Converting from sRGB to Adobe RGB and then back again

After reading the info on Adobe RGB 1998 vs sRGB on this website, I have a question which I hope someone may be able to answer.

I normally shoot RGB 1998 and convert the RAW files to 16 bit TIFF with the conversion software setting at RGB 1998 I recently converted some RAW pictures. They were shot in Adobe RGB 1998 but when I converted them to 16 bit TIFF the settings were at sRGB. I changed the picture/file back to RGB 1998 in Photoshop. Does this work, do I get the same result as if they were converted with the setting to RGB 1998 initally?

Hope someone can answer this question.

Converting to sRGB from AdobeRGB1998 and then back again does not restore the full color range of the original photo--if the original photo did indeed use some of the colors outside the color space of sRGB.

Just make sure that during RAW-->TIFF conversion you specify the AdobeRGB1998 color space (on the bottom left if using Adobe Raw Converter), and do not temporarily save it in sRGB if you think you'll need the larger gamut of Adobe RGB later.

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Originally Posted by McQ

Converting to sRGB from AdobeRGB1998 and then back again does not restore the full color range of the original photo--if the original photo did indeed use some of the colors outside the color space of sRGB.

Just make sure that during RAW-->TIFF conversion you specify the AdobeRGB1998 color space (on the bottom left if using Adobe Raw Converter), and do not temporarily save it in sRGB if you think you'll need the larger gamut of Adobe RGB later.

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Sean, if I may add, there's a lot about converting between sRGB and Adobe RGB (1998) in a paper published by Andrew Rodney (Digital Dog):

https://www.adobe.com/digitalimag/pd...p_colspace.pdf

See pages 10 & 11 specifically.

If that's a bit too deep, this one reads easier:

https://www.photoshopessentials.com/...olor-settings/
.

Thanks for bumping this one Ted.

Both are well written articles and explain the concepts well. I tend to move between sRGB, Adobe RGB and ProPhoto RGB all the time. I've even done a bit of work in CMYK and LAB colour spaces. There is no simple "fits all" colour space, especially if one prints. I still advocate working in a wide colour space as it allows me to control the out of gamut colours, rather than relying on what the automated processed do during conversion, especially when printing. Each paper has its own characteristics and knowing those well lets me get more out of the print that leaving things to the automated functions.

I find it interesting that Andrew Rodney was part of the group that included Jeff Schewe, Bruce Fraser and Martin Evening, who founded the PixelGenius company. They later sold their sharpening technology to Adobe, who incorporated it into Photoshop.