Luminous Landscape Forum
Raw & Post Processing, Printing => Colour Management => Topic started by: Pete JF on February 08, 2015, 02:33:22 pm
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Finally...finally printing using this monitor (PA272w) with Spectraview..
I calibrated the monitor using the stock "Photo Editing" profile.
Made a few test prints and feeling that my prints are reading a bit darker than the screen is showing.
Things are pretty excellent color and contrast wise..I'm just seeing the prints as a quarter stop-maybe a bit more- darker over all. Most noticeable in the shadow areas of the prints but clearly mid tones and brighter are equally muted.
Wondering what you guys are doing as far as tweaking the stock profile setups in Spectraview? If at all.
I'm printing straight out of Lightroom - I make work prints using the Brilliant (supreme)..in this case, the glossy version and I'm using the Brilliant profiles - which have always done a good job.
I am weaning myself from a Sony Artisan so wondering if I'm spoiled by the treatment of the shadow areas with that monitor and calibration software..was always pretty amazing in this regard.
thoughts appreciated..
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I may have used that as a starting point but in order to visually match my display and viewing, I find myself using 5500, 90cd/m2, 300:1 contrast and 2.2gamma. I dont take any of the mfgr starting values as gospel.
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My settings are using a manual white balance setting (I think it ended up about 6150), 115 cd/m2' 300:1' native gamma.
To get a match you have to make a reliable test print (preferably with a known standard file) view it in a repeatable viewing condition and reprofile with adjustments until it matches.
To me it's sort of a slippery slope to try and do this with your own files. You end up changing the profile then you have to adjust the file based on the new profile then make a print and see if it matches. Much easier to use a file created for this purpose.
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The luminosity and color balance settings are going to be key. I use D65 and 140 cd/m² for editing, but I know some who use D50 and 80 cd/m². It really depends on the lighting in your working environment.
Brian A
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Blue/yellow as expressed on the Kelvin scale is one thing, but the D series standard illuminants are also defined on the green/magenta axis.
I've yet to see or own a monitor that hits the right green/magenta color balance natively - not even the Eizo CG246 that I'm using now (ever so slightly too green for my taste). This is of course because it depends on the total perception including ambient light and viewing conditions.
The goal is to match printed output, and for white point that means paper white. The rest will follow; neutrals down the tonal scale are adjusted to the same chromaticity.
And of course, the same goes for white point luminance. You should "see" paper white on screen.
Whatever calibration targets get you there are the right ones, and there's very little chance that any of the presets will be spot on.
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Made a few test prints and feeling that my prints are reading a bit darker than the screen is showing.
Adjust the backlight intensity of display OR the print viewing conditions until you get a match:
http://www.luminous-landscape.com/tutorials/why_are_my_prints_too_dark.shtml
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I've yet to see or own a monitor that hits the right green/magenta color balance natively - not even the Eizo CG246 that I'm using now (ever so slightly too green for my taste). This is of course because it depends on the total perception including ambient light and viewing conditions.
The goal is to match printed output, and for white point that means paper white. The rest will follow; neutrals down the tonal scale are adjusted to the same chromaticity.
green was the issue I had and why I resorted to manually setting the white point in Spectravision with my NEC displays.
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Adjust the backlight intensity of display OR the print viewing conditions until you get a match:
http://www.luminous-landscape.com/tutorials/why_are_my_prints_too_dark.shtml
Hi Andrew and all,
When you refer to the "backlight intensity"..are you suggesting making a move on the display's onboard manual adjustment? the buttons?
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Things are pretty excellent color and contrast wise..I'm just seeing the prints as a quarter stop-maybe a bit more- darker over all. Most noticeable in the shadow areas of the prints but clearly mid tones and brighter are equally muted.
I'm not sure how you can say the prints are a quarter stop darker. If you move them about 10% nearer to your viewing light you will get the required quarter stop. The print is only as bright as the light you put on it.
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I use a range of gallery lighting as a reference..So, My viewing area is a white wall with gallery lighting (halogen floods /or spots depending on what i want).
I can dim things, but generally I like to reference sort of an average lighting situation in a gallery.
My previous monitor nailed everything with zero futz.
You can only push the notion you suggest so far..I mean, I could print for a fairly dark room and things would fall apart in a normally lit room.
That's my setup and it hasn't failed me for many years. My viewing area is solid for my needs, I'd like to wrap my head around getting the monitor set up properly at this point.
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Hi Andrew and all,
When you refer to the "backlight intensity"..are you suggesting making a move on the display's onboard manual adjustment? the buttons?
No. You change the target brightness level in the Spectraview settings and re-run the calibration process until the brightness of the screen matches the prints in your viewing conditions.
The brightness in the preset settings you picked is incorrect for you. You need to use custom settings for your setup.
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No. You change the target brightness level in the Spectraview settings and re-run the calibration process until the brightness of the screen matches the prints in your viewing conditions.
And/or the print viewing conditions (assuming the illuminant can be raised and lowered without affecting color temp).