Many RAW images must be converted to a wide-gamut 16-bit color space to preserve their dynamic range and color gamut, e.g., 16-bit ProPhotoRGB. In particular, bright colors and dark tones can be blown or pinned in individual color channels, either by using 8 bits, or by using a narrow-gamut color space such as sRGB or AdobeRGB. Of course, there are plenty of images that fit easily into the sRGB color space, but a reliable workflow cannot assume this.
No Nikon or Canon or Olympus or Fuji or etc camera offers any wide-gamut color space setting in the camera (for histogram purposes), an absurd situation given the ultra-wide dynamic range and color gamut of modern DSLRs which easily exceeds the AdobeRGB color space.
Article continues for subscribers...
Already a subscriber? CLICK HERE TO LOG IN
Since 2006, Diglloyd Advanced Photography is the authoritative review and reference for DSLRs and their lenses: Canon and Nikon primarily, but also Pentax and some medium format. Reviews of key DSLRs are included, but the primary focus is on lens performance. Also included is a wealth of technique and workflow approaches.
DAP includes thousands of pages of exclusive coverage and high resolution Retina-grade examples detailing Canon and Nikon DSLR bodies and their lenses, with in-depth analysis of sharpness and contrast, color, bokeh, vignetting, distortion, MTF, and flare, behavioral and practical usage.