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Thank you @MBd, excellent tutorial! I have questions regarding the embedded profile though. I've been trying to understand color management topics for the last couple months so I'll take the opportunity and ask you about a subtlety if you have the time- You are stating that

 

what color management does:

basically when monitor 1 want´s to send it´s color to monitor 2, 

monitor one attaches as message to it´s RGB value that says "hey I´m using LEDs that have a certain range of luminosity and color" (this message is called color profile)

Monitor 2 then sees this message and recognizes "well the RGB values I received where calculated under different circumstances, monitor 1´s brightness is much less than mine, ! CRUCIAL ! so if I want to reproduce the same color, I should not turn my brightness all the way up"

 

So if I get it right, you're saying that you embed your display's color profile in the file.

I was however under the impression that Monitor 1 (using your example) would translate the RGB values it produces into an intermediate device agnostic color space ((eg. srgb iec 1966 2.1)), and embed the information of that intermediate color space in the message(file). In other words,  Monitor 2, doesn't know anything about Monitor 1 and it's color displaying capabilites - it just receives some RGB values expressed in some device-agnostic color space, and now will have to use its own monitor color profile, to translate these into its own native language for displaying. Would you say that this is an accurate description?

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Thank you @MBd for taking the time to clarify, it's very much appreciated (and helpful - I'm still trying to wrap my head around color management)! I understand why sRGB would mean decrease in quality when converted from adobeRGB but lets avoid this for now since I'm interested in original artwork created inside AP/AD (nothing imported). 

 

Regarding your comment about LAB being the only device independent colorspace, I see now that I used the words device independence/device agnosticism colloquially.  Upon further reading, I realize that what I meant was better termed as an absolute colorspace such as any sRGB flavor, adobeRGB etc.

 

So let me rephrase my initial question and see if I got it right this time:

«[...] I was under the impression that the color values that the user sees on his Monitor 1 will be translated into an intermediate  device agnostic absolute color space ((eg. srgb iec 1966 2.1/adobeRGB)), and embed that information (ie the icc profile of that intermediate color space) inside the message. 

In other words, Monitor 2/Computer 2, doesn't know anything about Monitor 1 and its color displaying capabilities - it just received some RGB values that represent specific (absolute) color values thanks to the the device-agnostic absolute color space that was coupled with the message. Now that the computer knows the exact color values expressed by the message, the computer will have to use Monitor 2's color profile, to approximate these absolute color values into an image on Monitor 2. Would you say that this is an accurate description?»

 

Again thank you for your time!

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Yes, you are right MBd, trying to use the monitor analogy in my example ended up overly convoluted!

But I think I'm good for now! I'll keep studying and probably any hidden misconception from my part will surface sooner or later (and if they never do, then no harm done) ;-) 

 

Thanks again!

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I've got three questions concerning color management. My monitor is calibrated and the corresponding color profile is installed in Windows. My camera is set to shoot in Adobe RGB but the monitor only covers sRGB. My questions are the following:

 

1. Should I convert the color space (I usually work with 16 bit tifs after developing them in DxO Optics 11) within Affinity photo to my monitor color profile or should I leave it and keep working in the Adobe RGB color space using the standard Adobe RGB profile, even if my monitor does not cover that color space?

 

2. I archive all my finished photos as 8 bit tifs (plus I keep the raw files). These tifs serve as my photo archive and these are also the files I use when I want to look at my own photos on my pc. When I export these files, should I embed the original color profile (which would be the standard profile for Adobe RGB as it came out of the camera) or should I embed my calibrated monitor profile?

 

3. For web uploads I export all images as 8 bit jpgs and embed the standard sRGB color profile. Is this correct or should I handle it differently?

 

I know there are a lot of documents available on the internet but frankly all that I've read so far have failed to answer these basic questions. I hope some expert here can answer these questions.

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Thank you. Now everything is clear. In fact what you say is completely logical. Sometimes a little external input is necessary to comprehend something :)

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