Hi,

Every time I peek over current ICC v4 specification - appendix D always 
makes me scratch my head with referece to this particular method (simple 
scaling of D50 illuminated media white -> D50 illuminant). On LCMS 
mailing list I found a few past discussions touching this subject 
(though I think [some of] them were related specifically to v2).

But in color.org's faq (the one in pdf - http://www.color.org/faqs.pdf) 
this particular issue is sensibly(?) explained (with reference to v4 
spec, my questions after the quote):

------------- begin

question as in pdf:

"For reflection prints there is a distinction between three whites:
1) The illuminant
2) The media illuminated by the illuminant
3) The PCS Relative Colorimetric White (D50)
The 'wtpt' white point tag defines 2) under the standard D50 illuminant.
If the measurement illuminant wasn't actually D50, then it is made as if
it was using a chromatic transform, and this is recorded in the 'chad'
tag. ie. the 'chad' tag defines how 1) is transformed to D50. For
reflective media this is all clear. The transformation of 2) under D50
into 3) is done using a "wrong Von-Kries", which I think is a mistake,
but at least it is clear what's going on."

and the answer:

There are actually four whites. The 4th is -- the media illuminated by 
D50. Transformation of 2) into 4 is handled by the chromatic adaptation 
matrix which should be built into the profile transforms and then 
recorded in the chromatic adaptation 'chad' tag. The final step - 
conversion from illuminant [D50] relative values to media-relative 
values [which are the PCS side values of the relative colorimetric RI] 
is handled by a simple scaling - see equation D3 in Annex D. This may 
look like "wrong Von-Kries" but should not actually do any chromatic 
adaptation. It should just shift the colors so that the max white 
possible is assigned to LAB=100,0,0. This scaling is the difference 
between ICC media-relative colorimetric [after scaling result of eqn D3] 
and ICC absolute [result of eqn D2 if computing from measurement data 
and result of eqns 1, 2, 3 in section 6.3.2 when computing from existing 
previously scaled media-relative colorimetric values].

There is and should be no chromatic adaptation relationship between ICC 
media relative colorimetric and ICC absolute colorimetric - it should 
just be a scaling relationship so the data is either scaled to the media
white == max PCS value or scaled to the illuminant white == max PCS value.

Viewed in this way perhaps it clarifies why a monitor media white point 
== illuminant white point in V4.

-------------- end

Now my questions:

1) Is that conceptually correct approach ? I mean, if we have media 
white point chromatically adapted to PCS D50 (using e.g. chad data) can 
we simply scale that m.w.p. to D50 PCS (as per: 'This may look like 
"wrong Von-Kries" but should not actually do any chromatic adaptation.') 
? It always felt kind of "off" to me. But perhaps it's ok after 
chromatic adaptation. In that faq, it's been actually stressed multiple 
times to not confuse chromatic adaptation with later scaling which is 
always done under the same conditions.

2) In case of monitor profiles (and following the faq above - m.w.p. == 
illuminant, which in turns would imply that relative and absolute 
colorimetric are de-facto identical as scaling would be a no-op) - what 
would be the problem with monitor V4 icc ? In one of the past 
discussions ...:

http://sourceforge.net/p/lcms/mailman/message/31985055/

... it was mentioned that this kind of profile - with chad tag and D50 
as white point is not suitable for soft proofing. Why wouldn't it be ? 
As far as I understand this, we do absolute colorimetric from printer 
profile (itow what we try to preview) -> PCS and then PCS -> monitor 
profile. So as long as we're adapted to monitor's white then all should 
be fine; if we're adpated to other conditions (say D50 + fullscreen 
preview), then not doing reverse adaptation back to the monitor would 
also give expected results (or doing different one depending on 
adaptation conditions, e.g. to D55). We lose direct information about 
monitor's whitepoint - but we have the chad matrix now so we can always 
recover it and everything else as needed (though it was not possible in 
earlier standards due to lack of 'chad' tag).

This kind of reasoning was also covered in another point of that faq:

-------- begin

question as in pdf:

"If the user asks for absolute rendering, then a (correctly working 
application) will reproduce an absolute rendering. If you send it D50, 
then it produces D50, and against the users adaptation to the presumably 
D65'ish white point of the monitor, it will look yellow. It's supposed 
to. If you measure the color though, it should be as close to D50 as it 
can get, just like you asked for when specifying absolute rendering."

answer:

This is mixing absolute [illuminant relative] with chromatic adaptation. 
Asking for absolute colorimetric does NOT mean "do not chromatically 
adapt to my display" -- it does mean show the colors of the file [e.g., 
prepared for print viewing in D50] relative to the white of a perfect 
diffuser viewed under the same illuminant [e.g., D50]. So the white of 
the file should look less white than a perfect diffuser in the same 
illuminant if the paper is not a perfect diffuser. However, in either 
case if the actual monitor is not set up as a D50 monitor then the 
monitor profile should chromatically adapt the colors to the display 
illuminant -- i.e., should NOT show a difference due to the difference 
between D50 and D65 if the monitor is calibrated to D65. Using ICC 
absolute colorimetric you should get a paper white simulation that is 
more gray than yellow, as it should be.

-------- end

Well, hope my questions at least make sense.

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