silk. The latter boasts improved color
rendition, “whiter whites” and an improved image
stability under exposure to ozone.

요점은 "후지 크리스탈 아카이브 Type II" 는  "후지 에버뷰티 Type II"와 같은 종이라는 것.

그레이 마켓으로부터  "후지 크리스탈 아카이브 Type II"의 역수입을
방지하기 위한 페이크인지 모르겠습니다만,
한국후지필름은 "후지 에버뷰티 Type II"가
"후지 크리스탈 아카이브 Type II"와 다른 것처럼 애매한 태도를 취합니다.

한국후지필름이 손바닥으로 하늘을 가릴수는 없다. !!




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코닥로얄 정말로 좋은가 ?
디지털인화지 | 2006/09/05 19:37


"FUJI CRYSTAL ARCHIVE" vs "KODAK ROYAL" GAMUT 비교 (2006/09/05)


FUJI CRYSTAL ARCHIVE (frontier용)가 코닥 로얄 보다 더 넓게 나옵니다.
인화지 연구개발에서 손뗀 코닥 이제는 실제 품질에서도 역전당하기 시작하는 것 같습니다.
로얄 좋아하시는 분들중에서 온라인에 공급되는 로얄페이퍼가 중국제라
예전만 못하다고 하시는 분들도 계십니다만,
주로 영국제인 코닥 엔듀라 페이퍼도 로얄과 비교했을때 그다지 차이나지 않습니다.
오히려 엔듀라 페이퍼의 gamut크기자체는 더 작습니다.
다음번엔 KODAK ROYAL 과 KODAK EDGE 를 비교해 올리겠습니다.


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사진인화품질 비교 (스캔자료)
디지털사진 | 2006/09/05 18:51

디지털 인화에서 같은 인화기에 같은 재료를 사용하는 상황에서 업체간 품질차이에 대해서 부정적이었습니다. 그런데 어떤 대학의 인화품질비교설문결과를 보니 인화품질비교는 주관적이고 상대적이라 의미없다고 무시하기에는 곤란할 만큼의 통계적 차이가 나왔더군요. 보통 전국민 대상 설문이라고 발표되는 조사의 표본이 400명 정도라는 것을 고려해볼 때 상당히 많은 대학생들을 대상으로 설문한 결과였습니다. 두 눈으로 확인하지 않으면 믿지 못하는 성격이라 비슷한 방법으로 직접 테스트하여 보았습니다. 많은 시간과 노력이 들어간 만큼 같은 관심을 가진 분들과 공유하고자 합니다. 일반 포토스캐너로 처음하는 해보는 작업이어서 먼지나 흠이 함께 스캔된 경우가 있으니 양해하여 주십시오. 모니터로 스캔사진을 비교하기에 앞서 모니터 조정이 제대로 되어 있어야 합니다. 반드시 모니터를 조정하신 후 비교해 보시길 바랍니다.

>>> 모니터 조정하기 <<<
>>> 사진인화품질 비교하기 <<<
  1. 각 업체 인터넷주소의 ABC순으로 나열했습니다.
  2. 공정한 스캔을 위해 동시에 두 장씩 올려 놓고 좌우 위치를 바꾸어 스캔하고, 해상도를 바꾸어 스캔하여, 각 조별로 4회 스캔하였습니다.
  3. 감상하시는 모니터가 제대로 설정되지 못하는 경우가 많으니 함께 스캔된 흰 테부분을 먼저 주시하신 후 사진을 비교해 보시기 바랍니다.
  4. 현재 테스트한 업체들은 모두 같은 인화기와 감재를 사용하고 있습니다.
  5. 현재 테스트한 업체들은 보정을 해주지 않거나, 각각 고유 프로그램에 의한 자동보정만을 해주고 있습니다.
  6. 좋고 나쁨은 각자 판단하시고, 몇 곳을 선택하셔서 직접 비교해 보시길 권합니다. ( 모니터로 보시는 것보다 더 큰 차이가 있습니다. )

제 개인적인 결론은 인화기와 감재가 같아도 각 업체의 후보정기술의 차이에 의해 품질차이가 상당히 발생한다는 것입니다.

인화 가격과 품질을 동시에 고려해 본다면 가격과 품질사이에는 아무런 상관관계가 없는 것 같습니다. 이는 인화품질 평가가 제대로 되지 않아서 전개되는 상황인것 같습니다. 또한 같은 이유에서 품질경쟁이 아니라 가격경쟁 상황이 벌어지는 것 같습니다. 무한 가격경쟁상황에서는 평균적인 품질저하가 발생할 수 밖에 없습니다. 소비자의 제대로 된 평가노력에 따라서 보다 좋은 사진을 저렴한 가격에 얻을 수 있으리라 생각합니다.

혹시 인화업체를 운영하시는 분이 이 글을 보시고 비교사진 올리고 싶으시면 아래 메일 주소로 10여장 배송비없이 인화할 수 있는 쿠폰을 보내주십시오. 의미있는 숫자가 모인다면 불시에 다시 테스트하여 게시하겠습니다. 다만, 비교 결과는 스스로 책임지시길 바랍니다. ^^;;


Last Modified 2005/10/31 (sungsoo37 AT gmail.com)
비교 테스트한 사이트 목록(인터넷 주소 ABC순)
  • WWW.DCINSIDEPHOTO.COM - 디씨인사이드포토
  • WWW.DGPX.COM - 디지픽스
  • WWW.MAXPAPER.COM - 맥스페이퍼
  • WWW.OP.CO.KR - 오피
  • WWW.ZZIXX.COM - 찍스

  • 트랙백 | 댓글(1)
    이 글의 관련글(트랙백) 주소 :: http://infocat.pe.kr/plato/trackback/1
    eidos 2006/09/05 20:46 L R X
    신생업체 몇 곳에서 테스트 쿠폰을 보내주셨습니다만, 스캔 엄두를 낼 만큼의 눈에 띄는 업체는 없었습니다. 작년 말에 했던 5곳도 다시 해보니, 많이들 바뀌었더군요.
    이글의 원래 목적이 품질차이가 있으니 체험들 해보시라는 요지였는데, 많은 분들이 제 생각만 물어보시더군요. ;;
    보정수준으로만으로 비교해 봤을때, 맥스는 아무것도 하지 않는 것 같습니다. 디씨인사이드(이름바뀌었더군요.)와 오피는 일괄로 콘트라스트 업, 브라이트 업, 채도 업 이런 식으로 보정합니다. 본문에 넣은 스캔한 사진에도 보이지만, 특히 디씨인사이드 사진의 경우 하이라이트가 망가진 경우가 많이 보입니다. 오피는 샤프니스를 처리 안했는지 흐릿한 느낌이 많이 납니다. 색감도 약간 물에 빠진듯한 느낌입니다. 그래도 보정능력이 가장 좋아 보이는 업체는 찍스와 디지픽스입니다. 그런데 찍스의 경우 어두운 사진에서 다소 보정이 떨어지는 것 같습니다. 제 결론도 디지픽스가 제일 좋아 보입니다. 특히 하늘이나 초록의 색상이 인상적이었습니다. 기회가 되시면 직접비교들 해보십시오.
    지난번에 후지인화기 후지인화지 업소를 골라 5곳을 뽑았는데, 다음번엔 감재 상관없이 스코피, 미오디오, 찍스, 스마일캣, 디지픽스 이렇게 다섯 곳을 해볼 계획입니다.

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