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Understanding the Color Managed Workflow


Following a reference on the forum regarding sRGB colour space, this video is a quite easy to understand and might helpful you in the future, its lecture from the experts at X-Rite

It looks at

Colour spaces and explains what they cover and which is best.

Making Paper Profiles and ColorMunki

Soft Proofing

Rendering intents

ETC ETC

If video does not play go to this link

the colour Managed Workflow



Last edited by martinimages, 5/Oct/14, 8:34 am


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"After that shutter closes it’s all over. The physical light captured on film is all that is left, a history of light preserved in chemical form, and I have to move on to the next one."

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Re: Understanding the Color Managed Workflow


Everything seemed good until I feel he tripped himself up by throwing ProPhoto RGB out of the window.

What happened to his Cone theory he started off talking about ?

Last edited by IanBarber, 4/Oct/14, 5:15 pm


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Re: Understanding the Color Managed Workflow


??I couldn't get it to work - just got an error message???

EDIT - sorry - just seen the link emoticon

Last edited by Elines, 4/Oct/14, 10:41 pm


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Re: Understanding the Color Managed Workflow


Thanks for posting this Martin.

I think the bloke did a good job of addressing a very complex and dry subject.

I will need to see how I get on having my prints produced commercially before I start thinking about color monkis various products though. As apart from anything else, I would likely need a new printer as well and it could all get very expensive

I don't think I could currently convince myself that was the way to go - let alone Higher Management.

On Ian's point about 'throwing ProPhoto RGB out of the window' I thought he was simply saying that there are no or very few monitors and printers that can actually show the full ProPhoto range of colours and so on purely practical grounds it wasn't relevant to the vast majority of photographers. (But I don't have the mental energy to go back and checkemoticon)

Probably needless to say but this stuff is way outside my comfort/knowledge zone.



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Re: Understanding the Color Managed Workflow


The issue I was raising is that the Epson R3800 printers for example can produce colour which is slightly larger than Adobe RGB 1998 providing you have a proper profile for the paper so armed with this, I still feel that ProPhoto is the ay to go.

Also by staying in pro photo we are preserving all the data in the file for future software/monitors etc

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Re: Understanding the Color Managed Workflow


I think guy is saying that at this moment in time there are no monitors or printers that can reproduce the data or colours and the rendering intent has to compress all the out of Gamut colours that ProPhoto produce, the Adobe 1998 can be seen now and printed.

I think I would rather work in a colour space I can see and print and if in the future there are monitors and printers that can render the ProPhoto space then then as long as you shoot in Raw you would indeed want to re edit with all that data available.

However there are differing opinions and views on the net to which is the best colour space to work in at this moment in time, its confusing to say the least but I did think he talked sense and he was not just a person giving his opinion he works for X-rite and they are specialists in this field.

---
"After that shutter closes it’s all over. The physical light captured on film is all that is left, a history of light preserved in chemical form, and I have to move on to the next one."

http://martinhensonphotography.co.uk
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Re: Understanding the Color Managed Workflow


This is where he is wrong though

The Epson 3880, 4800 and doe the Canon printers can print outside the Adobe RGB 1998 colour space so given that information, why would you not want to use the capabilities offered. ?

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Re: Understanding the Color Managed Workflow


I don't know other than to say use Pro Photo where you can, RGB where you can't. sRGB only for the web emoticon

I suppose the question is, if you cannot see the full spectrum of ProPhoto and it is quite a lot bigger that Adobe 1998 on screen then how on earth can you edit correctly, all its doing is pulling back the out of Gamut colours and that could or would lead to in correct colours when proofing for print.

Anyway I digress as this could go on for years emoticon




Last edited by martinimages, 5/Oct/14, 7:54 pm


---
"After that shutter closes it’s all over. The physical light captured on film is all that is left, a history of light preserved in chemical form, and I have to move on to the next one."

http://martinhensonphotography.co.uk
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Re: Understanding the Color Managed Workflow


The workflow should be

1) Capture in RAW
2) Process RAW file in a Raw converter
3) Edit the converted RAW file in Prophoto RGB

Create a copy and convert to ...

sRGB for the internet
Adobe RGB for printing if your printer does not exceed Adobe RGB 1998


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Re: Understanding the Color Managed Workflow


With respect Ian that is your workflow, there are dozens of threads about this on the net that are for and against either.

It has to be the end user to study both and come to an educated decision as which suits them.

It should read The workflow YOU use emoticon

---
"After that shutter closes it’s all over. The physical light captured on film is all that is left, a history of light preserved in chemical form, and I have to move on to the next one."

http://martinhensonphotography.co.uk
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