Re: Proof Colors in Photoshop
Re: Proof Colors in Photoshop
- Subject: Re: Proof Colors in Photoshop
- From: Spinnaker Photo Imaging Center <email@hidden>
- Date: Fri, 02 Aug 2013 13:08:31 -0700
Is it reasonable to "archive" in RAW?
David B Miller, Pharm. D.
member
Millers' Photography L.L.C.
dba Spinnaker Photo Imaging Center
Bellingham, WA
www.spinnakerphotoimagingcenter.com
360 739 2826
On Aug 2, 2013, at 9:32 AM, Andrew Rodney <email@hidden> wrote:
> On Aug 2, 2013, at 10:21 AM, Mark Stegman <email@hidden> wrote:
>
>> I have no problem with archiving images in whatever colour space one desires but I do have a problem working with colours I cannot 'see'. This is inherently difficult to grasp.
>
> It's a potential issue but unless you work with a wide gamut display AND only edit in a working space that is no larger, you're in the same camp. We have output devices that greatly exceed these gamuts. So you have a choice. Work with colors you can see and limit them upon output OR work with colors you can't see (on-screen), carefully as I outlined but use some of those colors on your output device.
>
> IF you only output to the web, sRGB is all you need. But if you output to a modern ink jet, even Adobe RGB will limit what you can utilize to such devices. This is not a new 'issue'. So assuming you were working on an sRGB like display, anything wider than sRGB isn't visisble. What's the difference with ProPhoto RGB?
>
>> When your saturated colours are hitting the ceiling and even going beyond the gamut of your monitor what is happening to those colours still within it?
>
> They are being affected. Or let's say the numbers are changing. Be careful.
>
> One 'newer' behavior that is useful in this context is found in Adobe Lightroom where one can see an OOG (out of gamut) overlay which examines the display gamut in comparison to the document gamut. We don't have that in Photoshop. At least you can see where on the image data exists that is outside the gamut of your display. Now it's an ugly and not totally precise overlay. But it's better than a sharp stick in the eye. I'd far prefer to see a few differing colors that illustrate how far OOG the overlay colors are. For example, in ColorThink Pro, one can view several colors of overlay based on the deltaE differences. In Photoshop and LR, you see one ugly color and therefore, a color that is a tiny bit outside gamut and one's that are greatly outside gamut are all presented the same. Perhaps in the future, Adobe could provide say three color overlays: one that is just OOG, then colors that are X number farther outside gamut and a 3rd that's way outside gamut. But today we have a tool that shows us colors that are outside display gamut.
>
> Andrew Rodney
> http://www.digitaldog.net/
> _______________________________________________
> Do not post admin requests to the list. They will be ignored.
> Colorsync-users mailing list (email@hidden)
> Help/Unsubscribe/Update your Subscription:
>
> This email sent to email@hidden
_______________________________________________
Do not post admin requests to the list. They will be ignored.
Colorsync-users mailing list (email@hidden)
Help/Unsubscribe/Update your Subscription:
This email sent to email@hidden