You can print from Prophoto on the Epson. It likes it. Just make sure you indicate that in the print directions.
Paul via phone > On Apr 30, 2016, at 9:43 PM, Mark C <pdml-m...@charter.net> wrote: > > Again - many thanks, Godfrey. > > Your explanations really help me understand how this works. I reviewed my > color settings in Photoshop and also reviewed workflow and made some changes > so ProPhoto RGB will be my standard RGB work space. I'm already converting > files to sRGB when outputting for screen displays. I'll do a similar > conversion to Adobe RGB when outputting for printing. > > I think my digital image color management is improved, now I have to sort out > my scanning workflow... > > If you don't mind one more question - what would be the recommended default > profile for 16 bit gray scale images? I shoot mostly B&W film and scan with a > Nikon LS8000, using either Nikon Scan or Vuescan. Adobe defaults to "Dot > Gain 20%" for grayscale files. The LS 8000 with NIkonscan v4.0.3 embeds a > profile called "Nikon Gray2.2 v4.0.0.30000". What is the optimal profile for > working in gray scale? (Or is it better to not work in grayscale and work in > RGB, even for mono images?) > > Thanks > > Mark > > On 4/28/2016 9:04 PM, Godfrey DiGiorgi wrote: >>> On Apr 28, 2016, at 4:19 PM, Mark C <pdml-m...@charter.net> wrote: >>> >>> - Its not much of a hassle to work in Adobe RGB. Just convert to SRGB >>> before saving for screen devices. … >> It's not a 'hassle' to work with Adobe RGB. Any editing is a lossy process, >> with Adobe RGB you lose less than you lose with sRGB, with ProPhoto RGB you >> lose less than with either. It only makes sense to do your *editing* in the >> greatest bit depth and largest color space you can use, and >> convert/downscale color space and bit depth for output products. >> >>> - When it comes to printing - I may be wrong on this but I don't think that >>> the Epson printer I use is either an sRGB or Adobe RGB device. Basically >>> there is a native color space for each type of paper and a corresponding >>> color profile. … The color space isn't sRGB or Adobe RGB, it's "Premium >>> Glossy" or "Enhanced Matte" or whatever... The color spaces for the >>> different types of papers can be fairly constrained (in the case of matte >>> papers particularly) or broad. It makes sense to use a wider gamut like >>> Adobe RGB in source files for printing and let the print process convert >>> colors that are outside the destination gamut if needed. Epson i s >>> continually increasing the gamut of their inks and papers, so it seems best >>> to preserve as much color info in the source file as possible, in case you >>> want to print it in the future. >> Printers don't have a color space per se. They have gamut (the range of >> colors they can produce) and Dmax (the maximum density they can produce). >> Both of those are the combined characteristics of the printer's mechanisms, >> ink, and paper used. An output calibration profile maps the colors >> represented on screen in your image into the printer/ink/paper's Dmax and >> gamut. >> >> Most higher-end printers these days do a pretty good job of covering the >> standard sRGB colorspace. Adobe RGB, as I mentioned in another post, was >> designed to emulate (or encompass, probably a more precise word in this >> context) the gamut and density of a late 1990s CMYK web press, which is both >> slightly larger in gamut and differently weighted from an RGB display. >> >>> - Printing via services - for low end services (drug stores, big box >>> stores) converting to srgb makes sense. Its a safe harbor - sRGB is the >>> least common denominator so odds are any printer can handle it. If you are >>> paying any kind of premium or working with a lab that holds itself out as >>> having any kind of professional status, they should be using a color >>> managed process and should be able to work with the profile embedded in >>> your image. >> Consumer print services generally presume sRGB or untagged images, so you're >> safe with that. >> >> Good print services (high-end, pro, whatever) provide instructions and/or >> output profiles to optimize your image files for their printing process. Or >> they'll tell you whether they want 8- or 16-bit, and sRGB or Adobe RGB to >> print from. >> >>> From what I've been able to tell, monitors work within their native color >>> space, which may or may not correspond to sRGB or AdobeRGB or whatever. So >>> a monitor that is 78% of sRGB is just that - its native color space >>> coincides with 78% of the sRGB space. Some monitors can emulate certain >>> standard color spaces. I think this is what Igor was referring to when he >>> mentioned that some software assumes that the monitor is sRGB and can >>> produce off results when a wide gamut montior is actually used. But the >>> color space used by the monitor is not necessary a standard space, hence >>> the need to use the manufacture's profile, or calibrate with a colorimeter. >> As I said earlier, sRGB color space was designed to *model* the native >> characteristics of a high quality CRT. Obviously, not all displays are 100% >> sRGB calibrated (or capable) as delivered. All displays, standard and wide >> gamut included, benefit from calibration and profiling for the purposes of >> being a reference display for editing. A good display profile is most >> definitely NOT sRGB or Adobe RGB … It's a device dependent color calibration >> profile based on the specific hardware characteristics of the display and >> the graphics adapter used to drive its display. >> >> Today's high-end modern displays have a built-in colorimeter and automated >> calibration and profiling hardware and software. >> >> sRGB, Adobe RGB, and ProPhoto RGB are device-agnostic color space standards >> created to enable a standardized transformation of image rendering from one >> machine to another, one display to another, enabling you to move files from >> machine to machine and get the same rendered result. Rendering software that >> honors color management takes the data from the image file, color space >> tagged, and transforms it through the La*b* domain using the display CCP on >> your system to show it to you. It similarly takes the data from your >> rendered image and transforms it through the La*b* domain using the output >> printer calibration profile to produce a high fidelity match on paper with >> ink. >> >> For a complete discussion of this color spaces, color management, etc, see >> "Real World Color Management (2nd Edition)" by Bruce Fraser and Chris >> Murphy. It is the definitive work on the subject. (I knew Bruce from several >> workshops and classes he taught back in the early 2000s. It was a very sad >> day when he passed away. :-() >> >> G > > > > --- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > > -- > PDML Pentax-Discuss Mail List > PDML@pdml.net > http://pdml.net/mailman/listinfo/pdml_pdml.net > to UNSUBSCRIBE from the PDML, please visit the link directly above and follow > the directions. -- PDML Pentax-Discuss Mail List PDML@pdml.net http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
