rlaugh wrote:
which one looks better on your screen?? I see more detail in the white birdhouse in #1, #2 seems to be brighter.
Frankly, that will depend upon the quality of your monitor and monitor calibration. IF you have a very high quality 10-bit monitor and graphics card, capable of displaying the full Adobe RGB (1998) color gamut, AND it is calibrated with a kit from X-Rite or Datacolor including a hardware colorimeter or spectrophotometer and software that makes ICC profiles, THEN you will see that the Adobe RGB (1998) image has a wider color gamut than the sRGB image. Deeper, saturated colors will appear more vibrant in the Adobe RGB image. Certain colors that sRGB cannot contain will be more accurate in the Adobe RGB image.
Unfortunately, if you or your lab make conventional silver halide-based color prints, they will be unable to reproduce the full range of Adobe RGB, and certain colors will look quite different from the way they looked on your monitor. For that reason, you should always evaluate and make final adjustments to your images by "soft proofing" in reference to the lab's proofing profile. That uses a printer profile as a "filter" to display your image as close to what the printer will reproduce as possible.
Most monitors are incapable of displaying the full Adobe RGB color gamut. Most monitors are not calibrated anywhere near reference accuracy, either. Images for distribution on the Internet most often should be in sRGB color space for that reason. It was established a couple decades ago as the international standard. (Yes, it is a lowest common denominator sort of standard. That's not necessarily a bad thing!)
Images for printing by photo labs should be in sRGB UNLESS the lab or service bureau requests (or approves of) a different ICC color space. Very high end service bureaus may work from 16-bit TIFFs in ProPhoto RGB, or Adobe RGB. (ProPhoto has the wider gamut.)
SOME offset print houses, stock agencies, magazine editors, and other commercial printing companies will request images be submitted as 16-bit TIFFs in Adobe RGB, because they provide a bit more color gamut and a lot more tonal range to play with when they make color separations from your files. Others are happy with sRGB files. Only thieves and enemies want your raw files!
The advantages of raw capture far outweigh the advantages of JPEG capture using Adobe RGB. When you develop raw files into images, you get to play with the full range of what the sensor recorded. Use a great, calibrated monitor, and you can dial in precisely the look you want. If you print directly to a high end inkjet printer, you can get all the colors and tones that printer can display from that image. If you save images in a particular color space for use in other processes, you can see the compromises you are making when doing that.