Re: Proof Colors in Photoshop
Re: Proof Colors in Photoshop
- Subject: Re: Proof Colors in Photoshop
- From: Mark Stegman <email@hidden>
- Date: Sat, 03 Aug 2013 11:49:43 +1000
Steve,
Point 1 - a very useful contribution.
> Myself, I agree with all of them, at different times <g>
Me too.
> Point 2 - This means that if you convert from ProPhoto to sRGB for display or distribution, you will be clipping all color outside the sRGB gamut. Nasty. Print profiles have gamut mapping LUTs in them to move colors into the output gamut in a pleasing way
In my not-so-scientific approach I struggle with CONVERTING from a larger gamut to a smaller one as this is where the damage seems to get done, especially with colorimetric RIs. I prefer to ASSIGN a smaller colour space that is closer to my destination profile so that I can see what will happen to my appearance BEFORE converting. In recognise that this is not an output device colour space but the conversion, when applied, is less radical. Of course, this means that the device independent numbers are changing (and therefore the appearance) instead of the other way around. What is your take on this?
Personally, I have often wondered if the colorimetric RIs were ever intended for converting from a larger gamut into a smaller one. For example, Absolute Colorimetric is recommended for proofing but this is pointless on an output device with a smaller gamut than the source profile because of the clipping that occurs. This is why I make the point about publishing workflows moving to sRGB as the default RGB Working Space - the conversion to CMYK produces fewer 'surprises'. At least for commercial offset lithography. In practice, by the time proofing occurs documents have been converted to CMYK anyway and a proofing RIP is required to achieve acceptable results but while we are preparing the images and assessing them for colour using a visual representation on screen why not stick with something we can actually see?
As for the tip... I don't know when the gamut warning wasn't in Photoshop but it's pretty ugly. If my memory serves me right Andrew thought that they should get rid of it at one stage and just rely on Proof Colors. Perhaps they could implement a version that generated a sort of transparent, posterised overlay based on just how far out of gamut the affected colours are. Personally, I'd rather use a colour space I can actually see.
Mark
On 03/08/2013, at 6:28 AM, Steve Upton <email@hidden> wrote:
>
> On Aug 2, 2013, at 1:01 PM, Spinnaker Photo Imaging Center <email@hidden> wrote:
>
>> Out loud I want to thank Steve and all his staff at Chromix, and Iliah Borg with Andrey Tverdohkleb, for all their support!
>
> Happy to do so.
>
> I also have two points and a tip that I wanted to mention.
>
> Point 1 - The discussion about best working space in one I won't enter into here other than to say that there will always be disagreement between people. I created a presentation some years back that summarized peoples' views into 3 groups: input, edit, and output. The input group wants to capture as much as they can and all devices are considered inferior to the image. As devices improve, so will our view of the image. The edit group wonders why we bother capturing or containing colors that are not visible on the display and worries about surprises at print time. The output group (typically where professional printers fall) wonders why anyone would want to capture, store, or edit anything outside the print gamut. Working in CMYK makes sense to them as the gamut is defined by the output system.
> . If you are concerned about the clipping that might happen into sRGB, try converting to a favorite larger-gamut print profile first, *then* convert into sRGB. You might like the gamut mapping better. The good folks at the ICC are working on an sRGB profile that can gamut map from the 'standard reference gamut' into/out of sRGB but I don't think that'll help here.
>
> Finally, the tip:
>
> For those working in ProPhoto who might be concerned that you are editing / creating colors outside your display gamut, setup a gamut warning for your display! Just set up soft proofing but select your display profile for the output profile. Then when you turn on gamut warning Photoshop will shade all the colors on your display that may fall outside of it's gamut. It can be a handy tool.
>
> Happy summer all,
>
> regards,
>
> Steve
>
>
>
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