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Re: colorsync-users digest, Vol 3 #877 - 10 msgs
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Re: colorsync-users digest, Vol 3 #877 - 10 msgs


  • Subject: Re: colorsync-users digest, Vol 3 #877 - 10 msgs
  • From: Graeme Gill <email@hidden>
  • Date: Wed, 02 Jul 2003 12:32:14 +1000

Mike Syverson wrote:
> Could you explain that a little better, and possibly how to do it. If I
> am making profiles of materials with UV brighteners in them and I want
> the print to look correct in a D50 situation, what else, other then
> slapping on the UV filter would I need to do?

My current understanding is as follows:

Source UV content

Real D50/D65 High
Tungsten D65 filtered High
Xenon D65 High
Tungsten unfiltered Medium
Fluorescent Low
Tungsten + UV filter Low

There are lots of other possible combinations of course (for
instance normal glass filters some amount of UV out, so
placing glass over a print will change the situation).

A D50/D65 Fluorescent based viewing booth has
low UV, while real D50/D65 or tungsten filtered or Xenon
has high UV. The popular instruments (ie. Spectrolino or
Xrite DTP41) use an unfiltered Tungsten light source,
which has a medium UV content.

So, if your viewing environment is going to be Fluorescent
lighting, and you have an instrument that uses an unfiltered
Tungsten light source, then using a UV filter on the
instrument may give you the best results.

If you're going to be viewing in real daylight, then
using a D65 filter over the instrument light source (or
at least not using a UV filter on the instrument),
or using a Xenon illuminant based instrument (like
the Spectrocam) may give you the best results.

Graeme Gill.
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