SRGB or Adobe RGB

What do I have to choose on my camera Canon D400
sRGB or Adobe RGB
And after I made that choice do I have to choose those setting in Bridge and PS CS5 too?

sRGB is the safest bet (Adobe RGB has a bit more color gamut if you know what you are doing)
if you shoot RAW (16 bit recommended) for highest quality, the camera capture space doesn't matter
i recommend these Adobe Color Settings mostly for the color management policies that warn you of profile mismatches and preserve embedded profiles (set the working spaces as you like)...

Similar Messages

Converting RGB images (sRGB or Adobe RGB) to 709 color space.

I'm trying to determine the correct way to convert RGB images (sRGB or Adobe RGB) to 709 color space. I can't just use the "covert to profile" function to do this because it does not produce results that fall within the 16 to 235 range that 709 dictates. I've read that you can simply use the "Levels" adjustment and change the output levels to 16 to 235. While this would clearly compress the luminance to the correct range, I'm not entirely clear if the end result would be a proper conversion (i.e. if color and gamma, for example, would be technically correct.)
I noticed that converting the profile to "HDTV (Rec. 709)" does alter the image, so I'm wondering what the result would be if I did both this AND used the levels control to compress the output range to 16 to 235.
Thanks for any feedback on this.

(1)
http://en.wikipedia.org/wiki/Rec._709
(2)
http://en.wikipedia.org/wiki/Rec._601
The transfer functions for Rec.709 (1) refer to the range [0..1] or for 8 bits per pixel [0...255].
It seems that the clipping, black=16 and white=235 has to happen after the application of the
transfer function. If this should be true, then we don't have a level compression but a level
clipping at both ends, as already for Rec.601 (2), like here:
The ICC-Profile HDTV(Rec.709) in Photoshop contains the primaries and the white point
(both like that in sRGB) and the transfer functions for [0..1], coded by a LUT with high resolution,
as found by Profile Inspector. There is no clipping.
By the way, that`s the internal profile name, I don't know the file name of the profile.
Softproofing, source in sRGB, target HDTV(Rec.709), without clipping:
With numbers not preserved: no change of the appearance, as expected.
With numbers preserved: shows the effect of different effective gammas.
Your questions are very clear and I'm not sure whether my comments help. The information
in the internet is not convincing.
Best regards --Gernot Hoffmann

Color profile (sRGB Vs. Adobe RGB)

Hello,
As I am struggling with choosing the 'right' color profile for my photo's (either sRGB or Adobe RGB) I was wondering what your opinion of this subject is. I have searched the internet for the information about this subject, but the forums/answers/information couldn't give me enough satisfaction.
For editing photo's I am using Adobe Photoshop, for my library I use iPhoto. Some photo's are uploaded to sites as www.facebook.com. Sometimes I order a photo book via iPhoto.
Because there are pros and cons for both sRGB and Adobe RGB I am not sure which profile I have to choose. I would like to choose one format, since this will standardize my library.
Looking forward to your opinion.
Best Regards,
Jelle

Larry & Terence,
Did you do any on-screen testing or proofing? All modern browsers support ICC profiles and should show improvement with Adobe RGB in certain color ranges (NOT just Facebook).
Apple products aren't "designed" for sRGB. sRGB is a standard developed by Hewlett Packard and Microsoft (and I think we all can agree those aren't Apples best friends). sRGB is the default for most Cameras and SmartPhones, that doesn't mean it's the best.
Most monitors sold in the last 5 years have wider gamut support than the sRGB.
Article "Can the entire sRGB color gamut be displayed on today's LCD monitors?"
http://ninedegreesbelow.com/photography/srgb-bad-working-space-profile.html
"sRGB was created to match the display characteristics of consumer-grade CRT monitors manufactured in the1990s." "LCDs use a completely different technology to make colors..." "All wide gamut monitors by definition can show more greens, yellows, and cyans than sRGB."
Apple even suggests "Adobe RGB offers a wider gamut than sRGB, and is usually a better choice, if available." in this article:
http://support.apple.com/kb/ht2026
iPhoto 6 and newer have support for ColorSync profiles, older versions may not work with Adobe RGB and could cause the color to look worse. If a profile isn't present, or isn't supported iPhoto assigns Camera RGB. Complaints about "dark" color from iPhoto are more than 5 years old.

SRGB or Adobe RGB in camera when using Aperture?

I would appreciate any help I can get with this one:
Which color space should I use in my D300 (sRGB or Adobe RGB) if I'm using Aperture and why? I'm referring to shooting RAW. Or does color space only matter if I shoot JPEGs? Does it depend on output?
Thanks,
Jerry

It depends on your needs. Adobe RGB is a wider color space so if you're going to do any work with the photo, it will give you a little more flexibility without clipping the colors. But you WILL have to convert it to sRGB before sending to a printer or publishing to the web, if you don't want issues with non-color-aware browsers (which means, pretty much any browser but Safari).
Still... Aperture makes using RAW as easy as JPEG with numerous benefits so there's little reason to shoot JPEG and use Aperture

SRGB vs Adobe RGB

What the heck is the difference between sRGB vs Adobe RGB?
Do I have to reset this in my camera too?
I have a Canon 5D Mark 11
Thanks, Penni

The »s« in srgb supposedly stands for »standard« (though »small« or »s..t« have also been mentioned) and this color-space is so small as to be representable without clipping on most monitors, so it’s recommended to be used for internet-work.
AdobeRGB on the other hand is much larger and intended for professional image-editing.
If You wonder what small and large mean in this context just create an rgb-document with a Spectrum-gradient and assign (not convert) different profiles to it and see how the appearance of pixels of any given rgb-value change.
Or compare the two profiles in ColorSync Utility (in the Utilities-folder).
Of course working in the larger space can cause problems when an image has to be output in a smaller space (as many/most offset printing spaces are), but soft-proofing can help recognize them in time.
Anyway reading up on color management should do You no harm.
It would seem advisable to shoot RAW-images if Your camera offers that option.

Book photos sRGB or Adobe RGB?

Which profile should the images for a book have?
sRGB or Adobe RGB?

I am sorry but I do not think you really understood what profiles are for. An image (be it a JPEG, TIFF or even PDF, since it DISPLAYS something) MUST have metainformation on what its color values mean independently of what device you want to display them on. Without that info a PDF output would be caothic and unforseeable, since each device would interpret it according to the device's defaults.
That metainformation, combined with the information of how a device displays color (that is, a calibrated screen or printer), makes it possible to display images in several devices as close as possible to each other and to its supposed abstract colors (real colors, independent of device). If there is no metainformation (a profile) on what those RGB or CMYK values mean independently of any device, you are simply subject to the color shifting that any device is naturally subject to cause when not instructed on how to correct it. I.e. if a pixel in your image is a neutral gray -not color tinted- and you display it on a screen that shifts to red, you can still make it show a neutral gray if the color engine of your software shifts the image to the opposite color before displaying it. The software accomplishes that by combining the device profile you created when calibrating the device -or at least, by associating it to a default profile intended for that device- and the profile of the image. This is an oversimplification, since profiles in images deal with quite more than just color shifting.
PDF's are intended to be portable (hence, what the P in PDF stands for) and, then, must have a way of guaranteeing that color is reproduced as faithfully as the displaying device allows to. PDFs without information on profiles would be useless to their aim without this metainformation.
So PDFs DO STORE profile information.
The only catch up on this is that PDFs can contain several images, so in fact PDFs do not embed a single profile to govern all images inside it, but one profile for each embedded image.
Quoting you, then, those embedded profiles are what make the point of the PDF - " a self contained freely readable document in its own format" *that displays the same colors in all devices* (* = as close as the device is able to, as long as the device is calibrated, and as long as the device's software also is profile-aware; which can apply pretty much to any computer).
Answering the question of the first poster, I'd go for sRGB, since that is the color gamut most cameras are calibrated for. While AdobeRGB is wider, you will probably not be getting a wider color gamut since your camera did not capture it in the first place. Besides, not all printing services have a decent color workflow, and some will ignore the profiles you embedded (which is catastrophic since that means they will interpret the color values in your photos according to another supposed profile -because by definition, always that there is an interpretation of color values into an output, a theoretical profile is being used even if not aware of that, since that is what a profile does: turn abstract -digital- color values into real colors). And since sRGB is quite more used than AdobeRGB, their device will most probably output closer to the former. AdobeRGB images interpreted in an sRGB color space become dramatically desaturated.
I hope that helps. If you need me to be more explicit on something, just ask.

Photosmart 8750 - Which to use when printing - sRGB or Adobe RGB?

I've been printing with the 8750 and previously with the B8350, and have always sent my images to the printer as TIF files in Adobe RGB. I use conventional softproofing technique in Photoshop CS4 and get minimal, but expected color shifts (if any).
But recently I dredged up some old reviews of the 8750 which say that its output closely matches sRGB. Got me thinking... with this printer, should I be converting my images to sRGB before sending to the printer? Will I get truer color with less color shift from clipping?
Chas

It depends on your needs. Adobe RGB is a wider color space so if you're going to do any work with the photo, it will give you a little more flexibility without clipping the colors. But you WILL have to convert it to sRGB before sending to a printer or publishing to the web, if you don't want issues with non-color-aware browsers (which means, pretty much any browser but Safari).
Still... Aperture makes using RAW as easy as JPEG with numerous benefits so there's little reason to shoot JPEG and use Aperture

SRGB or Adobe RGB for stills?

When preparing photos in PS to bring into PP, does the color space matter?
1. For HD video which color space should I use?
2. For 4K video which color space should I use?
Thanks.

Anyone on this?
Thanks.

How do I get photoshop to open my images as sRGB instead of Adobe RGB?

My Camera is set to sRGB but when I open the raw files they are opening as adobe RGB. I take photos of clothing for online stores and when the Adobe RGB images are loaded onto their site it is turning all of the skin tones grey. I don't want to manually change every photo when I open them in photoshop.
Also, what is better for portraits and printing? sRGB or Adobe RGB?
Britt

This is set in ACR workflow options (the blue link below the main image window).
The camera setting is irrelevant, that only applies to in-camera processed jpegs. A raw file has no color space until it's opened into one in the raw converter.
Stay with sRGB until you know why you want a bigger color space. It has advantages, but also carries risks that can bite you if you don't know what you're doing.

Soft Proofing with Adobe RGB

I am experimenting with soft proofing various sunset images. The problem I'm seeing when I soft proof the images in Photoshop using the Adobe RGB profile is that the oranges and magentas in the sunset turn yellowish. Can someone please explain why this is happening. I admit that some of these images are coming from the internet and have no embedded profile. I have always thought that the Adobe RGB profile had a larger color space so I'm not sure why I'm getting the obvious changes in the sunset colors when switching between sRGB and Adobe RGB.

With a standard monitor everything you see on screen is already soft proofed to sRGB. That's all it can reproduce. So soft proofing to Adobe RGB makes no sense. It's beyond the monitor's capabilities.
Even if you have a wide gamut monitor soft proofing to Adobe RGB makes no sense. You'd need a monitor that reproduced considerably more than Adobe RGB (which doesn't exist), and a file in an even larger space such as ProPhoto.
If you see a difference, you have "Preserve RGB numbers" checked in Proof Setup (which you normally shouldn't). This is the proof equivalent of Assign Profile - IOW how it will look if you assign Adobe RGB as opposed to Convert to Profile, which is what you normally do and which will preserve color appearance.
The other possible explanation is a rather evasive bug in Photoshop, reported from time to time. Sometimes people see a color shift when converting to the very same profile as the file already is. I can't reproduce that, so I can't give any more details.

IPhoto 5 and Adobe RGB - RGB 1998

Dear fellow members,
1. I've been using iPhoto 5 for a couple of years and haven't questionned about this version <<compatible>> with Adobe RGB (RGB 1998). I understand that the sRGB is already an embedded profile of iPhoto 5, but is Adobe RGB embedded either?
The reason I ask this question is because I wish to work in Adobe RGB, from my new digital still camera, to my other post-processing softwares [from Adobe and Phase One manufacturers].
I understand that Adobe RGB offers some more tonalities and color spectrum, this is the reason why I wish to move from sRGB to Adobe RGB.
2. If I wish to publish photos on the web, I should be careful about exporting in sRGB for a broader audience, though.
But does iPhoto knows it automatically, I'm not sure, however, I can try to convert to sRGB in Preview.app and compare...
3. Looking at pictures on a browser, Safari, or Firefox also differs: Safari manages Adobe RGB, but not Firefox
(see e.g. http://www.gballard.net/psd/golive_pageprofile/embeddedJPEGprofiles.html) .
4. From what I've learnt, I also had to recalibrate my Ti667 screen from the Apple preset 1.8 to Gamma 2.2.
5. Finally what does Generic RGB mean in the OS X system?
Thank you for your comments and responses.
Best Regards.

Mr. Scuttles:
1 - It depends on what camera you're using as to the profile used. Canon cameras use a profile titled Camera RGB. It's an RGB profile that is very similar to the other RGBs except for the Adobe. The Adobe has a wider gamut (range) of colors. If your camera embeds Adobe when you shoot then you don't have to do anything.
2 - If you edit in iPhoto the modified version will retain its Adobe RGB profile. So if you plan on using the photos on the web and want to use sRGB you will have to embed that profile with a 3rd party application. I've modified a ColorSync Applescript to do that. You can download it from Toad's Cellar. It's much faster than using Preview as it can do batches of photos at one time. Just drop the files or a folder of file on it and let it do it's stuff. It's a lossless process. It's a tad slow however, but does a very good job.
5 - See this Technical document for the Generic RGB and Apple RGB differences: http://developer.apple.com/qa/qa2005/qa1430.html
If you open the ColorSync Utility application (in the Applications/Utilities folder) you can view and compare the various profiles.
Do you Twango?

ProColor RGB or Adobe RGB ?

I have always run Adobe RGB on PS (now CS3)... have it "automatically convert".
*When I go to PS it is normally because the Output will be to a Printer in the End (and also a web version) ... (also have my camera set to Adobe RGB, "although" I always shoot RAW ... never know when you might run out of space lol)
OK, so because LR is PROphoto RGB ... is it NOW better to Export ALL my images from LR using PROphoto RGB and not have PS CS3 "auto convert" all my images to Adobe RGB anymore? (my default in PS CS3 is to work in Adobe RGB)
* YES, whenever I Print in office ... or send a Profiled JPG to a Printer SITE ... I am using a Printer ICC or converting to the ICC.
lol, have a feeling I might know the answer ... but want to confirm if it is in FACT better to be working in PROphoto RGB all the way?
And that most is doing it this way ....
HG

On 3/19/07 6:45 PM, "M Behrens" wrote:
Or is the "working color space" of LR inconsequential since you cannot get an image out of LR without seleting an embedded color space that the image is converted to? I read somewhere that ProPhotoRGB isn't really the working color space of LR, it mentioned Mellisa or Love Child. If LR has its own color space and simply converts on output. Monitor display is simply another output to sRGB, if calibrated having an ICC file to assist in conversion.
There are two color spaces to consider. One you can control, one you cant. The internal color space for all processing in LR is ProPhoto RGB using a linear encoding. We cant mess with that and theres no reason to.
We can export to three color spaces, two smaller than the internal color space (sRGB and Adobe RGB (1998)).
I dont have any issues doing everything in ProPhoto RGB 16-bit. With a totally raw workflow, thats easy. Where things get a tad dicey is using existing rendered images in LR. They have a color space before you import them. So in theory, you could be moving from sRGB to ProPhoto RGB (internal color space processing) then out to either sRGB again (which seems like a good idea) or Adobe RGB (1998) or finally, ProPhoto RGB. It would be cool if LR could somehow honor the original and output color space. So if you start with sRGB, you get sRGB (but again, theres a conversion to ProPhoto RGB/linear gamma if you do any corrections).
If you stick with 16-bits going out of LR, I doubt youll have an issue doing this theoretical sRGB to ProPhoto RGB dance but I suspect if the original color space was sRGB, that was for a reason and I suspect many want to honor that. Of course, if you start with a color space thats not one of the three spaces that are supported for export, its kind of moot. IOW, you can end up witb any color space you wish, as long as its sRGB, Adobe RGB or ProPhoto RGB.
Melissa RGB (Love Child RGB) is a cute name for the space thats used to represent the histogram and percentage values. Youre never really dealing with this space.
Applications dont have a color space? Well they use a color space for processing so yes. In the case of LR, the internal color space used is ProPhoto RGB as defined by this specs white point and primaries (chromaticity values) but using a linear encoding (what some would call a gamma of 1.0). Melissa RGB is the same expect its using the sRGB tone response curve (what would incorrectly be called a 2.2 gamma encoding). Then you have three options for a color space in which to encode your images upon export out of LR.

AdobeRGB* VS Adobe RGB

When I open an image in PSE3 it shows RGB/8* and another image opens and shows RGB/8 with no asterick.
The first image is shot in sRGB and the second is shot in AdobeRGB.
Is this why the asterick appears?
Thanks
Richard Cooper

Richard,
Colin is correct, "RGB/8*" does indicates your document colour profile does
not match your work space profile. PSE4 works as Colin said. However, you
said you have PSE3. PSE3 works a little differently -- you can only get
"RGB/8*" when you have your color settings set to "Full Color Management".
If you have your color settings anything else, you won't see that.
You asked "So, PSE3 workspace is set to RGB and any image that is not RGB
would be astericked.
Correct?"
No, not quite. First of all, let's go over what "RGB/8" means. The "8" part
is easy. This is just the bit depth of the color channels. In this case 8
bits per channel. The "RGB" part is the color mode of the image. If the
mode were Grayscale this would read "Gray", Indexed mode would read
"Indexed" and so forth. Since yours says "RGB", the image is in RGB mode.
PSE3 only supports a few color modes. RGB is one and Grayscale, Bitmap, and
Indexed are the others. If you try to open an image in an unsupported mode
such as CMYK or LAB, you'll get a popup message saying the mode is
unsupported and there will be a button to allow you to convert to RGB mode.
The "*" on the end has to do with the color profile associated with the
image. Profile and Mode are not the same thing. The mode describes how
colors are represented (RGB says that each color will be represented by a
Red value, a Green value, and a Blue value). By themselves, these are just
numbers in the range of 0 to 255. Determining what those numbers mean is
the role of the profile which decribes how these color values are to be
interpreted. There can be many profiles for the same mode. Adobe RGB and
sRGB are both RGB profiles and are probably the most common. There are
other RGB profiles as well.
When you set your color settings to "Full Color Management", you told PSE3
that you wanted it to use Adobe RGB for the default internal working color
space. However, this setting will also attempt to retain any color space
profile which may be embedded in the image. The "*" tells you that PSE3 did
just that. Your default color space is Adobe RBG but your working color
space is something else -- most likely sRGB, but other RGB profiles could
have been embedded instead. When you see the "*" in PSE3, your work space
profile is not Adobe RGB, you are using the embedded profile.
PSE4 is improved over PSE3 in how it handles color management and profiles
and can do limited conversions between sRGB and Adobe RGB. You might want
to consider upgrading to it if you need to convert Adobe RGB to sRGB often.
Bob

SRGB or Adobe Color Space

What do I need to set my Color Space to? sRGB or Adobe? Also what setting should I have in Aperture 2 to get the best color. I use a D300.

as the other feedbacks mention, your d300 raw files don't have a color profile as such. aperture itself works with a wider color gamut than sRGB or adobe RGB, no need to set anything within aperture. once you leave aperture, color profiles become essential.
as a rule of thumb...
- sRGB jpg for export to web, email, clients
- 16 bit proPhoto for editing in photoshop
- adobe RGB or sRGB for print (ask your printer what he prefers)
also - some people mention CMYK for print. while print documents are prepared in CMYK, i'd always send your images in RGB and let the graphic designer (or printer) convert them to CMYK. they often use specific profiles that match their machines.

Why does PS 7 not recognize Adobe RGB files?

I have an Olympus E-620 DSLR. When I set the color space in the camera to sRGB, after downloading the images, when I click to open them in Photoshop 7, the images are properly identified as sRGB files. When I set the color space in the camera to Adobe RGB, Photoshop does not recognize the format. Please see the picture below.
Question 1: Why does Photoshop not recognize the Adobe RGB files?
Question 2: What can I do to make Photoshop recognize Adobe RGB files?
Question 3: If I assign in Photoshop the Adobe RGB profile to an unrecognized Adobe RGB file, does that even make any sense? Is the "extra data" that Adobe RGB offers compared to sRB even there even if the profile is not recognized in the first place?
I am very grateful for any comments and advice!

Buko. wrote:
Are you saying that the file is really AdobeRGB and because PS7 is so old its defaulting to sRGB? which is why you are assigning?
Yes...if the file name starts with an underscore _IMG12345 then the image is indeed in Adobe RGB. It's a failure and limitation of the EXIF spec that only allows for two different EXIF tags relating to color space...either sRGB or "unspecified".
Since the camera makers wanted to offer Adobe RGB as a color space choice in camera JPEGs, the underscore was the ONLY way to say whether a file was in sRGB or Adobe RGB. Note that camera JPEGs do NOT have an embedded profiles, just the EXIF tag. And yes, Photoshop 7 is/was too old to understand the Adobe RGB underscore color space.
A lot of stuff has changed (sometimes radically) since that piece of software was released...heck, there wasn't even a Camera Raw until about 9 months AFTER Photoshop 7 was released. Camera Raw 1.0 was released Feb. 19th, 2003, Photoshop 7 was released about April 2002.

SRGB or Adobe RGB

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