Re: Studio Lighting
Re: Studio Lighting
- Subject: Re: Studio Lighting
- From: "Dennis W. Manasco" <email@hidden>
- Date: Sat, 21 Sep 2002 04:26:14 -0500
At 5:38 am -0400 9/19/02, Lee Blevins wrote:
I just finished a large catalog of matching garment colors and the
customer kept insisting on looking at the proofs outside the viewing
booth because they wanted to see it more like a person would view it
in a living room.
My wife and daughter get a _lot_ of garment catalogues. Usually they
riffle through them on the way in from the mailbox under variable
skies and shade. Then they look at them more closely at the kitchen
table under a 100 W incandescent with a translucent white-etched
glass globe and a lot of seriously off-axis 65 W incandescent cans.
Sometimes they take them to the den with either-or-both of direct 100
W bulbs reflecting from/transmitting through brownish shades, and
banks of florescents which bounce off an off-white ceiling. If they
are really interested (or just in need of reading material) they take
them to bathrooms with either a triplet of off-axis 100 Watts or a
pair of banks of 40 W florescent tubes with an optional 40 W on-axis
incandescent (which is occasionally an only source).
I've tried, but I just can't catch them using temperature-controlled
viewing booths.
Seems to me that it might make sense to someone to walk a picture
around under as many light sources as possible to see what it looks
like with each of them.
YES:
I know that a proof is meant to simulate a press run and may have a
completely different spectral response to different illuminates than
the target inks, but that is the problem: If the metameric aspects of
the proof and the final output are significantly different, then the
proof is only accurate in the viewing booth and the customer can have
no idea how the product will look to his customers under different
viewing conditions.
-=-Dennis
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