Re: NEC PA271Q "Native" chromaticities
Re: NEC PA271Q "Native" chromaticities
- Subject: Re: NEC PA271Q "Native" chromaticities
- From: Wire ~ via colorsync-users <email@hidden>
- Date: Mon, 2 Dec 2019 17:21:28 -0800
Of course, it brings nothing to the party today! It's maligned today. Yet,
it's an excellent compromise of concerns from the perspective of history.
My earlier point—which context is a bit elusive here—was that if you think
eciRGB is a great compromise today—and over at DisplayCal forum a
knowledgeable user strongly makes this point—well I say: isn't it
interesting that eciRGB gamut is NTSC 1953!
So what happened? Did color engineers just not care? Why was there this
compromise toward 709?
And given that everyone who has ever owned a personal computer owes a debt
to the television industry, it's hard to say "OMG why is my work so
hamstrung by this outdated display standard"? In 1980s computing
environments, color itself was considered an expensive option that crossed
off purchase reqs. In my experience, it was the rise of the web that made
color mandatory.
I'd be interested in anecdotes about how the limits of sRGB affect color
printing from an artistic perspective.
For example, I once met a guy who loved orchids and was disappointed with
his inkjet printer because it couldn't do pinks (magentas) that looks
anything like his 2004 era color PC display. He wasn't concerned about
matching the flowers! Lol
The history of great art photography is black-and-white. And it still is.
For example, the movie industry had the marvel of Technicolor which it
showed off in prestige roadshow pictures. Is there a similar moment in
color still printing? Yes Cibachrome was great looking, just like
Kodachrome is loved. But is there an Ansel Adams of color?
So at what point would you say that color radically changed art printing?
Not the photography of other media, but as an artistic aspect in and of
itself. Desktop publishing color has traditionally about simulation and
visualization of pre-existing media, and how printing gamuts affect this.
Most color fidelity convos go something like "Well this system can't
reproduce this other thing, so..." and the requirement gets constructed
from a simulation requirement. In 1953, was SMPTE thinking "Eventually
we'll use this tech to simulate 6 color inkjets"?
So I'm curious to hear you put the statement "you can't get any worse than
sRGB" into a perspective of a history of printing, and was there a seminal
point at which transcending the limits of sRGB profoundly changed
photography?
Yea, sRGB is limited, no argument. But I've never come across anyone who
from a pure perspective of aesthetic appreciation looked at an sRGB display
and remarked, that's OK but it's missing something. Of course you can see
differences, and once you have seen them you can train yourself to notice
in rarified conditions. However, I've heard plenty of people say "my
display color is too intense" when looking at web color on a WCG display
and wonder what's going wrong.
On Mon, Dec 2, 2019 at 3:58 PM Andrew Rodney via colorsync-users <
email@hidden> wrote:
>
> > On Dec 2, 2019, at 4:44 PM, Wire ~ via colorsync-users <
> email@hidden> wrote:
> >
> > My current peeve is the denigration of sRGB. It's a color-space that
> makes
> > so much sense.
>
> Well it did in circa 1994 or so (with CRTs). I don't see what it brings to
> the party today. And far, far too many urban legends surrounding it.
>
> > And I'm super excited about new wide-gamut displays, and
> > more color.
>
> More? Maybe wider gamut which is nothing really that new. Even on iPhone
> and iPad.
>
> Anyway, for those of us still printing, you can't do much worse than sRGB
> ;-}
>
> Andrew Rodney
> http://www.digitaldog.net/ <http://www.digitaldog.net/>
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