Hi Igor -
In the situation you describe I would first see if the destination
media could be changed to better accommodate the out of gamut colors.
For example,and image with lots of out of gamut colors on matte paper
may be fine on a glossy paper.
If you still have out of gamut areas then that's where Photoshop's
rendering intents come into play. The different rendering intents are
different algorithms for mapping out of gamut colors into the
destination devices color space. Photoshop provides a summary of each
process if you just hover the mouse pointer over tem in the print dialog
screen. I primarily use Relative rendering intent with black point
compensation enabled. If that doesn't work I switch over to Perceptual.
I don' think I've used Saturation or Absolute intent.
I don't try to adjust the original image to get everything in gamut - I
would expect PS to be able to do that just as well if not better than I
can. PS is probably more consistent when switching between different
output devices and settings.
This page has a good discussion of rendering intents:
http://www.cambridgeincolour.com/tutorials/color-space-conversion.htm
Mark
On 4/2/2016 7:41 PM, Igor PDML-StR wrote:
What do you do when the destination colorspace does not have the color
you need?
Let's say you have a photo, you look at the "soft proof" in LR (or in
PS), and you see that the "center-piece" color is way out of the
destination gamut. For example, I have the photo of this red flower
http://42graphy.org/misc/Flower_IR32063.jpg
In reality, that red is more toward orange. SRGB color space does not
have that color. I see how LR is going to change (you can see the
result), and I can change the color mapping (colorimetric or
perceptual), but it is still far from the "reality" (or what I think
the reality is).
I know that in some cases, especially with soft-proofing for printing,
adjustments of the curve (often brightening or darkening) can help.
Unfortunately, this portion of the gamut seems to be really far away
from the SRGB boundary, so small tweaking of highlights and/or
shadows, or the saturation or luminance of the red channel alone
doesn't help.
Is there some trick here that I am missing that could help adjusting
the colors, or, essentially the best I can do is just leave with the
conversion LR (or PS) does?
Previously, I had a similar situation with the carrot-type orange.
Any thoughts and suggestions?
Also, - in this case, this conversion of the red makes the top petals
blend together, and I cannot seem to find the "knob" to enhance the
separation.
All comments are very welcome!
Igor
---
This email has been checked for viruses by Avast antivirus software.
https://www.avast.com/antivirus
--
PDML Pentax-Discuss Mail List
[email protected]
http://pdml.net/mailman/listinfo/pdml_pdml.net
to UNSUBSCRIBE from the PDML, please visit the link directly above and follow
the directions.
