Re: Color temp of lamps in projection

[P3D Paul Talbot <ptww@xxxxxxxxx>]

Greg W. extends the discussion of color temp:

> Here's a related question: should one ideally be matching the color
> temp. of the viewing light to the color. temp of the taking light, OR
> is the original scene more naturally reproduced with viewing light of
> a particular, fixed color temp., and if so, what temp. is ideal?

On vacation a week or two ago I was reading some interesting things
McKay has to say on the subject of color temperature of the light
falling on a scene.  According to McKay, it is extremely important
and beneficial to determine the proper color correction required for
each stereo slide we shoot, and use the appropriate filters.  (The
color correction required is determined by measuring the color
temperature of the light source and comparing it to the film's color
temperature rating.)  McKay predicted that in the not-too-distant
future, color temperature meters would be as ubiquitous as light
meters.  (Guess his crystal ball wasn't working very well that day.)

I was quite surprised to read this discussion, as I have rarely,
if ever, encountered a photographer who pays attention to color
correction, and had never read anything quite like it before.
It was on my "to do" list to post a query asking why this topic
is rarely discussed today.  Are today's films more forgiving
of color temperature differences?  (We all know photos taken
with daylight film under tungsten light do not usually look
appealing, but that is a fairly extreme case.)

Any thoughts?

Paul Talbot


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