No, that's not the method I had in mind. It's also quite impractical when the 'object' in question is an immovable landscape, or an architectural fixture, or perhaps even a dead guy.
Colour casts are seldom purely of one colour. If they commonly were then we would all be competent colour printers. What you generally encounter is an obvious dominant colour shift plus a slight tendency towards another nearby colour as well, and the skill lies in recognising both and correctly balancing them. That's why the shadows and highlights are used as clues to whether e.g. a dominant yellow cast is subtly biased towards red or green, or a cyan cast has more tendency toward green or towards blue, to use just a couple of the wide possibilities. Printers look for nuances like the actual colour of 'black' in the shadows, or the colour hiding in highlights of hair in a portrait, or the actual 'greyness' of tyres in photographs of autos. You can be shown how to do this stuff, but only practice not knowledge will make you proficient. If you don't have that acquired skill then you shouldn't underestimate the capability of people who do possess it. regards, Anthony Farr > -----Original Message----- > From: Herb Chong [mailto:[EMAIL PROTECTED] > > they would hold up the actual colored object next to the print. not the same > thing. > > Herb....
