I appreciate all the answers received regarding the color of light.

I think what Michael, Marvin and Karin have said is right, but it depends on so many circumstances. It's true that experienced artists don't need formulas, because they can see everything in nature and can paint it as they see it. For beginners, some formulas are necessary to understand certain concepts, like using a three-wheeler for a while to learn how to ride a bike.

Thank you Michael, Marvin and Karin for being so unselfish and for making this Forum a wonderful place to learn.

A clarifying response
 

Michael,

I was responding to Frank Covino's formula which I questioned based on my experience and the teachings of Frank Reilly (which I was fortunate to study under John Murray, a former Reilly student).

Tito,

As a teacher of all levels of students I would caution between following formulas as opposed to understanding basic truths as your guiding light. Formulas are limiting while the truth shall set you free (I know I've heard that somewhere).

Thank you, Marvin, for your advice. I can see your point.

Yes, Michael.

North light, through a studio window set vertically on the wall, at a given height, gives cool light and warm shadows. This will reverse in sunlight outdoors; however, the reflected lights outdoors play a large part in the shadows of light to medium dark objects.

I found that the reflected light will lighten the shadow on, say, blue cloth, but unless very close - say 6 inches or so - may not leave the colour of the surface the light is reflecting off of in the shadows on the material. Hope that makes written sense.

Down here in the West Indies/Caribbean, the sunlight carries a cadmium yellow light feel and the shadow a blue, but not a simply Ultramarine.
Much looking is required.

Marvin,

I hope Gerome wore shades; and isn't that painting around 2 or 3'? I can feel the heat from the reproduction. As with Gerome, always a technical master.