Re: Monitor to monitors displaying the same image
Re: Monitor to monitors displaying the same image
- Subject: Re: Monitor to monitors displaying the same image
- From: "Farnau, Ryan" <email@hidden>
- Date: Mon, 16 Jul 2007 10:52:30 -0700
- Thread-topic: Monitor to monitors displaying the same image
Hello all, Long time observer, first time poster. I'm intrigued by this
display conversation and would like to take it a step further and get some
insight on workflow - specifically color representations between imaging
application and calibrated display profile(s).
We have over 85 Lacie displays throughout several labs in our Photography
Dept (for the purposes of this conversation the make and model of displays
is secondary issue). The majority of our displays are calibrated using the
Eye-One system to a gamma of 1.8 and a color temp of D65. (Note that the
majority of our output is to Epson inkjet (on a wide range of media using
custom profiles) or Fuji Crystal Archive (LightJet)).
Over the course of the past 2 semesters we've been transitioning from using
Adobe RGB 1998 as our default RGB color space in CS2/3 to ProPhoto RGB.
While I understand the relationship between OS (CM) and the Photoshop in
terms of the display calibration being a refined "context" by which multiple
color spaces may be rendered (as they are displayed within Photoshop)..My
question deals with the specific differences between Adobe RGB and ProPhoto
and how they are rendered - and if there is any advantage to "shaping"
display calibration to reflect the specific tendencies of the two spaces-
i.e. Adobe RGB 1998 - with a gamma of 2.2 and a white point of D65 - as
opposed to ProPhoto with 1.8 and D50...Should the display be calibrated to
reflect the gamma and white point? Is there any advantage?
I also understand that no display can reflect the gamut of ProPhoto- while
they are getting close to 95 plus % coverage of Adobe RGB 1998- but "true"
color reproduction is not my concern- as Andrew stated- the "dead on" idea
often expressed when the color management conversation comes up is far from
the truth...I tell my students all we are doing is MANAGING - not
controlling color. I'm more concerned with overall relationship to print- in
terms of density, color tendencies (of course taking into account issues of
inks, media, and color conversion)...the display "soft proof" others have
mentioned.
To follow the output line - taking into account the advances in ink
technology- I've come to the decision that a display gamma of 1.8 is
insufficient to represent the contrast range of, say the K3 ink set on
certain media. Prints are consistently darker than display "proof"- to go
(perhaps not) completely tangential - Who's got some ideas on black and
white inkjet work flow ...beyond building curves for particular media...
Epson's "advanced black and white" driver- When do we get to see OUR image
in the Color Management Tab of the driver (when Epson hires an army of
developers to keep up...had to take a little shot).
Thanks for your time.
Ryan Farnau
Photography Dept.
Academy of Art University
San Francisco, CA
On 7/13/07 4:03 AM, "email@hidden" <email@hidden>
wrote:
> Hi Soren,
>
> If difference between units is not huge, you can get approx. identical
> appearance, but not match; btw, how are out-of-gamut color processed depend on
> the gamut compression algorithm of profiling app.
> And if you want very close match between monitors, there is only one way -
> restrict better monitor according to worse one (the weakest link in the chain
> ... :)
> And good news: if not compared side by side, visual appearance difference
> between good and top monitors is not huge, IMHO is good enough for purposes
> you mentioned (send graphic layout to client).
>
> This problem has second point of view: many clients purchase one "top" monitor
> and few standard units. When monitors are profiled, client is disappointed
> with fact, that top monitor is better, than standard unit ... :)
>
> Best regards to all,
> (hope my english is at least understandable)
>
> Kamil Tresnak
> Prague
>
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