gamut mapping, was Re: Proof Colors in Photoshop
gamut mapping, was Re: Proof Colors in Photoshop
- Subject: gamut mapping, was Re: Proof Colors in Photoshop
- From: Steve Upton <email@hidden>
- Date: Fri, 02 Aug 2013 14:52:13 -0700
sorry, I HAD to start a new thread on this one.
On Aug 2, 2013, at 1:49 PM, Rick Gordon <email@hidden> wrote:
> Steve, what do you recommend for this favorite transitional CMYK profile?
>
It reminds me of a novel I read a long time ago that started (according to my memory):
"<main character> liked his camel more than any other camel he'd ever ridden before; he only hated it a little"
I kinda feel that way about CMYK profiles. They do great work, but they are all flawed one way or another. Not to torpedo my earlier suggestion too much but I've been doing some experimentation with rendered gamuts while working on ColorThink Pro (yes, work continues. New version dreams abound). One thing I've found with an alarming number of profiles (gamut mapping engines), even from modern profiling tools, is the device colors that are unavailable from profiles.
ColorThink typically graphs the device gamut, as gleaned from a profile. So we're looking at the gamut we could get when we throw raw CMYK / RGB / whatever at the device. This can be different than the gamut we receive when converting images into Lab and through the profile. Sometimes, too many times, in-gamut colors are unavailable *no matter what source colors are provided*. I've especially seen this with dark yellows (i.e. browns) and many gamut boundary colors.
Anyway, to answer your question, I don't have a current favorite but I'd select a profile from a relatively well-behaved device (ink jets might not apply) with a gamut that's still a bit bigger than sRGB in the important areas. I realize that's a bit hand-wavy but…
Also, I only recommend this method if you are not happy with large gamut -> sRGB gamut mapping AND the resulting sRGB images are NOT for high-quality output but for viewing on the web etc.
> Yes, I often notice unwanted hue changes going out of ProPhoto RGB that makes me tend to stay away from it for editing -- especially since my workflow mostly winds up in CMYK, working in the book industry.
Yeah, one thing that's challenging with sRGB is not only it diminutive size but its tomato red. To gamut map (clip!) from a reasonably saturated fire-engine red into sRGB and still maintain an acceptable level of saturation often results in a significant shift to the orange. eww.
regards,
Steve
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