RE: Photography editing spaces
RE: Photography editing spaces
- Subject: RE: Photography editing spaces
- From: Roger Breton <email@hidden>
- Date: Tue, 07 Oct 2008 06:44:29 -0400
Matt,
I'd be curious to see how far these Nikons can reach into saturated colors
to begin with. Assuming a RAW workflow. But, if as you pointed out, in your
case, the images arrived at your doorstep already rendered to sRGB, either
off the camera's own internals or through ACR, which is a possibility, there
is no point then insisting on changing the encoding of the image to AdobeRGB
or some other larger color space to suit a higher calling. In general,
outside of fine arts reproduction or some other supposedly very high-end
workflow (PhaseOne and the like), sRGB is quite all right -- hate to sound
like a broken record. Marco's point about editing color is well taken. If
the color can't be seen on screen to begin with, because of its inherent
gamult limitation, how is a user to make decisions about it? In CMYK, this
approach makes sense. And in fact, that was the way countless color
retouchers operated in the past -- and still do, for a large part, all they
look at are the screen percentages. But the same can't be said for, say
ProPhoto, for instance. Can it?
Roger
> All kidding aside I want to thank you all for the information which has
> been invaluable. I think sRGB was the best choice for these shots which
> were from a Nikon D80 and D100 and a Canon PowerShot S5-IS. All of
> which
> have sRGB as their native color space. The only images I have that are
> different that I could find in my archives were from Leaf backs shot by
> a local studio who used Colormatch RGB. Otherwise almost everything I
> have to pull from is sRGB.
> - --
>
> Matt Beals
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