Re: Proof Colors in Photoshop
Re: Proof Colors in Photoshop
- Subject: Re: Proof Colors in Photoshop
- From: Andrew Rodney <email@hidden>
- Date: Fri, 02 Aug 2013 08:13:10 -0600
On Aug 2, 2013, at 7:50 AM, Robert Rock <email@hidden> wrote:
> Respectfully, I couldn’t disagree more with Mark regarding the use of the ProPhoto color space. Yes, it is a larger color gamut than most equipment can reproduce today.
I agree. And there will never be any device that can reproduce what can be defined in ProPhoto unless our visual systems evolve to the degree of the super humans from 2001 a space odyssey <g>. It defines "colors" we can't see (hence they are not colors).
In a raw workflow, especially for those working with Adobe raw processors, you're working with ProPhoto primaries. Might as well encode into ProPhoto from that process and funnel the color down as the need arises. Stick with high bit (16-bit) which is what those raw converters are handing off, all is fine. Be aware that there are actual colors that can exceed the gamut of any display so be careful when editing! If you start moving a slider (say Vibrance or Saturation) and the results stop updating on-screen, that's a good sign you should back off, that you are affecting colors that are outside display gamut.
The other reason for such a large editing space is this. It IS true that the wider the granularity in a color space, the harder it is to handle subtle colors. This is why wide gamut displays that can't revert to sRGB (current LCD technology doesn't allow this.) are not ideal for all work (ideally you need two units).
There are way, way more colors that can be defined in something like ProPhoto RGB than you could possibly output, true. But we have to live with a disconnect between the simple shapes of RGB working space and the vastly more complex shapes of output color spaces to the point we're trying to fit round pegs in square holes. To do this, you need a much larger square hole. Simple matrix profiles of RGB working spaces when plotted 3 dimensionally illustrate that they reach their maximum saturation at high luminance levels. The opposite is seen with print (output) color spaces. Printers produce color by adding ink or some colorant, working space profiles are based on building more saturation by adding more light due to the differences in subtractive and additive color models. To counter this, you need a really big RGB working space like ProPhoto RGB again due to the simple size and to fit the round peg in the bigger square hole. Their shapes are simple and predictable. Then there is the issue of very dark colors of intense saturation which do occur in nature and we can capture with many devices. Many of these colors fall outside Adobe RGB (1998) and when you encode into such a space, you clip the colors to the degree that smooth gradations become solid blobs in print, again due to the dissimilar shapes and differences in how the two spaces relate to luminance.
Andrew Rodney
http://www.digitaldog.net/
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