Re: Kelvin Relevance in Fine Art?
Re: Kelvin Relevance in Fine Art?
- Subject: Re: Kelvin Relevance in Fine Art?
- From: email@hidden
- Date: Wed, 2 Feb 2005 17:12:54 -0500
I made the point in a previous post on this subject:
"My opinion is that your eye will set it's own white point based on the
brightest area in your field of vision.
Only if you compare a print directly to a monitor do you even need to
set the white point to the same color temp.
Turn your head and the old white point is but a memory. "
The mentioned article by Steven Weintraub bears me out.
Quote: " The relationship of color temperature to color perception is
not obvious due to the remarkable ability of human vision to compensate
for wide variations in the spectral distribution of light sources. This
ability, referred to as "color constancy", is similar to the "white
balance" adjustment on a video camera which takes into account the
color temperature of the light source. Color constancy explains our
ability to perceive colors in the same way under a wide variety of
viewing conditions. "
I am just now back from the Museum of Modern Art here in NY, which just
had a new building constructed for $85 mil by the architect Yoshio
Taniguchi. No indication that they were worried about the color temp of
the lighting or paid any attention to it.
The lighting looks to be simple out-of-the box 3000K floodlights with a
few spots here and there. There are very large windows that give views
out to the city with darkened glass and huge skylights in the 6floor
high atrium. This gives mixed lighting color-temp wise.
I dont think anyone but a photographer would even notice - it would be
a nightmare to photograph the installations except at night or maybe by
using composites of daylight only exposures and night tungsten only
exposures. A photograph would otherwise have very warm interiors with
bluish light and windows - but to the human eye it all looks fine and
neutral. I stood by a window and looked out and as fast as i could turn
my head the interior lighting looked perfectly neutral.
This is why i contend that the D50 calibration standard is only
relevant to press professionals, comparing monitor to print side by
side.
When it comes to lighting fine art and the color temperature - 3000K is
the only practical alternative even if daylight is present, but I think
that if the sun shines in or untinted windows are used then there might
be a problem with color perception.
Ulf Skogsbergh
On Wednesday, February 2, 2005, at 02:43 PM, Tony Riley wrote:
Chris's analysis seems spot on, and I would just like to add a
reference to
useful research on the topic of preferred colour temperature for
viewing
artwork. There is a 'Kruithof Curve' showing preferred col.temp. to
vary
with brightness, and a useful article on it by Steven Weintraub -
http://palimpsest.stanford.edu/waac/wn/wn21/wn21-3/wn21-308.html
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