tag:blogger.com,1999:blog-7553278593406733377.post5613244873437537183..comments2024-03-07T11:47:12.092-05:00Comments on Photo Business News & Forum: The Business of ColorspaceJohn Harringtonhttp://www.blogger.com/profile/16941161605443479300noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-7553278593406733377.post-77868867360061805152007-04-08T08:11:00.000-04:002007-04-08T08:11:00.000-04:00I convert primarily to Adobe 1998 (RGB) and then d...I convert primarily to Adobe 1998 (RGB) and then deliver to my clients as Adobe 1998 (RGB).<BR/><BR/>IF a client is going direct to web, then the images are delivered as sRGB. Often times, my clients require a full-rez file and a smaller version for their internal tracking system. The full-rez file is delivered in the Adobe color space and the smaller file as sRGB.<BR/><BR/>Good advice and suggestion on delivering CMYK. I try not to deliver as CMYK because, as you pointed out, so many clients are not aware of all the variations of CMYK and often request, 300 DPI - CMYK.<BR/><BR/>Adobe's default settings for PhotoShop are set to sRGB. Many clients never change their preferences in Photoshop.<BR/><BR/>I know of photographers who only deliver in CMYK with a match print. (usually high-end advertising people) I know of one photographer who shoots national campaigns of portraits and only delivers in sRGB. <BR/><BR/>My work has lots of details and I prefer the wider color space, either Adobe 1998 (RGB) or ProPhoto.<BR/>My two stock agencies prefer Adobe 1998 (RGB) (Getty and Alamy). For better or worse, Adobe 1998 (RGB) has become by default, the standard for many agencies, design firms, corporations and photographers.<BR/><BR/>When I've processed master files out to sRGB from the raw file, I often encounter chunkiness in the colors. For me, Adobe 98 seems to be the best of all worlds and then convert if needed.Anonymousnoreply@blogger.com