Color Management is a very complex topic. And it’s possible to get bogged down in a lot of technical details. But it’s extremely important, especially if you want to print your photographs. And it can be broken down into a few simple concepts.
On my workshops I often get asked questions about color management and the topic is huge and a bit technical to get into the details. So I thought I’d give an overview of the topic in a few blog posts. Who knows, maybe I’ll create a presentation that can be used during a workshop.
Let’s start with color space which is the whole reason we need color management.
A color space is all the colors that can be rendered using a given technology. Think if it this way. You all enjoyed coloring with crayons when you were young. And I don’t know about you but I was always envious of my friends that had the big giant boxes of crayons with 120 different colors. They had every color under the sun.
We can think of the 120 crayon box as being the color space of the real world with every color under the sun.
Now, you’re reading this blog on your computer monitor or tablet display. It’s using a color space that was defined specifically for the internet – sRGB. This stands for “standard Red Green Blue.” It was jointly developed back in 1996 by Hewlett-Packard and Microsoft. It’s a color space that is designed to work on any display device and is thus the lowest common denominator. It cannot display all the colors we see in nature. It is like the 48 crayon Crayola box.
Two years later Adobe came along with their own color space definition, realizing that sRGB was not adequate for serious graphic design and photography. So they put forward AdobeRGB(1998). It was much better than sRGB and was more like having this 64 crayon box.
With AdobeRGB(1998) it was possible to render a far greater range of colors than were available in sRGB. And we were much happier. But as good as AdobeRGB(1998) is, someone always wants more. So along came an even larger color space – ProPhoto RGB. It was more like a 96 crayon box.
It still does not render all the colors in nature but it’s much better than sRGB and marginally better than AdobeRGB(1998).
Now, don’t take this comparison of Crayola boxes literally. I’m not suggesting that AdobeRGB(1998) has a color space that is half again as big as sRGB (that is, renders fifty percent as many colors). I’m just saying that it’s more. Actually, it’s quite a bit more.
These are just three color spaces that are in common use when we work on our photographs on our computers. But this isn’t all of them; not even close. There are hundreds if not thousands of color spaces as we’ll see later.
So with this in mind, what can we conclude. Well, let’s start with your camera. Each camera has its own range of colors its sensor can capture, its own color space. Differences in the various sensors from one model to the next will result in slightly different color spaces. When you capture RAW images all the colors the camera is capable of capturing are in the RAW file. In other words, there is no defined color space for RAW files; it’s just what the camera’s sensor can capture. But when you capture JPEG the camera’s processor will convert the RAW image from the sensor to JPEG format and you actually have a choice of color spaces. The default is sRGB. But you can change that to AdobeRGB(1998). Your camera has a menu option for that. Now, I don’t recommend shooting in JPEG but if you do, be sure to set your camera to use the AdobeRGB(1998) color space.
The other place where this affects us is when we convert our RAW files to another format such as TIFF or PSD in raw image conversion programs like Lightroom or Adobe Camera Raw. Again, you have a choice of the target color space and again, most programs default to sRGB. I recommend you change that to ProPhoto RGB. That’s the color space I prefer.
Want to see what a color space actually looks like? Here’s the sRGB color space.
There’s (a lot) more to this topic but this is a good place to stop so you can get back to whatever you need to get done today.
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