OwinThomas Posted March 24, 2012 Share #21 Posted March 24, 2012 Advertisement (gone after registration) Let's just agree to differ and move on Link to post Share on other sites More sharing options...
Advertisement Posted March 24, 2012 Posted March 24, 2012 Hi OwinThomas, Take a look here Color space to Adobe not sRGB?. I'm sure you'll find what you were looking for!
CalArts 99 Posted March 24, 2012 Share #22 Posted March 24, 2012 Let’s not throw LAB into the pot - it is a different kettle of fish and only complicates matters. LAB is a great color space to use as a tool which is why I followed the sentence with: "and it's also not unusual to make certain file adjustments in specific color spaces (like sharpening, blending, color replacements, etc.) and then convert back...." We all know (I'm assuming) that sharpening in the 'L' part of L, a & b is more effective than using three RGB channels at once. Link to post Share on other sites More sharing options...
OwinThomas Posted March 24, 2012 Share #23 Posted March 24, 2012 Guys can we keep this under control and stick to the OP's topic? Migs is obviously just starting out in colour management, we don't need to frighten him off the path to enlightenment, before he's started. Link to post Share on other sites More sharing options...
jaapv Posted March 24, 2012 Share #24 Posted March 24, 2012 LAB is a great color space to use as a tool which is why I followed the sentence with: "and it's also not unusual to make certain file adjustments in specific color spaces (like sharpening, blending, color replacements, etc.) and then convert back...." We all know (I'm assuming) that sharpening in the 'L' part of L, a & b is more effective than using three RGB channels at once. Yes - and that is just a basic beginning in LAB - so let’s stick to more conventional color spaces for the moment. If you want to discuss LAB happy to, but in another thread - and keep a bottle of Aspirin handy I will too Link to post Share on other sites More sharing options...
ymc226 Posted March 24, 2012 Share #25 Posted March 24, 2012 But note when you convert from Adobe RGB to sRGB that all colors that are out of gamut are lost and cannot be recovered when reconverting to a wider color space. So make your choice for Adobe RGB or Prophoto at raw conversion when you know what you are doing and only drop down into sRGB when needed. Personally I tend to use Prophoto (and I have an Adobe RGB capable monitor)... It is very useful imo to have a completely color-calibrated workflow. But beware of the pitfalls of “invisible” colors. Jaap, I just recently began this color management journey and started using a wide gamut monitor with LR3/LR4 as my software. I understand LR uses Melissa RBG as its color space which cannot be changed. I assume you use different software in order to choose color space options to work in. If you have an Adobe RBG monitor, why would you choose not to work solely in aRBG instead of Prophoto? My goal is the final print (using an Epson printer/inks) so having a predictable outcome is the most important issue for me. Link to post Share on other sites More sharing options...
andybarton Posted March 24, 2012 Share #26 Posted March 24, 2012 I would recommend the purchase of a good book on the subject. Martin Evening writes a good one. Link to post Share on other sites More sharing options...
Paul J Posted March 24, 2012 Share #27 Posted March 24, 2012 Advertisement (gone after registration) Colour management used to be near heart attack inducing 15 years ago. It's all pretty easy these days. Most important thing to note is that you most definitely need a properly calibrated and quality monitor. Adobe 98 is the best most practical to use still. Combined with an a98 monitor. If your monitor has an sRGB colorspace and you're working in a98 expect some slight surprises in print. You can get an NEC2690 which has something like 97% of the a98 Spectrum pretty dirt cheap these days. You can calibrate it with Spectraview and an Eye1 display for outstanding results. Spectraview is great. You attach the calibrator, run the program , go make a coffee and come back to perfect results. I have had 2 of these monitors for 5 years now and they give me pretty much perfect output. Same goes for Profoto - it's close to pointless using when you can't even properly see the colours you are manipulating. Learn about rendering intents and how to apply them to individual images and soft proof accordingly. This is crucial for output.. I'm usually converting to CMYK as well. Getting profiles from printers these days is mostly close to impossible. My workaround is working in Fogra39 which is the largest Gamut in CMYK. I have my workflow at a point of consistency and reliability and what I see on my monitor is extremely close to my output across a very wide and varied platform. The peace of mind you gain from something as simple as Spectraview is a invaluable and after years of guess work really quite cathartic Once you have a reliable output you can then experiment with other colourspaces. Link to post Share on other sites More sharing options...
jaapv Posted March 24, 2012 Share #28 Posted March 24, 2012 Don’t save your archival copy in CMYK. It is a very small color space, most useful for graphic printing - it is far smaller than any printer is able to handle - quite a few accept adobe RGB nowadays. Link to post Share on other sites More sharing options...
Paul J Posted March 24, 2012 Share #29 Posted March 24, 2012 CYMK conversions are only for images printed commercially but they are still archived for the purpose. And no, you are you right in saying you don't convert them back to to RGB to print from. Link to post Share on other sites More sharing options...
jaapv Posted March 24, 2012 Share #30 Posted March 24, 2012 Jaap, I just recently began this color management journey and started using a wide gamut monitor with LR3/LR4 as my software. I understand LR uses Melissa RBG as its color space which cannot be changed. I assume you use different software in order to choose color space options to work in. If you have an Adobe RBG monitor, why would you choose not to work solely in aRBG instead of Prophoto? My goal is the final print (using an Epson printer/inks) so having a predictable outcome is the most important issue for me. ACR which is the raw converter for Lightroom can be set to any color space as can my standard C1 pro. I edit in the largest colorspace to avoid loss, and will see if anything untoward happens when dropping down to adobe RGB at the end for printing or sRGB for the Internet. So far I have not had a single problem. Link to post Share on other sites More sharing options...
Guest WPalank Posted March 24, 2012 Share #31 Posted March 24, 2012 ACR which is the raw converter for Lightroom can be set to any color space .... Not to niggle but...Yes one can select the Color Space they are working on in ACR. However, in LR, 4 being the latest version, as mentioned above, one is working in Melissa (slightly bigger than Pro Photo) and a Space we cannot resolve on monitors at the present time. It is only on Export from LR that one can choose Pro Photo or any other "smaller" Color Space. Continue on gentlemen. Link to post Share on other sites More sharing options...
jaapv Posted March 24, 2012 Share #32 Posted March 24, 2012 Quite possible, I am not a LR guy. CS5 and C1 are my tools. I did not realize ACR worked a bit different in LR. Link to post Share on other sites More sharing options...
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