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D-50/D-65 continued
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D-50/D-65 continued


  • Subject: D-50/D-65 continued
  • From: Paradox Photography <email@hidden>
  • Date: Mon, 2 Jun 2003 09:40:58 -0500

Thanks for the feedback.
The responses I've received regarding monitor calibration have still left me confused.
Let me ask a couple of questions posed by Chris Murphy's posting.

I calibrated my monitor to D-65 after reading recommendations in Real
World Color Management.
"The three of us unanimously recommend that you calibrate your monitor
to 6500K...."

Yes but we also say, "On the other hand, if you've been happily calibrating your monitor to D50...don't feel you have to change it just because we say so..."

Like I mentioned yesterday, D50 will work better in low ambient light environments. It will also work better with newer and brighter displays compared to older more dim displays.

The 'problem' seems to happen on both my 2 year old Apple 17" CRT monitor calibrated with a Spyder
and a less than year old 15" Apple laptop visually calibrated.

My prints made on a Fuji Frontier became yellow and dark.

Regardless of whether you calibrate do D50/5000 K or D65/6500 K, you should use Proof Preview in Photoshop to get a better idea of what the output will actually be, and possibly even use the Paper White simulation checkbox as well. So long as the paper stock used doesn't have brighteners in them, paper white simulation works quite well.

I have used the soft proof in PS and although it sometimes gives a better preview of the relative print gamut,
(paper white and color saturations) the color shift is unaffected in preview.


I have re-calibrated back to D-50 and my prints are on the money again.
So now I work in D-50 for prints and D-65 for web and multi-media.
Which should I use for offset repro?

Based on the experience you've had so far, chances are D50 is going to work better for you in the environment you're in.

Well I've come to that conclusion myself but where are the 'rules' in color management to explain this?
It seems we haven't come very far in the last few years if the answer is still "find out what works for you"!!


This seams like a pretty basic issue.

Yeah you'd think so, but the D50/D65 debate is more user and user environment and user equipment dependent than we've typically given it credit for.


This is my main question my user environment doesn't seem to change the 'problem'.
I don't dispute the principle that viewing conditions alter one's color perception but........
the print outputs are yellow when I calibrate at d-65 and correct at d-50.
This is regardless of viewing conditions (5000K in my office, florescent in my kitchen, or indirect daylight in my back yard).
Monitor and print colors match or don't match depending on monitor color balance not ambient lighting conditions.

Thanks,
Curt
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