When switching from LR to CS2 there is a profile mismatch between the LR default of ProPhoto RGB and Adobe RGB, (which is my chosen colour space in CS2). Is it better to:
- use the embedded ProPhoto profile?
- switch to Adobe RGB?
- change the default in LR to Adobe RGB?
- or do something different - and if so what?
I agree entirely with Michael's response (would I dare do otherwise on his forum?) but would like to add another reason for not converting to aRGB: converting between two matrix based profiles (such as aRGB and ProPhotoRGB) is always colorimetric, and out of gamut colors are clipped; matrix profiles do not have lookup tables to remap out of gamut colors perceptually. When you print from ProPhotoRGB, you have the option of using perceptual rendering
to remap out of gamut colors into the printer space. Unfortunately, there are problems with most perceptual rendering intents, but you can remap the out of gamut colors yourself. These matters are discussed in [a href=\"http://photoshopnews.com/2006/07/07/lightroom-podcast-episode-8-posted/]Lightroom Podcast 8[/url] as reported by Jeff Schewe.
Softproofing in Photoshop is helpful, but it can be limited by the monitor, with most reasonably priced monitors displaying little more than then the sRGB gamut. If you are interested in a print, it is helpful to compare the gamut of the monitor to that of the printer and gamut mapping software can be helpful. Many pros use Colorthink for this purpose, but it is expensive. I have started to use Gamutvision.
Here is a Gamutvision 3D plot of my SynchMaster 213T as compared to that of my Epson 2200 printer with Premium Luster paper. If this representation is accurate, the monitor can display everything that the printer can print, so softproofing should work reasonably well.
Here is a map of an actual photo in ProPhotoRGB showing clipping that would occur with convesion to sRGB. The colored vectors show clipping of out of gamut colors in the conversion. The reds are severely clipped. Since aRGB and sRGB differ only in the green primary, the situation would be similar if the conversion were to aRGB.
This final view shows clipping that occurs when printing using the Epson supplied profile with relative colorimetric and black point compensation. The reds can not be printed and are clipped to an amorphous blob on the paper. The problem is to edit the reds so that gradations are preserved. Perceptual rendering does not do the job in this case, and manual editing could be tried (the subject of another post).
Comments the above analysis and how the editing might be done are welcome.