... his statement sums up nicely some of the common objections to ProPhotoRGB: why waste space on colors that you can't see or print. The answer is to gain access to colors that you can see or print. [a href=\"index.php?act=findpost&pid=216453\"][{POST_SNAPBACK}][/a]
Hi Bill,
Yes – this is easy to agree from 3D gamut comparisons.
Considering that it was a “beginner's question”
I’d just like to add an annotation about possible pitfalls.
With a large gamut working space such as ProPhoto RGB (or a linear gamma version thereof, such as used as an intermediate space inside ACR) there’s some risk to increase the amount of out-of-gamut colors with reference to any final target space (such as Adobe RGB, sRGB, or any media/paper profile for print) simply in the course of image editing.
In such large gamut environment, even a tone curve can blow light saturated colors out-of the reach e.g. of tiny sRGB gamut, and of course all adjustments which effect saturation are prone to add another bunch of oog colors. Hence, it can easily be that a good part of the final conversion problem, or let’s call it challenge which then has to be solved in whatever ‘controlled’ way, is in fact self-made.
Actually I was thinking about another ACR feature request in this regard. IF the user wants Adobe RGB or sRGB for output (for whatever reason which shall not be questioned here) it would be nice to have a checkbox which could be called: “use linear gamma version of the selected output space for internal working space”. Arguable though - however, I think that in many cases it might be better (in terms of less clipping) to convert scene-referred data straight from the camera profile into the limits of smaller 1.0 Adobe RGB or 1.0 sRGB gamut, rather than doing so after application of all the given creative controls in 1.0 ProPhoto RGB.
Best regards, Peter
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