Most of us aren’t, so much better to pick the best editing and print viewing light source you can and then calibrate your monitor to a colour temperature that provides a good visual match to that. That is fine as long as you are viewing and editing your prints under D50 ambient lighting. When printing, the standard print profiles are typically designed so that an image viewed on a screen calibrated to D65 match the print when viewed in D50 lighting. It is good not to stray too far from the standard D65 screen colour temperature, but only if that provides a good visual match with the colour temperature of the ambient lighting you are editing in. Calibrate it instead so that it matches the brightness of your own editing environment. Ignore the guidance that suggests what brightness you should calibrate your screen to. If not, then go for a really high quality (high CRI) fluorescent or LED. Daylight also changes its colour temperature throughout the day which means you can have a great monitor to ambient light match in the morning but be way off in the evening! If you can put up with the hot run temperatures and warm colour temperatures then something like a Solux lamp is ideal (an even spectral response). Artificial light, whilst not as even in spectral response as daylight, can be far better controlled. Pick the highest quality lighting you can. What I would suggest is to control the lighting you are editing and proof viewing your prints in as your first step, even before profiling your monitor. If you edit in ambient lighting which has poor colour rendering, with either a spikey colour spectrum or a colour temperature that is significantly different to that of your monitor, then that will adversely impact on your edits. If your screen is much darker than your ambient lighting then you are likely to edit your photos so they are too light. If your screen is much brighter than your ambient lighting then your edits will likely produce prints which are too dark. The important thing with editing is that your screen brightness is set up to match the ambient light levels you are editing in (or vice versa). Shouldn’t be a problem provided the ambient lighting around the judges is also appropriately dark. It was quite an eye-opener going to my first portrait show where the lighting was controlled for the judging of the 100s of submissions. And then a profile will need to be made for galleries or shows. I calibrate to a much brighter setting than what would be used in a viewing booth, or gallery, as most of my output will be seen on screen in relatively bright environments. The eyes take some time to get used to what is different to we have become accustomed to seeing. Just be prepared for the shock of, just after your first calibration, "That is NOT how it's meant to look!" Wow, I did not expect there is any better deal there.
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