Casey Liss

Pros should be working in a completely dark room with their monitor perfectly calibrated by hardware to be exactly at a D65 white point. Like, I'm not doing that. I leave True Tone on.

Pros should be working in a completely dark room with their monitor perfectly calibrated by hardware to be exactly at a D65 white point. Like, I'm not doing that. I leave True Tone on.

And the reason I leave True Tone on is because I know I'm in a room with a bunch of lights that do not have the quote-unquote the right color temperature, and I want my display to adjust itself so that it matches the color temperature in the room so the adjustments I make quote-unquote look right to me in this room, in this lighting.

And the reason I leave True Tone on is because I know I'm in a room with a bunch of lights that do not have the quote-unquote the right color temperature, and I want my display to adjust itself so that it matches the color temperature in the room so the adjustments I make quote-unquote look right to me in this room, in this lighting.

So when I see them in a different room, in different lighting, they'll still look right. I don't know if that's foolish, but I don't really care because that's just what I do with my pictures, and they look good to me, and I print them in books, and they look good in the books, and when I see them in the books, I don't think to myself, wow, that looks way different than it did in my monitor.

So when I see them in a different room, in different lighting, they'll still look right. I don't know if that's foolish, but I don't really care because that's just what I do with my pictures, and they look good to me, and I print them in books, and they look good in the books, and when I see them in the books, I don't think to myself, wow, that looks way different than it did in my monitor.

Instead, I think, wow, that looks exactly like it did in my monitor. So I say night shift off, True Tone on.

Instead, I think, wow, that looks exactly like it did in my monitor. So I say night shift off, True Tone on.

I'm not sure if it's weaker, because if you bathed it in super-duper warm light, I think it would adjust it. What it's trying to do is make it look white to you. In this room, this sheet of paper... It's actually very yellow because the light is yellow. And if you have very, very yellow lights, that sheet of paper is objectively yellow.

I'm not sure if it's weaker, because if you bathed it in super-duper warm light, I think it would adjust it. What it's trying to do is make it look white to you. In this room, this sheet of paper... It's actually very yellow because the light is yellow. And if you have very, very yellow lights, that sheet of paper is objectively yellow.

But to your eyes, that sheet of paper still looks white because you know it's white and your brain adjusts for it or whatever. And what True Tone is trying to do is say, hey, when you hold that piece of paper in the ambient light of the room up to your monitor, I want the white of that paper to match the white on the screen.

But to your eyes, that sheet of paper still looks white because you know it's white and your brain adjusts for it or whatever. And what True Tone is trying to do is say, hey, when you hold that piece of paper in the ambient light of the room up to your monitor, I want the white of that paper to match the white on the screen.

And to do that, it makes your screen yellowish to match the yellowish paper. The paper is yellowish because your yellowish light in the room is bouncing off the paper and going to your eyes. Your monitor is yellowish because the OS is making it produce yellow by mixing the red and the green subpixels, right? And so that's the goal of True Tone.

And to do that, it makes your screen yellowish to match the yellowish paper. The paper is yellowish because your yellowish light in the room is bouncing off the paper and going to your eyes. Your monitor is yellowish because the OS is making it produce yellow by mixing the red and the green subpixels, right? And so that's the goal of True Tone.

And it's subtle if your lighting is subtly warm or subtly cool. I bet it's not subtle if your lighting is not subtly warm or cool.

And it's subtle if your lighting is subtly warm or subtly cool. I bet it's not subtle if your lighting is not subtly warm or cool.

Yeah, this is something that came up and we've talked about in past episodes of photo editing, but we didn't mention it last time because in the Ask ATP question, we were all very much focused on like, what do you do when you're editing photos in terms of like exposure and all the fancy controls and Lightroom and photos or whatever.

Yeah, this is something that came up and we've talked about in past episodes of photo editing, but we didn't mention it last time because in the Ask ATP question, we were all very much focused on like, what do you do when you're editing photos in terms of like exposure and all the fancy controls and Lightroom and photos or whatever.

But it's worth reiterating because a lot of people brought it up and we talked about it in the past. Cropping is the very first thing I do with every single photo that I edit. And it's not an exciting form of editing because you're like, oh, I'm just changing the rectangle that defines the edges of the picture. Who cares?

But it's worth reiterating because a lot of people brought it up and we talked about it in the past. Cropping is the very first thing I do with every single photo that I edit. And it's not an exciting form of editing because you're like, oh, I'm just changing the rectangle that defines the edges of the picture. Who cares?