This implies, that bringing a feeling of "natural color" across to the viewer requires to anticipate their frame of color experience.
Let's try to be practical (and perhaps gain Slobodan's approval) --
Sometimes I see ... effects that I know will not appear believable on film because they will be much more spectacular in a photograph than what I am seeing with my eyes. In those cases I take great care to maintain visual sea level by introducing some sort of normal subject matter as a point of reference. Take, for example, a telephoto of a person silhouetted against an underexposed mountain face at dawn. The intense red colors may appear as if they have been heavily filtered, and the black silhouette may look like a montage of two images or a cutout introduced in a copy camera. By including other neutral ... effects in the image, it becomes more believable. Blue sky above the peak or blue shadows in the foreground show that the scene is not filtered. Shadows that connect with the silhouette make it appear more real.