Are my images Green?

Started Jul 4, 2014 | Questions thread
Stacey_K Veteran Member • Posts: 8,638
Re: US Web Coated. Oops

Flashlight wrote:

Stacey_K wrote:

Flashlight wrote:

Stacey_K wrote:

I use sRGB unless I have a special image with saturated colors. Then, if I am going to print it, I work in aRGB. It's just what I have found works for me.

It's not so much saturated colors, it's that you have more definition or color shades when you start in ProPhotoRGB and send it to the printer than when starting from sRGB.

You actually have courser graduations with a larger color space if the bit depth stays the same. If you are inside the color space, there are no special colors in proRGB that aren't in sRGB, except when you get "outside the box" with the colors. And that image is so hot, many parts of like those yellow trees are simply blown out.

Use the link on the bottom of this page, then print the file as-is (ProPhotoRGB), convert to sRGB and print again. Then compare:

I downloaded and played with this. Most of the super saturated colors in this file (esp the color patches) are way outside the gamut of my printer too. I have no need or desire to deal with files like that. I know some people like that "velvia look", it's not my style.

Below three times the patches from the file:

  • screen dump of the gamma warning when proofed for the paper
  • a (quick) reproduction of the print made using Pro PhotoRGB
  • an equal reproduction of the print made after conversion to sRGB

You can see that:

  • in the Pro PhotoRGB print the shades are more defined/separated (greens for instaance); the sRGB print tends to make close tones equal
  • The sRGB print actually shows some colors more saturated (strong reds/magentas for instance).

So there's more subtlety to it than one might think based on what Photoshop tells you.

The reason the greens got clumped together as one tone is they were so far out of gamut for sRGB. It's the same as if you blow a channel out from exposure, everything turns into one tone. My printer profile would do the same thing. If you had shot or processed the raw into a smaller color space to start with, this clumping into one tone wouldn't have happened either.

So lets say you adjust the colors in an image in proRGB and you end up with all these colors that are out of gamut for -any- other color space. Now what do you do? You can't display/convert these colors online without blowing something into a solid color, at least my printer can't begin to print the colors correctly and turns it basically into what your sRGB example looks like.

And by "quick reproduction" did you actually print and scan the samples? I agree there are times when I want SUPER saturated colors, for a flower for example, (which is what those blown out ones are) aRGB can be useful as a working color space.  I doubt I would ever see a need to use anything wider until the hardware is more capable of dealing with it.

But I also realize this flies in the face of what all the online pro's tell people, so there isn't much point in continuing this. It's sorta like how most people can't see why, for some uses, I would grab my D200 rather than a D800. That sure isn't what someone at luminous landscape would recommend

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