Re: CM challenge for an architectural photographer
Re: CM challenge for an architectural photographer
- Subject: Re: CM challenge for an architectural photographer
- From: email@hidden
- Date: Fri, 10 Dec 2004 18:02:28 -0500
Dennis,
I see your posts also on the APA list and appreciate and enjoy them for
their insightfulness.
I am a photographer with a lot of experience and also very current on
recent technologies. I was educated to be an engineer and a physicist,
but music opened me up to a more artistic way of life. So I try not to
have my natural talent for technology interfere too much with being
open to creative thinking and common sense. Your question is a great
one and it cuts right to the heart of color management issues and
perception.
does the client want to be able to hold up the print next to the wall
and see the same color ?
then I would think taking an EyeOne reading of the wall and adjusting
to those values and measuring the print would help to achieve that goal.
or does the client want to see the print have the color of the wall as
when the color was picked from a chart ?
then it would be better to read the chart and as a result the print
would have to be viewed in a controlled 5000K lighting situation and
that white-point incorporated.
or does the client want the print to look like the color of the walls
as how they appear to the eye ?
then you are absolutely right - the lighting would change everything.
Time of day, mixed lighting, all would influence this perception.
I believe film is never exactly technically accurate in describing the
colors, nor are digital sensors in a scanner or camera nor is the eye.
Talk about metamarism - two people could be standing next to each other
and compare a print to a pms swatch and not agree....
some of this could be explained by physical factors - maybe one looked
away for a moment and caught a glimpse of a light-bulb or a window and
those "eyeballs" then adjusted the white-point differently - or was
looking at the print from an angle that beyond is a blue piece of
clothing that the other doesn't see.
However, i think people's perceptions are very complex, with the brain
relating colors to past experiences and emotional factors, so it's
impossible to account for all those factors.
Fortunately in my own work I rarely have to match something
scientifically - I usually called upon to make a more emotional
statement.....
On balance - an EyeOne reading would at least have the information when
the photographer is away from the location as to what the color is...
or easier and lower tech - have the client supply the paint chip and/or
the pms color...
... and your suggestion to follow proper color management procedures.
the best solution is to profile the client's eyes ; - )
Dont forget to charge the client for exact color matching....
Ulf Skogsbergh
On Thursday, December 9, 2004, at 10:59 PM, Dennis Dunbar wrote:
A photographer asked me today how to solve a problem he's run into a
few times when shooting interiors for architects. Here's the
situation: he shoots 4x5 film, scans it and then does any necessary
retouching before printing the image on an Epson 2200. The client
wants the colors on the prints to match the colors of the actual walls
etc. in the room he's shooting.
He was told that he could use the EyeOne to take a reading of the
important colors in the scene and then use those readings to adjust
the values in the images, but I see many variables in this idea that
would seem to make this a very complicated solution. Sure he could
know what the measured values are, but that wouldn't account for the
lighting etc. in the room would it? (for instance the EyeOne uses it's
own light source and wouldn't know how the light in the room was
affecting the way things looked in context.)
My thought is if he has a profile for the scanner and for his
printer/paper combination, his monitor is calibrated/profiled, and if
his transparency is "right" he should be able to match colors without
any major headaches. Does this seem right, or would he need to go the
more complicated route of measuring all the important colors and
comparing them to the values in his digital files? Or is there a
better way any of you can suggest?
Thanks!
Dennis Dunbar
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