A combination of hardware and/or software can reduce the gamma to something closer to 1.0, i.e. Gamma correction is a way of compensating for this non-linear relationship between voltage and brightness. The gamma for these devices, therefore, is said to be 2.5. For almost all TVs and computer monitors, a change in voltage results in a change in brightness raised to the 2.5 power. This relationship is non-linear, meaning that a change in voltage does not translate into an equivalent change in brightness.
The computer translates the numerical values in the image file into voltage that is sent to the monitor. Gamma is the relationship between the numerical value of a pixel in an image file and the brightness of that pixel when viewed on screen. The two most important settings are gamma and color temperature, both of which are fairly difficult concepts to understand.
When you connect the colorimeter and run the calibration software, it will ask you to select some important settings. This is probably overkill for most artists. The International Organization for Standardization (ISO – publishes a set of guidelines called “Graphic Technology and Photography - Viewing Conditions” (ISO 3664:2009) for photographers, artists, and web developers and a stricter set of guidelines for photo imaging labs and prepress service bureaus called “Graphic Technology - Displays for Colour Proofing - Characteristics and Viewing Conditions” (ISO 12646:2008).
Some photo studios and prepress services go so far as to paint their walls and furniture a neutral 50% gray and use only daylight-balanced D50 fluorescent lights. Some calibration systems have ambient light sensors to compensate for this, but they’re not perfect. Don’t have strong lights shining directly on the screen, as this will affect the apparent brightness of the display and can introduce a color cast. It’s not necessary to work in the dark, but the monitor should be the strongest light source in your work area. Next, make sure you are using your monitor under moderate ambient lighting conditions. This was more of a concern with old CRT monitors, but applies to flat panel LCDs as well. So be sure to turn the monitor on at least 30 minutes before calibrating so it warms up to normal operating temperature. For example, a monitor’s display can change as it warms up. You don’t want to calibrate under one set of conditions and use the monitor under different conditions. As I’ll discuss below, these decisions depends on whether you are creating art primarily for print, on-screen display (web, gaming), or broadcast (TV/film).Ĭalibration should be done under the same conditions that you normally use the monitor. Second, you must make some critical decisions about how you want the monitor to display color. First of all, you need to control some aspects of the monitor’s environment to ensure proper calibration. In practice, however, calibration is a little bit trickier. If there are discrepancies, the software can adjust the monitor to improve color accuracy. The colorimeter measures these swatches to see if the color displayed on screen matches what the color is supposed to look like.
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The calibration software then displays a series of color swatches on screen. You hang a measuring device (colorimeter) in front of your monitor. The basics of monitor calibration are pretty simple. Most experts recommend doing it every few weeks to every few months. All monitors change over time, so calibration must be done on a regular basis. Even a high quality monitor may not display colors accurately, especially as it ages. There’s really no way to know unless you generate an expensive prepress proof (e.g., a Kodak Approval, Fuji FinalProof, Creo Veris) and compare it to the on-screen image. If you have never calibrated your monitor, it’s almost certainly out of whack. Assuming your client uses calibrated printing equipment, there should be a nearly perfect match between the image you see on screen and the final printed piece. Proper calibration guarantees that the image shown on screen matches the numerical color data saved in the digital file. In my previous guest post, I encouraged all digital artists to invest in a monitor calibration system. This next post walks us through the process and explains the mysterious settings known as gamma and white point. His first post detailed why it's a good idea to calibrate your computer monitor regularly. This is the second installment of a 2-part guest post by Jim Perkins, a professor at the Rochester Institute of Technology's medical illustration program.
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