Re: Colorsync-users Digest, Vol 2, Issue 51
Re: Colorsync-users Digest, Vol 2, Issue 51
- Subject: Re: Colorsync-users Digest, Vol 2, Issue 51
- From: fixingshadows <email@hidden>
- Date: Wed, 9 Feb 2005 21:54:23 +1100
Dick it is important that when you view transparencies on your GTi
viewer that you are assessing the paintings under a light that matches
the colour temp of your viewer. There has been a very good discussion
about viewing paintings under tungsten lighting in gallery spaces and
the compensations that our eye makes when looking at a painting. Film
cannot make this compensation. When assessing an image for colour
accuracy rather than enjoyment you must view it with an appropriate
light source regardless of the type of light you use to photograph the
work with. The artwork should be seen as your proof you would not view
a proof under tungsten light. When you photograph with film you choose
a film appropriate to the light source with appropriate filtration you
should be able to produce a visually similar result regardless of the
lighting. Whilst most major Art museums around the world have moved to
digital capture in the days of film Museums such as the Louvre The
National Gallery's in London and Washington along with many others
used flash(strobe) to photograph paintings. Ninety percent of all
paintings (and I have photographed thousands of paintings everything
from 14th Century icons, Rembrandt's, Impressionists and 20th and
21st C moderns) I photograph are photographed using flash with
standard reflectors (broncolor) As much as possible avoid using
polarisers as they only add to your colour reproduction problems by
shifting colour and increasing contrast quite dramatically although if
it absolutely necessary there are ways to minimise this problem (
contact me of list and I can detail how to minimise polariser problems
if you are interested
Hope this helps
Garry Sommerfeld
Senior Photographer
National Gallery of Victoria
Melbourne Australia
mailto:email@hidden
On 09/02/2005, at 7:06 AM, email@hidden
wrote:
Message: 7
Date: Mon, 7 Feb 2005 17:33:31 -0800
From: Busher Jr Richard C <email@hidden>
Subject: Re: Colorsync-users Digest, Vol 2, Issue 50
Hi All,
I have been following this thread with interest because of a current
project. I have recently photographed a large number of paintings done
in the 1920's - 1930's in Japan for a book. I am also doing the
prepress on this project. I have done several book for this client, but
the earlier books had few paintings, mostly sculptural objects. The
earlier books were quite nice. This project is quite a challenge.
I photographed the paintings with strobes, as I had in past projects
for this client.
My first observation was that the transparencies, viewed on a GTI 5000k
viewing booth do not look like the paintings viewed under 3200k
lighting. Not at all. In some cases there are hugh color shifts.
I am familiar with anamolous (sic) reflectance (have a Kodak white
paper on the subject somewhere), and I was prepared for problems. The
problems are beyond anything I might have anticipated.
My question is, would I have been better off shooting with Quartz
lights rather than strobes? Is there another light source available for
photography that would be better?
Cheers,
Dick Busher
Cosgrove Editions
888-507-7375
email@hidden
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