Re: Another quote from Roy Berns on metamerism-color inconstancy
Re: Another quote from Roy Berns on metamerism-color inconstancy
- Subject: Re: Another quote from Roy Berns on metamerism-color inconstancy
- From: Steve Upton <email@hidden>
- Date: Fri, 18 Jun 2010 00:20:24 -0700
At 10:40 PM -0400 6/17/10, john castronovo wrote:
>----- Original Message ----- From: "Terence Wyse"
>>
>>Would this be color inconstancy or metameric failure?
>
>As I understand it, it would depend on what you're looking at and what's
>changing. If you're comparing how two swatches fail to remain the same,
>then that's a metamerism failure. If you're looking at how a single
>swatch changes under different light, then that's inconstancy.
OK... agreed, the definitions of the terms have been clearly documented, quoted and discussed.
But let's just set them aside for a moment...
Let's imagine I am carrying a printed gray patch around our office between solux, fluorescent, incandescent, daylight, etc and observing color shifts that are unexpected (not related to white point) and undesired. If I showed it to a customer they would likely be unhappy.
Now, imagine that I perform the same spectral wanderings with an additional gray patch alongside for the ride. As I move from illuminant to illuminant do I see a different effect? Am I any happier? Would my customer be?
Are the physics of the situation any different?
Are the physiological and psychological effects different? Perhaps it could be argued that they differ, especially since there's a visual reference added to the mix.
Ultimately though, it seems to me that we are looking at the same problem, caused by the same physical properties of the paper, inks, illuminants and receptors. The problem, in both cases, will need to be addressed in the same manner with the same techniques. In my opinion, the addition of a reference gray only serves to illustrate the problem more effectively, it doesn't change the root cause(s)
Are there situations in which the differences between constancy and metamerism DO make a significant difference? Probably. Do they apply to the graphic arts world? I personally doubt it, and that's why I choose to wade into the discussion.
I'm not choosing to ignore a problem or gloss over an important issue. I just honestly believe that these arguments are the color management equivalent of how many angels can dance on the head of a pin.
What we should be spending our efforts on is the outrageous elimination of any explicit non-color-managed pathway from Photoshop to an inkjet that doesn't involve the choosing of ICC profiles in two places and the crossing of fingers.
"No really", we say to our customers, "to turn color management off, we need to turn it on."
*that's* insanity.
Regards,
Steve
________________________________________________________________________
o Steve Upton CHROMiX www.chromix.com
o (hueman) 866.CHROMiX
________________________________________________________________________
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