Do you need Adobe RGB for photo editing? 

Not really. If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

This is such a great take on this subject! Thank you! I work with Eizo, BenQ and Apple Studio Displays and my head is spinning every time I think about this topic. My experience is that when working on my Eizo ColorEdge CG279X monitor I feel safe sending the images to print for magazines or boards (I work as a retoucher), but the same images are also going online on Instagram and it could've looked better. When I flip the scenario and use my Apple Studio Display, I've experienced that the prints look way off, especially in the red area. But it looks correct on Instagram on Apple devices. Finally, I feel like the Apple Studio Display hides a lot of blacks and highlights. When swapping an image from the Studio Display to the Eizo, the Eizo reveals information in the blacks that the Studio Display does not show. This is critical.

@@kiffaaaa do you have the issues w/shadows on the Studio Display even after calibration? I see about the same amount of shadow detail compared to my BenQ.

Hi @RaphaelMatto I tthought sRGB is actually the most used color range on displays nowadays or even browsers like Chrome or Firefox. So wouldn't it make more sense to export photos on sRGB for monitors and AdobeRGB in case of printing?

@javier.elias good question, my comments were abt display color space, not exported file colorspace. No, most displays that exist these days (phones, tablets, laptops) are P3, not sRGB. No, printer color spaces do not match AdobeRGB exactly, printers should be profiled with a ColorChecker and that profile should be used for printing. No, all browsers support P3 these days, as well as some surprising color spaces, like ProPhoto.

If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

if you make photos in RAW then it doest matter what color profile you use in the camera body

@@iefie thanks

nope

Use prophoto 'instead".

edit in adobe rgb and convert to srgb.

Apple is not as popular as you think

Not sure what you mean by “this”. You mean the color profile? If so, PS can change images from one space to another, yes.

Ah, sorry. This was a follow up to my BenQ SW272U review so I didn’t think to mention it. That monitors supports Adobe RGB. There are a handful of others (check B&H and filter by color spaces), but BenQ is one of the most popular.

@@dominey Many thanks for the reply, it was very helpful to check B&H.

This is correct

Yepp.

ProPhoto RGB is the biggest color space. LR uses it until export to preserve all the color within the raw file even though some your monitor won’t be able to display.

@@chrispeden979 That's true in general, but don't forget about well known LAB. Some editing procedures are better to be performed in this particular widest color space.

Yes, it is a mistery why he did not even mention it, nor explains about it hereafter . Use it, as long as working-master file as possible. That simple.

I process all my RAW files to 16 bit Prophoto RGB tif files. I then continue with 16 bit Prophoto for secondary edits. I work my way to 16 bit Adobe RGB for all print and then to 8 bit sRGB for digital and web display. This process preserves original image data as much as possible for the future.

@@_Name_ so few people talk about using LAB anymore. I use it quite a bit with images for dry toner print that have malformed color conversions. A great tool.

The answer seems to be obvious, I guess. sRGB color space is still more suitable for web although some web-browsers support Adobe RGB color profile embedded into a file. So any color space is the choice for any particular task or way of publishing the file, if You will.

The answer depends on where you think your image will be seen. In a way, it's the fundamental question behind Todd's video, but he doesn't really address it directly. When you choose to export to Adobe RGB, P3, or sRGB, you are in a way choosing the language that a screen or printer will use to translate the data (the ones and zeroes) of your image on your hard drive into the data (the ones and zeroes) that will produce pixels on the screen (or print) for the viewer to see. Any given screen or printer understands certain languages with more or less perfection. If a screen's specifications says that it covers 99% of the sRGB spectrum, that means that the screen can understand the "sRGB language" with 99% accuracy. So when you export your image from Lightroom using the sRGB profile (or "language"), the screen will understand 99% of the intention and reproduce it on the screen with 99% accuracy. So what happens when your screen doesn't "speak" the Adobe RGB profile and you send it an image in Adobe RGB? Screens are usually manufactured in a way that tells them to translate (display) an image using sRGB if they receive it in a language they don't understand. In other words, they can understand a little of the Adobe RGB message, enough to do their best guess in sRGB, but it's going to be a bad translation. It will translate something, but a some of the fine meaning (the subtle color differences) will be lost, compressed, or muddied. In this case, your screen doesn't have the "language" to understand what Adobe RGB is saying, but it knows it has to translate *something*, so it uses its native language. So your question is better understood as, "Is there a situation where choosing [a color space that almost every screen can accurately translate] over [a color space that most - but not all - screens can accurately translate] would still be beneficial?" One answer could be that you're unsure if many people will be seeing an Adobe RGB color space image on screens that cannot translate (display) Adobe RGB images. If that happens, most people will be seeing the "badly translated" version of your image, meaning the converted sRGB version. Some people will have the good screens (the screens that can fully understand the Adobe RGB language) and your image will look its best. But if you think that most people don't have screens that can translate Adobe RGB or P3, then you would choose sRGB. You would be intentionally limiting the colors in your photo by choosing sRGB this way, but you have to remember - this is crucial - that the screen you're going to see the image on can't display those advanced colors anyway. So what are you really losing by choosing sRGB? There is, in fact, a benefit to still editing in Adobe RGB (or P3 or ProPhoto RGB) even if you're planning on exporting in sRGB. But that's a slightly different topic. The key is to first understand where your image is going to be seen (screen or print) and work backwards from there.

If it holds true that working all along with the widest colorspace Prophoto in order to have files with most possible flexibility and least degradation during editing, then why miss the opportunity to say it here ?

Approximation. Conversion near the same way, the software like Photoshop does.

Depends on the gamut mapping/clipping used...

I think I was getting mixed up -- I had heard if you convert an image to CMYK it won't display properly on regular monitors

Color format/space has nothing to do with it, its all about calibration

@@jermygod okay thank you

Doesn't matter if you shoot raw. If you're shooting in jpeg only, or JPEG + RAW, your camera will give you a choice of color space for the JPEGs. I'd recommend using AdobeRGB there. But again, if you're shooting RAW only, then you don't need to worry about any of the color space settings in your camera, they won't have any effect.

great tip thank you@@kiffaaaa

Sorry I only red you in diagomal. I Think you got it right (if) : use always prophoto as working masterfile. (Lightroom offer printpreview-copies that can help...)

Not always buddy

@@marysia9679 Always. You can downgrade later (for the specific usage).

That's why the color profile which is an analogue of ProPhoto RBG is used in Lightroom by default to render RAWs.

And what about time code 07:26? Did you watch the whole video?

7:21

Really? I thought it looked cinematic and nice...very smooth skin too,