S
SparkyF986
Guest
We hear a lot about rendering intent in relation to printing, but isn't the concept equally important in relation to monitor displays? And how does this operate in LR2? Or is Windows (in my case) responsible for making the rendering decisions?
I have a calibrated and profiled monitor (I use a spyder) and am aware that LR uses (Linear) ProPhotoRGB as the working colour space. Obviously the range of colours recordable by my SLR and retained within the LR working space far exceeds the gamut of colours that can be displayed. Does anyone know how LR2 handles the out-of-gamut colours for display? I suspect that it employs a sort-of relative rendering intent and simply clips these colours - i.e. displays them as the 'nearest' available colour. Alternatively, it could use a perceptual intent, shifting the whole spectrum into the monitor colour space, thus altering all colours but keeping the relation between colours. This is important stuff, isn't it?
The use of the 'relative' method would accurately preserve those colours that can be displayed so that printer output can be predicted with some certainty. But, it would also mean that I will never be aware from the display (not even imperfectly) of the full range of colours that are in the file. At worst, it could cause 'posterisation' as the out-of-gamut colours accumulate at the edges of the displayable colour space.
The use of the 'perceptual' method, however, will mean that I can be aware of the range of colours but that these will be imperfectly displayed with implications for the accurate assessment of likely printer output.
Anyone care to take up this discussion?
I have a calibrated and profiled monitor (I use a spyder) and am aware that LR uses (Linear) ProPhotoRGB as the working colour space. Obviously the range of colours recordable by my SLR and retained within the LR working space far exceeds the gamut of colours that can be displayed. Does anyone know how LR2 handles the out-of-gamut colours for display? I suspect that it employs a sort-of relative rendering intent and simply clips these colours - i.e. displays them as the 'nearest' available colour. Alternatively, it could use a perceptual intent, shifting the whole spectrum into the monitor colour space, thus altering all colours but keeping the relation between colours. This is important stuff, isn't it?
The use of the 'relative' method would accurately preserve those colours that can be displayed so that printer output can be predicted with some certainty. But, it would also mean that I will never be aware from the display (not even imperfectly) of the full range of colours that are in the file. At worst, it could cause 'posterisation' as the out-of-gamut colours accumulate at the edges of the displayable colour space.
The use of the 'perceptual' method, however, will mean that I can be aware of the range of colours but that these will be imperfectly displayed with implications for the accurate assessment of likely printer output.
Anyone care to take up this discussion?
