Re: In search of a D50 Editing colorspace
Re: In search of a D50 Editing colorspace
- Subject: Re: In search of a D50 Editing colorspace
- From: Peter Miles <email@hidden>
- Date: Wed, 03 Sep 2014 23:04:40 -0700
Having the ability to measure real world colour and map it into an RGB space in a way that Adobe will honour, in an absolute sense should I need, will be quite useful to me in future. Because of the way Adobe has implemented its Absolute colorimetric handling of RGB spaces, it appears to me that D50 RGB editing spaces would be the sensible choice. I can't see any significant disadvantages.
Once a colour is in properly encoded in that RGB space, rendering out an ICC profile profile to make a print for a non D50 viewing condition, in order to maintain that colours appearance is relatively easy in i1Profiler.
I had an opportunity to do just that, for an exhibition by one of our PHD students for a show in the Wellington city art gallery. We got to look at one of her test prints in the actual exhibition space several weeks prior to her show. The artist wanted very neutral looking grays for her large black and white prints. The colour constancy of the Epson 9900 prints is pretty good, but not perfect. Our test prints shifted fractionally (colour crosses) under the special lighting the gallery used for illuminating artworks. I took a spectral reading of the gallery lights, built a custom ICC profile and made a second test print. Viewed under the Gallery lights the new test print was impressively neutral throughout the tone range. However once the artist saw how this new test print looked under 'normal' light she opted for the standard D50 viewing condition rendering - in case they sold and needed to be displayed somewhere else.
Best Regards
Peter
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