Adobe RGB Versus sRGB Color Space – Which Should You Choose?


When you set up your camera, at some point you will have to reach a decision on which color space to use. Take a look at your camera’s menu and you will see an item labeled Color Space. The two options will be sRGB and Adobe RGB.

Like a lot of people, I started out using sRGB because that is what the camera defaults to using. After a while, however, I learned that Adobe RGB was a larger color space, so I started using that. Doing so led to some occasional problems when I posted pictures to the web though, so I went back to sRGB.

Adobe RGB Versus sRGB Color Space - Which Should You Choose?

The Color Space menu item as it may appear in your camera.

Now, having been asked again which color space one should choose on their camera, I am revisiting this issue. In this article, I will take a look at this option and help you choose which one may be right for you.

About the Color Space Options

Let’s start from the beginning. What is a Color Space anyway? It is just the range of colors that are available to your camera. The ones generally used in the digital world are some form of RGB color spaces, which stands for Red Green Blue. That means that all the colors in that space are created by some combination of those three colors.

Adobe RGB Versus sRGB Colorspace - Which Should You Choose?

The two Color Space options: sRGB and Adobe RGB.

sRGB is safe

Your camera will default to sRGB, so if you haven’t given this setting any thought, that is what you are using. This is a color space jointly created by HP and Microsoft back in 1996. Pretty much everything on a computer is built around sRGB. Therefore, if you are posting a picture online, it will be sRGB. Always! So using sRGB is a pretty safe option.

Adobe RGB

The other option available in your camera is Adobe RGB. It was created in 1998 by Adobe Systems with the idea of encompassing most of the colors achievable with CMYK printers. (Commercial printers typically use an entirely different color space called CMYK, which stands for Cyan, Magenta, Yellow, and Black.)  Adobe RGB is actually a larger color space – most say it is about 35% larger than sRGB. Upon learning this, many photographers switch to Adobe RGB. I did, with the simple rationale that bigger must be better.

After a while, however, you might find that you run into occasional problems if you set your camera to Adobe RGB. In particular, sometimes when you post pictures to the internet, the colors will look compressed and strange. In my case, I discovered that sometimes a picture that was supposed to look like the one on the right would get posted to the internet looking like the one on the left:

Adobe RGB Versus sRGB Colorspace - Which Should You Choose?

If you post an Adobe RGB picture online, it will automatically be converted to sRGB. When that happens, the colors can be compressed, ending up looking like the picture on the left. I should note that this problem can be corrected. If you convert your photo to sRGB prior to posting to the internet, the problem should disappear.

Pros and cons of Adobe RGB

The advantage of the increased size of Adobe RGB is not as clear cut as it might first appear either. For instance, most monitors only display the colors of the sRGB Color Space (usually around 97% of those colors). Even when it comes to printing, you may not be able to take advantage of the additional colors of Adobe RGB. Some online printing labs assume you are uploading sRGB files for your prints.

As a result of all these issues, I ended up with the following pros and cons list for each color space:

We’ll come back to the pros and cons, but first, let’s move along to how this same issue comes up in post-processing.

Choosing the Color Space in Post-Processing

You will face the same question over Color Space in your post-processing. You can set up Photoshop and Lightroom to process your photos in sRGB or Adobe RGB. In fact, if you are shooting in RAW (and you should be), this will be where you actually assign the Color Space in the first place. When you take a RAW file, the camera captures all the colors it can and no color profile is assigned. Instead, you do that in Photoshop or Lightroom. I should note that there are other Color Space options available as well, but for simplicity’s sake, I would use the same option you picked for your camera.


To set the Color Space of an image in Photoshop, click on the Edit drop-down menu and choose Color Settings (or press Shift+Cmd/Ctrl+K). When you do so, a dialog box will pop up (see below). It will have a lot of options but don’t worry, you’ll only be changing one setting. That is the RGB setting under Working Spaces in the top left. Just change it to either sRGB or Adobe RGB.

Adobe RGB Versus sRGB Colorspace - Which Should You Choose?

Color settings dialog box in Photoshop.

Now when you save your files as JPEGs or whatever file format you choose, the color space you chose will be used.


Lightroom works differently. You don’t choose the Color Space that you want Lightroom to use when your photos are edited. Lightroom uses a very large Color Space called ProPhoto RGB (it’s even larger than Adobe RGB). You cannot change it. Instead, you choose the Color Space when you export your photos from Lightroom.

If you are familiar with Lightroom, you know that it does not actually modify your photos, but stores the changes elsewhere. When it is time to bake your changes into the photo and create a JPEG or some other file type, you go through the export process. Just right-click and choose Export. When you do, a dialog box will appear with a lot of options (see below).

Adobe RGB Versus sRGB Colorspace - Which Should You Choose?

Lightroom’s export dialog box.

One of the options under the File Settings section is Color Space. Just choose the one you want. When you have made all the settings, click Export and Lightroom will create a file. Lightroom will also remember your choice for your next photo.

Sometimes you will send a file from Lightroom to another software application such as Photoshop. Lightroom allows you to set the Color Space you assign to the photo when you do so. To do that, go to the Edit drop-down menu, and click on Preferences, a dialog box will appear. There will be several tabs on the top. Click on the one labeled External Editing. Then a number of choices will appear, one of which is Color Space. Just pick either sRGB or Adobe RGB.

Adobe RGB Versus sRGB Colorspace - Which Should You Choose?

Some Possible Strategies

So at the end of the day, which should you choose, sRGB or Adobe RGB?  I can’t answer that for you since it depends on the factors set forth above. I can merely answer it for myself and hope my answer and these factors will be helpful for you.  That said, there are basically three strategies, but only two of them are really viable.  Here is how I see it:

  • Option 1 – sRGB:  Your first option is just to stick with sRGB. It is safe, and you will never have problems with color compression. If you post most or all of your photos online, this is probably the best choice. Even when it comes to printing, it will do a fine job and you will probably never notice any difference. Yes, it is a smaller color space, but it still works really well for both online photos and prints. Think about it this way; Have you ever looked at a picture in an online gallery that had incredible, eye-popping color? Well, since it was online you know it was in sRGB. It is good enough.
  • Option 2 – Try to use both:  The second option is to try and use both. In particular, there are those that recommend using sRGB if you plan to publish to the web and Adobe RGB if you plan to print. That makes some sense, but if like me, you sometimes post to the web and sometimes print depending on how the picture turns out, then this advice isn’t very helpful. When it comes to the setting on your camera, you would need to choose Adobe RGB to preserve the larger gamut (setting aside the RAW file for the moment). Then you would either keep it in Adobe RGB if you were going to print or else convert to sRGB for digital display. That is basically the same workflow as just using Adobe RGB all the time, which is our third option, so we might as well ignore this option.
  • Option 3 – Adobe RGB:  The third option is to use Adobe RGB all the way through, and just remember to convert to sRGB as a final step for any photos that you post to the web. That preserves the largest color gamut for your photo. As mentioned previously, Adobe RGB is pretty much designed for printing, and most agree that it is the better option for doing so, so there is a benefit there. The only downside is that you have to remember to convert to sRGB when posting to the web. But, honestly, how hard is that? Not every. If you are interested in getting the very best images possible, shouldn’t you be doing this and giving ourselves the largest color gamut?

I think there are pretty compelling arguments for both sRGB and Adobe RGB.

The Answer for Me

So, we return to the original question, which for all my talking, still boils down to sRGB or Adobe RGB. What’s it going to be?

I think there are excellent arguments for both, but I’ve gone back to using sRGB across the board. Even though it is technically the smaller color space, I’ve just never noticed an actual real world difference between the two color spaces. It isn’t like my pictures are being ruined because I chose a smaller Color Space. No one has ever noticed.

Perhaps if I ever notice a difference in my pictures related to Color Space, I’ll start working in Adobe RGB. Of course, I still have all my RAW files so I can always go back and assign whichever one I want.  But until then it is sRGB across the board for me. You?

Please share your thoughts in the comments section below.

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  • KC

    You’ve tackled a difficult topic, and you’re right on target. It goes a little (a lot) deeper. I can write pages on this topic, but I’ll sum up some other points.

    In terms of your camera JPEG is 8 bit, Raw is more, often 12 or 14 bit. In terms of editing software. There’s a lot of “but you can…” but let’s set that aside. You edit in the colorspace set on the camera. To oversimplify to a huge degree, more bits gives you more data to tweak an image.

    Printers convert to CMYK, and it’s a much “flatter space” to deal with paper, and all those variables. That’s why “soft proofing” is important.

    Now let’s toss in a few more variables.
    1 – Browsers may be able to display RGB, your display may not.
    2 – The website you upload photos to may change the colorspace, or strip out the colorspace tags completely. Worse, they may convert the image to PNG.
    3 -You may have the biggest, highest res display known to mankind, but what colorspace is it? What’s the bit depth? Unless it’s specifically says “RGB” it’s going to be somewhere between JPEG and RGB.
    4 – Video has it’s own colorspace.
    5 – Phones and tablets are in their own “happy place” in terms of colorspace.

    It’s enough to make your head hurt, and can waste a lot of time. Imagine sending proofs to a client digitally. You have no clue what they’re seeing and can get some bizarre suggestions for corrections. Worse, they like the digital image, but not the printed one. I’ve been there.

    These are purely my preferences (to keep my sanity): My cameras are set to RGB, and I edit in Lightroom ONLY. I do high level retouching and compositing in Photoshop ONLY. If the images are heading to the Internet, I review them on my computer and phone. That’s it. I keep the variables to a minimum.

    If you’re sending work out to be printed, ask them for a color profile. They will provide the info so you can soft proof. Your display should be calibrated so that minimizes that variable. Most professional print houses ask for JPEG’s. Some will take PDF’s. That sounds “odd”, but PDF is like a locked down TIFF.

  • Jim Hamel

    Wow. Great comment. Thanks for all the input.

  • KC

    When I transitioned to digital, color accuracy drove me completely bonkers. I come from a film background: studio, lab, and darkroom. There I had it all dialed in. Digital was all over the place. Camera’s may have sRGB and RGB settings, but monitors, printers, editing software and browsers threw all sorts of variables. They still do.

    There’s a few points here: calibrate your monitor/display. If you print, calibrate that, too. There are devices that do both. If you have the option, get an RGB display. They should be calibrated, too. Current browsers do honor the color space tags, but does the website you’re uploading to?

    Let’s throw in a fun wild card: is the area you’re editing in color neutral? We adapt to color in our surroundings. Computers don’t. It can throw off your color perception.

    There’s a lot of science here, but it comes down to “does the final image work?” We’re our own worst critics. We have no control over how the end viewer perceives an images, on what devices, and in what settings.

  • Christian Hume

    Great article on an important topic! Thanks! For me I will use sRGB across the board, since I haven’t done much printing in a while. However, when I choose a photo that I want to print I will chose AdobeRGB when exporting from Lightroom.

  • Jim Hamel

    You know . . . that is a good idea. I might adopt that as well.

  • Russell Cardwell

    Great summary. Just a few days ago, I changed the color space in my camera to Adobe RGB. It doesn’t affect the RAW images, but it seems to improve the previews on the camera back.

    A couple of points to add:
    – Whatever space you choose for editing, be sure that all your editing applications, including plugins, are set to use the same color space. Otherwise you can wind up with some weirdly-colored images.
    – Professional photo labs have differing requirements for color space. Check with the lab you are going to use before exporting. Some require different color spaces fro different kinds of prints. The best of them will provide an ICC profile to use in Photoshop and Lightroom while you are Soft Proofing.

  • Jim Hamel

    Good points! Thanks for adding them.

  • Donald Gallagher

    For me, I shoot raw, so what the camera is set to does not matter. In Lightroom and Photoshop I am Prophoto – when I export or print I am in sRGB.

    Shooting raw means that for the most part I can ignore 90% of the camera settings since they pertain to JPG conversion only.

  • One little quibble: technically, the “K” in CMYK stands for “key.” In printers, the “key” is black ink. (To stand for “black,” it would have to be CMYB.)

  • Jim Hamel

    I always wondered why they used K for black. That makes sense. Thanks!

  • KG

    In short: stick to sRBG

  • Nick McClure

    It depends on where you are printing it, some labs want sRGB, sending Adobe or ProPhoto will cause problems.

  • Petegeoff

    I thought K was used to set it apart from blue. K for the last letter of black. The important thing is to look as though us photographers know more than we really do! Maintain an air of mystery or something like that.


    ‘The “K” in CMYK stands for key because in four-color printing, cyan, magenta, and yellow printing plates are carefully keyed, or aligned, with the key of the black key plate. Some sources suggest that the “K” in CMYK comes from the last letter in “black” and was chosen because B already means blue.[1][2]
    However, some people disagree with this because C for Cyan is classed
    as the blue when printing in CMYK format. Some sources claim this
    explanation, although useful as a mnemonic, is incorrect, that K comes only from “Key” because black is often used as outline and printed first.’

    In four-ink printing, “blue” is produced by mixing Cyan and Magenta.

    I think experienced photographers know more than common people do about lighting, but CMYK pertains to the printing profession. Knowledge about four-ink printing’s CMYK color space isn’t necessary to produce good photographs, because the camera operates on the RGB color space.

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  • To further complicate things, I’ve had clients that were slightly color blind. They couldn’t see greens and others couldn’t see blues. A great example of this is the black blue dress that went viral on the internet as people saw different colors in contrast what others saw. When it comes to colors, sometimes there is now winning. 😉

  • Denny Pritchett

    Are you sure you get all the colour detail in your raw images if not set to Adobe RGB?

  • Top Rock Photography

    «…C for Cyan is classed as the blue when printing in CMYK format.»

    Totally wrong! The primary colours for pigment are cyan, magenta, and yellow, regardless of how much they taught you, “red, yellow and blue,” as a child. Red, green and blue are the primary colours of light. Mixing colours in light is additive, mixing colours in pigment is subtractive. Mixing all colours of light gives white and no colour means black, mixing all colours of pigment gives black and no colour gives white….

    …Unless you are printing on a black canvas, then no colour still means black. In that case, the “key” colour would have to be white.

    The key colour and the background decides how one differentiates between a pale red, (light pink), a bright red, (a crimson), and a dark red, (wine, marroon, et al). On a black background, one adds white to get a pale red, but just a little red to get a dark red, while on a white background, one adds black to get a dark red, but just a little red to get a pale red.

    This is why printers don’t just have a profile for the type of ink it has (and why you should always buy the OEM ink), but also for the kind of paper you are using. Indeed, some printers, in addition to the CMYK, may also have a Y’, maybe even a C’ & M’, and some have a K’, while others have a K’, K”, & K”’, to produce pale yellows, grey tones, et al, accurately.

  • Kartik

    Hi, I am kartik,
    Thanks a lot JIM HAMEL SIR for explaining in detail of ADOBE-RGB & S-RGB,
    Yes its true that almost everyone uses s-rgb but as a photographer n designer i have noticed that people shooting with A-rgb should have proper knowledge before shooting, coz i have seen some of their image, and i must say they ruined up thr images, and cant get what they want.
    Post processing images of A-rgb is very hard,as the shooter don’t have knowledge and shooted such hard color range that bringing those image to look better is not possible,except skin tones other color looks very good but hard to maintain with skin tone,

  • Robin Mc Bride

    What’s odd is most printers I have come across are requesting sRGB … and not only that, even requesting PNG format.
    I’m guessing it has to do with latest technology and printers today, … I’m talking about garment printing, but even that after asking,, the actual printer still prints CMYK, but yet I’m told it accept sRGB much more likely closer to the desired color.

  • Tim Fitzgerald

    Wow…great topic! I am a relative new comer to photography but know enough to be critical of my work and I do ask a lot of questions. I shoot manual, RAW in sRGB and post process my photos on a 24″ IPS monitor calibrated using Spyder5 Pro. I don’t have Photoshop or Lightroom, but ViewNX2. This seems to work ok until I upgrade to a better post processor. I recently had a couple photobooks made up and was less than thrilled with the outcome. If I switched to AdobeRGB do you think that would help the cause? So many more questions…so little time! Again….great topic!

  • Jim Hamel

    Hi Tim – Glad you liked the article. Keep in mind that if you are shooting in RAW, then no color space is being assigned at that time. That only happens if you are creating a JPEG in the camera.

    In any case, using Adobe RGB may or may not help you. Remember that if you are posting to the web, the file has to be in sRGB, so it won’t help you there. It might help a little with printing though.

  • Russell Cardwell

    Editing for print is different than editing for display. For one, emitted light from a display is quite different from light reflected from a print.

    More important, to get your prints to look the way you want, you must edit using the photo lab’s color space and ICC profile. Most professional labs provide an ICC profile for you to download. And they will specify the color space they use. The free software that Nikon and Canon provide doesn’t offer pro features at that level.

    In Lightroom, I do my final edits in the print preview module using the lab’s color space and ICC profile. To be extra sure, I have the clients hold a DataColor card for one shot each time the lighting or location changes. The lab will use that to double check.

    Also, I have learned to re-calibrate my monitors just before the final adjustments.

    As I said before, all my editing is done in the largest color space, ProPhoto RGB, and I only convert down when necessary.

  • Morawk

    You need to readdress this issue again. Browsers no longer convert images automatically to sRGB. All browsers now support embedded color profiles. So do all mobile operating systems. And on top of that, pretty much everyone is using high gamut displays these days. Tablets, phones, HDR TV’s, IPS monitors, all high gamut.

    I’m gonna go 100% Adobe RGB until I hear someone come up with a good reason not to.

  • KC

    Option 3. This could get very technical, complex, and long. The short answer is “soft proof”.

    You can tag a JPEG (sRGB) as RGB in (most) cameras, and in post/editing.

    Since you brought it up and to try to dispel a far too long running “myth”: many current web browsers can read the RGB tag and interpret it. It’s up to the website to actually implement it. The secondary issue is if the device your showing the image on display RGB adequately. Many are at least sRGB but fall just short of RGB. Use that to your advantage.

    Printing throws another variable, but generally speaking the drivers all convert to PDF/Post Script and interpret/convert that format to CMYK for printing. So, soft-proof. It’s not CMYK, but the paper, that alters the image.

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