As I said…softproofing and working in ProPhoto ability!
Yes. Please DXO, make this a priority (besides AI based sharpening, upscaling). Printing is the last step that is necessary in the process. I really want DXO Photolab to be a one-stop-shop. It can be. Just add this feature and you’d be a lot closer to it.
Hi - it seems this topic is a duplicate of another request that was already accepted by DxO for development:
I hope that helps.
Softproof, that is something I’m waiting for since long.
For example: When ordering a photobook from a printshop, I send all files as JPG in sRGB colourspace. To get appropriate colours, I have to colour correct them while beeing in softproof (printshop’s icc profil).
And yes, I have set my screen to sRGB.
And while not yet a closed thread, I might ask as well for a nuance.
If adding soft proofing…please try to make it able for users to actually see the amount of colours that is far FAR out of gamut…or just a TINY BIT out of gamut. That would make the choice of a proper rendering intent much easier (instead of seeing a blotch of grey “out of gamut” area, without being able to see how much /how far colours are out of gamut).
Whenever a small part of a particular colour is out of gamut, I can image using Relative Colorimetric. Otherwise maybe Perceptual.
DXO PL could be the first software to offer such a refined possibility in soft proofing. I don’ t think Adobe (Lightroom) does this…nor any other. Would be a great plus for printing photographers.
LR 5 does it, but …
e.g. for print collection or photo book (from printshop) *)
when developped in PL4 … and everything is finished,
export as TIFF to LR
in LR make a virtual copy
select the virtual copy
softproof jumps in and you select the output icc-profile,
enable compare mode
now you see the original file vs. the virtual copy
with the ‘applied’ output-profile side by side (!)
correct to your liking
as far as possible
select all other virtual copies
and syncronize with the corrected one *)
select (all) corrected virtual copy/ies
and export as JPG-files (sRGB)
>> Synchronization <<
Pictures for a print collection or photo book are (usually) taken with indivual color settings.
TIFF’s are finished files and as such contain no more information about colour temperature. Only with that it is possible to mass correct all pictures at once, with exactly the same settings
(no chance with PSD-files).
BTW, printing in LR is so so
have fun, Wolfgang
Thank you Wolfgang.
I know Lightroom does soft proofing (as does QImage which I use). I don’t use Lightroom anymore, but can you actually see what part / how far of a certain colour is out of gamut?
Let’s say your reds are out of gamut. Can you then see how far parts are out of gamut? Just a little…or maybe far? This can be important when choosing a rendering intent (relative colorimetric/ absolute colorimetric (which might not be used by Lightroom) / perceptual / saturation.
well no, not that I know – but yes, you can …
With printing … let’s say, you have textures with a highly saturated colour and want to print them onto a certain paper, that does not hold / cannot reproduce this saturated colour. You know, that you can reduce that colour’s saturation to some degree (and / or shift the colour) to keep these textures visible.
How to do that ‘best’? – Lightroom offers 2 rendering intents, perceptual and relative colorimetric.
When set to perceptual, all colours are compressed to fit into the printable colour range.
You get a visually satisfying colour reproduction, but all colours are shifted to some degree, depending on how far out of gamut the highly satured colour had been …
When set to relative colorimetric, only the out of gamut colour is shifted
and set to meet the next possible, the next printable colour in this case.
You get a pleasing colour reproduction without colour shifting, except this out of gamut colour …
Most of the time, when I have to do colour range transformation, I use rending intent relative colorimetric for the very same reasons. But then, I also take care of possible out of gamut colours and choose the appropriate paper, if it doesn’t have to be a certain (matte) paper.
Best is to try yourself and see, how far you can go and how to control.
Please, check these videos. They show you how to …
– with Tim Grey (printing starts about 56:00)
– with Robert Rodriguez jr (from the beginning)
have fun, Wolfgang
If you’re on macOS, you can use the ColorSync Utility that comes with it.
Thnxs Joanna. I do use Colorsync. Works fine, but does it keep me from deciding which rendering intent to choose?
Is this 3h what you were looking for? Both presentations come on a MAC, so it could be interesting to you – concerning Lightroom.
And BTW, Robert Rodriguez Jr https://robertrodriguezjr.com/ runs a printshop and is also a Canson ambassador.
Just now, I’ve been searching about QImage, what I read from some years ago, that by design it’s based on printer drivers and different to RIP solutions. – But, as I only print single sheet up to DIN A2 and no roll paper, I skipped it. I’m on Epson P800 / Windows.
So, from QImage homepage I got the link to this video. At 9:50 he talks about using Rendering Intents, while showing the user interface.
What I DON’T understand, why on earth there are rendering intents used in the print process?
For ‘mass production’ on roll paper e.g. in print business, I image it to be very useful because of time saving (just go with perceptual or what he told brandnew with AI …). But to handle big prints, don’t you want to know what’s happening?
have fun, Wolfgang
Thnxs again Wolfgang. I’ ve seen a few Robert Rodriquezjr videos (although I don’ t use Canson but Hahnemühle papers). I’ ve seen more videos from that other Rodriquez…José. Very informative!
I also only print single sheet up to A2 on my Canon PRO-1000. Qimage Ultimate isn’ t available for Mac. Only printing can be done with Qimage One (which is very good software…recommend it).
That’ s exactly my point…I would like to know what’ s happening:-)
I know I can reduce shadows to keep textures visible, and I know what Relative Colorimetric and Perceptual actually do.
Although you don’t use Qimage (Ultimate nor One),this could be an interesting read: (from the developer of Qimage / useful for me…he answered my personal question related to this subject):
In general he says that it is not worth trying to get everything in gamut…many times this gets worse than letting color managing engine do its job (not sure exactly what he means by color management engine, but ColorSync and printer software could be it). That also is my personal experience, when I tried to get colours into gamut.
Still there is a choice between different rendering intents (in Qimage One there are 4: Perceptual / Relative colorimetric / Saturation and Absolute Colorimetric). In general both Perceptual and Relative Colorimetric are used most when printing (probably a reason why these are in Lightroom), BUT I also printed on fine art matte paper with Absolute Colorimetric…this shouldn’t be done according to many “rules” for choosing a proper rendering intent for printing. Almost like cursing. But …I have 2 prints that are actually better / nicer (I know that’ s personal), with Absolute C. than with others. Always good to experiment, I think.
I think it’ s all about…trying…see with own eyes…and get a “feeling” for what rendering intent works best with a certain image. Takes time and practice. No problem with that.
Happy shooting…happy printing!
thanks, I quickly read the posts (and somehow remember his blog / forum).
As you like printing on matte paper, you are ‘elected’ for colour range conversion.
If I’m not completely wrong …
You have a file with out of gamut colours (but how to do that, when PL4 is your raw-converter und PL’s workspace is AdobeRGB ) and put them to paper, just with an ICC-Profil, I don’t think there is any rendering intent ‘magically’ applied. With that, you would get oversaturated colours, which are responsible for loss of textures (if there are).
IF that is correct, you better choose a rendering intent, that should be either perceptual or relative colorimetric. – RI absolute is not ment for ‘normal’ use.
I think it’s saturation, that’s used e.g. with advertisments containing ‘spot color’ (don’t know if it’s the correct term), that is a distinct colour being an essential part of the company’s logo / design >> corporate identity etc. RI saturation cares for the correct transmission of that special colour (of course not out of gamut, otherwise not printable), but neglects other colours, as they are not that important. – And RI absolute is used for softproof between different media (something else like that).
With that, ‘we’ normally use RI perdeptual or relative colorimetric, depending on how we want out of gamut colours to be handled.
I just checked PL4. In the printing process – still do my printing with PS – you can choose a profile plus a rendering intent like in PS, but no softproof around.
Now, I re-checked the blog and he says, he usually prints with RI relative colorimetric, and only when he is not satisfied, he tries again with RI perceptual. – I assume, it all comes down to one’s workflow. etc etc
That’s it for now – w’ll keep in touch.
have fun, Wolfgang
another post from Joanna
PhotoLab 4 with X-rite i1Display Studio display calibrator
macOS has a ColorSync utility that, if you open a file with it, shows you a soft proof of whichever profile you select for a given rendering intent.
@mujabad So it’s this, she was referring to. – As I don’t know about MacOS, can you desature (or whatever) in QImage AND see the softproof in your OS at the same time?
In Qimage One I cannot desature (or whatever), an image while seeing the result at the same time. For working on files I have to return to DXO PL4 (or another program like APhoto). Qimage One is solely for printing.
Hello Sankos. Thank you. Interesting. I didn’t know this.
again I’ve learned a lot reading this thread…thank you to all the members sharing their knowledge.
Searching for more information I’ve found Q & A : Explain the difference between Relative Colorimetric and Perceptual Rendering Intent in Printing — The Photo Video Guy.
For me the article is written very good to understand for non professional and also the link to adobe A Color Managed Raw Workflow—From Camera to Final Print (adobe.com) was very helpful.
And it’s a cry for implementing soft proof in DXO, which is also discussed in another thread the last days, and also a feature request.
I hope it can help somebody to demystify the theme
Although with Mac this could be very different…using ColorSync