Intentional Color Corrections Planned for Display in Ambient Light

Started 2 months ago | Discussions thread
OP flyinglentris Senior Member • Posts: 1,334
Re: Intentional Color Corrections Planned for Display in Ambient Light

Michael Fryd wrote:

Barry Twycross wrote:

My colour calibrator has a step for measuring the ambient light, and it makes a different to the profile it produces for the screen.

If I want to make sure the printing house has printed my prints correctly, I have to use the right screen profile for the right ambient light, or I'm thinking the printing house has screwed up again.

From that, I assume you could make a profile which would make a print look like what you wanted in whatever lighting you wanted. However, most people probably expect things to looks suitably weird in weird lighting, so your print which looked correct would then be perceived as very weird. I doubt it's worth trying.

A monitor should be calibrated to the ambient light. The monitor does not reflect the ambient light, it generates light. Something that should appear neutral gray on the monitor needs to match the ambient light.
On the other hand a paper print reflects the ambient light. A neutral grey sheet of paper naturally matches the ambient light, and so our minds see neutral grey.
This is a general rule. Clearly there are exceptions. You can have light that varies dramatically from a black body source. In that case, the mind may not fully compensate.

Monitors and electronic displays are not an issue, even in altered ambient light.  I note that my XRite Calibration Tool can be used dynamically and continuously to adjust to variations in ambient light.  That's all well and good for the photographer who is working to get a 'correct' color rendering.

It's the display of the printed medium photography and its color rendering in certain situations that sparks my interest.   It's the exceptions that are important, exceptions in the quality of ambient light, mixed ambient light, and exceptions in the color relationships in the captured composition, certain adjacent color effects which the human eye has been shown to do some things which have been known for quite some time and that in ambient light conditions not conducive to those effects, can make or break a captured image.

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