digitaldog

That's not going to happen. We can go into why if you wish.

What I did; white balance. A bit of editing on blacks and shadows. How do I know it is correct? 1. It looks better (unless you like magenta color casts). But this is of course subjective. 2. Items which appear they should be neutral (like a white shirt) are neutral or very, very close viewing Lab values or RGB values. 3. What the color of the building and other's fall into, after WB is what they are. To answer the question you asked us (and others may have an opinion): No! Hence the quick edits.

The Kodachrome scans? How about a 'before and after" keeping in mind, GIGO:Garbage In Garbage Out: What you've again clipped (see overaly) in either capture or scan is gone. KodachromeBeforeandAfter.tif

Try: https://www.epson.eu/en_EU/support/sc/epson-perfection-4990/s/s509?selected-tab=&selected-os=Mac+OS+X+10.0.x+–+10.4.x&selected-lang=en This is after I picked my OS.

You are missing the answers already provided. And those are not MY setting! I'd never use them.

It matters when people assume the a device such as a display emit invisible radiation when talking of their color gamut. It illustrates they don't understand what color is, that's all.

You mean: https://epson.com/Support/Scanners/Perfection-Series/Epson-Perfection-4990-Photo/s/SPT_B11B175012

What do you want me to say Alan? You are not calibrating to sRGB as outlined earlier. Did you even read what I posted? Or the manual with the page that explains what you're doing? Do you feel calibrating every 173 days is a good idea? Does this have anything to do with scanning color negs?

First, its often hard to follow when some of the info provided isn't close to accurate. Enough said. Next, converting scans of negs positive isn't easy, never was dating back to the old 1990, Leaf scanner days. I've used and reviewed dozens upon dozens of film scanners including drum scanners costing as much as cars in the days. It is all about the software; some is far better than others. Inverting and removing the orange mask isn't trivial and the mask isn't consistent from shot to shot (exposure alone plays a role). At this point, the 'fix' is to find some software solution that works with modern scanners or after the scan (like maybe Lightroom Classic). SilverFast is pretty good if can drive your scanner with it. NegativeLab is supposed to be a very good option (full disclosure, I've never used it, but those who use LR I respect, those that know what they are doing, have given it high marks and the hope is, such functionality will find it's way into LR/ACR 'natively' someday). You can try a demo: https://www.negativelabpro.com

When you set the color space on the camera for Adobe RGB (1998) you are simply telling the camera and processor how to convert the raw into a JPEG in that color space. The camera still shoots raw (it has to) but if you tell the camera just to provide a JPEG, the raw is converted to that color space and Adiós raw data. Raw data has a color space too, this is a deep kind of geeky rabbit hole to go into. Native (raw) camera color spaces are almost never colorimetric, and therefore cannot be defined using primaries. Therefore, the measured pixel values don't even produce a gamut until they're mapped into a particular RGB space. Before then, *all* colors are (by definition) possible.

As far as scanners (which have no color gamut), the color gamut of a resulting scanner profile (which does) for a scanner is based upon the target. IF indeed, as suggested but I await colorimetric data, "Both Ektachrome and Kodachrome are capable of some saturated colours outside of any real-world RGB space", it begs the question, was a profile for that scanner made with either a Ektachrome or Kodachrome IT8 or similar target (which does exist)? Then, let's see the scanner profile plotted 3D over a 'real world' RGB space (Working Space).

Don't assume (please!): Check! Here are the defaults for that target and no, it isn't sRGB standard, (its sRGB color gamut😞 RTFM as well page 38 of the manual: When using the sRGB Emulation target • This is a special target that is only available when using a supported wide color gamut display. This target will switch the display into the sRGB Emulation mode which reduces the color gamut to approximate that of sRGB.

"probably more" indeed (assumptions). Ditto with "generally represents." Only devices, or systems, that render color have a color gamut. Digital cameras do not have a color gamut (they have a color mixing function). Same with scanners. Dr. Roy S. Berns from RIT stated, in Billmeyer and Saltzman’s Principles of Color Technology: "Color gamut: Range of colors produced by a coloration system." Color gamut applies to systems that produce color (Printers, TVs Displays, projector) and color spaces as well. The human eye also does not have a gamut. The spectral locus on chromaticity diagram (which is also missing a dimension) simply shows the response of the eye to monochromatic light. The limit is in the light, not the eye. The camera can also respond to all that light." And no, you do not calibrate your "monitor" for sRGB unless you're calibrating to these EXACT specifications: https://www.color.org/chardata/rgb/srgb.xalter So are you happy with your display at 80 cd/m2 Alan? And despite being corrected numerous times about what you figure (wrongly assume) about various web sites and how color is reproduced for the web, you keep posting this silliness!

I meant it factually (for others who may not get the “irony). Additional primaries is a straw man; the primaries ARE visible! Two of those in ProPhoto RGB are not.

We will never get “display devices with the imaginary primaries of the Prophoto space.“ Unlike Spinal Tap, there is no volume to set to 11. 😆

Doesn't matter a lick with color managed browsers. Few are not color managed these days. Then they work just like Photoshop and all other color managed applications. You can use any tagged RGB Working Space and the previews will match (on your machine) to all other color managed previews of the same data. sRGB viewed with color management on a wide gamut display will not provide better color and tones when viewing images who's gamut originally exceed sRGB. Those colors will clip compared to having the same image previewing with a wider gamut Working Space. Which is why today, there are millions upon millions of wide gamut displays, all color managed to view content on the web.

You asked so the answer is NO. You need a much better backup schema! Now if you were on a Mac, you'd have Time Machine making such backups (and automatically deleting the oldest alterations so you don't run out of space). You could go back X number of iterations of a backup until that point. If you edited the same image 10 times over a year, you could go back to each. Nice, useful, not mission critical if your main drive fails. So you'd also need a better back schema along with TM that only backups the new changes detected since the last backup. Ideally you'd have multiple drives you rotate as well to avoid losing a backup to drive failure. And a sound backup schema would do the same to a cloud because no, you have no real guarantee that any data you have in your home can't be destroyed and thus lost. Two different ways of dealing with backups, one that doesn't allow you to run out of space. One that is safe offsite. Of course, some of our data is more valuable than others and I can understand why some don't backup at all (scary but they do), or only backup to one drive or like you, give up on 'copying' the entire 'computer'.

https://www.adobe.com/products/photoshop-elements/buying-guide.html

You realize you can edit your posts (and improve their accuracy after yet another correction 🤔)

Yes, the M1... I don't know what it takes to get the job done so tells us more about the job? You are shooting raws, what size, you need to process how many at once, etc?

How about a MacBook Air M2? The real Lightroom (Lightroom Classic) will be darn fast for just about anything you throw at it, you can get Photoshop with the Photo plan too. https://www.apple.com/macbook-air/?afid=p238|sS5GAoNB9-dm_mtid_1870765e38482_pcrid_633215287356_pgrid_110391415659_pntwk_g_pchan__pexid__&cid=aos-us-kwgo-mac--slid---product-

WiFi in terms of Lightroom Classic or other Adobe products? The Creative Cloud software verifies the account status on Adobe servers once a day. If the account is in good standing (that is, payment is up-to-date) when the last verification happens, the software status refreshes to run for at least 99 days offline with an annual subscription. Month to month, much less! See: https://helpx.adobe.com/ie/creative-cloud/kb/internet-connection-creative-cloud-apps.html https://helpx.adobe.com/creative-cloud/help/manage-apps-services-desktop.html The verification takes a tiny amount of bandwidth, if you had a cell phone and service and tethered that to the laptop (if that was what you used), verification could take place.

Actually: https://helpx.adobe.com/premiere-pro/system-requirements.html It worked fine with 124GB in your last machine, I'll bet! 😜

You realize you can edit your posts (and improve their accuracy after a corrections 🤔)

Actually Ken, IF you stop subscribing to Lightroom Classic, only the Develop module and the Maps module stop working. Your DAM (catalog) is still accessible and everything in the Library still works (Thank you Adobe). I'm not suggesting you stop subscribing! For the OP (Victor), you might look into Adobe Photoshop Elements.