The scene-referred workflow promises an editing independent from the output medium. It will typically produce an image encoded in sRGB colorspace with 8 bits, that is code values between 0 and 255. To simplify, we will consider here only the 8 bits case. Concepts are the same in 16 bits, only the coding range goes from 0 to 65535, which is anecdotal.
The printing problem Unfortunately, nothing guarantees that the printer is able to use the whole encoding range.
Here is how to get started with Ansel editing, going through only the most basic steps that should serve you well most of the time.
The video was recorded on Darktable 3, but the same modules and principles apply to Ansel.
This article will demonstrate how to perform monochrome toning on digital images in Ansel, to emulate the color rendition of cyanotypes, platinotypes, sepia and split-toning developments.
Step 0 : global preparation Set the global exposure and filmic scene white and scene black, as in any other editing. See basic editing steps. This is our base image, by Glenn Butcher :
If you start from a color image, you need to turn it into black and white : the recommended way is through the color calibration module, using the B&W presets.
In this article, you will learn what the scene-referred workflow is, how Ansel uses it and why it benefits digital image processing at large.
Introduction The scene-referred workflow is the backbone of the Ansel’s imaging pipeline. It is a working logic that comes from the cinema industry, because it is the only way to achieve robust, seamless compositing (also known as alpha blending) of layered graphics, upon which movies rely heavily to blend computer-generated special effects into real-life footage.
