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Author Topic: The Heresy of Artistic Intent  (Read 3460 times)
ErikKaffehr
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« Reply #20 on: February 03, 2013, 10:18:41 AM »
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Hi,

My take is that color management is math that makes a good mapping between different color spaces, that of the camera and of the printer. We have a third representation on screen.

Soft proofing enables us to adjust the image so it will look good on paper even if we work on screen.

Best regards
Erik
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Rob C
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« Reply #21 on: February 03, 2013, 11:27:48 AM »
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 A high key print will look OK under a lot of illumination levels, but darker areas in low key prints will "dump out" if the illumination level is too low. The question is, what level of viewing illumination corresponds to the brightness level of the monitor such that the psychological effect of viewing an image on the monitor approximates that of viewing a print.-John


This isn't particularly easy to understand; I don't mean you post or point, but the phenomenon.

I remember seeing some prints on the wall of a restaurant here (Mallorca) that came from a young chap who was working with one of the New York greats - think it was Watson. It was in the early 80s, and I can remember being amazed at the quality of the prints (B/W) under the dim restaurant lights.

I have also noticed that my own prints (b/w but digital now), also seem to take on a new glamour when viewed under low domestic tungsten lights. The same thing holds true with reading photography books, in either colour or b/w. I can't quite understand the reason for this effect, because both the books and prints look correct in daylight. The colour, especially, should look all wrong under tungsten!

Rob C
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