On mardi, nov 9, 2004, at 12:08 Europe/Paris, [EMAIL PROTECTED] wrote:
Saving files as Pro Photo RGB has many benefits.
But I'd still like to know how people deal with the fact that a large part of this RGB workspace is outside the gamut of even the highest quality monitor. How do you carry out colour adjustments when you can't see the colours? Or put it another way, are the benefits so great we should all be adjusting images 'by the numbers' alone?
Saving as say sRGB will result
in horrible stuff if that file is then opened and stretched out to Adobe
1998.
Why so if the file is in a CM workflow and converted, sRGB-ARGB? (Assuming the sRGB image didn't look horrible to begin with).
I've never been convinced by this argument. Why create unnecessary workflow issues today for the possibility that, someday, maybe, somebody will get to see a slightly better print (and probably not appreciate it). But then, maybe I should be saving all my work as .jge's <g>.
It also means that the best results will be gained in future times if an
archived file is used with the colour space of the day, which may well be
much wider than is currently used.
William Davies.
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