Are accurate colours actually accurate?

digital paradise wrote in post #19058764
That is interesting.

It is, for a lot of reasons. Sometimes one might read that you should convert raw image data into a large space, like ProPhoto, and do edits there, converting into a small space for final output. Looking that the gamut diagram, one can appreciate why this might be the case, especially for printing the car image to the Epson 3880 on glossy paper. But, if you are going to post the image to the web, you may be better off converting the raw image into a smaller space like sRGB and then editing there, where you won't get surprised by the conversion to final output from a larger space.

kirk

digital paradise wrote in post #19058770
Many many years ago I was following the Digital Dog I think at LL He said to work in aRGB because you never knew what your printer could manage beyond the specs. Then covert to profile for printing. These days the odd time I open in ACR O'm on ProPhoto as well. LR only has one colour space.

LR's internal working space is one thing, but you have the control to convert the raw image data into the space of your choice at export to an actual RGB image.

kirk

kirkt wrote in post #19058773
LR's internal working space is one thing, but you have the control to convert the raw image data into the space of your choice at export to an actual RGB image.

kirk

Yes that is true.

Here is the RED channel of the ProPhoto image (left) and the ProPhoto image converted to the Epson 3880 Premium Glossy color space with Relative Colorimetric rendering intent (right). As you would expect, compared to the sRGB conversion there is a lot less clipping, due to the Epson color space accommodating more of the blues and requiring less gamut compression.

kirk

kirkt wrote in post #19058771
It is, for a lot of reasons. Sometimes one might read that you should convert raw image data into a large space, like ProPhoto, and do edits there, converting into a small space for final output. Looking that the gamut diagram, one can appreciate why this might be the case, especially for printing the car image to the Epson 3880 on glossy paper. But, if you are going to post the image to the web, you may be better off converting the raw image into a smaller space like sRGB and then editing there, where you won't get surprised by the conversion to final output from a larger space.

kirk

The Digital Dog said to work in aRGB (I don't thing ProPhoto was available back then) but convert to sRGB for printing. Unless you are set up for it or a printer requests it sRGB is best for printing. That may have changed as I have't looked into it for a quite a while. A long ago I had a wide gamut NEC and a Canon printer but now just work off my iMac.

Thanks for all the informative info.

Guess i am in the pleasing color crowd.Always wanted a CCP to just play with. Many times wondered if i was missing out by not having one to maybe give me a better starting point color wise of what i thought i was seeing or missing.Now tell me if i am wrong doesn't C1,DXO, and adobe with there color profiles and the other raw editors all give you a starting point of what they think the photo should look like from the start?With a CCP you would have a profile for your camera at any given time you use it as the light changes through out the day as long as you update the profile for the changing light conditions? Or am i just missing the big picture here?

sssc wrote in post #19058990
Guess i am in the pleasing color crowd.Always wanted a CCP to just play with. Many times wondered if i was missing out by not having one to maybe give me a better starting point color wise of what i thought i was seeing or missing.Now tell me if i am wrong doesn't C1,DXO, and adobe with there color profiles and the other raw editors all give you a starting point of what they think the photo should look like from the start?With a CCP you would have a profile for your camera at any given time you use it as the light changes through out the day as long as you update the profile for the changing light conditions? Or am i just missing the big picture here?

Yes C1, DXO, LR, Canon DPP, etc will give you a great starting point. There is nothing wrong with pleasing colour and you can always tweak. A CCP profile is no different than a profile like Adobe Colour. You can use that with different lighting conditions during the day. Colour profiles work with the light spectrum so the colour is the same. You just need to adjust WB for sun, cloud, shade before you shoot or after during PP. I created one daylight profile yesterday and I'm going to use that for now. I created another profile for Tungsten because that is a different light spectrum.

Here is an example of Canon STD and CCP daylight profile. They are different but not unusable.

Canon

Sometimes the changes are quite noticeable, sometimes not.

STD night shot

STD

Really the only difference i can see is the lights on the bottom the 3 bright ones and 2 bright one in the center to the left of the other 3 all to the left of the boat with the blue lights on it

std looks a tad warmer on the greens

i had that backwards CCP looks a bit warmer on the greens

It all depends. You can seen the difference in posts 26 and 28. I wish I had a colourful sunset but I haven't taken one with the R yet. If you want that CCP profile I created so you can mess around with it you are welcome to it. If I don't respond I'm heading to bed now so tomorrow.

sssc wrote in post #19058990
With a CCP you would have a profile for your camera at any given time you use it as the light changes through out the day as long as you update the profile for the changing light conditions? Or am i just missing the big picture here?

You can create a new profile for different lighting conditions and it will also take into account atmospheric conditionds, sensor characteristics, lens coatings, filters etc. You don't always want accurately corrected colours though. Imagine how boring an accurately corrected sunset would be. I usually take the CCP photo for the profile about midday on a sunny day and then the golden hour colours look about right, i.e. golden, but then I sometimes tweak them anyway.

Ohhh ok i was really wondering about how that part of it worked.Thanks