Relative colorimetirc maps out of gamut colors to the nearest in gamut
color in the desintation color space. Perceptual maps out of gamut
colors into the destination color space and also shifts other colors to
preserve the relative differences between them. Relative Colorimetiric
could result in blocked up colors or a loss of color separation, but it
preserves the accuracy of in gamut colors. With Perceptual Colorimetric
colors retain their relation with each other and avoid getting blocked
up, but there can a loss of color accuracy throughout the image.
A photo of vibrant flowers might look blocked up printed with relative
colorimetric, but a photo of a person holding the flowers might have
weird skin tones with perceptual.
In the tests I did I didn't see much difference between relative and
perceptual with Epson K3 inks and glossy or luster paper. I saw slight
differences with Epson enhanced matte paper and preferred perceptual. I
assume the photo papers and PK inks have a broader gamut than the matte
paper and MK ink.
Mark
Paul Stenquist wrote:
I use Relative Colorimetric without black point compensation. Haven’t really
thought about it for years. My prints are nice. I don’t know if they could be
better. I print on Epson Premium Luster or Exhibition Fiber and use the ICC
profiles. Perhaps I should experiment with other settings?
Paul
On May 5, 2018, at 10:28 AM, Mark C <[email protected]> wrote:
Paul Sorenson wrote:
Kind of looking for a consensus...when printing using ICC profiles what is your
preferred rendering intent? Perceptual or relative colorimetric? Does your
choice vary by paper surface?
-p
I start with perceptual with black point compensation enabled. I don't change
the setting for different papers, but that's something a moot point since I
very rarely use anything but glossy or luster papers.
Mark
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