Luminous Landscape Forum
Raw & Post Processing, Printing => Printing: Printers, Papers and Inks => Topic started by: ulfja on February 25, 2011, 06:42:37 am
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Hi
I have understand that i should get a "correct" light to check my prints and compare them with my screen/monitor. How do i get this light? Is there a light source I can buy or is it easy to change the light "bulb"in my exicisting light source to get "correct" light conditions?
Ulfja.
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Solux makes MR-16 12V bulbs, and now also 120V bulbs (1.25" thread it seems).
If the reflector of your lamp is white (ie spectrally neutral) enough, that may be the simplest solution for good lighting.
Or if you can find them, tungsten daylight bulbs are difficult to find (quite impossible here in EU) but not that bad if they are around 5000K (beware that 6500K is a bit too blue for most tastes, may be due to Mr. Kruithof's curve?).
As a last-resort, mixing fluorescent daylight bulbs (too blue, too green, too spiky) to standard tungsten/halogen light isn't that worse.
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The simplest solution is to get a Solux clampon (https://www.solux.net/cgi-bin/tlistore/clampon.html) fixture that you can install near your computer/printer set up. It's cheaper than building/buying a dedicated viewing box and as long as you control the room light will suffice for checking prints. Mine is set up so that I can easily put a print on a neutral background and illuminate next to the monitor so I can check things.
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Just about everything you need to know is on the website of Tailored Lighting, the suppliers of Solux lighting equipment: http://www.solux.net/cgi-bin/tlistore/infopages/index.html (http://www.solux.net/cgi-bin/tlistore/infopages/index.html). I've dealt with them - reliable and helpful.
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The simplest solution is to get a Solux clampon (https://www.solux.net/cgi-bin/tlistore/clampon.html) fixture that you can install near your computer/printer set up. It's cheaper than building/buying a dedicated viewing box and as long as you control the room light will suffice for checking prints. Mine is set up so that I can easily put a print on a neutral background and illuminate next to the monitor so I can check things.
Alan, I agree it's simple, but not ideal. When you illuminate next to the monitor light is shed on the monitor partially impairing the comparison, unless it is very well shielded, but then the shielding can get in the way. I've come to the sad conclusion (because I don't have space for it) that a light box is about the only thing that really works totally satisfactorily for this purpose.
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The Philips Diamondline Halogen reflectorlamps 12V GU 5.3 are made with a license from Solux. Probably easier/cheaper to get than Solux in the EU. 4700 and 4100K are available in some watt varities. Which Kelvin grade, Lux number to take depends on the task at hand.
met vriendelijke groeten, Ernst Dinkla
New: Spectral plots of +250 inkjet papers:
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
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Can't disagree with anyone's recommendations but it's important to take into account the lighting in which your print will be displayed. I do very low-key work, but the subtle darktone gradations that I work hard to get (and that look wonderful ;) in a lightbox or in gallery lighting) are totally blocked up in many client's homes. One gentleman returned a print that was gifted to him by a friend, that he had seen only in his dark Victorian house. On taking it out to his car, he saw it in bright light and couldn't believe what detail there was. Depending on your image, what looks good under your perfect light may be very different when it ends up in someones living room. I usually check my prints under an ideal light and then take it to various parts of my house to see the effect of "normal" house light (unless your only clients are museums :)
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Depending on your image, what looks good under your perfect light may be very different when it ends up in someones living room. I usually check my prints under an ideal light and then take it to various parts of my house to see the effect of "normal" house light (unless your only clients are museums :)
That really is an issue. Framing behind glass already reduces the paper white reflection. While others could argue that you simply should create the optimal viewing light/monitor calibration-profiling in your studio and saddle the customers with the problems it isn't that simple in practice. And when you adapt the print to another environment, different illumination level then yes that Kruithof curve plays a role too. Maybe the customer should be educated to create a minimum of the necessary display conditions otherwise I do not see how to deal with this other than at least using a paper and ink combination that shows better color constancy in changing light and aim for a lower light level + 4000K.
I wonder whether the museum conditions are that uniform. Solux has some of the best known musea as customers but I see LED manufacturers with a list of other musea using their lamps. Illumination levels vary too.
met vriendelijke groeten, Ernst Dinkla
New: Spectral plots of +250 inkjet papers:
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
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another solution, recommended on this website is the OTT lite. And yes it's still available.
http://www.vistek.ca/store/ProPhotoLightboxViewing/221585/ottlite-13-watt-blacktask-lamp-wswivel-base.aspx
(http://www.vistek.ca/prodimg/221585.jpg)
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another solution, recommended on this website is the OTT lite. And yes it's still available.
http://www.vistek.ca/store/ProPhotoLightboxViewing/221585/ottlite-13-watt-blacktask-lamp-wswivel-base.aspx
(http://www.vistek.ca/prodimg/221585.jpg)
I would like to see the spectral data for that product.
Even the most professional equipment, doesn't come close to the Solux in terms of evenness in spectral values.
(see below)
/Sven
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Apparently Ott-Lite now makes a 'high def' version of their flour. lamp w/ higher CRI. No idea if it's really better or if they just got a better marketing person on staff ;)
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Even the most professional equipment, doesn't come close to the Solux in terms of evenness in spectral values.
/Sven
Solux bulbs may be spectrally even, but they're hard to work with. They emit a small circle of light, and that light is uneven in brightness. I have 3 Solux bulbs in a track light set-up, each bulb with a Lee diffusion glass. This provides enough light to view one A2 print. It will not allow me to view 2 A2 prints side-by-side.
It's worth considering a couple of good daylight balanced flourescent strip lights (Just Normlicht, Philips etc) as an alternative to the hot little Solux bulbs. The light they emit might be less pure, but it's a much easier light to work with.
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On the subject of viewing lights, what methods do you folks use to match the reflected light levels of a print with the transmitted light levels of the monitor? If I set my monitor to, say, 100 cd/m2 how does that relate to a light meter reading in EV or Lux in the light booth?
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I got 140 cd on my Eizo and around 1000 lux from my viewing booth and Solux. That should correspond to 9-9.5 EV.
Measured on a sheet OBA free Efi proofing paper.
And 80 lux for room light= 5 EV.
No daylight, only Just Graphic fluorescent tubes 5000K in the ceiling.
/Sven