Matching north light with fluorescent bulbs

[Richard Monro]

Chris, I checked your link and could not find the 6500K bulb. What was the CRI for this bulb?

[Chris Saper]

http://www.1000bulbs.com/search.php

You'd have to ask them about the CRI

[Timothy C. Tyler]

And here's what happens. We paint under perfect lights. Then (some of us) send our works to galleries who place them under hot spots about 3800k. Then someone buys them and you have no control or idea of how they will be hung.

This was the long view when the CAA's began discussing this 10 years ago. Perfect circumstances are for perfect worlds. Compromise is the reality. As many of you know, the galleries may never even give you the name of the buyers. Selling directly to a portrait client, you can nudge them and try to educate them-but everyone won't listen.

The bulbs also change their temperatures as they age-just like in the tanning booths. But take heart, Sargent, Whistler, Monet, Titian, Zorn, Sorolla and Vermeer did okay without these.

[Allan Rahbek]

Originally Posted by Timothy C. Tyler

But take heart, Sargent, Whistler, Monet, Titian, Zorn, Sorolla and Vermeer did okay without these.

They all painted in the daylight, either indoor or out, right?

I have read that Da Vinci recommended painters to shade there studio windows with thin white linen to dim the light and even put an extra layer along the sides of the window to make the light extra soft. I came to think of this information some months ago when I had trouble seeing values because the light was too strong over my easel. I then changed the direction of the light to a reflection from the white wall and felt that it was much easier to judge the light values of the colors.

One thing that I have noted is that paintings with a good value scheme always show well no matter what light conditions they are seen under.

We could mark our paintings to inform the costumers about the optimal light to be seen in. Some of them might be interested I think.

Allan

[Timothy C. Tyler]

Despite all the tests etc the companies do, I desire to see more purples and blues in the shadows. I feel natural light does this better. Many modern painters work seems hot to me-I blame electric lights. These old artists had nicer cools. What do you think Bill and Michael?

When I paint outside on cloudy days the mids and cools are lovely. I'm designing my lights for my new studio and all this is most interesting.

[Elizabeth Schott]

I don't mean this to sound like an incredibly stupid question, but... on a very nice day does anyone just roll their easel and reference (not live models) outside?

[Timothy C. Tyler]

Well, outside the light is still directional even on a hazy day. Maybe I don't understand the question..help, help...

[Marvin Mattelson]

Originally Posted by Elizabeth Schott

I don't mean this to sound like an incredibly stupid question, but... on a very nice day does anyone just roll their easel and reference (not live models) outside?

Beth, as the saying goes: there's no such thing as a stupid question. I think it would be ill advised to change the source of light you're working under in the middle of doing a painting. The color relationships would change to some degree. To what degree, would depend on the quality and temperature of your studio bulbs.

I've heard many stories from artists, particularly back before the advent of color corrected lights, who worked all night to finish a painting, under artificial lighting, and were horrified to see their results the following morning, in the light of day. Also, wouldn't this require you lugging your computer and monitor outside as well?