I’ve had some good conversations lately with a number color scientists and gurus about colorimeters and display calibration. Several of them perform exhaustive lab tests on a variety of devices, checking for repeatability and the like. The consensus seems to be that while the long time favorite DTP94/Optix device continues to be a solid performer, it’s been found to have some weaknesses when it comes to calibrating some of the recent large gamut LCD/LED displays. As for other devices, the EyeOneDisplay continues to have quality control problems, spectrophotometers have issues with shadow detail when it comes to display calibration and the Huey is an inexpensive solution that demanding users shouldn’t take seriously.

Surprisingly to some, the new 7-sensor Spyder3 has excellent repeatability and it performs remarkably well in a variety of situations, especially with the latest large gamut displays and projectors. It looks like the Datacolor Spyder3 has trumped the Optix colorimeter as the best and most versatile colorimeter made today. Eizo and others are starting to bundle rebranded Spyder3s with their high end monitors.  My own testing has shown that the Spyder3 performs just as well as the trusted Optix and clearly better than the others. I like the fact that the Spyder doesn’t require dark calibration prior to each use and it comes with a nice holder complete with a tripod mount for projector calibration.

While the Spyder 1 and 2 were disappointing for demanding users, I’ve got to hand it to them for turning this product around and making it the best in the industry. Datacolor sells a basic “Spyder 3 Pro” package for $169 and a more advanced “Spyder 3 Elite” package for $249. The hardware is not only the best thing made but the software is really easy for anyone to use and the “elite” version of the software is surprisingly capable with advanced features like L* tonal response curve, black luminance control and ambient light integration.

Integrated Color sells a display calibration product called Color Eyes Display Pro that’s been a favorite among demanding professionals for several years.  Color Eyes Display Pro is now bundled with the Spyder3 device and I find it to render slightly superior shadow tonality and gradations.

For common monitor calibration, I am currently recommending the basic $169 “Spyder3 Pro” package to consumers and the new $299 Color Eyes Display Pro / Spyder3 bundle for demanding professionals.

Note: CRT users should put a black cloth over the monitor and Spyder when calibrating to eliminate ambient light contamination. Those using Eizo, NEC and Quato displays should stick with the supplied software to calibrate their displays. Eizo’s Color Navigator, NEC’s Spectraview, and Quato’s iColor Display have all become quite good and can have advantages over 3rd party solutions. Use the Spyder3 device with these applications when possible.

Contrary to popular myth, white balance should bet set using a white card instead of a gray card. It is, after all, a *white* balance that is being set, not exposure for middle gray. Software developers including Thomas Knoll have confirmed this with me. While the distinction between using a gray or white card may not be huge, I have found it to be somewhat significant in some situations. While using a gray card is better than nothing, I encourage photographers to replace their grey cards with white reference cards like the ColorChecker White Balance, ColorChecker Gray Scale, orginal ColorChecker, QPCard or WhiBal. Non-reference quality white objects, such as a white piece of paper should be avoided because optical brighteners can negatively effect the white balance process.

One hidden benefit to using a white card is that you can also use it to find the optimal exposure. While there are details and exceptions worth discussing, I’ll simplify here by encouraging users to use the lightest exposure that doesn’t blow out the white card as indicated either by a camera’s RGB histogram or it’s flashing, blown out highlight indicator.

Determining optimal exposure and white balance in-camera is a common training topic for my business, espicially for high volume JPEG shooters that seek optimal print results with zero color correction. Naturally, the same concepts apply for RAW format shooting as well. So switching to a white card and not only helps improve white balance accuracy but also helps photographers fine tune their exposures so as to minimize post processing.

G7 is a proof-to-print process developed by the IDEAlliance that uses spectrophotometry to calibrate presses by the numbers to specifications like SWOP, GRACoL or FOGRA. Previous press calibration methods relied upon basic densitometry, dot gain and visual analysis and could take days of press runs and tweaking (more…)

I have searched high and low for an excellent inkjet paper for offset press proofing. Most inkjet papers are designed for maximum gamut and black Dmax rendering. In comparison to what we typically see on press these papers have a much brighter white, a much larger color gamut and a higher, richer, darker DMax. What’s worse is that these papers don’t feel like offset stock and are typically too glossy or too matte. (more…)

A few months ago I added the “Onsight Media Selection Image” to the downloads page. This 5×7 color image is intended to be used by advanced users to determine a media’s optimal media selection prior to the profiling process. If you have a 3rd party paper and you aren’t quite sure which media selection to use in the printer driver, simply print this image without a profile several times with different media selections. When the prints come out (more…)

I am happy to announce the new personal work section that has 5 galleries of some of my recent fine art photographic work. I feel strongly about photographers being enabled to put their work online quickly and easily and this section was built in such a way that serves as an example of what can be done in very little time with little geekery. For those that are interested in knowing how this section was made, please read on. (more…)