On 9/11/04 3:00, Bob Marchant wrote: > Adobe RGB has a Gamut generally far larger than most CMYK devices > except in certain colours where presses can beat it.
Hi Bob and others, Once you get used to digging around in search of decent colour spaces for varying content and data from varying devices, I find it a little tricky to understand why Adobe RGB has become so readily adopted as an 'industry standard'. Not least when you come to realise that, in the blue spectrum of ARGB, a large portion of the supported colours are purely *theoretical* - that's right, no human can see them! I touched on this in a post a couple of weeks ago; I'm very dubious about the new monitors reaching the market that show the 'whole gamut of Adobe RGB'. Clearly an untrue statement! What happens to all those colours that nobody can see? I reckon that there will be big holes in the monitor where these colours are being displayed - that you will be able to put your hand around the back and see it waving through the screen. <VBG> People shouldn't be searching for a 'standard', one-size-fits-all working space. Experiment and let yourselves into the world of using a collection of working spaces to suit any given task. Lately, I have tried to drop ARGB from that collection, partly for the reasons mentioned above and also for some of the reasons that Bob has mentioned - it barely relates to any destinations I ever use. ARGB and the content sometimes 'falsely' contained within it can make for very difficult conversions. I now only tend to use it if stipulated by the likes of photo libraries. So what do I use? Well, 'Ektachrome Space, J. Holmes' and its family of seventeen variation spaces for a really elegant fine art workflow and ECI-RGB for a robust pre-press journey. However, as Neil mentioned recently, there is now also Lstar-RGB which is really worth checking out. It's made by the same guy who created ECI-RGB, Karl Koch at Color Solutions. You may have already noticed when editing in 'standard' work spaces that edits can be a little unexpected, the image seems to get carried away in some areas and not so much in others - an exaggeration in perceived brightness and darkness. Lstar-RGB remedies that by introducing much more predictable behaviour on the grey axis by defining it in visually equidistant steps... Enough! You see what I'm getting at, hopefully? Take a look around and get used to the fluidity and dynamism that colour management can offer. Photoshop's colour settings are the heart of the application but don't let them define and rigidise your workflow. Think of them more as a solid foundation to make sure that files are being handled correctly with their respective profiles. When it come to image editing, CM will often do much of the work for you... Best wishes, Jack -- :: Jack Lowe Studio :: :: +44 (0)191 224 5150 :: =============================================================== GO TO http://www.prodig.org for ~ GUIDELINES ~ un/SUBSCRIBING ~ ITEMS for SALE
