A better example would be an uncurved set of negatives. Since you have applied a curve that was devised to your specific workflow, you have distorted the comparison to some extent. While in general I think it is true then when looking at a number of side by side separations I can see a little bit less of a very deep shadow separation. My practice is to let them fall where they are. I was actually after something else, that is my impression that CMY negatives have more of a binary color combinations. I was frequently doing that by adjusting color saturation, or even selectively adjusting saturation with masks. There was an adjustment in Photoshop to make pictures look more like Velvia slides that I used as well.
For example if you look at a blue sky, it has very little yellow component in the CMY color space as compared to RGB color space. A standard color chart would be the best comparison. I am not saying that one or the other way ia a better way to make negatives. I am just experimenting and trying to see if anybody else can add from personal experience.
> Date: Sat, 22 Nov 2008 16:54:56 +0200
> From: firstname.lastname@example.org
> Subject: Re: separations for gum printing
> To: email@example.com
> 22 Kasým 2008, Cumartesi, 4:43 pm tarihinde, Loris Medici yazmýþ:
> > ... I did it exactly as you describe...
> Let me clarify: I made a dupe of the original RGB file, converted it to
> CMYK and split the channels. I split the channels of the RGB file also,
> then I inverted all the files, applied the curves (devised for negatives),
> flattened the files, downsized them and saved all. RGB - C is the R
> channel of the RGB file, - M is the G channel and - Y is the B channel
> respectively. So you're looking to the actual curved negatives on that
> comparison page.
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