Casey Liss

and that is the the danger of possibly seeing banding where you know instead of a smooth gradient where every single line is just a slightly different color blue than the previous one now you see blue number one for half an inch blue number two for half an inch and that's that's banding where you can see these distinct bands of color i have to say i've been shooting adobe rgb for years and years on all my sony cameras and i have never ever ever seen this

and that is the the danger of possibly seeing banding where you know instead of a smooth gradient where every single line is just a slightly different color blue than the previous one now you see blue number one for half an inch blue number two for half an inch and that's that's banding where you can see these distinct bands of color i have to say i've been shooting adobe rgb for years and years on all my sony cameras and i have never ever ever seen this

Right. But it is technically a danger for the reason that I just described. Maybe I'm not shooting enough big gradient skies. Maybe I don't know, like maybe they aren't 8-bit JPEGs on all these cameras. We'll put a link in the show notes to an article by Daniel Lunn about sRGB versus Adobe RGB versus photo RGB that says here are all the different situations where you might want to use sRGB.

Right. But it is technically a danger for the reason that I just described. Maybe I'm not shooting enough big gradient skies. Maybe I don't know, like maybe they aren't 8-bit JPEGs on all these cameras. We'll put a link in the show notes to an article by Daniel Lunn about sRGB versus Adobe RGB versus photo RGB that says here are all the different situations where you might want to use sRGB.

Here's where you might want to use Adobe RGB. Here's when you might want to use pro photo RGB. Right. So I think that provides a reasonably balanced view of, like, the different scenarios where you want each one. The reason I'm personally using Adobe RGB is because when I was first playing with this setting, I took the same exact picture in Adobe RGB and sRGB.

Here's where you might want to use Adobe RGB. Here's when you might want to use pro photo RGB. Right. So I think that provides a reasonably balanced view of, like, the different scenarios where you want each one. The reason I'm personally using Adobe RGB is because when I was first playing with this setting, I took the same exact picture in Adobe RGB and sRGB.

It was just a picture of, like, something in my house that was red. And I brought the pictures back to my computer, and I blind A-B tested them to see if I could tell which one of these is Adobe RGB and which one is sRGB. And holy cow, you could tell.

It was just a picture of, like, something in my house that was red. And I brought the pictures back to my computer, and I blind A-B tested them to see if I could tell which one of these is Adobe RGB and which one is sRGB. And holy cow, you could tell.

Again, taking a picture of a red thing in the house, maybe that's not representative, but the Adobe RGB one was much more red and closer to what I saw with my own eyes when looking at it. So I'm like, well, that's it. I'm done with Adobe RGB. I mean, it makes sense. Adobe RGB covers more of the color space than sRGB does. But I wondered, like, is that something you can even see?

Again, taking a picture of a red thing in the house, maybe that's not representative, but the Adobe RGB one was much more red and closer to what I saw with my own eyes when looking at it. So I'm like, well, that's it. I'm done with Adobe RGB. I mean, it makes sense. Adobe RGB covers more of the color space than sRGB does. But I wondered, like, is that something you can even see?

And my answer was yes. I could tell the difference in a blind test of which was which. And I liked the Adobe RGB one better. So be aware that when saving Adobe RGB to JPEG and you have smooth gradients, maybe banding is an issue. But I personally haven't seen it, and I'm sticking with Adobe RGB.

And my answer was yes. I could tell the difference in a blind test of which was which. And I liked the Adobe RGB one better. So be aware that when saving Adobe RGB to JPEG and you have smooth gradients, maybe banding is an issue. But I personally haven't seen it, and I'm sticking with Adobe RGB.

Well, so here's the thing with what these features do. First of all, night shift is the thing that makes it look like someone peed on your screen at night. I would suggest turning that off. It makes everything warmer on your screen at nighttime to try to like reduce the amount of blue light you're being faced with and make you feel nice and cozy, right?

Well, so here's the thing with what these features do. First of all, night shift is the thing that makes it look like someone peed on your screen at night. I would suggest turning that off. It makes everything warmer on your screen at nighttime to try to like reduce the amount of blue light you're being faced with and make you feel nice and cozy, right?

Lots of people like that feature, but if you're editing photos, I would strongly suggest to disable night shift because that is intentionally changing the color balance of your screen in a way that you will notice. Like that's the whole point. It's supposed to look warmer to you. So don't do that if you want to get an idea of what your colors look like.

Lots of people like that feature, but if you're editing photos, I would strongly suggest to disable night shift because that is intentionally changing the color balance of your screen in a way that you will notice. Like that's the whole point. It's supposed to look warmer to you. So don't do that if you want to get an idea of what your colors look like.

True Tone is Apple's feature where the hardware has a sensor on it that senses the ambient light in the room and how warm that is. And then based on what that sensor sees, it adjusts the image to try to essentially match the white balance of the room.

True Tone is Apple's feature where the hardware has a sensor on it that senses the ambient light in the room and how warm that is. And then based on what that sensor sees, it adjusts the image to try to essentially match the white balance of the room.

So if you're in a room with very warm lighting, it's not going to leave the monitor the same because the monitor will look really, the whites will look very blue compared to the ambient light that is much warmer in the room. Instead, they will warm the monitor up to match the color temperature of the ambient light. I personally leave True Tone on, which is not the quote-unquote pro thing to do.

So if you're in a room with very warm lighting, it's not going to leave the monitor the same because the monitor will look really, the whites will look very blue compared to the ambient light that is much warmer in the room. Instead, they will warm the monitor up to match the color temperature of the ambient light. I personally leave True Tone on, which is not the quote-unquote pro thing to do.