D 65 or D 50 ?

[jaapv]

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I am in doubt. I know that the CIE standard is D65 and that many mobile devices and displays use D65 as a white reference point but if I use D50 throughout my workflow including my screen calibration I get better matching prints. Could this be because L*A*B* conversion is defined in D50 and PS is L*A*B* based?  Any thoughts on the subject? 

[elmars]

I feel the same way. I can't get by with D65 when I print myself. Screen rendering and print result don't match well. I don't use D50, but 5400 K; but that is much closer to D50 than D65. 

I tried to research which setting is the right one a long time ago. I didn't find much enlightening information or didn't understand it well enough with my mediocre English. I then came to the conclusion that D65 is a standard from the printing area, which does not necessarily fit for photographic purposes. One should rather set the color temperature on the screen as the light in the room is or as the light is when viewing the print. Daylight in window-lit rooms usually lies somewhere between 5000 and 5800 K. For the room where I print, I got myself lamps with 5800 K (5400 K does not exist so far I know).

[hansvons]

2 hours ago, elmars said:

One should rather set the color temperature on the screen as the light in the room is or as the light is when viewing the print.

Yes. But the other way around. The light in the room where the colour correction occurs should match the screen's CT. In our case, that's 6500K, with modern screens colour-managed in P3 colour space. In my studio, I use Kinoflo tubes that are accurate daylight sources. That's not 6500K, but 5600 without the green tint that inevitably comes when daylight from the outside gets a greenish cast by the window's glass. I find white walls and proper daylight sources sufficient to do the job. The rest does the human eye, which adapts ridiculously well to colour temperature but so well to tint. 

This is a comprehensive article which sums it up nicely: https://nofilmschool.com/2012/09/complete-guide-setting-up-home-color-grading-suite

Although this is about film grading and not printing, the issue at hand is the same if the printing paper is super-white and not white with a slightly warm feel.

[elmars]

vor 1 Stunde schrieb hansvons:

Yes. But the other way around.

It depends. If You want to print Your photos the light, under which You look at the print, is decisive. 

[jaapv]

5 hours ago, elmars said:

I feel the same way. I can't get by with D65 when I print myself. Screen rendering and print result don't match well. I don't use D50, but 5400 K; but that is much closer to D50 than D65. 

I tried to research which setting is the right one a long time ago. I didn't find much enlightening information or didn't understand it well enough with my mediocre English. I then came to the conclusion that D65 is a standard from the printing area, which does not necessarily fit for photographic purposes. One should rather set the color temperature on the screen as the light in the room is or as the light is when viewing the print. Daylight in window-lit rooms usually lies somewhere between 5000 and 5800 K. For the room where I print, I got myself lamps with 5800 K (5400 K does not exist so far I know).

My editing light is indeed 5500 K   

[Jeff S]

I’ve always used D50, for whatever reason, but have been doing it long enough to adjust to any other variables involved.  I don’t think much about it, as the process works for my print needs.

Jeff

[topoxforddoc]

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In my office, I use D50 at 80 cd/m and check my prints with an Anglepoise light with a 5000K LED lightbulb.

Edited January 7, 2023 by topoxforddoc