The best way to get the most saturated color possible is to convert the source file (Raw) into ProPhoto RGB. The editing space becomes wider gamut, but the potential for increased saturation can’t be accessed unless values in the file are further enhanced with software. Note that information converted from sRGB into ProPhoto RGB does not get more saturated. If you Convert you “preserve color appearance” Photoshop does this by referencing the ICC profiles of the source and destination color spaces and precisely changing the numbers in the file so that they produce the closest possible match to the original appearance only the appearance of very saturated colors will change if you convert a file to a smaller gamut color space. If you Don’t Convert but “preserve color numbers”, the appearance of a file will change, sometimes dramatically, because the numbers in the file have not been converted but a new color profile has been assigned, changing the meaning of the numbers. The parenthetical remarks in Photoshop’s Paste Profile Mismatch dialog box say it clearly. To maintain the appearance of colors when you move them from one color space to another (for instance from a monitor to a printer), you have to change the numbers very precisely, using ICC profiles or maps for each color space and recipes for mixing colors in them. Similarly, all the other numerical combinations produce different appearances in different color spaces too, with the exception of absolutely neutral colors whose values are equal – i.e. If you graph this in sRGB (a small color space) and ProPhoto RGB (a large color space), you can quickly see that one will produce a much less saturated red than the other. Why? Take the values for the most saturated red in any RGB color space – 255/0/0. In color management you “change to stay the same”.
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But, once you understand why this is happening, how to set up your color management environment and what to do when you encounter color management dialog boxes will become much clearer. It’s counterintuitive to think that by changing numbers the appearance of colors will stay the same or that if you don’t they won’t. Understanding the difference between assigning and converting to a profile is one of the most conceptually challenging things about color management in digital imaging. Sign up for Insights for news of new content! View videos on using X-Rite’s color management solutions here.
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If you make camera profiles customized for your camera, sooner or later you’re going to want to rename or delete a few.Ĭolorthink graphs ICC profiles for visual comparison and contrast.Ĭhoose full spectrum lighting with an appropriate brightness and temperature.
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X-Rites’ Color Checker Passport can be used to quickly deliver more accurate color in a variety of ways. X-Rite’s Color Checker Passport Camera Profiles ICC profiles need to be filed in the correct location on your computer.ġ7. Perceptual, Relative Colorimetric, Absolute Colorimetric, Saturation. Understand the difference between assigning and converting to a profile.
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The Difference Between Converting Versus Assigning With Color Profiles Know what to do with the color management dialog boxes you encounter.ġ3. Thousands of shades of gray reduce posterization.ġ2. Use good quality light in neutral environments to evaluated your images.īetter printer profiles help make better prints.įrom small to large, standard RGB editing spaces including sRGB, Adobe RGB (1998), and ProPhoto.Ĭhoose a wide gamut editing space to make the best prints possible.ġ1. 16-Bit (Adobe Photoshop Master Class) Set good color management policies in your printer driver. Preview how your print will look before printing it. Set good Photoshop Color Settings in seconds. Take these simple steps to get consistent high quality color.Īssign ICC profiles to make color consistent and predictable.
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Use color management to make better files and insure others see them in their best light.ġ.