Richard: Thanks for filling in the holes. Your thoughts are following along the same lines of mine. It surely would be nice to be able to get all the interested parties together for a day and hash this out at a seminar. Anyone interested? Jim Davis "Richard N. Moyer" wrote: > > Perhaps CDT can clear up some confusion I have over his comment > I certainly agree (with CDT) that archiving the image preserving all > the gamut possible is desirable. Even use Wide Gamut RGB (about twice > the gamut volume as AdobeRGB)? But this thread might be concerned > more with the final rendering onto paper and dealing with issues such > as gamut distortion, gamut clipping and how and where to obtain the > necessary tools to 1) observe these defects, and 2) to correct them. > Faced with gamut degredation issues downstream, what should an > Epsonite do? Under what circumstances should ColorMatchRGM NOT be > used? Jon Cone was dealing with when AdobeRGB spaces might give > problems. > > Let's suppose the paper, or print will display 92% of the Cyan (using > OEM inks and glossy paper). Chances are that other inks, and other > papers will display - at best 50% of the original Cyan gamut, maybe > 70% of Magenta, 70% Yellow. There is no good analytical way that I > know of to determine in advance, how much of the original archived > image color gamut is going to go out the window on printing. It would > be nice to be able to both quantitize and view the inherent gamut of > an (archived) image, then observe "gamut degradation" occurring > "downstream" through 1. workingspace limitation, 2. ink limitations, > 3. paper limitations. Softproofing might be used, but this is only > visual - and depends on your monitor, your monitor profile, and is > good as your eyes at that moment. This is what I mean by only getting > 50% of the original Cyan gamut in the final paper image. Similarly, > work through gamut distortion issues introduced by "lousy" profiling > software which attempts to stretch and/or compress into the > limitations of "poor" (meaning papers that won't hold or accurately > reproduce color gamut) papers. > > Many people are totally unaware that many inks have poor gamuts > (compared with OEM inks) or that many non-glossy papers are extremely > bad reproducers of color gamut. Getting a handle on this is both > confusing, and difficult. And the subject of much bandwidth on this > list. > > Some help might be on the way, with efforts such as Chris Halford > http://www.icctools.com , and some of the documentation obtained with > "high-end" profiling software and spectrophotometers. -- J. Arthur Davis - Inkjetstores.com Serving the world with fine art reproduction services and supplies. Email mailto:jarthurdavis@earthlink.net Web Site http://www.visual-artists.com FREE Marketing Newsletter at http://www.visual-artists.com/fform.htm - Please do not include an entire message in your response. Delete the excess. http://www.leben.com/lists for list instructions.