Vol 2 #642-Subject- Metamerism & Client Expectations
Vol 2 #642-Subject- Metamerism & Client Expectations
- Subject: Vol 2 #642-Subject- Metamerism & Client Expectations
- From: Ed Gerson <email@hidden>
- Date: Sat, 24 Nov 2001 03:17:22 -0500
- Organization: Gerson Studio
Subject: Metamerism & Client Expectations
Welcome to the Metamerism Victims Club.
There is no answer to the problem.
Epson has incredible printer quality and sucko archival inks.
Move an Epson archival print a few feet and it changes color. End of story.
I love digital, but Epson archival inks and professional portraiture are mutually
exclusive. Sorry. If I'm going to make a living in digital it won't be with Epson
archival inks!
Imagine hanging an Epson archival print at a professional event. Do you demand the
facility change its lighting to suit your Epson inks, or do you just print tons of
images in several versions for all lighting possibilities? Its absurd and
counter-productive to deal with Epson's archival inks.
If you think men are from Mars and women are from Venus, just move the Epson archival
print a few feet. The women may also be from Mars.
I can't see explaining this silliness to twenty people a day. And its not educating,
its apologizing. I've got a problem with that!
Ed Gerson
Gerson Studio
email@hidden
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Message: 7
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From: email@hidden
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Date: Fri, 23 Nov 2001 17:35:46 EST
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Subject: Metamerism & Client Expectations
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To: email@hidden
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In a message dated 11/22/01 4:00:28 PM Pacific Standard Time, Doug Brightwell
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(email@hidden) had asked:
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"Does anyone have any recommendations, or can anyone point me to a concise
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web source, for guidance on how photographers deal with 2000p "metamerism"
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or "color inconsistency" in terms of setting client expectations?"
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I had responded offlist to Doug. But since others have followed along with a
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similar problem, I thought I'd better throw my two cents worth in.
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I can tell you that I've been producing portraits and C&R work on it for over
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a year now and I've had issues and found solutions - sort of.
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I first ask the clients where they are planning on displaying the portraits,
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etc. If it is in their home or office, I ask them about the lighting. Then I
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inform them that the product we are using is very archival (benefit first)
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but that it is extremely sensitive to the lighting under which it is
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displayed (caution). Then we follow up with the solution that the prints will
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be made for displaying under that light source. If they have problems, let us
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know.
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Now, how do I view the prints? One, we have a light on our artwork table that
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has a tungsten and a fluorescent bulb. I'll use one of those if it is going
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to be under tungsten (2800) or fluorescent (who knows precisely, but green).
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I also have an Ott light which can be purchased at an office supply store
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which puts out a light not far off from the 5K reccomendation for viewing. It
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does seem that if it looks good under that, it looks beatiful under tungsten
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and ok under fluorescent. Now, view it by window light and see what you get.
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I still haven't come up with a solution if the client is going to view it
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under window and tungsten.
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Hope this helps. Let me know.
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Oh, one other factor that I find important: lacquer the prints. This
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eliminates the layered look of the inks. Besides, it protects the print that
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much more.
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Joe Butts
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<A HREF="http://www.joebutts.com/";>Joe Butts Photography</A>
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