Datacolor User to User Support Group.

>What I understood after reading Real World Color Management is that Relative 
maps white 
in the source to white in the destination and that it reproduces all in-gamut 
colors exactly 
while clipping out-of-gamut colors to the closest reproducible hue.

___

What intents are mostly about how to define that "closest reproducible hue"... 

Colorimeteric should offer equal emphasis on hue, saturation and brightness;

thus the most literal match. Thats what our colorimetric intent does. Thats 

not what makes many photographic users happiest however.

 >Jeff Schewe 
indicates 
that it preserves the overall tonal relationships better than most other 
options.

___

Yup, if you prefer literal to more colorful, its what you want. Not what

most users are looking for from brilliant colors, however.

 >So I guess I 
am asking if that is also characteristic of you Relative rendering intent.

___

Yes, as defined above, it is.

>I understood in an earlier reply from David Miller that your Saturation intent 
responds 
differently than most others as it has been optimized for photography.

___

Well, lets say it was optimized for photography first. The other companies were

sufficiently embarrassed by our superior results that they more recently have 

improved their Saturation intents as well, though I believe ours is still superior.

 >I think 

that's great. 
I have ordered Spyder 3 Print, so I am just trying to understand a little bit 
about what's 
going on with the Relative setting as an option, even though I know you 
recommend 
saturation.

___

I recommend TRYING IT, which most users simply wouldn't do; give its common definition

of being for pie-charts, not photos. I don't recommend one intent over another, each has

its place, I simply recommend trying them, instead of using one recommended by a book, 

especially a book that does not have a good description of how our profiles function.

I consider this a failure of the book to document how the major brands of profiling software

actually function, not a failure of our profiles to act like the books describes.

What I actually recommend is using the softproof and gamut limit functions in Photoshop, 

with your custom printer profile, to determine what colors are out of gamut for your 

printer, ink, and paper, and to bring those colors into gamut yourself, to your own needs 

and artistic intent, instead of throwing them blindly at a profile, and hoping you will

like the way these colors were handled by the selected intent. Not practical for most 

production work, but an important element of fine art printing...

--- In colorvision_group@yahoogroups.com, Cdtobie  wrote:
>
> There is no "typical"; each company uses their own methods. But yes,  
> you can get results where out of gamut colors are brought into gamut  
> with equal priority to hue, saturation, and brightness by choosing  
> Relative Colorimetric.
> 

What I understood after reading Real World Color Management is that Relative 
maps white 
in the source to white in the destination and that it reproduces all in-gamut 
colors exactly 
while clipping out-of-gamut colors to the closest reproducible hue. Jeff Schewe 
indicates 
that it preserves the overall tonal relationships better than most other 
options. So I guess I 
am asking if that is also characteristic of you Relative rendering intent.

I understood in an earlier reply from David Miller that your Saturation intent 
responds 
differently than most others as it has been optimized for photography. I think 
that's great. 
I have ordered Spyder 3 Print, so I am just trying to understand a little bit 
about what's 
going on with the Relative setting as an option, even though I know you 
recommend 
saturation.

Thanks,

John


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