answer me this re color

Started Aug 24, 2012 | Discussions thread
Billx08
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Re: answer me this re color
In reply to painterdude, Aug 24, 2012

painterdude wrote:

I like Fuji color ..Most here do. We Fuji color lovers would say Fuji color is better than other color ..yet some cameras are rated as having better color depth than others ..even better thanFUJI offerings.

. . .

Okay so the D800 beats the S100 in color depth ..cool..BUT the wonder is this.

Are not all cameras no matter how great they are at color ..limited to the color spectrum of printers and also of monitors ?

No, there are many factors to consider. First, the color space used by practically all cameras is sRGB. It has a smaller color gamut that the optional AdobeRGB color space that some of the better cameras allow. Most printers have gamuts comparable to the sRGB color space, but by using special inks, the better printers can produce wider gamut prints. RAW images can be used to work with the much wider gamut of the ProPhoto RGB color space. A few of the best laptop displays have high gamut screens, but they typically have gamuts of about 95% of the smaller sRGB color space. Standard screens have gamuts of approximately 60%, so compared with most monitors and printers, cameras aren't nearly as limited.

Here are some quotes with links to some good articles :

In addition to the shapes outlining the gamut for sRGB and Adobe RGB, I have added a white line showing the extent of ProPhoto RGB's gamut as well as an indication of the typical gamut of an Epson desktop printer on glossy paper (the gamuts of matte papers tend to be somewhat smaller). ProPhoto is huge. While Adobe RGB covers about twenty percent more area than sRGB, ProPhoto RGB is about twice the size of sRGB. Better than fifty percent bigger than even Adobe RGB.

Indeed, ProPhoto is so big, it actually includes some colors that are beyond the range of human perception.

It is the only one of the three though that encompasses the entire gamut of the Epson printer shown. sRGB severely clips the Epson gamut in the cyan to green region (bottom left) and yellow-orange region (top). Adobe RGB can still clip some very saturated yellows but does cover all the greens, and green is a very important color being in the middle of the visual spectrum and very prevalent in nature. It seems tempting then to use ProPhoto RGB in order to not lose that area of yellow. But if we do, we have to accept the fact that we also will be encompassing colors we can't even see, never mind print.

http://www.earthboundlight.com/phototips/prophoto-rgb.html

A lot has been written about using sRGB (or Adobe RGB) VS using ProPhoto RGB. Often, it is assumed that the purpose of PP RGB is to use a wider gamut of color-meaning more saturated color-but it can also be argued that it's useful for making sure that whatever the actual saturation an image may have remains unclipped. For it is a fact that many colors that a camera can capture (and even some colors that today's printers can print) fall outside the gamut of Adobe RGB, let alone sRGB.

http://schewephoto.com/sRGB-VS-PPRGB/

One of the most knowledgeable voices in the area of colour management over the last few years has been Bruce Fraser, the co-author of the current definitive work on colour management for photographers – Real World Color Management. In articles that he's written elsewhere Bruce suggests that digital photographers should consider working in the much large ProPhoto RGB colour space. (ProPhoto RGB was developed by Kodak).

. . .

To see this look at Figure 2 above. The image shows the Canon 20D generic camera profile as a ghost, with the Adobe RGB 98 profile within it. What a difference! The camera's colour space is much much bigger than the Adobe space, especially in the deep reds and blues. Only in the yellows is the camera space smaller than Adobe RGB 98.

What does this mean? Simply, that if you are using the Adobe RGB colour space with a Canon 20D, for example, (and this applies to virtually every other DSLR on the market), you are not getting a lot of the deep saturated colours that the camera's sensor is capable of capturing.

. . .

Above in Figure 4 you see the profile for the LCD screen on my 17" Powerbook inside the ghost ProPhoto colour space. Now pass your mouse over it. What you then see is the profile for my Sony Artisan monitor inside the same ProPhoto space. The Sony is bigger, but not that much bigger. (Parenthetically, the Eizo ColorEdge CG220 LCD monitor purportedly encompass the full Adobe RGB colour space. But it's priced at over US $6,000).

. . .

So, why bother working in a larger colour space like ProPhoto RGB?

The main reason is the same as why you want to work in 16 bit mode rather than 8 bit mode. It gives you elbow room – room to work with the palette that the sensor has captured, change various aspects of the image to suite your creative needs, and not run into the walls, so to speak.

You'll likely also find that the better inkjet printers and inks are capable of reproducing saturated cyans, magentas and yellows that are outside of the Adobe RGB colour space, making ProPhoto a much better choice. (See Figure 6 below).

. . .

In the end, using ProPhoto RGB as your working colour space has many advantages, though a few caveats. The main advantage to my mind is that as technology progresses, and we end of with affordable monitors and LCDs with wider gamut display capability, and as printing inks have wider gamut (Epson's new K3 Ultrachrome inks have a fuller gamut, not a significantly wider gamut), we will have image files that we can return to that can take advantage of these advances, rather than ones that were clipped at birth.

http://www.luminous-landscape.com/tutorials/prophoto-rgb.shtml

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