I'm a photographer, who dabbles in graphic design from time to time as well. What are the differences between the various color spaces?
RGB is a additive, projected light color system. All colors begin with black "darkness", to which different color "lights" are added to produce visible colors. RGB "maxes" at white, which is the equivalent of having all "lights" on at full brightness (red, green, blue).
CMYK is a subtractive, reflected light color system. All colors start with white "paper", to which different color "inks" are added to absorb (subtract) light that is reflected. In theory, CMY are all you need to create black (applying all 3 colors at 100%). Alas, that usually results in a muddy, brownish black, so the addition of K (black) is added to the printing process. It also makes it easier to print black text (since you don't have to register 3 separate colors).
Most screens (computer, phone, media player, television, ect) are RGB (e-ink screens being an exception), the pixels have little subpixels that just show red, green or blue.
Most printers print in CMYK color (though some photo printers will print with expanded colors beyond those 4).
So if you're ever doing something for a screen, use RGB, if you doing something for print, use CMYK.
Update: Please keep in mind, that you can't display the exact same colors in RGB and CMYK.
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The difference between RGB and CMYK in simpler (and visual) terms :) Useful for beginners in starting to understand the difference without getting lost in the jargon. The infographic is long so i just linked it.
It is a misnomer, or at least confusing, to say both: "RGB is based on light and it's additive because you start with no light" and "CMYK is based on ink and it's subtractive because you start with no ink".
It is easy to understand how RGB works, as the usual displays create colors by adding the additive primaries, red, green and blue, together in appropriate proportions. But what is being added and in relation to what?
In the context of RGB and CMYK the terms additive and subtractive both describe how the color models relate to perceived light.
Let's start with RGB. Your display is off and it does not produce any light rays on its own. You perceive only black.
You turn the display on and get a (totally) blue screen. Ideally all the blue sub-pixels emit light at the same wavelength with the same intensity. Compared to blackness, you've added some light and now perceive a blue color.
Next up, your display turns all the red sub–pixels on as well. The sub–pixels are close enough to make you to perceive a mix of lightrays at "blue" wavelengths and at "red" wavelengths. The lights don't get mixed up per se, but rather the perceived pink color is a result of how our eyes work.
Adding up third additive primary, green, the viewer ideally perceives white.
What is different in CMYK is that you have a physical object—let's say a piece of paper—that you view under illumination. All the light that hits the paper gets neutrally reflected to the perceiver and all you see is the color of the paper mixed with the color of the illumination; both ideally neutral.
Now you add cyan ink—what happens? You do not add some color that emits "cyan", but rather the cyan ink absorbs, subtracts, other wavelengths and passes "cyan", which is in the end reflected back to the perceiver. You perceive cyan not because you've added cyan, but rather because you've subtracted all the rest.
Understanding this will help you understand why prints look different on different types of paper even if you have specified exactly the same CMYK values. Paper, ink and illumination all affect how the colors are perceived. If you wish to calibrate your display for soft–proofing, you must take all of these into account.
From a digital photographer's viewpoint, in the majority of the cases the camera captures light rays in a RGGB (or similar) matrix, which is then interpolated to a RGB image. If you wish to print a RGB image, the RGB data must be converted to a color model your printer understands, e.g. CMYK or CcMmYK. If your RGB image has a color space included, the printer's raster image processor can do this for you.
What's happening backstage is:
LAB is always used as a "glue" between different color spaces—even between color spaces under the same color model (sRGB, Adobe RGB, ProPhoto RGB, …) . It is designed to approximate human color vision; although some of its colors fall outside the human vision gamut. It is device independent and as such it is better to understand as more or less theoretical color model—not something you could print with.
On some occasions, LAB could be a useful tool for a graphic designer: if you want a color that has the same hue, but half the perceived lightness, you just halve the L-component of the LAB-value.
Note that this is different (and arguably better) than the brightness component in HSB (hue–saturation–brightness) representation. This is because LAB approximates human color vision and HSB just represents RGB with different coordinates. As human vision doesn't perceive changes in brightness in a linear fashion, neither is the L-component in LAB linear in relation to HSB brightness. 50% gray may be
In practice, that doesn't mean we see only 119×2=238 shades of gray, but rather that if we could make a gradient from
Long story short:
Your original question has been adequately answered, but since you're a photographer, it's important to recognize that there are different RGB color spaces.
The three you'll most often come across in photography are "ProPhoto RGB", "Adobe RGB" and "sRGB". They all measure color using the RGB model (amounts of Red, Green and Blue light), but differ in their gamut. I've listed them in descending order of gamut.
You can look up each of them on Wikipedia, but the short version is that gamut is the range of colors that a color space can represent. sRGB is the standard for web graphics, but can't represent as many colors as AdobeRGB can. Likewise, ProPhoto RGB can represent colors that don't exist in AdobeRGB.
As a photographer, you generally try to shoot in the widest gamut color space that's available to you, to preserve as much of the "real" color as possible. Then, you convert to the appropriate color space for on-screen display, web, or printing.
If shooting in JPG, set the Color Mode setting on your camera to the widest gamut color space you can get. If you're shooting in RAW, there's no color space applied until your software starts interpreting the RAW data, so you can put off selecting a color space until that point. One of the many advantages of RAW.
I'd also like to second what DarenW said about Lab space. CIELAB 1931 is the product of an intense study of human vision, and is actually the granddaddy of color spaces. It's against CIELAB that all others are judged. Graphs of the popular RGB spaces gamuts' are often overlaid on the CIELAB gamut to illustrate how well they compare.
That said, using the Lab color mode for color correction can take a while to get used to, since we're so ingrained with RGB, but it is EXTREMELY powerful. Most of this comes from the fact that it separates color from brightness, as our eyes do, and allows you to adjust them independently.
For a quick look at some of the practical things you can use it for, check out this video by photographer Dan Margulis: http://revision3.com/pixelperfect/labcolor
LAB (aka CIELAB), space is quite useful. It's good for exaggerating color differences, relating colors to color opponent theory. I do a lot of image enhancement and digital art creation from photographs in CIELAB or spaces that resemble it. Its main advantages are separation of color from brightness and roughly evenly spread out color changes - two points some given distance apart anywhere in that space are about the same subjective color difference, not to great accuracy but certainly better than RGB, CMY or HSV.
Sites to peruse concerning CIELAB and other color spaces:
HSV (also called HSB) is based on the RGB system - it's actually just a transformation of the RGB color space (so it's still additive, and is intended for computer displays). The three components of this color system are:
So full red would be RGB(255, 0, 0), which is the same as HSV(0, 100, 100).
Another interesting color space which I've only recenlty discovered is the Munsell color system, and it's been helpful when choosing colors. I'm quoting from Why Programmers suck at Picking Colors here:
"While this feels a lot like HSV on paper (where chroma can be used as saturation), this color system is different in many important ways:
This is more for UI designers than photographers, but there's quite a bit of info on this NASA research page.
CMYK and RGB are the two colour spaces, methods of creating colour.
CMYK is subtractive, like paint/pigment. you start with nothing (white paper) and as you add more colours it eventually turns black. CMYK represents the standard coloured inks that printers use to create colours: cyan, magenta, yellow and black.
RGB is additive, the way light creates colours. You start with black (darkness) and as you add lights of more colours you eventually get white (all colours shining together like a regular lightbulb.. a blue lightbulb makes blue light because it filters out the green and red light.)
If you're working on computer monitors like on the internet, you will be using RGB because that is how monitors (and cameras and televisions) display colour. You don't have to worry at all about CMYK on the internet. But once you start printing things out, is when it matters. Most programs these days can convert between RGB and CMYK (although keep in mind whenever you see a cmyk image on your screen it's just an approximation because it is actually being displayed in rgb).
The main thing I've run into regarding rgb and cmyk is black. In cmyk you can make black by mixing cyan, magenta and yellow at their maximum strength, but you can make blacker black by also adding black ink at 100%. So be wary if you need to match two blacks, depending on your program they may appear the same.
Also keep in mind that not all colours can be reproduced in CMYK. This blew my mind when I first discovered it. But certain colours (generally very bright, bold colours like a very bright turquoise colour) can only be approximated in cmyk in a somewhat muted version. That's not to say the colour can never be printed, it's just very complicated, needing either paper treatments or additional colours of ink.
There's a few things you might run into in relation to colours, though, that I'll mentionAnother colour space you may run into is Indexed Colour. This is where each colour in the image is given a specific index to save space. This is technically separate from RGB/CMYK because it doesn't control how colours are formed, but rather how that information is stored on a computer. It does show up in the same lists sometimes.. And in photoshop you can't edit indexed colour documents without first converting them to rgb or cmyk, so keep that in mind!
You might also see HSB. This is Hue/Saturation/Brightness and is another way of objectively describing colours, and can be used to describe either rgb or cmyk colours. Hue describes the 'colour', around the rainbow from red to green to blue and back again. Saturation describes how colourful the colour is from grey (0 saturation) to as full and rich as possible (100). Brightness describes, well, the brightness; from black to somewhere in the middle to white.
RGB is an additive color space. If you mix the three base colors (red, green and blue) you get white. That is the model monitors use, if the red light and the green light and the blue light is mixed, it becomes white.
CMY (cyan, magenta and yellow) are suubtractive. If you mix all, you get black. That model is used by printers. If on a dot are printed all three base colors, it gets darker. But it is somewhat hard to mix a good black, thats why often Black is added to the color mix (thats the K in CMYK).
More information can be found in Wikipedia.