… which is available in PL5 only → different “…(gamma 2.2)” in PL6
For printing, I would export to ProPhoto RGB and print the resulting TIFF file from Preview, ColorSync or Canon’s utility, using a custom ICC profile for my printer/paper/ink.
The results are wonderful. I never knew things could be any better and everyone who used my printing services were totally satisfied.
… just continue without any headache and don’t bother, that your PL5 export to ProPhotoRGB doesn’t contain colours beyond AdobeRGB. – You always have been happy with the results.
Supplementary Question (post #8)
1.I want to use the WGCS
2. My camera uses AdobeRGB
3. My monitors are Apple (which I believe are P3) but custom profiled.
4.I export for web/email/etc using sRGB
5.I export for printing to ProPhoto RGB
6.I do not need to soft proof for printing as I use ICC profiles.7.I also need to teach this stuff to beginners at our club photo,
so I don’t want to have to teach anything more than absolutely necessary.
Just do as you like. – Now in PL6 and depending on the pic, your export to ProPhoto RGB can contain out-of-gamut colours, which your screen most probably doesn’t show, but your print should do.
That’s not really terrible, as I had tried not so long ago → Yet more colour space confusion - #24 by Wolfgang (and also w/ your infamous crabs). The prints then showed some more saturated colours and possibly a ‘better’ gradation, but nothing earth shattering, nothing what I couldn’t do without. And these were straight out prints from PS, no softproof, no correction.
It’s a big difference, if one is on a sRGB monitor and tries to get around w/ wide gamut colour space,
or on one like your’s. A ‘good’ monitor, covering P3, AdobeRGB …, shows most of the colours and you can check with softproofing to sRGB IEC61966-2.1, what / how users see on a sRGB screen.
[ When I was in a photo club (run their homepage and also had put out instructions about CM, beamer,
printing and such → monitor & beamer were in sRGB), I always told them to ‘stay in sRGB, when they don’t know better’ … difficult for some. ]
Now the big question, why ‘should’ you softproof?
-
As long you don’t change colour space, there is no need for – you see on your screen, what’s happening. If you are happy with, what you get out of your prints – no need for …
-
Things get different, when e.g. using matte paper, which cannot reproduce deep blacks and you have to lift the shadows … better in softproof (and w/ the ‘coming soon’ paper& ink simulation)
[ wherever you might do that … I’ve been using PS so far ]. -
Exporting a pic w/ strong out-of-gamut colours from Wide Gamut WCS to sRGB IEC61966-2.1,
most probably will look different than when done from Classic-Legacy (PL5 style).
The reason is, PL6 WG (then) handles colours differently and you should see it on your screen.
.
In spite of export, you can compare the masterfile (WG) and a virtual copy (CL)
– or more interesting softproof VCs (set to sRGB) from each of them …
and compare them to both exports (WG → sRGB and CL → sRGB).
If the equivalent results from WG resp. CL look identical, save your time & judge from your screen.