Many of our readers have been asking us to write detailed howto articles on printing, a topic we have certainly neglected over the years. Getting our work seen is very important for us photographers, because that’s why we shoot in the first place. While posting images to Facebook and Instagram is something many of us love doing, images often look completely different in print when compared to how electronic devices display them. And I am not just talking about differences in color reproduction, accuracy and perception (which are obviously important), but about other important factors that influence them such as print brightness, contrast, sharpness, reflection, glare, paper type, print material, size and much more.
In the past, hardware calibration feature was limited to premium wide-gamut models from companies like NEC or Eizo. Those models offer wide gamut, great uniformity and advanced calibration features…but at a fairly high price. Affordable wide gamut solutions with hardware calibration started in 2013 with Dell and after that other companies like LG, BenQ and Samsung begun to offer “similar” products with more or less success. It is important to point out that LG and Samsung wide gamut models cannot be properly calibrated internally with the i1Display Pro colorimeter using their software and the same applies to some BenQ models like SW2700PT and its Palette Master Elements software. The main issue with those models is that they bundle an outdated X-Rite SDK (Software Development Kit) in their software without GB-LED support, which is the current main* (see the footnote at the end of the article below) LED wide gamut backlight technology. Hence, their software won’t get accurate readings, which in turn leads to inaccurate calibration. The BenQ PG2401PT and its Palette Master software, on the other hand, come with proper GB-LED support.
Two recurring questions that we often see from photographers are: “I have color management properly set up on my computer; why is it that the color is different between an out-of-camera JPEG and, say, Lightroom (substitute with your favorite 3rd-party converter)?” and “Why is it that the particular color on a photo is different from the actual color?”. In this article, we will go over why color from images is reproduced differently on camera LCD screens and monitors, and the steps you can take to achieve more accurate colors.
The subject of monitor calibration and profiling can be quite difficult to understand not only for a beginner, but also for professionals working in the field. With so many different hardware and software components, color profiles, bit depth and other related terminologies, one can get quickly confused and lost, potentially ending up with a rather poor working environment. Having a badly-calibrated monitor is not only counter-productive, it is also potentially harmful for one’s business, especially when dealing with paying customers and clients. Due to the complexity of the topic, our team at Photography Life requested help from a real expert, who will be providing detailed information on how to properly calibrate monitors for photography needs. But first, some basic concepts need to be understood. This particular article is just an introduction to cover the basics of calibration and profiling, without going into too many technical details.
Just like Romanas, I love my Microsoft Surface Pro 3 (in fact, I was the one who convinced Romanas to get one after my experience with the Surface Pro 2 and eventually 3rd generation). Although Romanas has already put a lot of great information in his excellent in-depth review, there is one big reason why I personally strongly prefer the Surface Pro over a laptop – I can work with it on my lap and it does not make me uncomfortable, as it does not generate any heat. But despite all the good things about the Surface Pro 3, there is one issue that can be particularly problematic for photographers: to extend battery life, Microsoft actually modified Intel’s graphics card drivers and reduced the number of colors that can be displayed by the device. For most people this might not be a problem, but for us photo geeks, this “hack” is actually quite a big issue, as it introduces banding / posterization to images. It also makes it hard to distinguish between some shades of colors, which is rather sad, since the high resolution screen is the number one selling point of this device (turns out Apple employs a similar trick on its MacBook Air machines). Another inquiry we have received from our readers is on calibration – is it possible to calibrate the Surface Pro 3 screen? In this article, I will provide detailed information on how to fix the banding issue and provide detailed instructions on how to properly calibrate the Surface Pro 3 screen.
In the past we have been using a self-sealing cutting mat, Olfa knife, and a steel edge safety ruler to do all of our custom trimming of posters and prints. Fortunately the vast majority of our work has not required any custom trimming since we design all of our standard posters around 17” (43.18 cm) roll paper, and posters come off our printer trimmed to size and ready to ship.
After we published our article on 10 bit per channel workflow, our readers requested to provide information on how to calibrate monitors with a built-in Look-Up Table (LUT). Specifically, a number of our readers asked to provide a detailed guide on how to properly calibrate the Dell U2413, U2713H and U3014 monitors, which we have recommended a number of times before due to their affordable price, attractive features and superb color reproduction for photography needs. Historically, true 10-bit and higher monitors with hardware LUT capabilities were extremely expensive, making them only attractive to those with large budgets. With the introduction of sub-$500 monitors featuring professional-grade IPS panels (read our article on best monitors for photography to understand IPS terminology), those with tighter budgets are now seriously considering such monitors for photography work. Unfortunately, many end up even more confused after acquiring such tools due to questions related to proper monitor calibration.
For many photographers there comes a time when investments in equipment (other than buying cameras, lenses, and lighting) becomes necessary for the growth and profitability of their business. Depending on the nature and volume of their work purchasing equipment such as large format printers, laminators and trimmers can make economic sense. As the following photos indicate, printers are mechanical beasts and when buying one we need to plan ahead for the inevitable repairs. We don’t usually think of this type of issue up front when buying camera bodies or lenses, but it is an important one for large format printers.
Many photographers have been buying expensive wide gamut monitors in order to take a full advantage of their ability to display over a billion of colors. What many do not realize, is that their actual workflow is most likely limited to just 16.7 million colors due to software and hardware limitations. How does one achieve a true 10 bit per channel, or 30 bit workflow? What are the advantages and is it worth the effort? To answer these questions, I decided to dig into the 30 bit photography workflow in detail and explain its advantages, disadvantages and also discuss its future.
Photographic photo papers are designed to produce a high quality image in an effort to best reproduce the photographed object. How good or bad the paper is at meeting this objective will depend on the type of printer, type of ink and of course the subject of this guide; the type of photo paper. In this guide we will explain the various considerations to take into account when evaluating your options.