Color Space Question

  • Thread starter Thread starter Alan Smithee
  • Start date Start date
A

Alan Smithee

I'm using an W2K, Epson 3200 and outputting to a Epson R300 printer (6
pigments). What is the best color space for me to be working in? I've heard
many photographer prefer Adobe RGB 1998 Why is this? Thx.
 
Alan Smithee said:
I'm using an W2K, Epson 3200 and outputting to a Epson R300 printer (6
pigments). What is the best color space for me to be working in? I've heard
many photographer prefer Adobe RGB 1998 Why is this? Thx.
Click to expand...
It is a wider gamut. It provides some room to take advantage of possible
future improvements in output technology.
Jim
 
Jim said:
It is a wider gamut. It provides some room to take advantage of possible
future improvements in output technology.
Jim
Click to expand...

Thx. Jim. Is there somewhere on the net where I can read about profiling my
system. Right now I'm tempted to just set everything to Adobe RGB 1998 in
all my programs (PhotoShop, VueScan) and ending it there?
 
I'm using an W2K, Epson 3200 and outputting to a Epson R300 printer (6
pigments). What is the best color space for me to be working in? I've heard
many photographer prefer Adobe RGB 1998 Why is this? Thx.
Click to expand...
This colour space has a better match with CMYK than other RGB colour
spaces. That's important because, although you are sending an RGB file
to your printer, all printers print using CMYK. Consequently, you have
less likelihood of getting out of gamut colours. Of course, you are
likely to get some because CMYK is a narrower colour space than any
RGB colour space, it's just that Adobe RGB is a better match.

If you can, use AdobeRGB all the way through your workflow if you are
only printing to your Epson 800.
 
For the basics of Color Management, try these out:

<http://www.normankoren.com/color_management_3.html>

a good overview of ICC profiles in monitor-print matching, and a list of
software and profile vendors

<http://www.creativepro.com/story/feature/13605.html>

<http://www.creativepro.com/story/feature/13036.html>

<http://www.creativepro.com/story/feature/2440.html>

<http://www.computer-darkroom.co.uk/>

(see especially the "Featured Article" Photoshop CS Colour Management)

<http://www.digitaldog.net/>

<http://www.colorremedies.com/>


For the basics of Color Management, try these out:

<http://www.normankoren.com/color_management_3.html>

a good overview of ICC profiles in monitor-print matching, and a list of
software and profile vendors

<http://www.creativepro.com/story/feature/13605.html>

<http://www.creativepro.com/story/feature/13036.html>

<http://www.creativepro.com/story/feature/2440.html>

<http://www.computer-darkroom.co.uk/>

(see especially the "Featured Article" Photoshop CS Colour Management)

<http://www.digitaldog.net/>

<http://www.colorremedies.com/>

http://members.ozemail.com.au/~binaryfx/PSTV_links.html

Hope this helps

Maris Lidaka



Hope this helps

Maris Lidaka
 
If you want to implement color management for practical purposes it does not
matter whether you use sRGB or Adobe RGB as long as you are consistent.
Unless you are going to learn the basics of color management for Adobe
Photoshop/Elements it is a moot point: no other products implement color
management as rigorously as Adobe. Corel Photopaint can do so but the
settings are arcane, probably to avoid patent problems with Adobe.

Unless you understand what it means and have a specific reason to do so do
not use 48 bit color. The range far exceeds what your monitor and printer
can recreate, yields huge file sizes, and 48 bit images can only be worked
with in Photoshop CS and in a limited fashion PS7.
 
Thanks to all who posted

Maris V. Lidaka Sr. said:
For the basics of Color Management, try these out:

<http://www.normankoren.com/color_management_3.html>

a good overview of ICC profiles in monitor-print matching, and a list of
software and profile vendors

<http://www.creativepro.com/story/feature/13605.html>

<http://www.creativepro.com/story/feature/13036.html>

<http://www.creativepro.com/story/feature/2440.html>

<http://www.computer-darkroom.co.uk/>

(see especially the "Featured Article" Photoshop CS Colour Management)

<http://www.digitaldog.net/>

<http://www.colorremedies.com/>


For the basics of Color Management, try these out:

<http://www.normankoren.com/color_management_3.html>

a good overview of ICC profiles in monitor-print matching, and a list of
software and profile vendors

<http://www.creativepro.com/story/feature/13605.html>

<http://www.creativepro.com/story/feature/13036.html>

<http://www.creativepro.com/story/feature/2440.html>

<http://www.computer-darkroom.co.uk/>

(see especially the "Featured Article" Photoshop CS Colour Management)

<http://www.digitaldog.net/>

<http://www.colorremedies.com/>

http://members.ozemail.com.au/~binaryfx/PSTV_links.html

Hope this helps

Maris Lidaka



Hope this helps

Maris Lidaka
Click to expand...
 
"bmoag" posted:
"...
and 48 bit images can only be worked
with in Photoshop CS and in a limited fashion PS7.
...."

And Picture Window Pro ...

And Corel PhotoPaint ...

And Cinepaint ...

And ... etcetera, etcetera, etcetera ...
 
: "Unless you understand what it means and have a specific
reason to do so do not use 48 bit color. The range far exceeds what your
monitor and printer can recreate, . . . "
------------------------

If I understand correctly, 48-bit color does not affect the color gamut
("what your monitor and printer can recreate"). The gamut is determined
by the red, green, and blue primary color values, the white point, and
the black point. 48-bit color will give more digital "shades" in a color
gamut, but the volume (gamut) of the color values will not change
between 24-bit and 48-bit color.
 
Back
Top