Even now, many photographers and editors will use this as the standard since it covers such a practical range and is almost universally accepted by many different software and displays. Many contemporary photographers prefer this color space because this is where most modern DSLRs and mirrorless cameras capture. No matter what space you choose to edit in, almost all of your exports for the web and social media should be converted to sRGB.
This color space was designed with compatibility in mind. Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously. The cookie is used to store the user consent for the cookies in the category "Analytics". The cookies is used to store the user consent for the cookies in the category "Necessary".
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Before we get there, however, first you must understand how color gamut is depicted on a technical level. Oftentimes, especially in commercial applications, colors are generated via the mixture of other colors, rather than natively producing the color on its own.
This is mostly due to cost-related factors. Consider for a moment that home printers, typically, only contain ink for cyan, magenta, yellow, and black. All other colors you may see on your printed page are the result of a combination of those base colors. The answer lies in color standards, which relate directly to standardized color gamut. From cameras to monitors and televisions, it is guaranteed that you have encountered sRGB at some point in the past.
That said, sRGB is popular for a reason. These benefits lead sRGB to become as widespread as it currently is. When properly implemented, Adobe RGB is meant to offer a broader color gamut and to depict colors in a more realistic fashion. At the time of its introduction, and given its attention to vivid detail, Adobe RGB was a tad too ambitious and advanced for the technology for which it was meant to become the standard.
With an emphasis on digital video capture and projection, DCI-P3 opts for a color gamut that is nearly a quarter wider than its sRGB counterpart. Given its organizational roots, the DCI-P3 color standard is compatible with all digital projectors on the cinematic level.
The National Television Standards Committee, or NTSC, created its own color standard in the hope that it would become the standard for all newly produced televisions. Although it has yet to become the televisual standard, the NTSC color standard has found its niche in monitors meant for professional-level video and photographic editing. Traditionally, the EBU color standard has been focused on the photography, video editing, and graphic design fields.
With the advent of wider color gamuts and ultra high definition resolutions, including 4K, the EBU color standard began to be placed outside of its niche, and into more common consumer-level products. As was previously stated, the range of a color gamut is determined by its placement on the X and Z axes. This was primarily due to the technological limitation present at the time of their creation.
Today, with the presence of OLED technology, the limits on color gamut are no more, thus leading to the creation of wide color gamuts.
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