What happens when there is gamut clipping in LR?

[yalag]

Sorry maybe this isn't a LR specific question but right now the tool I use is LR. Basically soft proofing in LR have two clipping modes, one for the monitor and one for the printer (+paper).

I understand the printer mode, basically if there is a color my printer can't print, I either have to accept to take the risk and see what comes out or I have the ability to change the HSL selectively until it falls within gamut. Seems fairly straight forward.

What I'm confused about is the monitor clipping. From what I understand, LR works in prophoto rgb. So as I'm editing the photo, chances are some colors will fall out of my monitor gamut. I can't see it, so how do I edit it? I have a sRGB monitor. In that case, what is the best strategy to take? Do I take the gamble again for prints? Because if I almost always adjust colors back to my monitor's gamut, then I might as well work in sRGB in LR no?

Just trying to understand the correct workflow, I have a sRGB monitor and an Epson R3880 which have a much larger gamut.

[digitaldog]

What I'm confused about is the monitor clipping. From what I understand, LR works in prophoto rgb. So as I'm editing the photo, chances are some colors will fall out of my monitor gamut. I can't see it, so how do I edit it?

Carefully! If you start moving say Saturation or Vibrance and as you move the slider, you see the preview stop updating (changing), good idea to back off on that move. You're probably affecting the color values but can't see it happening on-screen.

[fdisilvestro]

What I'm confused about is the monitor clipping. From what I understand, LR works in prophoto rgb. So as I'm editing the photo, chances are some colors will fall out of my monitor gamut. I can't see it, so how do I edit it? I have a sRGB monitor. In that case, what is the best strategy to take? Do I take the gamble again for prints? Because if I almost always adjust colors back to my monitor's gamut, then I might as well work in sRGB in LR no?

Just trying to understand the correct workflow, I have a sRGB monitor and an Epson R3880 which have a much larger gamut.

The possible strategies:
- Consider the investment in a wide gamut monitor (expensive solution), but even then there will be some colors out of the gamut of the monitor which the R3880 is capable of.
- Edit by numbers: not an easy task if you don't have experience with it.
- Test print crops of the out of gamut areas (could be expensive too and time consuming)
- Live with sRGB limitations

[Tony Jay]

I certainly would not be stressing about this.

I use a monitor that has a much larger gamut (approx. AdobeRGB) and there can still be significant parts of an image that are out-of-gamut when I check.
I would never mute colours just so they were within the gamut of my monitor.

Basically, what you really need to know is what the image looks like when outputted either as a print or for electronic display.
Softproofing helps there.
Even then, particularly when printing, I know that my printer will print colours that I cannot visualise on screen.

Having my monitor print colours that I did not see on the monitor is a surprise, but a nice one!
Muting colours so that you can see them all when editing using a limited monitor leads to poor output if the output device can do better than your monitor.

Tony Jay

[yalag]

I certainly would not be stressing about this.

I use a monitor that has a much larger gamut (approx. AdobeRGB) and there can still be significant parts of an image that are out-of-gamut when I check.
I would never mute colours just so they were within the gamut of my monitor.

Basically, what you really need to know is what the image looks like when outputted either as a print or for electronic display.
Softproofing helps there.
Even then, particularly when printing, I know that my printer will print colours that I cannot visualise on screen.

Having my monitor print colours that I did not see on the monitor is a surprise, but a nice one!
Muting colours so that you can see them all when editing using a limited monitor leads to poor output if the output device can do better than your monitor.

Tony Jay

I can certainly see your logic. In that case do you even soft proof? Do you see value in it?

[Tony Jay]

I can certainly see your logic. In that case do you even soft proof? Do you see value in it?

Think of it this way: for the average image more than 90%, perhaps 95%, of the colours ARE visible to you.
The colours that you can't see are those that are more intense or richer than the ones that you can see.

Softproofing will give me the image that I want in output.
The result will be a print that is richer than on  the monitor with more apparent detail (and not only because of the limitations of screen resolution) but the overall tone, contrast, and feel of the image will match pretty well with the monitor.
This presupposes that good colour management principles have been applied and that one's monitor luminance is appropriate for the editing environment,

Tony Jay