I mean, we can see more saturated colors in the wider spaces but not more actual colors?
you lost me on that one. The point of the larger spaces is that they are defined by more saturated versions of R,G & B. So they contain more saturated colors of all mixes of those colors. Those are "actual" colors aren't they?
Just because a monitor may not be able to display all of the colors in a given space doesn't mean that some other form of output won't be able to hit some of the tones the monitor misses. I don't think we want to limit ourselves to working only with colors that can be seen on a typical display. I'm currently working on photographing a piece of art that is made up of nothing but subtle transitions of very saturated yellow to form geometric shapes. Most monitors don't do that well with saturated yellow. The piece doesn't look nearly as good on the monitor as what I can get when printed on my Epson. The point of editing in larger spaces is preserve colors that may only be available when output to large gamut devices. The trick is to learn how to manage those available out of gamut colors when dealing with devices (like your monitor) that have a much more restricted gamut. You can't do this with strictly visual editing. The larger the space, the more of an issue this becomes. Adobe RGB is a very good compromise. Its large enough to cover the useful gamut of the vast majority of common devices and subject matter but its not so huge as to make visual editing overly complicated. Even Adobe RGB is big enough to cause serious problems if not properly handled. I won't hand off Adobe RGB files to my client or a service bureau unless I'm absolutely certain they are properly color managed and know how to deal with them. sRGB with its smaller gamut is a much safer choice. What you lose (if anything) with its restricted gamut is FAR less detrimental to most images than what misinterpreted or improperly handled Adobe RGB (or even worse with a bigger space) looks like.
Bob Smith
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