![]() This was visually obvious, and easy to change with an Assign Profile. Not sure why DxO apparently did not tag sRGB exports as sRGB. Still more than a few differences, even with the looser 95% standard.ĭuring my testing I found one other PhotoLab oddity / error: TIFFs exported from PhotoLab in any working space other than sRGB were read by Affinity Photo correctly, but TIFFs exported from PhotoLab in sRGB were read by Affinity Photo as untagged with a working space: With the threshold set at 99%, there were significant areas that differed: I repeated the same test procedure with Andrew Rodney’s gamut test file (made available as a 16-bit TIFF in ProPhoto RGB), for reference this one (again in sRGB for browser viewing):Įxtremely, arguably artificially, wide gamut-in ProPhoto RGB, not this sRGB version. How do I know it isn’t simply that the Atkinson test image has almost no content outside of Adobe RGB? Because when I did the same test but exported from PhotoLab in Adobe RGB (instead of Wide Gamut RGB), the resulting comparison showed much larger areas with differences of 1% or more:ĭxO clearly exports a wider gamut in Wide Gamut RGB than in Adobe RGB.īut when the test image is deliberately chosen for extreme of gamut, there are some. Now you see there are some slight (< 1%) differences. However, when I increased the threshold to 99.5%-which is near the limits of what an 8-bit printer driver could deliver-there were a few small areas of differences: With the threshold set to 99%, I did not see ANY black dots, which would indicate areas where the Lightroom ProPhoto RGB TIFF differed by 1% or more from the PhotoLab Wide Gamut RGB TIFF:īlack dots represent differences of 1% or more do you see any? Viewed at 100% there are just a few. I opened the Lightroom-exported ProPhoto RGB TIFF, opened the PhotoLab-exported Wide Gamut RGB TIFF, converted the latter to ProPhoto RGB, inverted it, copied it, pasted it into the former as a new layer, changed the mode of dealing with the multiple layers from Normal to Add, flattened the image, and added a Threshold Adjustment. I used Serif Affinity Photo 1.6.5 to make the actual comparisons. When I tried to likewise export the image in ProPhoto RGB (likewise not natively a PhotoLab option, but installed on my system), and it gave me this error message: Then I exported the image from PhotoLab as a 16-bit TIFF in Wide Gamut RGB (which is not natively a PhotoLab option, but PhotoLab ostensibly lets you use any profile on your system). ![]() ![]() Then I opened the ProPhoto RGB TIFF in PhotoLab, and made sure that all of the adjustment controls were turned off (not merely zeroed). Which he has made freely available as a huge TIFF (IIRC, with some sort of L*a*b color representation) and exported it from Lightroom 6.14 as a 16-bit TIFF in ProPhoto RGB. I started with Bill Atkinson’s printer test file, for reference this one (clipped to sRGB for browser viewing): Also, PhotoLab 2 generates an odd error when attempting to export in the official ProPhoto RGB profile, but the almost-as-large Wide Gamut RGB (which is not a native PhotoLab option, but may be used if installed on your system) may be used as an alternative. My tentative practical conclusion is that PhotoLab 2 has an internal working space that is wide enough to not meaningfully limit normal photographic content, but apparently is not as wide as ProPhoto RGB, and can limit some content at the gamut extremes. ![]() PhotoLab 2 did allow me to export in Wide Gamut RGB, which differs from, but is nearly as large as, ProPhoto RGB. Also, even though older DxO software let you export images in ProPhoto RGB (if you separately installed that profile, downloadable at ), PhotoLab 2 gave me an odd error when I tried to export images in ProPhoto RGB. Contrary to popular perception / some reports, my recent tests suggest that DxO PhotoLab 2 appears to use an internal working color space significantly wider than Adobe RGB-but apparently it is not ProPhoto RGB.
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