When dealing with color spaces one should understand that there is a
difference between output color spaces and editing color spaces. The
sRGB space was designed for output on monitors and most pro labs will
expect an image to be sRGB for printing. If it's not they'll convert
it. Other color spaces may be useful while editing in the same sense
that Moose often recommends using 16 bits while editing. If you're
using a monitor it will not be able to display the full gamut on some
color spaces but the additional width may prevent some colors from going
out of gamut during editing. That at least allows the data to be
retained when it is finally converted back down to an output space. Me,
I'm not doing product photography with critical color requirements and
wouldn't even know how. I stick with sRGB. Works for me and the lab.
Chuck Norcutt
WayneS wrote:
> At 01:17 PM 10/29/2008, Ken wrote:
>
>> Moose wrote:
>>> I like the first two. Composition of the third is nice, but the red
>>> channel blocked up, leaving no detail in the berries. A classic problem
>>> with digital and bright reds.
>> Yeah, those are nice! As to the reds blocking up, I agree. However, I have
>> noticed that not all RAW converters are equal in that regard. At issue is
>> the fact that the human eye actually does not see red, but the camera does.
>> (the eye sees orange and the absence of green and processes it for red
>> recognition). Red is not represented with enough bit-depth and goes
>> out-of-gamma far too easily. One way around this is to work in color-spaces
>> other than sRGB or even aRGB.
> <snip>
>
> What about lab color space? Have you ever worked much with that space?
> I actually started liking it quite a bit inspired by reading Dan Margulis's
> book.
> I was under the impression it actually matched how the eye sees better?
> I know one channel a color blind person does not see at all.
>
> WayneS
>
>
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