Intentional Color Corrections Planned for Display in Ambient Light

Started 2 months ago | Discussions thread
flyinglentris
OP flyinglentris Senior Member • Posts: 1,328
Re: Intentional Color Corrections Planned for Display in Ambient Light

sybersitizen wrote:

flyinglentris wrote:

sybersitizen wrote:

flyinglentris wrote:

Are there situations where the display ambient lighting requires a planned color treatment for photographic images to ensure that the color look normal in those conditions?

I don't know. Has anyone come across one? I mean, I assume it would be for a print (I know you're specifically talking about prints) that is not anticipated to move from a particular display area.

Actually, as Mark S. Alben pointed out with the link to Fairchild's Rev 2 book, it has been a topic of research since the early 90s (late 80s), applicable in Color Appearance Models (Refer to MSA's posts). The CIE Illuminants, Tristimulus Color Spaces and so forth just don't address the particulars that Color Appearance Models do. And CAMs are being used today in many applications. However, they are mathematical formulas for treating Imaging Systems and Image Processing, and do not address techniques for corrected display lighting as in museums and galleries.

My first exposure to intentional ambient lighting for image display regarded information about per-Renaissance church and cathedral alter artwork that was intentionally lit to display the artist's true definitions of color (by the artist).

Knowledge about this sort of thing goes way back (Refer to Johannes Itten) and there is no reason to expect that photographic images may not be effected in the same way. In fact, they are, as it is human visual traits at play, not imaging system, per se.

Is that a yes that photographic examples are known to exist, and a yes that they're prints that are not anticipated to move from a particular display area?

Just thought of it, now.   In the Studio and Lighting Technique Forum, it is sometimes discussed how to photograph flat 2D art of all kinds.   If one is to photograph an old master that incorporates simultaneous and metameric color, etc., they are faced with trying to reproduce those effects in the photos.  Often as not, this is not a consideration and reduction of reflections and balancing the light from mono units across the art work takes precedence to the exclusion of consideration for reproducing the original Master's intentional use of colors that might be metameric, simultaneous and frequency spread.  To wit, their carefully taken photos do not capture the true nature of the art that makes it a work of genius due to its early consideration of lighting fundamentals.

So, could it have been done, if the photographer knew enough to consider achieving the results that would truly capture what made that art a work of genius?

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"If you are among those who believe that it has all been done already and nothing new can be achieved, you've murdered your own artistry before ever letting it live. You abort it in its fetal state. There is much that has yet to be spoken in art and composition and it grows with the passage of time. Evolving technologies, world environments and ideologies all drive change in thoughts, passion and expression. There is no way that it can all ever be done already. And therein lies the venue for the creative artist, a venue that is as diverse as the universe is unmapped and unexplored." - Quote from FlyingLentris
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flyinglentris in LLOMA

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