Hi :) Thanks for the reply :) Martin Weberg wrote:
To my experience on proofing paper, an a/b plot on each CMY color tend to curve (or L plot plateau for K) well before any paper saturation occurs.
That's actually what I was expecting to see - a plateau in L* but I haven't seen that effect on this paper (Epson's thin matte Photo Quality Inkjet Paper).
Here's a raw plot of a CMYK stepwedge testchart - plotting input against L*, a and b. Note that there's already a pretty hefty (modified) gamma correction going on just to bring the stepwedge testpoints to something approaching even spacing - maybe this is hiding effects that might otherwise be visible?
http://www.blackfiveimaging.co.uk/linearize/EpsonPQI_raw.jpg
Maybe you are putting on too much ink per color to begin with? Have you done a/b plots for CMY colors and L plot for K?
Yup - here's another one, this time with the points' positions adjusted according to the linearization curve.
http://www.blackfiveimaging.co.uk/linearize/EpsonPQI_lin.jpgThe a/b curves for each colour do curve significantly - except for the yellow one (since the yellow correction curve is calculated against b, rather than L*).
I have to admit I've been looking more closely at L* than a/b for signs of over-inking. How much of the a/b curvature here, I wonder, is down to over-inking, or does the fact that a given hue doesn't necessarily have totally constant hue angle in L*ab space have anything to do with it? (As per the infamous blue-turns-purple problem)
This is the basics and maybe you've already tried it :-)
Some of it, anyway :)I suppose the crux of my question is really why super-saturated-colorants-and-super-dense-black-but-low-ink-limit performs so much worse in terms of overall gamut than restricted-saturation-of-colorants-but-higher-ink-limits. I guess just that's an unusual scenario, and thus the tools aren't really geared up for it?
All the best, -- Alastair M. Robinson