Color Archives - Page 16 of 16 - John Paul Caponigro

Metamerism

Technique - Printing Comment

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Metameric failure is the tendency of an object to change its appearance under different light sources. Different light sources, even of the same color temperature, are often comprised of differing amounts of spectral frequencies (i.e. red or blue frequencies). Some objects change appearance more quickly than others; they are more metameric. This is true when comparing dye-based inks with pigmented inks. As pigments are made of irregular particles, they tend to refract (reflect and bend) light more strongly than uniform dye globules. The most current ink technology coats pigment particles in resin to reduce this effect. Additionally, some color pigments, typically the most saturated ones, are more prone to metamerism. By separating the file differently and using more of the less metameric ink to reproduce an image, the print’s appearance stability is increased. This is particularly important when reproducing neutrals, as small shifts in hue are quickly detected in these colors.

How can you evaluate metameric failure? Make two prints of the same image (preferably containing significant neutrals) and compare them side by side in different light sources.

What can you do to reduce metameric failure? Use the latest inksets and drivers (with the latest separation routines). And, when practical, standardize the light your prints are viewed under. Can metamerism be completely eliminated? No. Everything is metameric. But metameric failure in prints can be reduced to the point where it is no longer significant or noticeable.

With new technologies come new possibilities and new challenges. Recent advances in inkjet technology (ink formulation, separation routines, and screening algorithms) are making noticeable gloss differential, bronzing, and metameric failure things of the past. It pays to stay informed of the latest developments in printing technology. Your prints will simply get better.

Learn more in my digital photography and digital printing workshops.

Test Your Palette – Fine Digital Print Expert Workshop

Alumni, Workshop Comment

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One of the exercises we do in my Fine Digital Print Expert workshop is to test our palettes. Take your signature image, or the strongest image in a body of work, and make many variations of it. Neutral, semi-neutral, low saturation, average saturation, high saturation, super saturation. Ideal color, ambient color, synthetic color. Etc. Compare the results side-by-side. By process of elimination choose the best solution. Then take your second strongest related image and see if the same palette is equally strong for it. If it is, you’ve found your zone for a body of work.
Many students are astonished at how much potential their images have. Consider John Myer’s image here. He’s torn between the fully saturated and semi-neutral versions. So he’s testing those two palettes on several other related images. With a just little more exploration, he’ll soon have his answers. Too often we commit to a solution before we explore our options. Sometimes we’re too timid with the kinds of explorations we allow ourselves. Take these steps at the beginning of every new body of work. The time you take to explore your options is well spent. It’s extremely rewarding.
Find out about my Fine Digital Print Workshop series here.
Find out about The Fine Digital Print Expert workshop here.