Jerry Fowler79 said:As long as you know what you're doing, there really isn't much to worry about, is there?
Honestly, anything north of 85 is perfectly fine by my standards. Besides, isn't it true that about 99% of people are just viewing content on sRGB monitors anyway? If that’s the case, that’s really the only spectrum they’re ever going to see.
It’s actually pretty rare to find files that are truly ready for print, properly formatted and meeting all the necessary industry standards, isn't it? Because of that, I'd say about 99% of the time, the production machines at a professional shop can handle the job without running into any issues.
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I don't mean to be condescending here, but it feels like most people don't actually grasp how this works, leaving them scratching their heads when things go wrong. If you're working on a standard sRGB monitor, you're probably not facing much of an issue at all. However, once you step up to an Adobe RGB monitor, you really have to respect the system's color management settings so your applications actually recognize that you're dealing with a wide-gamut display. Of course, the higher-end monitors usually come with a dedicated ISO profile ready to be installed, which helps immensely. And honestly, isn't having a colorimeter on hand also a pretty smart move?
He also needs to make sure he sets his working color space to Adobe RGB within Photoshop. It’s also worth noting that if he wants to export anything for screen viewing, he really should convert everything to sRGB before hitting that export button. Isn't it interesting how much effort goes into all of this, just so he can attempt—though one might wonder exactly how accurate the result actually is—to simulate what a physical print will look like right there on his monitor?
When you look at wide color gamuts like DCI P3 or Rec. 2020, they really excel at capturing those incredibly vivid colors that modern camera sensors can pick up and that high-end monitors are designed to display so beautifully. But then you have Adobe RGB, which feels like a bit of an outlier, doesn't it? Its gamut is specifically skewed in a way that seems tailored almost exclusively to simulating CMYK printing processes rather than anything else. Is there much practical use for it outside of that specific niche?
What I’m really trying to get at is this: if printing isn't your main focus, but you're still chasing that perfect color match for your photos, wouldn't it make more sense to go with a DCI P3 monitor? Of course, that doesn't mean you can just skip all the necessary prep work—we certainly shouldn't fall into the trap of thinking we can just coast along with sRGB and call it a day.
