In short, it makes no sense to shoot raw for its colorspace capture ability, when you use DPL. For serious printing this is just not acceptable. This is exactly why including DPL in the workflow somewhat change your perceived GAMUT. It just takes a company, and a consultant who isn’t blinded by what is there already, to change a good app into a great app.ĭear Wolfgang, thanks, its an old thread but confirms that the working colorspace of DxO/DPL was, in 2019, set in stone as AdobeRGB and cannot be changed.
There comes a time when you need revolution instead of evolution. Was it worth it? Well, the new product is even more successful than the old and the MD/coder happily threw way thousands of lines of code, some of which did the same thing seven different ways. So, whilst maintaining the legacy product for 3-4 years, we started by building solid foundations and “scaffolding”, which ended up as a product that a non-programming consultant could customise to a client’s needs on-site. Fortunately, the MD who was also the original programmer, realised after trying for three months to shoehorn good techniques into spaghetti code, it was going to take longer to do that than start from scratch. It was a nightmare and that is why I got called in.
#Dxo photolab 4 workflow code#
I consulted for a company that had a legacy app that had “evolved” but that had horrible things like 500 different flags that indicated which client that particular bit of code was added for. They rather had to carry on using them or reprogram them from scratch And THEN softproofing would make sense (and would be mandatory). If you want to print…unless DxO clarifies which colorspace they are using, and make it so the user can choose ProPhoto from the very start…well you’ll loose colors and data from your camera, that your printer could have made use of. If your finality is everything but printing…DPL is very good (viewing pictures on screens, on the web…requires sRGB only, and seldom require adobeRGB which is large). Thomas has made amazing work to colorspace conversion, it took him years.
I also think the foundation work of Thomas Knoll, the Father of Photoshop laid tons of patents that are difficult to avoid when you want to address the issue. When you go from a colorspace to another you’ll have to use a rendering intent, ie choose the methods for handling the colors that are outside the destination colorspace…do you clip? do you shrink? All these settings are hidden and we simply don’t know how DxO process it. In photoshop and Camera RAW your can process your raw with the color workspace set to ProphotoRGB, which is the proper workspace if you want to cover all the gamuts and not clip anything (though using it require a fair dose of care.
If working with DPL make it hidden and mandatory to go through a hardcoded AdobeRGB-lookalike color space, you simply clip your colors and tonalities since the GAMUT of your camera, and most importantly, the GAMUT of your printer (given you use serious printers with large gamut, like ultrachrome HDR inks from Epson) is larger than AdobeRGB. That would make sense if and only if this colorspace issue was clearly documented and clarified. This process is/was still “state of the art” for printing serious work, without using costly RIP softwares.
#Dxo photolab 4 workflow how to#
Luminous-landscape made several videos on how to use Softproofing when going from camera to print. I think the DxO guys’ rationale is that if you want to have serious printing workflow, you’ll either invest in a RIP, or use Photoshop. This colorspace was used by the root algorithms for handling demoisaicing/denoizing/ raw processing at the same time (the strenght of DxO), and was nearly impossible to change without heavy investment and research.Įver since we have seen updates in the raw processing (with spectacular results), but nothing on the color management topic.
Years ago (before PhotoLab, back in the DxO days) I was told by an engineer that it was close to AdobeRGB but couldn’t give proper documentation about it because it was a sensitive matter. Soft proofing being the most obvious feature.įor high resolution fine art printing and signature work, there is an un-clarified topic about the internal working colorspace of DxO. I am advocating for years for a decent printing module for end-to end color management system within DxO, but I also know this a lot of work.
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