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Eye One Display 2 - essential item for colour managementHow should I go about
Colour Management

Introduction to some aspects of Colour Management

We often get calls from people looking at getting into colour management and wondering how to start and what it really costs.

Keith discusses some different aspects of colour management that may be of interest...

There are lots of extra resources on this site which we've collected together at the end of the article.
  • "The prints look just like the pictures on the screen..." -- a slightly surprised photographer after Keith had calibrated his monitor for him the first time

Where do I start?

There are several misconceptions about colour management.

These include it being expensive and it being difficult to understand.

Hopefully, by the time you've had a look through this article you will have a better idea of why you should look at colour management as an essential part of producing better pictures.

There is really only one place to start - your monitor. If it doesn't actually display accurate colour, it's difficult to get prints right and even more so getting anyone else to produce them accurately.

At it's simplest you should adjust your monitor by eye to get good brightness and contrast.

There are various software tools that can help you in this (see the Viewing Tips for more)

Good as these tools are, they all rely on your own eyesight, which might not be as accurate as you think.

There is a wide variety of hardware now available that will automate the process. You install the software, plug in the calibrator (USB) and follow the instructions.

Spyder colour managementThe Spyder4Elite calibrator from Datacolor. The device rests against your screen whilst colours are measured

There is much more about this in the reviews of the -- Spyder4Express -- Eye One Display Pro -- Pantone Huey Pro -- ColorMunki Display -- ColorMunki (we've still got all our reviews of older kit as well)

There is one area that is often overlooked by people after they have calibrated their monitor -- to do it again later. Monitors drift in colour as they age and regular checks are worthwhile (some organisations where colour accuracy is vital, do it every day).

So, does calibrating your monitor give you better prints? It certainly helps, but there are lots of other factors to consider.

I've written a short article -Why don't my prints match my screen?- that covers the issues.

It is also important that the software you are using supports colour management. If you are not sure, open the same image in several different applications at the same time and see if you can see a difference. Applications like Photoshop will manage colour correctly, while the free imaging application you got with your digital camera or scanner may not.

As colour management becomes more widely known, look for reviews and articles in popular Photography and Computer Magazines. -BUT- don't assume that they always know what they are talking about...

I was once sent a copy of a review of monitor calibration in MacWorld UK, where the reviewer mentioned comparing profiled monitors to a 'reference' print -- printed on an unprofiled inkjet printer. Talk about missing the point ...fortunately the review was only available to subscribers, so a wider audience was spared.

The basics

Color Management bookI often get asked for suggestions about learning more about the nuts and bolts of Colour Management.

My usual suggestion is Bruce Fraser's Real World Colour Management. My own copy is well thumbed. It's my first port of call if I'm asked a question and I feel I don't quite understand an issue well enough to be absolutely sure of an answer.

Check latest price/availability from Amazon.com or Amazon.co.uk

RWCM 1st Edition RWCM
RWCM 2nd Edition RWCM

Other Amazon sites
Amazon France / Amazon Germany / Amazon Canada

See some other books Keith has on the shelf, on our Books Page

We've links to some articles and books at the end of this article, but since a lot of people ask for the really quick version of what it is all about, I've put a very short description of colour management on a page of its own.

What about printing?

Now the picture on your screen is a bit more reliable, you may find that those colour casts and defects in prints are much improved.

If you are using manufacturers inks and paper, then the printer profiles supplied are often very good.

If printing from an application like Photoshop then the suggested way is to use 'no colour adjustment' in the printer driver and use the appropriate printer profile in the Photoshop 'Print with Preview' window (site with good tutorials about this).

Several professional photographers we have helped out, have commented that just by calibrating their monitors and using manufacturers profiles, their consistency and quality of work has improved noticeably.

3rd Party printing

If you are going to send your images to a third party for printing, then it helps if you can send consistent data. Using standard colour spaces (such as Adobe98 or sRGB) you can be more sure of what you are sending. If your contact at the lab is not able to answer basic questions about their colour management policy and preferred formats, then maybe consistent results are unlikely? I've reviewed a set of test images that you can use if sending pictures off for printing, and we've a page with many free test print resources.

Other Papers and Inks

Manufacturers inks and papers may be more expensive, but until third party ink manufacturers offer printer profiles for various printer/paper/ink combinations you are just going to have to experiment. There is also the question of how long your choice of ink/paper is going to last.

Unless replacement inks were actually made by the same company as produces the printer manufacturers inks, then treat any claims that they are 'the same as originals' with suitable scepticism.

Of course you can produce your own printer/ink/paper profiles.

When testing a new paper I like to make a good range of test prints

test prints drying

This sounds expensive

Well it can be... The equipment to produce top quality profiles - and the expertise to do it - does not come cheap. If you are just going to be using a few paper types then consider getting custom profiles made. You print a standard pattern, send it off, and a profile gets mailed back to you.

The complexity and expense of this process varies, but it is pretty straightforward. You might wish to experiment with doing profiles yourself (see Keith's review of the Spyder3Print and review of printer profiling with the Eye One) but be prepared for plenty of experimenting. There are several reviews of colour management devices in our reviews section, including a colour management check-up kit which can help you with getting more accurate colour.

At Northlight we produce most of our prints on a large format Canon iPF8300 printer. The Canon supplied profiles are good, but could be improved upon - especially for Black and White.

Our own printer profiling for the iPF8300 uses the X-Rite i1Profiler package.

If some of these solutions sound too expensive, then consider the real costs of getting it wrong. Factor in the time and resources lost in not getting things right first time.

Where next

Keith Cooper and two of his printsThanks to everyone who has ever purchased something via our links.
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Take time to learn the principles behind colour management, it's well worth it. The better you understand what is going on, the easier it is to spot something that is not right, and fix it.

Remember that the end result is what counts -- for me that's excellent prints and satisfied clients.

I've put references to well written and informative articles on the web in our colour management links section. These are ones I've personally found useful.

One particular article I've found that has helped a lot of people is the latest Photoshop CS2 colour management chapter from Martin's Evenings excellent book http://www.photoshopforphotographers.com /pscs2/download/ PSCS2_colmanage.pdf -- useful even if you are not using CS2

Keith provides colour management advice and presentations to many companies and business organisations, helping people take their first steps in the subject.

Feel free to contact us for more info. Don't be intimidated by some of the experts, just ask...

Contact details :

Northlight Images, 86 Harrow Road
Leicester, Leicestershire, UK. LE3 0JW (Maps)
Telephone (Mon-Fri. 9am-5pm) +44 (0)116 291 9092

Email us via the Contact Form Email Us

Colour management information on this site

General Colour Management

Equipment and software reviews

X-Rite (ex GretagMacbeth)

June 2012 - X-Rite are shipping updated i1Pro 2 with i1Profiler 1.3
Reviews: i1Pro 2 Basic - i1Pro 2 Photo

April 2010 X-Rite ship V1.0 of i1 Profiler - Full i1 Profiler reviews and information

May 2010 X-Rite annouce new profiling software for Q4 2010 - i1 Match and ProfileMaker Pro will be superseded by i1Profiler later in 2010. We have some notes and press info in the X-rite information section of the Northlight blog. For purchases after April 1st 2010 here will be free upgrades, along with other offers when the software is available.

Sept. 2008 X-Rite and the i1 range

From Sept. the range is simplified to two options. The functionality is the same as we have reviewed, but exactly what you get varies. As a result of this rationalisation, the i1Photo, i1Photo SG, i1Proof and i1XT have all been discontinued, and the i1 range now consists of:

With the i1XTreme you can calibrate and profile:

*Requires Digital ColorChecker SG Chart - available separately.

Datacolor (aka ColorVision)

Pantone

Others

You can search all the many hundreds of articles and reviews on the site for more information

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