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> But I've got my shorts in a knot trying to build the right workflow.
Well, if you continue to go down the road of trying to incorporate CS3, Camera Raw, Aperture and NX, you'll never be wearing comfortable underwear...it's hard enough to refine a workflow within a single processing pipeline, but to be bouncing around like you are, you'll never become truly competent, let alone expert in all of themwhich will lead to flailing around and not knowing what you are doing.
>Nikon D200 & D300 shooting in RAW and Adobe RGB 1998
This is an example, when you shoot in raw, you ain't shooting in Adobe RGB. Raw is raw...there is no color space until you process the raw file into color.
Personally, I process into 16 bit/channel, Pro Photo RGB and maintain my RGB originals as ProPhoto RGB tiff files. I only convert to sRGB when I need an sRGB output (generally, for me, the web).
But asking advice while your workflow is so nebulous is prolly gonna raise more question in your head than answer. The single biggest peice of advice I would offer is to pick on main processing app and study how to use it to get the best it can offer. Then quit worrying about all the nuances until you understand what they mean to _YOUR_ workflow.
> One issue that I noticed that happens is when I work on an Adobe RGB 1998 image in Photoshop and then change it to sRGB, it looks like all of my hard work of image adjustments go out the window. ...
This should NOT happen! How exactly are you "changing to sRGB"? If you (wrongly) "assign" sRGB this might happen, but if you (correctly) "convert" to sRGB, it should not. If everything is color-managed ideally, you should not see any perceptable change at all. (... a possible exception being -- you having paid $$BIG$$ for a monitor capable of showing the AdobeRGB gamut of colors, and then seeing the difference when you convert to the smaller gamut sRGB ...)
Excuse me , Jeff. But I never suggested that I use four different software platforms for editing. I simply listed what I had available to use for the purposes of discussion. Since the new D300's RAW files are supported by the most current version of ACR4, my questions are only about how to deal with the color issue in ACR and (eventually) PS-CS3. If I intended to use non-Adobe software I would not have posted here in the first place.
In response to your advice (and thank you for it), I did pick the software to use ACR>PS-CS3. I am trying to figure out when to do what with regard to color.
Response to Mike Shaffer:
Wow, I learn something every day (today more than one thing). I was totally unaware of the huge difference between "Assign" and "Convert". I did a test of "Convert" (from RGB to sRGB) in CS3 with an Adobe RGB 1998 file that came from ACR and it does not mess up my edits that I did in ACR. So, I'll close the book on that part of the problem. And this helps to make the workflow question easier to solve. (No, I don't own a fancy expensive monitor - using only my calibrated laptop display - no money left to buy a big monitor).
Follow up response to Jeff - Well ... I was unaware that RAW does not assign any color profile (do I have that right?). Wiping the egg from my face, I am frankly a little frustrated with all of these Japanese-translated manual and lack of explanations that come with all of this fancy equipment we buy everyday.
If you are fat up with the japanes translated manuals try "Real World Camera Raw" the latest version from the series that was started by Bruce Fraser is now updated by Jeff Schewe and he did an excellent job on that.
You will learn in a very easy and understandable way very much about RAW, Adobe Camera RAW and Bridge!
Thanks Omke for the suggestion. I'll look into it. Where does one find this book? I am sure Jeff, who had responded earlier, would chime in (since a sale might be in the works here.)
I ordered mine from the local Border's today. They were sold out, but said I would have my copy in 7-10 days. But here is an online link to the book:
> I was unaware that RAW does not assign any color profile (do I have that right?).
When you shoot raw, the camera only ads a tag (by virtue of adding a lead _ to the file name) that the Nikon or Canon reads as being in Adobe RGB. But the Raw file is raw...it has no color space UNTILL you actually process the image.