Adobe RGB monitor usage?

Started 3 months ago | Discussions thread
graybalanced Veteran Member • Posts: 6,625
Re: Adobe RGB monitor usage?
1

You have some contradictory statements here.

MarkMyWords wrote:

Is the general practice to use the monitor in sRGB mode for digital publishing? Most of the world doesn't have the Adobe RGB colour range. For example, my iPhone X displays quite differently to the monitor configured in Adobe RGB, e.g. substantially dulls/normalises some colours. Adobe RGB intended for printing?

There are print colors outside the range of sRGB. A few in the case of a printing press, but if you are talking about pro photo inkjet printers, now a lot of colors are outside sRGB and a few are outside Adobe RGB. If I want people to see as many colors as possible in a print, I edit in Adobe RGB or bigger. I actually edit photos in ProPhoto RGB.

Next error, already mentioned, is that the iPhone X is NOT sRGB, but wide gamut P3. Much closer to Adobe RGB. Any difference is not because of the gamuts but because of the specs for the display profile + adjustments. For example, what white point is your monitor set to vs the iPhone X? And is the iPhone X using True Tone or Night Shift post adjustments which are additional color-altering steps?

As an aside, the UP2516D monitor has a disappointing contrast ratio (with no amount of adjustment) - my Huawei Matebook Pro much better for example.

This is also a contradiction. Part of the stated rationalization here for ignoring color spaces larger than sRGB is that "why bother if other people won't see it." But if you're going to print, the contrast ratio of ink on paper is often 250:1 or less, so why care about anything more? The only reason you care about 300:1 contrast ratio or more is for viewing on superbright devices turned up all the way.

This is the best advice in the whole thread:

fferreres wrote:

The most important thing is that your software workflow should be color managed. This funky name says that the software is aware of: your monitor profile (usually profiled using a colormunki or equivalent at least), the working profile (as you edit images, what gamut is used?), the input profile (eg. your camera profile, tone curve, etc if it has) and then the output profile (which it's your choice).

Absolutely true. Color management is the key to it. All of the concerns in the first post are not a problem at all for the posters in this thread who understand how color management works. We know that large gamuts are useful for preserving quality, so we don't want to pre-limit quality by working in sRGB all the time. We know that differences between devices are resolved by conversions using color profiles. We don't have to worry about the differences because we know how to deal with them. For example:

If you edit in one gamut but need to output for another gamut in a color-managed medium, you could leave it in the original gamut but make sure to embed the profile, so that color management on the destination will do the conversion on the fly.

If you edit in one gamut but need to output for another gamut displayed in a non-color-managed medium, you convert to the output gamut so that the the gamut is what the destination assumes. Since you know the destination won't recognize color profiles.

If two devices display different colors, to make them the same you not only have to calibrate and profile them, but the same target settings must be used. This may be impossible if one of the devices does not fully support color management, or if their capabilities are different. In that case you can assume sRGB...not to expect perfection, but just to get it looking as good as possible under the circumstances.

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