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The CMS converts thecolorfi-om the scanner profile to the print profile. 278 Real World Color Management, Second Edition But, in the real world, things are rarely that simple. Our originals almost always have a wider gamut than our output, and even the best profilewith the best perceptual rendering is unlikely to do equal justice to all imageswe typically need to make different compromises to a pictureof a black cat in a coal cellar and one of a polar bear in the snow, to cite a couple ofextreme examples. So we almost always need to edit our images,even if they were captured perfectly. Input device spaces describe the behavior of capture devices, and as a result they usually have two properties that make them less than ideal as image-editing spaces: Input spaces are rarely gray-balanced. In a gray-balanced space, equal values of R, G, and B always producea neutral gray, which simplifies one of the most powerful techniques for correcting color: pull the neutrals into place and the rest of the color fol- lows. In a non-gray-balanced capture space, this is a lot more difficult to accomplish. n a perceptually uniform space, the same incremental change in the numbers produces the same degree ofchange in the appearance, no mat- ter where in the color gamut and tonal range it takes place. Capture spaces generally lack this property, which again makes them more difficult to use for editing. One solution, embodied in Adobe Systems' applications but usable by others, is to use a device-independent, gray- balanced, perceptually uniform space such as Adobe RGB (1998) for edit- ing. This approach has proven sufficiently popular to spawn a plethora of editing spacesoften named for their developersand debating the mer-its ofeach is decidedly outside the scope of this book. Instead, we'll simply say that the main criterion in choosing an editing space is its gamut. igger isn't necessarily better. The trade-off is between finding an edit- ing space that won't clip colors in either your capture or your output, and finding an editing space that doesn't waste huge numbers of bits describ- ing colors that you can't capture, display, print, or in some cases, even see. In practice, it's pretty much impossible to find a space that contains Chapter 10: Color Management Workflow 279 all your colors yet doesn't waste bits, so you simply have to pick the best trade-off for your particular purposes. CIELAB.

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