Own Profiles - Rendering Intent

Need Saturation Rendering Intent for printing.
Using my own printer profiles (made using Colorvision Printfix Pro) I get the best results from these profiles using Saturation as the rendering intent with the ink set I have. Lightroom only allows Perceptual or Relative.
It's frustrating that I either have to compromise quality printing from light room or go to all the bother of avoiding LR for printing altogether.
Regards,
Lennythelens

I second this. I also get the best results with the 'Saturation' rendering intent using the default Canon paper profiles. I have not been able to adjust for this and have to print out of photoshop. It would be great to have this feature in Lightroom since the printing module is so effective and convenient for bulk printing.

Similar Messages

  • "paste profile mismatch" ... what rendering intent is used?

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    And in case this issue has not been improved upon in CS4, I'd suggest that the corresponding rendering intent be mentioned in the dialog box (in addition to or instead of the "preserve..." explanation).

    The first one converts using the conversion options set in your color settings, under more options. The second doesn't convert, it assigns the destination document color space. No numbers are converted, but their appearance in the new document will change as they take on a different profile.
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  • How to control Display Rendering Intent in PS CS3 & XP?

    Does anyone know a way to control the display rendering intent in Photoshop CS3 runing on XP?
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    Here is some info I think may be relevant:
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    Using engine:Adobe(ACE), I get the same results for all intents, and they all look very close to Microsoft_ICM Perceptual.
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    Let me think about this.
    Looking at my monitor profile with the Color Sync Utility (I’m on a mac), the rendering of the profile is Perceptual.
    With Photoshop, I open a saturated Pro Photo image. View: Proof Setup: Custom. Device to Simulate, Monitor Profile.
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    I can change the rendering and black comp all day long and it does not affect the color I see. I have to assume that what I see is actually a Perceptual rendering, not Relative Colorimetric,  because Perceptual is the intent embedded in the Monitor ICC profile.
    CMYK is a little different. With the same image open, View:  Proof Setup: Custom. US Web Coated SWOP v2. Relative Colorimetric, Black Point checked. Simulate Paper White.
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    So at this point I have to conclude that Photoshop can control the display rendering for a CMYK image. But with RGB, it’s locked in somehow. I would imagine it defaults to Perceptual, not Relative Colorimetric. Can you open your monitor profile and check the rendering?
    I have a utility that actually allows me to change the intent of an ICC. I went ahead and did that to the monitor profile and saved a copy, with Relative as intent. Using this in Proof Setup (with Pro Photo image) also yields no change. Makes sense, because the color gamut of the new copy is identical, and Photoshop is rendering a file conversion.
    To get the Relative Colorimetric display requires changing the system profile to the new profile. Unfortunately when I do this, the screen color goes absolutely bonkers. All color are super saturated and I can hardly make out anything. I have no idea what that means.
    I apologize for rambling on, I’m probably not much help. Thanks for the link and I will look into this matter more when time allows.

  • Where are the rendering intent options found in LR on a Mac?

    I can't find the dialog to set the rendering intent when printing from Lightroom. How do I change from Perceptual to Relative Colormetric or visa versa? (Also, how do I change the type of paper I'm using, etc.)
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    Read that link and the user generated content: http://learn.adobe.com/wiki/display/LR/Set+print+color+management+-+Learn+More
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  • Rendering intent when displaying, exporting or soft proofing?

    I am trying to make use of soft proofing to adjust my images for a given output device for which I have ICC profiles. The two profiles I am playing with are for a Lambda and a Fuji Frontier. The Lambda working space almost fits within Adobe RGB, it exceeds it in only a few places but is noticeably smaller for a number of other colors. The Frontier working space is for most colors a bit smaller than the Lambda and about equal for only a small number of colors. The Frontier working space would also almost fit into sRGB (to give you an impression of its size).
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    So I tried exporting from Aperture into Adobe RGB and ProPhoto RGB hoping that both would be big enough to contain most of the internal gamut of Aperture in order not to require much compression or clipping when converting from the internal color space of Aperture (I saw no difference between Adobe RGB and ProPhoto RGB in the exported files, so I guess both are large enough for my purposes). And I then converted/soft proofed these files from Photoshop into my two output profiles. More options (different rendering intents, black point compensation) but none seemed to really match what Aperture was soft proofing. I still have a lot of ideas what to try out but if anybody could shed some light on rendering intents and soft proofing with Aperture, it would be very much appreciated.
    (A related question, what rendering intent is used when converting colors, let's say defined in the Lab space in Photoshop, to the screen? I guess this is defined in the monitor profile, which in turn is created by the monitor calibration software, and therefore might depend on the latter. I would guess some kind of perceptual, but how the colors are really fitted and converted from the larger Lab color space into the smaller monitor one might very noticeably been different calibration software and will be different again for the monitor profile supplied by Apple.)

    I went on about this a little more scientific by creating an image with three rectangles: red, blue and green.
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    - AdobeRGB looks a bit washed out
    - Original ProPhoto has so much red that it almost drives me nuts
    Now, I would really expect similar results when activiating soft proofing.
    But when selecting either AdobeRGB or sRGB, the reds always drive me nuts.
    There is just no difference at all to the original ProPhoto image!
    Conclusion 1: Dorin, you were right, previews are in AdobeRGB. What I saw in the reds was the difference between ProPhoto and AdobeRGB. Somehow my screen seems to have extreme reds (calibrated recently with an X-Rite ColorMunki Display).
    Conclusion 2: Soft proofing with AdobeRGB and sRGB really DOES NOT WORK!

  • Rendering Intent for monitors?

    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?
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    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.
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    >I'm sure my monitor does not support the percptual intent. Might it be possible in a future edition (LR3 ?) to have LR offer the perceptual intent irrespective of monitor capability? This is not an area that I know much about.
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    >At present this means, I think, that I may be losing the range of colour tones (levels of saturation) that may be presented in certain scenes that I photograph. They will be unviewable. Does this matter given that most of these 'lost' tones will be unprintable too? Well, it might matter. For one thing some printers can now (I believe) print colours outside the (mainly) SRGB space that my monitor is capable of. For another, I am losing the ability to choose which is more important to me - the full colour tonal range, or colour accuracy. The problem of posterization has already been mentioned.
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  • Rendering intent for color conversions

    As I understand it, when I make a new CMYK swatch in InDesign and type my recipe in, Adobe converts it to LAB and that is the number that is used behind the scenes to convert to RGB or to different CMYK profiles. Curiosity question: does the software reference the ICC profile that is set as the working space in order to make that initial CMYK to LAB conversion? Also, is it known if the software preserves and uses the numbers to the right of the decimal points for CMYK and LAB values, or does it all get rounded off? And finally, going far into the weeds: is it known what rendering intent is used?

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  • What Rendering intent is used when exporting with a different color space?

    Hi,
    I would be ever so grateful if any one can tell me what rendering intent is used by LR4 when exporting using a custom colour space as there is not an option as there is with the print module.
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    Message title was edited by: Brett N

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    Bob_Peters wrote:
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  • Color Management : Rendering Intent Grayed Out

    Currently running Lightroom vers 1.3.1. on a MAC mini 1.25 GHz Power PC G4 with Tiger 10.4.11. Not much RAM and not much of a printer. But totally enjoying Lightroom. My point is that prior to upgrading to the latest version of Lightroom I had no issues with Lightroom. None that a new Mac with more RAM and processing power plus a higher end printer couldn't handle much better. But to my point I use to be able to select between Perceptual and Relative in rendering intent. Now I don't have the ability as it has been grayed out after having chosen "Managed by Printer" in Color Management prior to printing. Have I missed checking something in preferences or haven't done correctly?
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    WOW! If the spirit of Christmas lives. I was just going over the Lightroom Tutorial with yourself and Michael Reichmann and listening to the both of you discuss Color Management settings, profiles and render intent. And low and behold who should reply just seconds after I closed the quicktime file and checked to see if I there was a reply to this message! Yikes!
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