| Bob
DiNatale: Notes on Monitor Calibration |
Description:
This
5
page PDF document has extractions about the Monitor/Printing
environment from Datacolor's Spyder3Elite manual. I have combined
concepts from "The 3-Light Printing Environment" and yellow
highlighted what I felt was pertinent. After reading this document,
I hope you will have a better understanding of the "how's
and why's of monitor settings and its viewing environment. Below
are some of the topic covered in this document.
 Click
here to read and download
the entire document.
|
Lighting
Conditions For Monitors
The lighting conditions in the room where you are viewing the
monitor should be stable and repeatable. If the light changes
while you are viewing the monitor this can affect your color
perception. Calibrating in one lighting condition and then viewing
in a different lighting condition should also be avoided. Light
should not fall directly...
Select Gamma
Gamma 2.2 is the most common choice for tone response because
most displays perform naturally near that value and many of
the commonly used color spaces are defined with that value...
Select White Point
MONITORS - 6500K is the most common choice for White Point because
it closely approximates the color of noontime daylight. Many
of the commonly used color spaces are defined with this value.
Some photographers prefer a somewhat warmer white to match their
prints under their ambient lighting, such as 5800k...
Effect of Ambient Production Light
(APL)
Please keep in mind that ambient production lighting (the background
lighting in your room) affects your ability to perceive blacks.
For serious color work it is recommended that you work in very
subdued lighting for CRT displays, and subdued lighting for
LCD displays. Loosening half or more of the bulbs...
Surround
Another area worthy of attention is the monitor Surround. This
is the area of the room that your eyes see in their peripheral
view while you are looking at the monitor. The Surround should
be smooth, neutral in color and dimly lit. If the Surround is
brightly colored or brightly lit, this will influence your perception
of color and tone on the monitor. Viewing the same image with
a different Surround...
Luminance and White Point
Each ambient light level has a recommended White Luminance that
is based on keeping monitor brightness high enough for good
perception of the full display range, and avoiding White Point
adaptation by the eye to whites...
Each ambient light level has a recommended White Point that
is based on the eye’s differential response to color with increasing
luminance. In darker conditions, the Rods in the eye play a
larger part in vision. The blue cast the...
White Point
This is a measure of how close the calibrated White Point is
to the desired or target White Point value. A Delta E of less
than 3 is good. Less than 2 is quite good. Less than 1 is excellent
but not often achieved in practice.
Out of Gamut Colors: (Monitor Colors
Not Reproduced on Prints)
Highly saturated photographic colors can be challenging to display
on many devices. Typical desktop monitors will fail to reach
many saturated reds, oranges, yellows, and light greens image.
Even AdobeRGB gamut monitors can’t reach some of the most saturated
yellows and light greens. Prints on glossy/luster media may
reach all but the...
Evaluating Prints vs. Monitor
To evaluate prints matching monitor, you need to use the "proper"
"Print Viewing Light" (PVL). The PVL illuminating the print
should be close to the brightness and color temperature where
the print will be hung. Also, the PVL should have a CRI (color
rendition index) of 90+. Unless these conditions are met the
print and the monitor display will not match. The
recommended brightness value for your Print Viewing Light (PVL)
is 270 lux and a color temperature of 3500 Kelvin...
|
|
