At What Illumination Level To Calibrate Monitor?

[Tom H.]

I have the Spyder 3 Elite and am calibrating an old IBM P260 CRT.

I have good colour correction, but not sure about what to shoot for in a brightnes level.

Have seen recommendations on this forum from 90-120 units.

I think right now I'm at 130.

This setting will effect the look of my prints just as much (if not more) than how I set the RGB guns in the monitor.

Is there a good standard setting, or do I tweak after doing test prints.

I tend to use the monitor in subdued light.

Appreciate any suggestions (other than time for a new monitor!).

[Jonathan Wienke]

The optimal monitor brightness is directly proportional to the ambient brightness of the room. There is no one-size-fits-all answer. Increasing room lighting makes prints look brighter and monitor look darker. Decreasing room lighting has the opposite effect. Some calibration software will recommend a monitor brightness level based on room lighting, but these recommendations are not always optimal.

If the overall brightness balance between monitor image (after calibration) and prints made with known good profiles is good, leave well enough alone.

If your prints are consistently darker than the monitor, increase room lighting or decrease monitor brightness.

If your prints are consistently brighter than the monitor, decrease room lighting or increase monitor brightness.

[Paul Sumi]

One thing to add to what Jonathan has written is to try to always view your prints under consistent lighting.  You'll drive yourself nuts if you, for example, view a print under dim lighting one time and really bright light the next.

Paul

[walter.sk]

One thing to add to what Jonathan has written is to try to always view your prints under consistent lighting.  You'll drive yourself nuts if you, for example, view a print under dim lighting one time and really bright light the next.

Paul

Agreed!  Using that idea leads to the next step, though.  First, make the room illumination constant (light-blocking window shades, no strong colors in your visual field while viewing the monitor, and low enough illumination to take advantage of the monitor's contrast range.  Second, move the print-viewing area out of your field of view when you look at the monitor.  Third, get some fixed illumination in your print viewing area, which could range from relatively inexpensive daylight balanced lamps such as Solex (Solux?), to a print-viewing station with adjustable light levels,  and shield the print-viewing area from receiving direct light from your room source.

Then adjust the print-viewing light so that your print resembles the softproof on the monitor.  With a print-viewing booth this is done by turning down the intensity while keeping the color temperature constant, but it can be done by raising or lowering the placement of lamps in relation to the print, as well.

You will be amazed at the difference this makes in being able to trust that your editing as seen on the monitor will not lead to unhappy and costly surprises when the print emerges.