Labs using traditional photographic paper can only reproduce to an sRGB color space. If you work in a mix of traditional photographic materials and possibly some wide-gamut inkjet, use sRGB. If you print EXCLUSIVELY to wide-gamut inkjet, you can work in Adobe 1998. It's like working in an imaginary state, then the reality hits and you go oh-my, why is this wrong? If you work in ProPhotoRGB, you have to convert the file to a space you can work with prior to any final production. It only opens the door to potential problems and errors. There is ZERO value in working in a ProPhoto RGB workspace in a typical studio environment. When working on an image, you need a monitor to represent the colors in the image, then, that needs to translate to the final product that you want to produce. Adobe 1998 and sRGB only represent about one-third of the colors perceptible to the human eye, ProPhotoRGB about half. In short, a color space is the range of colors that can be displayed within that space. Yes, you can send it to a printer, but what you get is not what is really in the image. The problem is there are no monitors that can display that color range, and you can’t print it. ProPhotoRGB is the widest color space available, we don’t dispute that. Several speakers and instructors promote using the ProPhotoRGB color space as your basic working space for Photoshop because of its wide color gamut. There is often much confusion over which color space is the best solution for your studio.
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