Colour Profile query
Discussion
Adobe RGB colour space has a wider gamut than sRGB
However this doesn't necessarily means it's better:
http://www.kenrockwell.com/tech/adobe-rgb.htm
The long and short of it is - unless you are a pro and working with specific hardware and know what you are doing - avoid adobeRGB. sRGB is the defacto standard.
However this doesn't necessarily means it's better:
http://www.kenrockwell.com/tech/adobe-rgb.htm
The long and short of it is - unless you are a pro and working with specific hardware and know what you are doing - avoid adobeRGB. sRGB is the defacto standard.
Edited by Moonhawk on Tuesday 17th March 22:18
Well, your NEF files will go into Lightroom by default as ProphotoRGB. It is academic what you're setting on the D800 for RAW files, it's only when you're going between different applications and output that you'll actually see any difference and when soft proofing for printing.
In practice, you probably won't see a lot of difference, and unless your output has to produce a specific Pantone you'll be chasing an ideal that you'll have a lot of difficulty achieving.
More important is display calibration and handling colour balance of different light sources between subject and processed image. You can't get an acceptable output, especially print, if the displays are significantly out!
Mind you, I'm not the best person to ask about calibration today: yesterday I got a Datacolor Spyder and on the second attempt it's absolutely locked up my main profile on my Mac and I cannot work out how to restart the Mac at all, let alone dump the new display profile created!
In practice, you probably won't see a lot of difference, and unless your output has to produce a specific Pantone you'll be chasing an ideal that you'll have a lot of difficulty achieving.
More important is display calibration and handling colour balance of different light sources between subject and processed image. You can't get an acceptable output, especially print, if the displays are significantly out!
Mind you, I'm not the best person to ask about calibration today: yesterday I got a Datacolor Spyder and on the second attempt it's absolutely locked up my main profile on my Mac and I cannot work out how to restart the Mac at all, let alone dump the new display profile created!
K12beano said:
Well, your NEF files will go into Lightroom by default as ProphotoRGB. It is academic what you're setting on the D800 for RAW files, it's only when you're going between different applications and output that you'll actually see any difference and when soft proofing for printing.
In practice, you probably won't see a lot of difference, and unless your output has to produce a specific Pantone you'll be chasing an ideal that you'll have a lot of difficulty achieving.
More important is display calibration and handling colour balance of different light sources between subject and processed image. You can't get an acceptable output, especially print, if the displays are significantly out!
Mind you, I'm not the best person to ask about calibration today: yesterday I got a Datacolor Spyder and on the second attempt it's absolutely locked up my main profile on my Mac and I cannot work out how to restart the Mac at all, let alone dump the new display profile created!
Thanks! I have colour calibrated monitors on my PC and Macbooklite. Shoot portraiture and fashion in .NEF into lightroom and into Photoshop via .psd for editing and back for prining, on-line ports or magazines (who ask for .jpg). I have set up LR to produce AdobeRGB .psd files and for PS to respect embedded colour space. The question is does the quality suffer if I set all to sRGB and/or will I see an on screen difference when editing in LR/PS? In practice, you probably won't see a lot of difference, and unless your output has to produce a specific Pantone you'll be chasing an ideal that you'll have a lot of difficulty achieving.
More important is display calibration and handling colour balance of different light sources between subject and processed image. You can't get an acceptable output, especially print, if the displays are significantly out!
Mind you, I'm not the best person to ask about calibration today: yesterday I got a Datacolor Spyder and on the second attempt it's absolutely locked up my main profile on my Mac and I cannot work out how to restart the Mac at all, let alone dump the new display profile created!
Moonhawk said:
Adobe RGB colour space has a wider gamut than sRGB
However this doesn't necessarily means it's better:
http://www.kenrockwell.com/tech/adobe-rgb.htm
The long and short of it is - unless you are a pro and working with specific hardware and know what you are doing - avoid adobeRGB. sRGB is the defacto standard.
I get the theory to a point and I've read Rockwell with moderate mirth but it doesn't tell me what I need to know! Rockwell rarely does!However this doesn't necessarily means it's better:
http://www.kenrockwell.com/tech/adobe-rgb.htm
The long and short of it is - unless you are a pro and working with specific hardware and know what you are doing - avoid adobeRGB. sRGB is the defacto standard.
Edited by Moonhawk on Tuesday 17th March 22:18
Well I really don't think, that for the vast majority of the type of images you're talking about, you are likely to find any significant difference in AdobeRGB and sRGB outputs.
I went on a Nikon Owners run course for Colour Management** recently and the tog demonstrated you could find a tiny bit of difference on some reds that were in a richly coloured shot of some Royals in a carriage surrounded by guards in a red uniform. That was going to soft-proofing from one colour space to another. i guess it might make a difference if you were trying to reproduce the exact red of a bottle label of Coca Cola.
Why don't you find some rich colours - or a colour chart and do some tests - it's only when you see it that you find problems. I know about eight years ago I had some pictures taken in Monument Valley at sunset and I could manage to get some weird casts by starting out in ProPhoto and uploading them to Photobucket - but I can't for the life of me work out what I did or whether I could reproduce that!!!
Ian - **like you I've read the theory plenty of times - although not Ren Kockwell - and just get lost in it. A practical course has basically taught me not to worry about a few things, but you do want to know what's going to happen when you hit print, and the best way is through soft proofing. But what you see on your screen as an output is basically what the interwebnetwatchers will see as sRGB until we've all got screens that can accurately show Adobe or ProPhoto.... And you only have problems when conversions are actually happening
I went on a Nikon Owners run course for Colour Management** recently and the tog demonstrated you could find a tiny bit of difference on some reds that were in a richly coloured shot of some Royals in a carriage surrounded by guards in a red uniform. That was going to soft-proofing from one colour space to another. i guess it might make a difference if you were trying to reproduce the exact red of a bottle label of Coca Cola.
Why don't you find some rich colours - or a colour chart and do some tests - it's only when you see it that you find problems. I know about eight years ago I had some pictures taken in Monument Valley at sunset and I could manage to get some weird casts by starting out in ProPhoto and uploading them to Photobucket - but I can't for the life of me work out what I did or whether I could reproduce that!!!
Ian - **like you I've read the theory plenty of times - although not Ren Kockwell - and just get lost in it. A practical course has basically taught me not to worry about a few things, but you do want to know what's going to happen when you hit print, and the best way is through soft proofing. But what you see on your screen as an output is basically what the interwebnetwatchers will see as sRGB until we've all got screens that can accurately show Adobe or ProPhoto.... And you only have problems when conversions are actually happening
I've taken a look at my screen capabilities - they are limited to sRGB so essentially it doesn't seem to matter what colour space I use as I can't see the benefit. Similarly, it appears that the colour space printing is limited by the printer capabilities.
At least thats the today view. Some writers suggest maintaining a wide as possible colour space to future proof and be able to take future advantage. Cant see me going back in time to re-edit.
So, I'm thinking it really doesn't matter. to me at least! Shoot RAW process AdobeRGB and output in sRGB.
At least thats the today view. Some writers suggest maintaining a wide as possible colour space to future proof and be able to take future advantage. Cant see me going back in time to re-edit.
So, I'm thinking it really doesn't matter. to me at least! Shoot RAW process AdobeRGB and output in sRGB.
K12beano said:
Mind you, I'm not the best person to ask about calibration today: yesterday I got a Datacolor Spyder and on the second attempt it's absolutely locked up my main profile on my Mac and I cannot work out how to restart the Mac at all, let alone dump the new display profile created!
Your ICC profiles are in System Preferences > Displays > Color – if the delete option is greyed out when you select the profile, you can remove it from User > Library > ColorSync > Profiles or the main Library > ColorSync > Profiles > Displays, depending on which path it is stored.Gassing Station | Photography & Video | Top of Page | What's New | My Stuff