PDV-3e desktop viewing stand - review

If you want a consistent approach to evaluating your prints, and for soft proofing to really work well, then at some point you really do have to consider a proper viewing stand or cabinet.

Our 'home made' one finally started to show its age, so we decided to look at getting a good reliable commercial model.

In this review, Keith has a look at the PDV-3e/D kindly supplied by the UK office of GTI.

Print Viewing

The review also contains information about print viewing in general that should be of use, even if a full size stand is beyond your means.

What do you get?

GTI supply a range of print (and transparency) viewing options that range from basic desktop stands to complex viewing stands for use in printers and design studios.

The stand I'm looking at here is one of their 'PDV' Portable Desktop Viewers, which come in a variety of sizes and options. [PDV info from manufacturer]

Model	Viewing Areas
	Reflection	Transparency	Optional Sidewalls
PDV-1e	11.7" x 16.3 " (30 cm x 41 cm)		SW-PDV-1e
PDV-2e, PDV-2ex PDV-2e/D, PDV-2e/Dx	13" x 19.3" (33 cm x 49 cm)		SW-PDV-2e
PDV-2eTR, PDV-2eTR/D	13" x 19.3" (33 cm x 49 cm)	8" x 10 " (20 cm x 25 cm)	SW-PDV-2e
PDV-3e, PDV-3ex PDV-3e/D, PDV-3e/Dx	16.5" x 25.3 " (42 cm x 64 cm)		SW-PDV-3e
PDV-3eTR, PDV-3eTR/D	16.5" x 25.3 " (42 cm x 64 cm)	8" x 12 " (20 cm x 30 cm)	SW-PDV-3e
PDV-2020e, PDV-2020ex, PDV-2020e/D, PDV-2020e/Dx	23.5" x 25.3 " (60 cm x 64 cm)		SW-PDV-2020e

I picked the PDV-3e, since we often produce prints at A2 size (no transparencies though)

The next question to decide is whether you need the dimmable version.

Fluorescent tubes like the ones used here, are not easy to adjust in brightness, and require relatively complex circuitry to give consistent results.

The main reason for dimming the light levels is to match the brightness of your monitor when checking soft proofing. I'll show some examples of this later, but once you get the hang of using it, it can help considerably in producing consistently better prints.

The units are dimmed with a simple rotary control.

Just in case you were wondering, the units are not orange in colour, I've just white balanced the pictures to the light inside the stand. That orange comes from a normal domestic 100W lightbulb in the room. Our eyes adapt very quickly to different lighting colour temperatures - cameras not so easily.

I've also gone for the (detachable) side panels, which are optional, but help shield the viewing area from extraneous light.

The devices themselves are mostly built of aluminium and hinged so they can fold up for transportation or storage. One useful feature was the extra long power lead that came with mine.

If you look at the top of the viewing area, you can see a reflective strip.

This has a print holding mechanism, where small rollers in a slot hold prints in place at the top of the viewing area.

Unfortunately this often leaves marks along the edges of prints, particularly papers with more delicate surfaces.

There is a slight gap between this strip and the back surface, which I found would grip prints if they were slid up into it.

The tubes are in the top of the unit, so you should be careful to look slightly downwards on prints, so as not to directly have the tubes in view.

The devices are designed to match to the D50 ISO 3664:2000 viewing standard. This covers factors such as the spectral quality of the light, the evenness and levels of illumination. The unit should be switched on at least 15 minutes for very critical work, since colour temperature can be off by a bit as the tubes warm up.

There is a PDF from GTI which has more details on what the ISO standard stipulates.

Those two fluorescent tubes (Graphiclite 100) at the top are what govern the quality of the light and how well it matches the D50 standard.

It's important to note that D50 is a 'made up' theoretical light source - there is no such thing as a 'real' D50 lamp.

The spectral plot at the right (from GTI), represents the output spectrum of the lamps, compared to the D50 standard ( 'A' black line).

You'll notice that there are a few sharp spikes in the output, but there is a fairly broad spectrum, with no obvious missing bits.

Comparing the spectrum to another '5000K' fluorescent tube (lower graph) shows the relative spikiness of the spectrum.

You may see the CRI (Colour Rendition Index) of tubes mentioned as a measure of how good they are. This can be misleading since a tube could have a slightly higher CRI number, but possibly be worse for proofing and print evaluation.

CRI is a measure of the degree of colour shift objects undergo when illuminated by a light source, as compared with the colour of those same objects when illuminated by a reference illuminant of comparable (within 100K) colour temperature.

Based on a scale of 0 to 100, a rating of 90 or higher is required for critical colour evaluation applications. [GTI technote on CRI - PDF]

If you were planning to make your own viewing stand - I'd suggest that spending the extra on some good quality lamps is a very good idea. Our old one just smelt of hot wood once too often and it would take some explaining if it burnt the place down :-)

GTI sell the lamps directly and through distributors. If you use them for your own devices, then do remember that the quality of a viewing system relies on all its parts. The lamps are actually just over 5000K so that when combined in the viewing system, the net illumination is very close to 5000K.

Using the PDV-3e/D

OK, it's just a box with lights in it (as one visitor to the office noted), but there are a number of considerations in getting the best out of kit like this...

First of all, if it's on a desktop, you don't want that colour reflecting onto your prints.

The picture below shows a sheet of neutral grey photo backdrop cut to size, to cover the top of the desk the PDV-3e/D sits on.

The small photo at the top of the page is not my office - I don't work in a grey room and don't wear grey clothes. Some more colour critical applications may demand this, although I understand that setting up a completely grey colourless design studio is a sure-fire way to increase staff sickness rates.

Consider other room lighting as well. The picture below, shows an i1 iSis printer profiling target that I was recently testing for OBA (optical brightener) levels.

The main room light (tungsten) is on here and you can see the noticeably warmer area in the lower half of the viewing area.

This is easily visible in a photograph, but once pointed out, is quite noticeable to the eye.

In my office, the viewing stand is 5-6 feet away from my main monitor and at right angles to it. This means that I have to turn my head when looking from screen to print.

My monitor is set to a colour temperature of 6500K, whilst the viewing stand is at about 5000K (for D50).

Temperature	Common name	Overall colour tint
7500K (D75)	North Sky Daylight	Moderate to Deep Blue
6500K (D65)	Average Daylight	Moderate Blue
5000K (D50)	Equal Energy Daylight	White
4100K	Various fluorescent sources	Greenish
3000K	Warm fluorescent sources	Orangish
2865K	Illuminant A	Yellowish Red
2700K	Tungsten A	Red/Yellow

In the examples below I've deliberately put the stand next to my 15" Mac PowerBook - they are on a brown wooden table too, but we'll let that go for this test (but look carefully at the following images and see if you can notice its effect).

I've dimmed the viewer to match the brightness of my laptop screen showing a white display (an empty folder opened up is a quick way of getting this).

There is a plain white box of print paper in the viewer.

Notice how the laptop looks neutral and the paper rather warm?

Move your mouse over the image to see the image white balanced for the paper.

One version of the image is set for ~5000K and the other ~6500K (original photo was shot in RAW format and then converted twice with different white balance settings).

It looks quite noticeable here, but in the fraction of a second it takes to move from one to another (in the set-up in my office) your eye will fully compensate for the shift in colour temperature.

You may see people suggest setting your monitor to 5000K for evaluation like this, but unless you are doing very specific print proofing, most people find a monitor set to 5000K far too dark and drab looking.

Modern LCD displays also work a lot more efficiently when set for the higher 6500K.

Do remember too that D50 is an exact specified 'Standard illuminant', which is what the viewer aims to provide. There are actually a range of colours (ranging from greenish to magenta tinges) that all have a corrected colour temperature (CCT) of 5000K. A D50 source will have a CCT of 5000K, but a lamp with a CCT of 5000K will not automatically be close to D50.

In the image below, I've set the viewer to the same brightness as the laptop and white balanced the picture here to the white of the paper.

The more pronounced blues in the screen come from the higher display colour temperature and in this side by side comparison, it's quite easy to see.

Looking at one image at a time makes this much less noticeable, and the match is much better.

I'm using Photoshop for my image editing. You can address these differences to some extent by setting up softproofing and looking at the image with 'Paper White' selected.

There are a number of other things you should be aware of when first trying out this stuff...

Look at the screen below. There are white interface elements visible - these will often show parts in 'pure white' i.e. whatever your display is calibrated too. If you are simulating 'paper white' then you should hide these, since they will cause the whites of your image to not look fully white.

The accuracy of the image displayed is dependent on the capabilities of your monitor. I've just calibrated the one here with the Spyder 3 Elite you can see sitting next to the laptop.

The gamut (range of colours) that the screen can display may be somewhat less for some colours, than your printer can manage.

In this instance, the laptop display has difficulties with some of the strong leaf colours. I'd always try to avoid any serious editing on a laptop using its own display.

If you are soft proofing, then the accuracy also depends on the quality of your printer profiles.

Using a proper viewer to evaluate aspects of a profile is in fact one of the few times where I might consider editing or rebuilding a profile, so as to improve soft proofing accuracy.

I had heard that it can be difficult to match lighting levels between a white bit of screen and white paper. I took the approach that the spot meter in my Canon 1Ds3 is pretty good, so just pointed it at the screen and got a reading. I then pointed it at the middle of a sheet of paper and adjusted the viewer to get the same reading - just a few seconds work.

Conclusions

The PDV-3e print viewer is superficially a simple device, this belies a lot of the design work that has gone into making sure it meets standards such as the ISO 3664:2000 viewing specifications.

I'd suggest that unless you are producing specific accurate proofs and working to exacting standards, the actual details of ISO 3664:2000 are probably not that important to you (it's more aimed at manufacturers of viewing devices than end users).

This particular review is written from the point of a fine art print maker wanting to adopt a more consistent and efficient workflow. If you are regularly producing proofs for clients, I'm wondering why you don't already have something like the PDV-3e?

At Northlight we also provide basic colour management training and advice to a lot of companies. Inconsistent colour reproduction is a problem that recurs again and again. In a business, colour management contributes to the bottom line by helping you get it right first time more often.

The standard (non-dimmable) version allows you to critically examine prints for imperfections and overall print quality.

It works very well in this respect, although do take note of the need to ensure that the surrounding environment is appropriate for critical print viewing. Having an open window behind the stand, or a desk lamp lighting up half of the viewing area just wastes much of the effort and expense you've gone to.

The print holding mechanism at the top of the viewer still has a tendency to leave marks on more delicate papers. The examples in this review were photographed before we found that there was an alternative way of holding papers under the bar. Since the unit is built from aluminium, you can't use magnets to hold prints in place.

I'm going to assume that you are pretty serious about your print quality if you are going to the expense of purchasing a viewer, as such, we decided that the extra for the dimming option would be well worth while.

Soft proofing takes some getting used to. Many people are quite horrified to see the effects of turning it on in Photoshop. What looks a great image is all of a sudden washed out and dull.

You may want to try different options of 'paper white' and 'simulate black ink' to get an idea of what different aspects of your print will look like.

Let's consider a print like this sunset one at Rutland Water in the UK.

The image here is the actual print file, converted to sRGB and resized to 400 pixels wide for web use.

Compare it to the photograph of the print in the viewer above. It's the same file that is being displayed on the laptop.

I've produced the image from a Canon 1Ds Mk3 RAW file and converted it (with DxO Optics Pro) to a 16 bit RGB file in the large ProPhoto colour space.

One of my reasons for picking this larger space is that this image has a large dynamic range and I want to avoid clipping channels where possible. From a colour gamut point of view, the image fits into the Adobe98 colour space, so there may not be much to be gained. I'm not wanting to get into colour space arguments here, since different ones have different benefits and disadvantages (and fan clubs ;-)

After some editing, I've looked at it in soft proof mode in Photoshop and made a few more tweaks.

Next, I've sharpened the image (using Nik Sharpener Pro 3), checked the proofing again and printed it on our Epson 7880 A2 printer.

I've printed it on to a lustre finish paper (Pinnacle oyster/lustre) using a profile built in-house.

It so happens that I'm quite familiar with this particular paper and have a fairly good feel for what a print will look like compared to a screen view.

However, I'm of the opinion that I don't print enough with this paper to have much more than a 'fairly good feel' for it. By comparing the actual print with the Photoshop Soft Proof, I can see how accurate the soft proofing is - it also helps tell me if there is something wrong with my profile.

It so happened that the first image I tested the soft proofing with was the Datacolor Test Image we have on this site.

This is a 'known good image' and with a good profile, should look very similar in Soft Proof mode on screen to the printed version. I spent some time working out what differences there were between different proofing modes and how the physical print looked in the viewer. It's this experience that helps make soft proofing genuinely useful as part of the print process.

The more confident I am that the soft proof represents the real print, the more I can rely on it before making my first print version of an image. If I couldn't trust that the soft proof looked like the print, then it wouldn't help me that much.

We produce high quality prints as part of our business - going for a well characterised device like the PDV-3e gives us greater confidence in the quality of our final prints. The dimmable option also makes matching prints to what we see on the screen a whole lot easier and more consistent.

A more consistent print workflow raises our quality levels, reduces time spent on hit and miss adjustments and lessens waste in our print making.

Note for photographers on a tight budget - If you check the GTI web sites, there are sometimes ex display 'clearance models' available [UK , US] Worth giving them a call to see what's available ;-)

Summary

The PDV-3e/D dimmable print viewing stand allows for critical evaluation of print quality and when matched to the brightness of a screen, can improve the effectiveness of soft proofing.

The PDV-3e/D is part of a range of D50 viewing solutions made by GTI. These are sold via numerous distributors worldwide.

Current list prices (UK excl. VAT).

PDV-3e Folding Desk Viewer  42 x 64cm	£385.00
PDV-3e/D Folding Desk Viewer with Dimming	£610.00
SW/PDV-3 Side Walls	£ 60.00

More Info

GTI Tech. notes - useful FAQs and articles from GTI.
Wikipedia article about Colour Temperature.
Spectral Calculator - see the spectrum of various illuminants
CRI - measurements
Introduction to softproofing - Bruce Fraser.
Photoshop Soft Proofing - Ian Lyons.

Colour management information on this site

General Colour Management

Adobe utility for printing profiling targets (CS5) with no colour management.
CMYK for photographers (1)
Some considerations when a client asks for images to be submitted in CMYK
CMYK for photographers (2) - Press management
An overview of colour management for when your work is destined for large scale printing.
Why don't my prints match my screen?
A short article showing why there is more to getting your prints to match your screen, than just calibrating your monitor. It's the vital first step, but you do need to consider some other factors for best results.
Why are my prints too dark?
One of the more common printing problems we get asked about. Addresses some of the steps you can take to produce more consistent prints.
Dark prints revisited - If you're having problems adjusting your monitor, Keith has some details of an experimental approach, using adjustment curve layers that may be of some help.
Choosing a working space
There are a number of popular choices for working colour space when editing images. Keith shows examples and discusses his personal choices for different applications. One size definitely does not fit all.
Room and office decoration and lighting for photo editing
Some information on what to consider when setting up a space to work on digital images and evaluate prints.
The very simple guide to 'what is colour mangement'.
Is the red in RGB the same as a London bus, or a UK Telephone box? A very short explanation of what colour management is, and why you use it.
Colour management introduction
Beware the colour management Tar Pit
Know what levels of colour management (and expense ;-) suit the needs of your work... A personal view from Keith covering some of the things it is good for, but also why you should be careful to understand why you are doing it in the first place.
Printer test images
Media settings and profiling for third party inks
Keith recently converted an Epson Stylus COLOR 1160 to third party inks. In describing the profiling of a this set-up with a third party glossy paper, he shows how that often neglected aspect of profiling -driver media settings- can make all the difference between a so-so print and one that he would be happy to send out as a sample to his commercial clients. Test images for media selection.
Adjusting your monitor 'by eye'
Not the best way, but better than nothing at all
Colour management and the web - why getting good colour on web sites is not as easy as you thought
Removing Adobe Gamma - Adobe Gamma is often installed by default on Windows PCs, this short note describes how to deactivate it.
Dual monitor profiling under Windows XP SP2 - A brief note on profiling and calibrating dual monitor systems under Windows XP SP2.
Camera Profiling for ACR with the DNG Profile Editor
Using a ColorChecker card, we've created custom camera profiles for the Ricoh GX200. Used for processing RAW camera files with Adobe Camera Raw. Applicable to any camera producing RAW files that can be opened in ACR.
Using the ColorMunki for black and white with QTR
A special version of our black and white test print for reading linearisation data for QTR
Using QTR and PrintFIX PRO for better black and white prints
By using the PrintFIX PRO to take readings from a greyscale test target, you can create luminance only icc profiles that can give a noticeable improvement to black and white print set-ups. It can even be used to improve the results from the likes of Epson's new 'advanced black and white' print settings.
Colour Management
Links to articles and sites we've found useful.
(Please do let us know if you find something useful that we've missed)

Equipment and software reviews

X-Rite (ex GretagMacbeth)

i1Profiler - scanner profiling review - The latest V1.4 update to i1Profiler adds scanner profiling, using a range of specialist targets for film and flat bed scanners. The review shows how the output of even a basic desktop scanner can be greatly improved.
ColorMunki Smile - Review of the basic level monitor profiler.
i1Photo Pro 2 - Review of the i1Pro 2 for printer profiling.
i1Basic Pro 2 - Review of the i1Pro 2 spectrophotometer kit.
Using i1Profiler to measure QTR linearising targets.
Using the i1Pro 2 for linearising B&W printing - Making use of ColorPort and QTR.
ColorMunki Display - Review of the monitor calibrator from X-Rite and an explanation of why monitor profiling is a good idea.
i1Display Pro - review of new monitor and projector calibration colorimeter.
i1 Profiler - overview and links to information and more detailed reviews of functionality.
i1 Profiler - Printer profiling (RGB)
i1 Profiler - Monitor calibration
ColorChecker Passport - test card for photography. Also allows DNG camera profiles to be built for the Adobe ACR raw converter
i1iSis OBA compensation - Optical brighteners can cause problems in profiling some papers. Article shows why, and reviews X-rite's approach to building corrected profiles for different lighting conditions with the iSis.
ColorMunki Printer profiling - A detailed review looking at the ColorMunki ICC printer profiling system from X-Rite. This expands on this particular aspect of our initial review of the ColorMunki. Covers making and optimising printer profiles, with notes on profile evaluation.
ColorMunki - an initial review of this printer/projector/monitor calibration/profiling device.
i1 Beamer - A software upgrade and hardware attachment device for using the X-rite i1 Pro spectrophotometer for digital projector profiling
i1 Display 2 - Monitor calibration and profiling device from GretagMacbeth - also allows ambient light measurement. (see also updated Pantone version)
i1 Match update - updated monitor calibration functionality
i1 LT (i1Basic) - review
Basic X-rite i1 spectrophotometer package for monitor calibration, light measurement and basic printer profiling.
i1 XTreme - review
Complete i1 profiling package, printers, cameras, projectors, scanners.
i1 Design
A Spectrophotometer and software for monitor calibration, light measurement and basic printer profiling.
Measuring ruler - update to measuring ruler for the i1 design.
i1 scanner profiling
Using the Eye One with a scan target to get better results form your film or flatbed scanner.
i1 Camera profiling with the SG colorchecker
i1 printer profiling
More advanced printer profiling with the Eye One.
i1 profile editing - The Eye One Match software from GretagMacbeth (now X-rite) now allows you to edit icc printer profiles. How easy is it to use, and what things should you consider before editing profiles.
The Eye-One iO automated scanning table - review - An automated solution to improving the quality and accuracy of target measurement for printer profiles when using the i1 (ex Eye One) spectrophotometer.
i1 iSis - advanced measuring device for printer profiling.
An automated whole chart reader for printer profiling test charts. A3 and A4 versions provide spectrophotometer readings for both UV and UV-Cut (filtered) measurements.

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:

The i1Basic - i1Pro measuring device with monitor profiling software
The new i1XTreme - professional monitor, RGB and CMYK printer, camera, scanner and projector profiling, plus profile editing

With the i1XTreme you can calibrate and profile:

Monitors - LCD, CRT and laptops
RGB output devices
CMYK output devices
Scanners
Digital projectors
Digital cameras*

Datacolor (aka ColorVision)

Spyder4TV HD - Review of Datacolor's Spyder based TV and home cinema calibration kit.
Spyder4Express - Review of basic monitor profiling and why you need it.
Spyder4Pro - Review of monitor profiling and calibration package (multiple monitor support)
Spyder4Elite - Full review of the (multiple) monitor and projector profiler from Datacolor.
SpyderCheckr - Colour test target for creating camera adjustment profiles for better colour reproduction.
Spyder3Elite V4.0 - Review of the improved and updated software for the Spyder 3 elite - Monitor and Projector calibration.
Spyder3express - review of Datacolor's basic calibration equipment and software
Spyder3Print SR - Full review of the latest printer profiling system from Datacolor. Updated spectrocolorimeter allows for strip and patch reading.
Spyder3Print - printer profiling package for creating icc printer profiles. Allows considerable optimisation of profile qualities, including black and white.
Spyder3Pro - monitor profiling with multiple monitor support and ambient light measurement.
Spyder3elite - review of the comprehensive monitor and projector profiling system with multiple monitor support and ambient light measurement.
Spyder2express - entry level monitor profiling system from ColorVision for Macs and PCs.
A review of the Spyder 2 pro monitor calibration system.
Projector profiling with the Spyder 2 Pro.
Spyder2PRO Ambient light measurement
The Spyder2PRO now allows you to measure your ambient room lighting conditions before deciding on monitor calibration settings.
PrintFIX PRO
A considerable upgrade to the PrintFIX. The new version uses a Spectrocolorimeter to let you create printer icc profiles (Not sold directly any more - you can ugrade the software for free to Spyder3 Print)
Updated PrintFIX PRO - better colour printing and B/W too...
PrintFIX PLUS The software only version of PrintFIX PRO that allows you to create icc profiles without your own patch reader.
The original PrintFIX review. Printer profiling system (not sold directly any more)

Pantone

Pantone Eye One Display LT - monitor profiling. The mid range monitor profiling solution in the trio from Pantone. The measuring device is an Eye One Display LT from GretagMacbeth, and uses the Eye One Match software.
Pantone Eye One Display 2 - monitor profiling. The measuring device is an Eye One Display 2 from GretagMacbeth, and uses the Eye One Match software. This review has additional information to that in our original GretagMacbeth Eye One Display 2 review, and compares features between the Display 2, Display LT and Huey.
Pantone Huey Pro - review
Dual monitor support and and improved set of options compared to the basic huey.
Pantone Huey - review
The Huey is a new and relatively inexpensive addition to the monitor profiling market. Keith looks at how it performs, including its novel capacity to modify your monitor setup in response to changing room lighting.

Others

Desktop Print Viewer - PDV-3e - A review of the GTI print viewer, showing why having a well defined print viewing solution helps with print evaluation and soft proofing. Good lighting is a key factor in print consistency and prints looking more like you see on your monitor.
GrafiLite
A review of the Ott Lite based print viewing lamp.
ColorEyes Display Pro
Monitor profiling software that works with a variety of measurement devices.
Kodak Professional Colour Management check up kit - review
Print Profiler - review
An i1 based print and monitor profiling system from Colour Confidence.
Print Profiler - update
An improved version of the Print Profiler package.

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