The total is 256 x 256 x 256, or a whopping 16,777,216 RGB values.īut why stop there? It’s common to work with photos up to 16 bit per channel, leading to an incredible 281 trillion RGB values at your disposal. So that’s 256 shades of red, 256 shades of green, and 256 shades of blue. But your camera has red, green, and blue pixels. The baseline in photography is usually 8 bits per pixel, meaning that each individual pixel can represent 2^8 or 256 colors. Understanding Bit DepthĪnother important topic to this discussion is bit depth, also known as color depth – simply how many bits of data are used to create each pixel. You don’t want your browser or application to see the RGB coordinates “120, 140, 160” in both sRGB and ProPhoto color spaces and think they’re the same color. This is a problem for hopefully obvious reasons. They just assume you’re using a default color space (more on that later). Spoiler alert: Despite how important it is, some applications don’t read the color space of a photo. Otherwise, how can a computer application know what color you mean by “255, 248, 231”? It simply can’t tell. That is very important to know it’s why your photos need to include information about their color space. In sRGB color space, the beige-white color in question is specified as RGB 255, 248, 231 – meaning that the red channel value is 255, green is 248, and blue is 231.īut “255, 248, 231” points to a different color in Adobe RGB space, as well as in ProPhoto RGB space. This is what specifies the color you’re looking for – three values, one each for red, green, and blue. The same values won’t result in the same color in both sRGB and Adobe RGB, for example. But keep in mind that these coordinates are specific to each color space. Every color you could possibly think of has, essentially, its own “coordinates” within the color space so you can find it exactly. Let’s say that you want to specify a particular color, maybe a slight shade of beige-white.
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Here’s a 3D image of the sRGB color space (viewed from slightly overhead), so you can visualize the role that luminance plays: Screenshot from “ColorSync Utility,” included on Mac 2. Remember, too, that these are just 2D representations. ProPhoto RGB only includes those values because it allows the gamut of real colors to be larger than that of other color spaces, including sRGB and Adobe RGB. They aren’t especially important to this discussion, though. You physically cannot see them that’s what makes them imaginary.
![prophoto rgb icc profile download prophoto rgb icc profile download](http://www.hutchcolor.com/IMAGES/DonRGBvsAdobeRGB/DonRGBchannels.jpg)
We call these imaginary colors just to induce fear in other photographers. ProPhoto RGB is the largest of the three – and possibly the most interesting, since it includes “colors” outside what we can see. The diagram above represents every color we can see, although note that it’s a two dimensional figure (x and y axis only), so it doesn’t account for darker colors, i.e., luminance. (If no one can see it, it’s not a “color” anyway – colors are subjective like that.) You may have seen an illustration like this before: All the colors the human visual system can see. And yes, that includes painting more lightly to let some of the white canvas shine through.Ī good way to envision color spaces is to look at a set of all the colors people can see.
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If you have two paints (say, red and blue) plus a white canvas, your entire color space is just the colors you can make by mixing the two paints. It just means a set of colors – a container, almost. “Color spaces” is not some fancy term meant to confuse or bewilder. SRGB, Adobe RGB, and ProPhoto RGB are three of the most commonly used color spaces in photography.
![prophoto rgb icc profile download prophoto rgb icc profile download](https://i.stack.imgur.com/p6L7T.jpg)
What Are sRGB, Adobe RGB, and ProPhoto RGB?