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