On 2011-12-13 21:35:36 -0800, Robert Montgomery
said:
Savageduck wrote:
On 2011-11-30 22:04:13 -0800, Robert Montgomery
said:
Savageduck wrote:
On 2011-11-21 14:57:40 -0800, Robert Montgomery
said:
I recently learned that the Pro Photo color setting is better than the sRBGIEC61966-2.1 color setting that I’ve been using for most of my files, so I set up a new Pro Photo color setting.
This has caused a problem: Every time I open a Photoshop image, a window first opens that asks if I want to use the embadded profile (sRGBIEC61966-2.1, or to convert the color setting to the working setting, which is Pro Photo.
The window shows that the radio button is on the setting for the file being untagged, so I have to click on the button to choose the embedded profile.
What can I do to avoid this annoyance, and still benefit from the wider gamut that Pro Photo will provide for my new pictures?
Robert
ProPhoto certainly gives you a wider gamut than Adobe RGB or sRGB.
There are a few things one should consider when making that choice when editing in Photoshop.
Most important consideration is going to be your output. Are you working towards a print, or are you only going to have the resulting image viewed on a display.
Both.
OK! Though you should be able to print satisfactorily of your Epson printers I qualify that by asking which Epson printers you are talking about.
I’m printing with my Epson Stylus Pro 7600 and Epson Stylus Pro 2400.
I guess you intend to print BIG with that 7600!
Both are printers which should give you great results
You are aware that there are ink differences between those two printers and you are probably going to get slightly dissimilar results with the same print job on each.
…and while all you need for file resolution for screen display is 72ppi, 240-300ppi is going to be preferred for printing. I seldom go to 72ppi if the file I am using is going to serve both purposes. If the display file is going to be resized considerably smaller than the print size I will consider changing to 72ppi from 300ppi and in sRGB, you will not see the difference on a display.
So given my usual practice I have an image I worked on in ProPhoto RGB, 16-bit and ended up with a final print size of 21.28MB 4950×3353 @ 300ppi in 16-Bit ProPhoto RGB usually save as a PSD. That lets me print large on 19×13 paper, and if I want to I can obtain much larger commercial prints. To save that as a JPEG I have to go to 8-Bit.
The JPEG file I produced for display viewing is about 260KB 867×1280 @300ppi in 8-Bit sRGB and quite simply open in a browser. That is the image I shared in the post you responded to and can be found by clicking on the link at the bottom of this lengthy missive.
What have you done to ensure color matching the
work on your display to a standard output for display?
I’ve calibrated my monitor.
Good!
or matched with a
printer & paper profile.
In File > Print > Printer, I’ve selected the applicable printer (I have two Epson inkjets.)
It would be good to know models.
Epson 7600 and 2400.
See my comment above.
In File > Print > Print Settings, I’ve chosen Color Settings > Epson Color Controls, and
In Print Setings > Media Type > I choose Watercolor Paper Radiant White for Lyve canvas or Enhanced Matte for Somerset Velvet paper, and
In View > Proof Setup, I check Lyve canvas or Somerset Velvet paper, and
in View > Proof Colors, I’ve put a check mark, and
In View, Gamut Warning, I’ve put a check mark.
If you have done your work well, the gamut warning is only going to go haywire if you set the Rendering Intent to "Absolute Colorimetric".
This is something that confuses me. In View > Proof Setup > Custom, with Device to Simulate set to sRGBIEC6196602.1, for example, (or Pro Photo) the default rendering intent is Relative Colorometric. But when I go to File > Print > Rendering Intent is set to Perceptual. I assume that Perceptual takes precedence, but I don’t know.
Both "Perceptual" and "Relative" Colorimetric should give you satisfactory results, however I find "Perceptual" a little more forgiving and in most cases gives me my best results.
"Relative" will shift to the nearest output value for the destination color space when out of gamut. This is useful when there are color space differences between source and destination., but sometimes the results can make you wince.
"Absolute" has yet to find itself into my regular print work flow, as I have always found the results to be nasty. I could be, and probably am wrong but that is my experience.
"Saturation" is really not appropriate for photograph reproduction, unless you are trying something bizarre. Leave this for business graphics.
When making my final prints I rarely have the Match Print Colors & Gamut Warning boxes checked.
…and there it is going to be a matter of whether you are using custom paper/printer profiles for Photoshop to control, or if you are letting the Epson driver handle things.
In File > Print > Color Handling, i have set it to Printer Manages Color.
And in File > Print > Print Settings, I have set Color Matching to Epson Color Controls.
Why would you have the printer control color matching if you are using PS profiles, and you have done all your work in PS with your calibrated display, only to have the printer undo what you were trying to get right?
I always have Photoshop manage colors.
For the most part any editing you do in ProPhoto colorspace will have to be coverted to sRGB for consistent display or printing on most printers. For some print work you might be required to use CMYK.
I’m printing only on my two Epson inkjet printers.
Fine. That makes thing simple.
But I find that when I start with RAW files I can’t apply filters to them because they’re in 16-bit mode. If I convert the files to eight-bit mode, then the advantage of the wider gamut provided by ProPhoto is lost, so It appears that Pro Photo is useless, because I rely those filters to alter my pictures.
Then the time might have come to invest in some third party filters which will work in 16-bit, or make the compromise to work in 8-bit Adobe RGB/sRGB. I think you will find that the wider gamut is not that significant an advantage.
….and can you actually tell the differences between the 16-bit ProPhoto and the 8-bit RGB/sRGB for what you intend. Remember there is nothing stopping you from moving back to 16-bit mode and ProPhoto once you have completed your 8-bit work.
Personally I think you are chasing a concept of "something better" which is not going to give you the "superior" results you anticipate by the using the wider gamut.
Just my 2¢.
…and there is the image of which I wrote.
< http://homepage.mac.com/lco/filechute/DSC_1726Gws.jpg >
Nice picture of a nice plane!
Robert
—
Regards,
Savageduck