Pro Photo working color space.
May 26, 2019 12:57:33 #
Longshadow wrote:
Not sure, I believe my editors are set to sRGB or RGB also.
There's been plenty of detailed advice provided, use it if you need it. Leave it if you dare.
May 26, 2019 13:12:34 #
I'm still confused. How can you edit a photo in a color space you monitor can't display?
May 26, 2019 13:29:28 #
Jerry G wrote:
I'm still confused. How can you edit a photo in a color space you monitor can't display?
The monitor will display what it is capable of displaying. That’s why you want a 10-bit monitor capable of 99% of Adobe RGB.
A few high-end printers can print some colors outside of Adobe RGB. Just turn on gamut warnings in your software, and enable a proofing profile of Adobe RGB. Then you can see where those out-of-gamut colors are in your image. Next, you can adjust saturation and other parameters to bring them into your target gamut for Adobe RGB. That’s for a lab/service bureau/offset printer who wants Adobe RGB.
Separately, you can do the same for sRGB files.
Next, use a printer/paper/ink or photo lab-supplied proofing profile to simulate what printed output will look like. With gamut warnings on, you can see what areas need adjustment and adjust them to avoid surprises.
May 26, 2019 13:31:07 #
If you need a color from this space to improve your photos I'd like to see what it is.
May 26, 2019 14:08:34 #
burkphoto wrote:
The monitor will display what it is capable of dis... (show quote)
If you can't see or use those colors outside your printer color space why use them? What does Pro Photo give you that you can actually see and use?
May 26, 2019 15:32:13 #
Jerry G wrote:
If you can't see or use those colors outside your printer color space why use them? What does Pro Photo give you that you can actually see and use?
Seems as if this has already been answered in detail...
May 26, 2019 15:58:29 #
burkphoto wrote:
The monitor will display what it is capable of dis... (show quote)
If you have to bring out of gamut colors back into AdobeRGB I don't see an advantage in using Pro Photo.
May 26, 2019 16:05:59 #
jeep_daddy wrote:
Do you shoot in raw? If so, don't worry about colo... (show quote)
I may be wrong here, but I think internally, PSE works in 16 bit, but will only output 8 bit.
May 26, 2019 16:18:53 #
Jerry G wrote:
If you can't see or use those colors outside your printer color space why use them? What does Pro Photo give you that you can actually see and use?
When editing, it is not unusual to have gamut mismatches between camera, printer ink, print medium, display device, projection device, etc. For example, there are colors that some printers can print that are not visible on many displays, and vice versa.
Then there is the issue of out of gamut colors - if you work in a giant color space like ProPhoto, it is not likely that you will exceed the camera's capture gamut. Editing an image, pushing and pulling contrast, hue, saturation and luminance - it is not hard to start to clip any one or more of the color channels, yielding unpredictable results. It's currently best practice to not reduce your bit depth and color space until final output, when you can flag out of gamut colors in soft-proof view, and choose a rendering intent that minimizes the effect - all while using a printer or device profile that will use actual color for the device in the soft proof.
These two articles may help lend clarity to this for you:
https://photographylife.com/srgb-vs-adobe-rgb-vs-prophoto-rgb
https://martinbaileyphotography.com/2014/05/27/why-use-the-prophoto-rgb-color-space-podcast-423/
May 26, 2019 16:20:09 #
via the lens wrote:
For LR, the Development module uses ProPhoto. I've set all my processing programs to this color space. It allows me to process using the most tones in the photo that can be found, so to speak. Photography is about tones.
No it doesn't. It uses MelissaRGB - similar to ProPhoto, but with a gamma of 1.
May 26, 2019 16:21:29 #
Jerry G wrote:
If you can't see or use those colors outside your printer color space why use them? What does Pro Photo give you that you can actually see and use?
Everything that you need to make as good a print or electronically viewable image as possible. The least desirable would be sRGB.
May 26, 2019 16:29:16 #
Gene51 wrote:
No it doesn't. It uses MelissaRGB - similar to ProPhoto, but with a gamma of 1.
Adobe's online documentation would seem to confirm ProPhoto RGB
https://helpx.adobe.com/lightroom-classic/help/color-management.html
May 26, 2019 16:32:28 #
Jerry G wrote:
Pro Photo color space (rommRGB)is a very large color space, much larger than AdobeRGB. I have read a couple of articles saying you should use it when post processing. I'm sure I am missing something but why use a color space your monitor can't display and your printer can't print. Wouldn't it be better to use the same color space from camera to print?
Good question. It would seem like that is the same as recording music using a microphone that is good over the audio range then translating it to a studio setup that extends to ultra-sonic and sub-sonic where the speakers can only reproduce the audio range.
One thought is you want the software to be able to accept all of the available source matter range, even if the monitor can’t display it. Then the software can accurately translate it to the colors your monitor or printer can display.
There are monitors that can reproduce a wider color gamut but they are not cheap.
May 26, 2019 16:55:40 #
JD750 wrote:
Good question. It would seem like that is the same... (show quote)
I like the audio analogy. Pulling out-of-gamut colors into the gamut of your monitor or sRGB or Adobe RGB or a paper-ink-printer combo is also like using audio compression and equalization to keep certain instruments audible within a mix of others.
May 26, 2019 16:58:35 #
Jerry G wrote:
If you have to bring out of gamut colors back into AdobeRGB I don't see an advantage in using Pro Photo.
The advantage, as Gene51 mentioned above, is to avoid clipping colors as you adjust the image. It is also to preserve colors that can be printed by high end devices, but that cannot be contained in Adobe RGB or sRGB.
When you're trying to make an exact reproduction of something super-saturated like Corvette Red...
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