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Out of Gamut: Realizing Good Intentions with Rendering Intents
Color geek extraordinaire Bruce Fraser gets to the bottom of rendering intents, and when to use each to get the best results.
Written by Bruce Fraser on April 4, 2001
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Which Should You Use?
I'm often asked the question "which rendering intent should I use?" The only sensible answer is that you should use the rendering intent that produces the result you like best. But for most seekers of knowledge, that's not a very helpful answer.
Conventional wisdom has it that one should use perceptual rendering for natural imagery such as scanned photographs or digital camera captures, and relative colorimetric rendering for vector art such as Illustrator or FreeHand files. As a basic rule of thumb, this isn't a terrible approach, but it doesn't always yield the best results.

Figure 6a: Original image.

Figure 6b: Converted for a Web press space using perceptual rendering.

Figure 6c: Converted for a Web press space using relative colorimetric rendering. Note the plugged-up detail on the top of the cone of red yarn.
Many photographic images could benefit from a relative colorimetric rendering, rather than a perceptual rendering. Remember, color-management systems know nothing about the content of the image itself; they only know about the gamut of the color space the image inhabits. When you use perceptual rendering, the color management system applies the same gamut compression to all images, even when the image contains no visually or aesthetically significant out-of-gamut colors. For instance, with pastel images, perceptual rendering will apply unnecessary gamut compression, while relative colorimetric rendering may produce a result that's more faithful to the original.











Perceptual rendering
Michael,
It's hard to make definitive statements about perceptual rendering, because this is really where profiling tools differentiate themselves -- each one has it's own secret sauce.
Generally, there's some weighting -- it isn't just a linear desaturation -- and in-gamut colors typically get less desaturation than out-of-gamut ones.
The effect is usually quite subtle because our eyes tend to judge relative color, rather than absolute, and because if you're making the judgements on the monitor, what you're looking at is pretty close to sRGB anyway.
I'm trying to find out what happened to part II of sharpening -- it was here, but it seems to have dropped off the list on my author's page. I've sent the appropriate inquiries to teh appropriate powers...
is perceptual rendering as simple as that?
Your description of perceptual rendering, which is to essentially move all RGB values into gamut, might seem to imply more desaturation than we actually see. That is, we might expect extreme desaturation if we move from ProPhotoRGB to sRGB ... and less if from ProPhoto to AdobeRGB. While I watch for this, I seem to experience it only very subtly, if at all. I wonder if this might be because the perceptual rendering process is somehow weighted, or if some aspect of gamut is given special consideration. How does this work?
shAf
(P.S., isn't there a second article on sharpening which should be on your list of fine articles?)
question
is there a way to check in photoshop what rendering intent is used in an image with an embedded profile?