Copy room paint
Copy room paint
- Subject: Copy room paint
- From: Mike Strickler <email@hidden>
- Date: Wed, 21 Sep 2005 13:58:16 -0700
Black is theoretically ideal, but remember that in practice the amount
of light bouncing off the walls may be very small compared to the
illumination on the artwork--assuming those walls are at least middle
grey. What may be more important is that the background surrounding the
artwork by up to several feet be quite dark and neutral as this area
may be well within the angular coverage of the copy lens (assuming a
typical view camera lens) and can produce a bit of flare inside the
camera. I do not agree that an all-black room is a healthy work
environment; it can be very oppressive. IF you have a large enough
studio to dedicate one room just to the copy work, go for it, as you
will spend only a portion of your time there, but if you also use the
space for other work, try side walls and ceiling of neutral grey, the
black background, and the opposite wall in black to reduce obtrusive
reflections when you must shoot through glass.
At 2:34 PM -0400 9/21/05, Ken Fleisher wrote:
I did go to RIT (BFA in Commercial Photography 1989) and I AM going to
RIT (current student for MS Color Science, I'm in the second year). I
still think black is the way to go. You would never use a white studio
for copy work. As someone who has done a fair amount of catalog work,
I will "weigh in on this." Black is best (and copy work does not
necessarily have the same demands as catalog work anyhow). Neutral
gray walls are not necessary for evaluating the image on the monitor,
as the room will be fairly dark anyhow. Black is the best way to go
for reproducing artwork.
I agree with Ken-black is the way to go. At the National Gallery of
Art, all the copy studios are black, and they're getting very good
results. As windowless rooms go, it's not a particularly unpleasant
environment, and it's easy to control the lighting (both capture and
viewing light).
--
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