Hi Everybody,Let me make it perfectly clear (joke). Here's a fairly common diagram of the color management workflow without any bells and whistles. This and similar ones have been posted for intermediate to advanced photographers.
Let's say that the document is opened by a color managed application. Hopefully, it contains a profile. On the left side of the profile is an identification of the color space of the document -- i.e. the numbers have a specific color meaning in a particular space. On the right side of the profile is the profile connection space. It's XYZ or Lab. The numbers in an XYZ or Lab color space are based on experiments made in 1931 by the CIE. These numbers identify color based on the human eye and three reference colors from gas discharge tubes. Thus they do not depend on any device.
Both PhotoPaint and Photoshop have evaded the early/late binding dilemma by providing an intermediate space. Photoshop calls it the Working Space. As best I remember, Corel called it the Central Space. You can constantly switch the working space of the intermediate space via the menu. Dan Marguilis posted that there is no penalty from constantly switching between Lab and any RGB. Based on my programming experience, I agree with Dan Marguilis.
The document is opened in PhotoPaint or PhotoShop. There is no work done directly on this document. Repeat -- no work is done on this document. Instead, it is immediately converted to the numbers of the same color in the working space. It's done by using the document's profile and the profile of the working space. The conversion goes through the universal profile connection space in order to change the numbers while preserving color. You can't touch the opened document, Thus there is no such thing as early binding.
The working space (aka central) space is what the program uses for retouching. The numbers change in response to the tools and dialogs commands. However, the numbers always have a color meaning in the space of the working space.
When you SAVE, -- the image in the working space is temporarily stored in an output space and then sent out to never never land. In both Photoshop and Photopaint, you have no control over this document. Thus there is no such thing as late binding in Photoshop or Photopaint. The last shot that you get at retouching is in the working (intermediate) space. That's where you started in the first place.
SO WHERE THE HELL DO I PICK THE WORKING SPACE IN PHOTOPAINT.It's a very important choice to photographers who want Adobe 1998 or ProPhoto. I prefer sRGB.
It could very well be the default -- but that's not what the dialog says. My guess is as good as anybody else's guess. We're only guessing.
LET'S HEAR FROM COREL.
Phil
Phil1923 said:LET'S HEAR FROM COREL.
ok, but while we wait for a reply from Corel we can read something about this on the web.
For example: "For RGB, remember that working spaces are just defaults, affecting only images that aren’t tagged. " http://www.peachpit.com/articles/article.aspx?p=1332853&seqNum=2
"When you choose one of the predefined color settings in Adobe Photoshop Creative Suite 6, those colors settings become your working spaces. Working spaces are the color profiles associated with the color modes."http://www.dummies.com/how-to/content/how-to-use-cmyk-working-spaces-in-photoshop-cs6.html
"A color working space is one of various standard, device-independent color space, such as ProPhoto RGB, Adobe RGB, sRGB, CMYK, etc""A colour space is a colour mode under a specific colour profile. E.g. RGB with ECI v2 (European Profile)."https://forums.adobe.com/thread/1217013?tstart=0
Your diagram works just remove the working space from the mockup. When you open the document no conversion takes place unless you ask for it, so the document space is the working space.
If you convert the document when you open it then the resulting converted space is the working space.
Phil1923 said: SO WHERE THE HELL DO I PICK THE WORKING SPACE IN PHOTOPAINT.It's a very important choice to photographers who want Adobe 1998 or ProPhoto. I prefer sRGB.
Under the tools menu, color management, document settings.
I know that you won't like this but under your diagram if you want a true Adobe RGB or Prophoto RGB document then your camera has to be set to one of those spaces or be able to capture that gamut and set to capture RAW and converted to the color space with a RAW converter.
With your diagram an sRGB capture can be converted to the Prophoto RGB color space and it would then reside in the Prophoto color space it would only contain the color data equal to an sRGB image, so a useless gesture in terms of improving gamut.
here you go this is a link to my book on the Corel site. If the link works
The document space in the upper left hand corner was a symbol for honoring profiles when importing, opening, saving or exporting files. BTW it only worked for embedding RGB profiles to images.
Here is a link to my web site where I sell my books www.graphictechnology.com as well as the Corel site. Go to the tutorials section.
I said for the record the Fraser, Bunting and Murphy book was a good book. However that they were wrong about Quark, PS color management and that they knew nothing about Corel color management as it existed at that time.