Looking for experimental colorspace

[walter.sk]

I've tried searching the LuLa forums but came up empty handed.  Some time ago I saw a thread about the problems of highly saturated colors in a spce such as Prophoto RGB, and the problems of dumbing the images down to a smaller gamut.  Somebody provided a link to a website that had a proposed colorspace, experimental, if I remember right, that helped me with that problem.  It had a name something like "photogamut," or similar.  Does anybody here know what I am looking for?

[terrywyse]

Here you go:

http://photogamut.org/E_ICC_profile.html

Regards,
Terry

[walter.sk]

Here you go:

http://photogamut.org/E_ICC_profile.html

Regards,
Terry

Thanks, Terry.

I checked it out and it's the website I had seen previously.  I'd like to know what people really conversant with Color Management like Andrew Rodney and Jeff Shewe have to say about the concept and implementation of it.

[Schewe]

I'd like to know what people really conversant with Color Management like Andrew Rodney and Jeff Shewe have to say about the concept and implementation of it.

It's another step in the process since Camera Raw can't use an external color space and Lightroom is using it's own internal space. So, if you are using Camera Raw or Lightroom, why bother?

[digitaldog]

It's another step in the process since Camera Raw can't use an external color space and Lightroom is using it's own internal space. So, if you are using Camera Raw or Lightroom, why bother?

Agreed, don’t see the need. And this worrying about moving from larger to smaller color spaces, well it happens, and has to happen all the time. Having V4 working space profiles would at least give us another option (assuming the perceptual intents which are up to the manufacturer to build is good). But more or less, there’s so much more to worry about (like those who dismiss soft proofing my vent for the day) or the “my prints are too dark” due to people who don’t control the display and print viewing setup is far, far more a problem to address.

[walter.sk]

Agreed, don’t see the need. And this worrying about moving from larger to smaller color spaces, well it happens, and has to happen all the time. Having V4 working space profiles would at least give us another option (assuming the perceptual intents which are up to the manufacturer to build is good). But more or less, there’s so much more to worry about (like those who dismiss soft proofing my vent for the day) or the “my prints are too dark” due to people who don’t control the display and print viewing setup is far, far more a problem to address.

Thanks, Jeff and Andrew.

Some of the work I do consists of extracting parts of an image using Threshold, and then replacing the black with one gradient and the white with another, using strongly saturated, often primary colors.  In the past when softproofing for CMYK, or even some narrow gamut papers I find almost everything is way out of gamut.  I once tried this PhotoGamut space as my working color space and was able to create the effect I wanted by working directly in the space.  I know I still didn't have the vividness of the colors that I would have in Prophoto, but I was able to maintain the color relationships well, with no big disappointments at output time.  I guess that kind of work is similar to what graphic artists do.
Here's a recent example:
[attachment=20936:KimmelW_...etCutout.jpg]

[Mussi_Spectraflow]

I suppose the degree to which a non "standard" working space will be valuable also depends on the printer that you will be using. Printing on matte papers with a 5 year old pigment printer may produce worse results with images in Pro Photo than images tagged with a sRGB profile do to the large amount of gamut clipping. Working with a very large gamut printer will certainly benefit in some ways from using a larger gamut working space. You might also check out Bruce Lindbloom's Beta RGB color space, which has an "optimized" gamut and is D50 based.

Thanks, Jeff and Andrew.

Some of the work I do consists of extracting parts of an image using Threshold, and then replacing the black with one gradient and the white with another, using strongly saturated, often primary colors.  In the past when softproofing for CMYK, or even some narrow gamut papers I find almost everything is way out of gamut.  I once tried this PhotoGamut space as my working color space and was able to create the effect I wanted by working directly in the space.  I know I still didn't have the vividness of the colors that I would have in Prophoto, but I was able to maintain the color relationships well, with no big disappointments at output time.  I guess that kind of work is similar to what graphic artists do.
Here's a recent example:
[attachment=20936:KimmelW_...etCutout.jpg]