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Re: Wide gamut vs less wide gamut monitors

 
 
Wolfgang Weisselberg
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      03-01-2013
Alfred Molon <(E-Mail Removed)> wrote:
> In article <kfqrkd$su1$(E-Mail Removed)>, Mayayana says...


>> I can see the value
>> of using a more inclusive color profile, even though
>> the monitor can't show it.


> But you cannot adjust the RAW conversion parameters if you can't see the
> effect on the screen.


> If the screen is only able to display an AdobeRGB gamut, you can't edit
> the image in the out of monitor gamut areas. You are essentially blind.


> You'd need a monitor with a Prophoto gamut, but do these beasts exist?


How did they do it back when with b/w film? They didn't
have a monitor. They didn't have a b/w conversion filter.
They even had false colours whenever they looked through
coloured filters often needed for b/w. The film had an
uneven spectral response, so the same bright red may still be
black with the earliest films or even orthochromatic film ---
it didn't record it correctly. (Thus the red safelight was
possible when developing)

So they were essentially blind in creating the image, they
couldn't place things so they'd give a pleasing b/w photo!

Still, at least some managed *very* well.


Nowadays, we have it easier. We can "shrink" the colours
on our monitors so they are all visible therein, just not
as saturated. It's perfectly possible to create pleasing
images that way, it's *almost* what you see is what you get,
it's just less 'neon coloured'. And we can switch to full
neon colour and print preview (and just miss those that are
outside our monitor's range), so we can place the print next
to the monitor (using normlight and a proper viewing stand and
wearing black or gray colours, having all gray walls, etc etc
etc and have them look identical, as far as a self-luminous
and a reflective material can ever be identical.

"blind"? We're seeing almost everything, almost perfectly,
quite unlike what the old photographers with their
funky-sensitivity curves b/w films ever were when they composed
their images. And we get instant feedback. They did not.

-Wolfgang
 
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Wolfgang Weisselberg
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      03-01-2013
Me <(E-Mail Removed)> wrote:

> Conversion is lossy - better to not "convert" but to apply a colourspace
> when saving (ie to jpeg) from colourspace-agnostic raw.


So you're advocating to not convert colours from RAW to, say,
JPEG? Are you not aware that you *must* convert the values the
sensor and it's colour filters deliver to get even usable colour
hues --- and that they can differ radically between cameras?
And that newer cameras use wider colour filters than older
ones in the name of capturing more light?

And that if you don't save with a profile, some default will
be used, be it correct or wrong?


All that applying does is forcing a (usually wrong)
interpretation of what RGB triples mean to be applied to
RGB triples.

Sure, "conversion is lossy". So is translating Chinese to
English, especially in the instruction leaflets of cheap
electronic trash. I don't read Chinese ... so is it better
not to translate it, but to write the Chinese using ASCII?
That's applying. It's probably not lossy. But it doesn't
make sense, unless someone converted English to Chinese letters
literally by mistake.

-Wolfgang
 
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