Anyway, I'm going to try to map these against CIEXY to see how well that might work and probably think about this some more. There's the same problems in yellows and greens. These can give printers, printer profiles and color rendering engines challenges because nobody really seems to know how to render imaginary colors or fit them into visible light gamuts.

It seems to clip some of the imaginary colors in ProPhoto in the dark blues.

I don't know what it all means, but my first take on the L* space is that its pretty exciting. Obviously there is some clear Hasselblad thinking in the gamut designs here. I'm quite surprised to see the difference in working spaces. You can use the ColorSync utility to do something similar. That aside, I loaded up (1) Hasselblad RGB and Adobe RGB and (2) Hasselblad L* and ProPhoto RGB into ColorThink to map out the gamut space in 3D. I copied the icc files into my regular Colorsync directory and won't have to worry about finding it again! The program is 'Find Any File' on the mac store. I finally found the files in a hidden Library file in one of my users directory but had to resort to pay Apple USD 7.99 for a finder program to locate it because even unhiding my files in Terminal, Finder wouldn't find it. Sounds bad, but I've souped it up real, real good. I have a 2009 Power Mac onto which I migrated an even older mac platform. But if anyone knows otherwise please let us know. My suspicion is that Hasselblad RGB is “safe” in that respect, but Hasselblad L* is unknown to me, and I might not want to use it if it includes imaginary colors.Īnyway, I suspect it is locked up in Phocus and not accessible. I’m trying to understand in particular whether either or both of those color spaces fall outside of the human visual gamut CIEXY (most commonly associated with CIE RGB), because I think I am learning that using imaginary colors in a printing pipeline can introduce unwanted/unseeable anomalies when manipulated heavily in post. It may be the same, but I had thought H had modified the Lab and Adobe RGB workspaces a bit so that color processing outcomes in Phocus were more pleasing. What I’m really looking for and should have been more clear about is Hasselblad’s version of that color space that Phocus uses and one can select in Reproduction to work in Phocus. That looks like a link to an RGB workspace simulating Lab, which also looks very interesting.

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