You only have seven basic colors in the image, all of them appearing well within the gamut of both color spaces, so you wouldn't really expect to see much difference. A really vibrant orange, purple or green however would show a discernible difference, and especially if you were to then try Prophoto RGB.

You can choose whichever color space and bit depth you wish to convert to from RAW within ACR by clicking on the settings dialog.

(Download)

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"When you shoot JPEG, a raw converter built into the camera carries out all the tasks listed earlier to turn the raw capture into a color image, then compresses it using JPEG compression. Some cameras let you set parameters for this conversion — typically, a choice of sRGB or Adobe RGB as color space, a sharpness value, and perhaps a tone curve or contrast setting. Unless your shooting schedule is atypically leisurely, it’s difficult to adjust these parameters on an image-by-image basis, so you’re locked into the camera’s interpretation of the scene. JPEGs offer fairly limited editing headroom—large moves to tone and color tend to exaggerate the 8-by-8-pixel blocks that form the foundation of JPEG compression—and while JPEG does a decent job of preserving luminance data, it applies heavy compression to the color data, which can lead to issues with skin tones and gentle gradations when you try to edit the JPEG.
When you shoot raw, however, you get unparalleled control over the interpretation of the image through all the aforementioned aspects of the conversion. When you shoot raw, the only on-camera settings that have an effect on the captured pixels are the ISO speed, the shutter speed, and the aperture setting. Everything else is under your control when you convert the raw file—you can reinterpret the white balance, the colorimetric rendering, the tonal response, and the detail rendition (sharpening and noise reduction) with a great deal of freedom. Within limits (which vary from one raw converter to another), you can even reinterpret the exposure compensation".

http://wwwimages.adobe.com/content/dam/Adobe/en/products/photoshop/pdfs/understanding_digitalrawcapture.pdf

Thank you for your comments :thumbup:

You're welcome Dennis :thumbup:

The main purpose is to standardize your colors (not simply white balance) across lots of different lighting situations and/or different camera bodies at the PP stage. The video should make it a little clearer Dennis.

http://www.youtube.com/watch?v=9WWJz8-pgEA

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I suppose the question is "how long is a piece of string?". It's really all down to consistency. At least this way all pieces are more or less the same length...

Not many, to be honest. The main purpose is to maintain consistency between shots taken under various lighting conditions (not purely down to white balance) and between one or more camera bodies (of whichever manufacturer, and their color response really does vary quite a lot). This can then be achieved globally, without having to adjust every single shot individually for saturation and color balance. i.e. by generating a camera profile (much like a monitor or printer profile) for ACR or Lightroom.

I guess it's a little subjective in terms of personal taste, but the calibrated result is supposedly more accurate?

http://www.youtube.com/watch?v=9WWJz8-pgEA

Finally got my Colorchecker Passport. A very welcome birthday present from my baby brother ( he's actually 50 in November :D )
I've not had much chance to field test it yet, but the results are very promising even on a previous shot just using the random user defined calibration. Check out the rendition of the blues!

(Download)


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Well, wrong on all counts there Charlie.
Time to get a new dictionary.

I'll give it a try, thanks :thumbup:

It's pretty amazing :thumbup:

Yes I do..............