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  Monitor
  Buying Guide
  How to CHoose tHe RigHt
  MonitoR foR Digital
  PHotogRaPHy.




     A colour-accurate, high-resolution monitor          to make more (and better) prints. Accurate             decisions on. They also offer a limited range
     can save you valuable time and money when           colour reproduction on your monitor will also          of adjustments.
     you edit digital photos. When you view an           make it quicker to produce versions of images             Like most cheaper stand-alone monitors,
     image on the screen, you should be able to          that will be shared on websites or displayed via       laptops use inexpensive twisted nematic (TN)
     see whether it requires colour or contrast          digital projectors or TV screens.                      displays that may offer fast response times
     corrections and then make these corrections            But achieving these goals demands a lot             for viewing video clips and games but suffer
     knowing they will be accurately reflected in        from the screen – and many monitors on sale            from inferior colour reproduction and narrow
     prints of that photograph.                          today simply aren’t up to the task.                    viewing angles. Colours often shift when viewed
        If these conditions are met, it will take less      Don’t expect a laptop monitor to provide            off-angle and most of these monitors can’t even
     time to adjust images for printing. You will        the resolution and colour gamut (range) you            display the 16.7 million colour tones that are
     also minimise paper and ink wastage when            need for image editing. No laptop LCD can              available from standard graphics cards.
     printing because you won’t need to re-print         present colours, tones and contrast levels                Even if a laptop is your computer of choice, you
     nearly as much – and this will give you time        accurately enough to base serious imaging              need a stand-alone monitor for image editing.




                                                            Monitor Buying Guide   n   www.photoreview.com.au                                                         1
Monitor Types
Three types of LCD panels are in common usage:
Twisted Neumatic (TN), Patterned Vertically Aligned
(PVA) and In-Plane Switching (IPS). TN panels are
the cheapest to manufacture and have the smallest
viewing angles (up to 160 degrees). Used mainly
for laptops and business administration, they are                                                                                           Widescreen monitors provide
unsuitable for image editing and graphics.                                                                                                  enough space to display editing
   PVA monitors have the darkest black levels. IPS                                                                                          tools without having them
monitors offer the widest viewing angles. Both these                                                                                        overlap onto the image.
features are advantageous for photo editing and
graphics applications. However, in each category
there are different performance levels. It is difficult to
see differences between a premium PVA panel and a
premium IPS panel.
   However, as long as you choose a premium panel,
the only way to get the best out of it is to pair it with    To choose the right monitor for your needs, consider     4. sRGB or Adobe RGB?
a capable ASIC (application specific information             the following questions:                                  Which colour space should you use? If your images
chip). Support for high bit depth (10-16-bit) colour                                                                  will only be displayed on standard monitors (web)
processing is essential to obtain the colour accuracy       1. How Large?                                             and TV sets, working in the sRGB colour space could
and uniformity needed for imaging applications. A PVA       The size of the monitor you choose will be dictated       be adequate. Portrait photographers may also find
panel with a powerful 16-bit ASIC a will display a          by two factors: your budget and the amount of space       working in the sRGB colour space preferable (as long
wider range of hues and tones more accurately than an       on your desktop. Monitor screens are measured             as their subjects aren’t wearing brightly-coloured
IPS monitor with a generic 8-bit ASIC.                      diagonally, and their size is usually expressed in        clothing). Skin tones are more in tune with the
                                                            inches. If your budget and desk space permits, a larger   subdued rendition of colours in this colour space.
                                                            screen will provide a large viewing area with plenty         However, the Adobe RGB (1998) colour space is
                                                            of room for toolbars and palettes when you’re using       the best option for landscape photographers because
                                                            editing software.                                         it provides a wider colour gamut, particularly in
                                                               Some photographers will keep their mainstream          greens and blues. For this reason it is also the best
                                                            display (or iMac) and run a smaller colour accurate       option for commercial printing and is the best way to
                                                            retouching monitor beside it in a dual display set-up.    ensure accurate colour reproduction across all digital
                                                            For those on a budget, this is an affordable way to       platforms (cameras, scanners, monitors and inkjet
                                                            achieve maximum screen real estate.                       and offset printers). Consequently, most commercial
                                                                                                                      photographers (landscape, wildlife, food) prefer the
                                                            2. Which Aspect Ratio?                                    Adobe RGB colour space.
                                                            Widescreen (16:9 or 16:10) displays are rapidly              There’s nothing to stop you from shooting in the
Twisted Neumatic (TN)                                       supplanting the standard 4:3 aspect ratio screen as       Adobe RGB space and editing your images on an
                                                            more photographers produce work for display on HD         sRGB monitor, although some hues (such as saturated
                                                            TV sets. They can also provide more space to display      blues and greens) may look slightly flat on screen.
                                                            the tools and menus in your image editor without          With a good inkjet printer the colours will bounce
                                                            having them overlap onto the image.                       back, demonstrating it’s only the monitor display being
                                                                                                                      clipped, not the file itself. However, for WYSIWYG
                                                            3. What Resolution?                                       colour fidelity, it’s worth paying extra for a monitor
                                                            Resolution refers to the maximum number of pixels         with the widest possible gamut.
                                                            (picture elements) the monitor can display and,
                                                            therefore, the amount of detail you can discern in
                                                            displayed images. The larger the screen, the higher its
                                                            resolution should be. The table below provides ideal
                                                            resolutions for popular widescreen and 4:3 sizes.
Patterned Vertically Aligned (PVA)
                                                              Screen size (diagonal)     Native resolution

                                                              30-inch (widescreen)       2560 x 1600 pixels

                                                              27 inch (widescreen)       2560 x 1440 pixels

                                                              24-inch (widescreen)       1920 x 1200 pixels

                                                              23-inch (widescreen)       1920 x 1080 pixels

                                                              22-inch (widescreen)       1680 x 1050 pixels

                                                              21 inch (4:3)              1600 x 1200 pixels

                                                              19 inch (4:3)              1280 x 1024 pixels           The difference between the sRGB and Adobe RGB
In-Plane Switching (IPS)                                                                                              colour spaces.


2                                                                Monitor Buying Guide   www.photoreview.com.au
5. How Adjustable?
The more adjustability a monitor offers, the closer the
monitor can be set to match the end result.
Your monitor should include adjustments for
brightness, gamma, and colour temperature (preferably
by individual red, green and blue colour levels) so you
can precisely set the monitor to a known and optimum
state. This is called calibration. Without these
adjustments, you can end up with a lossy calibration
and some banding; indicating some image detail has
been removed.
   One common challenge is screen brightness,
as many mainstream displays are too bright for a            The differences between software and hardware calibration.
professional graphics workflow. Screen brightness
should be set between 70 and 120 candelas per meter
square (cd/m2) to emulate a physical print. The exact       it comes to colour and tonal accuracy. An 8-bit monitor
figure depends on the ambient lighting, which should         can only calibrate the gamma curve in 256 steps,
be taken into account.                                      whereas a 10-bit processor can calculate the gamma
   An overly bright monitor can lead to wasted effort       curve in 1024 steps and a 12-bit processor can
and frustration. An image will usually look a little        handle 4096 steps.
saturated or blown out on a monitor that is too                The more steps in the gamma curve, the more hues
bright. You may feel compelled to darken the image          and tones the monitor can choose from to display –
to compensate, when in fact the monitor should be           and the better the picture quality. Although formerly
darkened. Otherwise prints will be unacceptably dark.       premium priced, monitors with high-bit gamma
                                                            processing are now becoming more affordable (but still
6. Hardware or Software Calibration?                        more expensive than a mainstream display).
Calibration adjusts the characteristics of a device                                                                     An example of an image displayed on a screen with
to an optimum and known state, taking account               8. How Uniform?                                             good uniformity.
of ambient lighting. All monitors used for imaging          Uniformity in screen brightness and colour is an elusive
should be calibrated regularly to restore tonal             goal – but a requirement for graphics professionals.
gradation characteristics and set a colour temperature      Perfect uniformity is very difficult to achieve across the
and contrast to match their output. Two kinds of            screen, due to various factors inherent in how colour is
calibration are available.                                  reproduced. Monitors that are brighter on one side of
   Software Calibration measures the monitor colours        the screen or have corners that look darker or warmer
and compares them with known target values.                 are unsuitable for colour-critical work.
The result is stored as a profile that enables any              All monitor manufacturers try their best to create a
divergences to be corrected when it is output from the      uniform screen. However, manufacturers of premium-
graphics card to adjust the display.                        quality monitors go one step further step by integrating
   Unfortunately, this method may result in uneven          a secondary ASIC chip into the controls to compensate
greyscale reproduction and colour casts. These              for uniformity shifts. Such manufacturers will
problems are minimised on professional graphics             guarantee the uniformity with a warranty.                   The same image displayed on a screen with poor
monitors with accurate adjustment controls (such as                                                                     uniformity.
RGB adjustment levels), which can assist the software
in creating the optimum calibration.
   Hardware calibration adjusts the monitor itself,          How to Check a Monitor’s Performance
rather than the output from the computer’s graphics
card. The gradation characteristics of each RGB
colour are adjusted independently providing a smooth          There are a couple of quick-and-easy ways to see             Red, blue and green screens will display stuck
and faithful greyscale display. Hardware calibration          whether a monitor is suitable for imaging. But               sub-pixels (a sub-pixel is one third of one
also lets you adjust the black and white levels               first you need to make sure the display is evenly            pixel), which can appear in any colour.
independently so you can restrict the display contrast        lit with no reflections on the screen to prevent          3. Open a black and white image file on the
to match a printed output. It is by far the most reliable     you from seeing the changes that can occur as a              screen and move it from side to side, then top
and straightforward calibration method for professional       result of these tests.                                       to bottom of the screen. Watch for changes
graphics work.                                                1. Look closely at the screen to see whether                 that occur in colour, brightness, and contrast.
                                                                  you can discern its pixel structure. If the              A good monitor should maintain consistency
7. Gamma Correction.                                              pixel structure of the screen is visible under           all over the display area. Note: you need to be
The gamma of an LCD screen refers to the luminance                normal viewing conditions it will remain visible         very discerning, as these changes may be very
(or brightness) of the red, green and blue signals in             regardless of how much you magnify an image.             subtle.
the display. Gamma correction involves mapping the                This can interfere with the amount of detail          4. Check the display’s angle of view by moving
displayed data to produce a consistent and uniform                you see and make it difficult to apply fine              to one side of the screen. Note changes in
appearance when images are displayed. This is                     adjustments to that part of the shot.                    brightness, contrast and colour.
done by a microprocessor that is part the monitor’s           2. Fill the screen with solid colours (one colour         5. Check an image with plenty of shadow detail
electronic controls.                                              at a time) to check for dead or ‘hot’ pixels. A          and ensure all detail is visible.
   Most monitors offer only 8-bit support but                     black screen will reveal a white (or hot) pixel.      6. Finally, read the specifications and familiarise
professional-quality displays provide 10-bit (or higher)          A white screen will reveal a dead (black) pixel.         yourself with the manufacturers’ warranty.
gamma processing. The difference is significant when


                                                                 Monitor Buying Guide   www.photoreview.com.au                                                                3
How to Set up a Digital Darkroom
The first step in setting up a digital darkroom is to
establish the right working environment. Although it
may not be possible in domestic situations, the ideal
working area should have walls that are a neutral
colour and tone (mid-to-light grey is best but beige and
‘oatmeal’ coloured walls are also satisfactory).

Controlling Reflections
Where possible, set your monitor up in a room with
relatively low brightness levels and avoid situations
in which room lights can be reflected by the screen.
Some monitors have built in anti-glare and anti-
reflection filters. These may be worthwhile in home
situations where you can’t control all aspects of                                                                                           A monitor hood in place,
ambient lighting. However, although a screen with                                                                                           showing the opening available
an anti-glare panel is easier on the eyes, it may not                                                                                       for a colorimeter when the
reproduce the full tonal range in the picture.                                                                                              screen is profiled.
   An anti-glare hood can be useful for preventing
reflections and stray light from interfering with viewing
quality. They are available for some monitors and
easy to attach and remove. Some allow calibration
equipment to be used while they are in place.              of handling colour information, it’s necessary              The International Colour Consortium (ICC) maintains
                                                           to measure the way each device in the process            the standards for all device and paper profiles, which are
Ambient Lighting                                           reproduces colour in order to create mathematical        based on the software or firmware driving each device.
The colour of the lighting in your work environment        ‘profiles’ (data sets that characterise the colour        These tables of data link the source colour information to
can influence your perception of colour. An image           attributes). Profiles can be created for cameras,         the output colour information. Use of ICC profiles ensures
displayed on a monitor will look different when the        scanners, monitors, printers and printing media          consistent and correct colour reproduction all the way
room light is on from when it is off – and different       and each profile can be matched to the profiles of         from capture to output.
under fluorescent and halogen lighting. Natural             other devices in the chain. Even where exact colour         Monitors sit at the heart of a digital workflow
lighting is best wherever possible. Fluorescent            matching is not possible (for example, between some      because they are used for viewing images. The quality
tubes manufactured for soft proofing (GTI, or JUST-         monitor displays and prints), profiles will allow the     of an image is assessed by its appearance on-screen,
NORMLICHT) with a correlated colour temperature            workflow to be ‘managed’ to produce the closest           and it is here editing adjustments are made and
of 5000K will also provide a close visual match to         possible simulation of the original colours and tones.   evaluated.
monitors calibrated between 5500K and 6000K.
   Regardless of the ambient lighting in the working
environment, a greyscale image – soft proof or print
- should appear visually neutral when compared with
the image displayed on the monitor.

Dual Screens
Although it’s possible to operate a successful
digital darkroom based on a single monitor, many
photographers prefer working with dual monitors
because they can ‘park’ toolbars on one screen, leaving
the other screen uncluttered for displaying the image
they are working on. Most computer operating systems
support dual monitor set-ups.



MONITOR CALIBRATION AND PROFILING
Why Monitors Require Calibration
When you display a picture on a screen you need to
be sure it will be printed with colours and tones that                                                                                                                           Taken w
look identical to the original. The only way to achieve                                                                                                                          focal len
this is with a colour managed workflow. Your camera                                                                                                                               270mm
must communicate with your computer which, in                                                                                                                                    DX cam
turn has to ‘talk’ with your printer. In this process,
colour information is passed along a chain and re-
interpreted by each device. This chain is known as a
‘workflow’.
   Because different devices have different ways


4                                                               Monitor Buying Guide   www.photoreview.com.au
            Calibration Starting Points
            Allow the monitor to ‘warm up’ for at least 30 minutes
            before you start. Switch off screen savers and power
            savers and disable anti-virus software that may
            interfere with the display.
               Before making any measurements, set the display
            resolution to its native level and reset the monitor to
            the factory settings.

            Profile Creation
            There are a number of ways to create profiles for a
            monitor. The least accurate option is to use a software
            utility, such as Adobe Gamma and QuickGamma,
            both of which are free downloads that can be located
            through a Google search.
               More accurate profiles are created with colour
            measurement devices, such as colorimeters and
            spectrophotometers. Both are driven by software
            applications that provide a wizard-based interface to
            make monitor calibration and profiling straightforward.
               Colorimeters measure the light emitted by the
            monitor in discrete (but relatively broad) spectral        calibrated (as opposed to the computer’s video card)        professional workplaces where accurate profiling is
            bands. The software driver creates ICC profiles that        provides the most accurate calibration. Because             mandatory, monitors are often recalibrated at the
            are loaded automatically into the display settings         it can set both the black level and the white level         end of each day. Amateur photographers should
            for communication to the printer. Affordably priced        (luminance), contrast can be calibrated with a high         normally recalibrate their monitors every four
            and simple to use, they usually produce results that       level of precision. This enables users to obtain the        weeks. Interestingly, monitors that use hardware
            correlate well with human eye/brain perception.            best screen-to-print match. Monitors that support           calibration and have been calibrated initially by an
               Spectrophotometers are more complex (and                hardware calibration also enable users to set multiple      industrial spectroradiometer at time of manufacture
            expensive) in both construction and operation.             calibrations and targets, which allows them to              do not need to be calibrated so frequently. (Every
            Because they measure individual wavelengths, they          produce separate calibrations for each type of paper        2-3 months should be sufficient.) Depending on
            deliver higher precision and accuracy and are used         they are used with. Eizo monitors allow users to flick       the monitor and calibration method, the process
            when the most accurate profiling is required. The           quickly between different calibrations, saving time in      should take between one and 10 minutes but is
            process is known as ‘software calibration’ because the     workflows that use multiple paper types.                     time well spent.
            characteristics of the signal coming from the computer        Eizo’s ColorNavigator software, which is supplied
            video card are adjusted to the software’s target and       with all of the company’s ColorEdge monitors, works         Using Profiles
            specifications.                                             with most hardware measurement devices to provide              The monitor’s ICC profile interacts with editing
               Calibration devices come with step-by-step tutorials    10- or 12-bit calibration that provides greater precision   software and printer drivers to ensure the image
            to help novice users. Some include a facility for          and reproducibility. It also offers more manual             colouring and amount of detail visible on the screen
            measuring the intensity of the light in the working area   adjustments – plus the ability to save individual           comes as close as possible to replicating the printed
            and applying it to the calibration.                        parameters. This allows photographers to measure            picture. However, this is only possible if you ‘tell’ the
               Hardware Calibration, where the monitor itself is       the base tone ‘paper white’ of different fine art papers     software which printer you’re using – and which paper
                                                                                                   and match the printer           you’re printing on.
                                                                                                   output to them, reducing the       The printer driver provides this information when
                                                                                                   need for test printing and      you select the printer. The paper profile must then be
                                                                                                   saving time and materials.      selected from the dropdown list in the editor or driver
                                                                                                   Users can also emulate the      interface.
                                                                                                   characteristics of different       Most printers come with pre-set ICC profiles for the
                                                                                                   monitors in a multi-screen      printer manufacturer’s paper range. They are normally
                                                                                                   workplace.                      included in the printer driver. These ‘canned’ profiles
                                                                                                                                   provide a good starting point and are convenient to
                                                                                                   Re-calibration                  use. Leading third-party paper manufacturers also
                                                                                                   Monitors must be re-            provide ICC profiles, which can be downloaded from
with a                                                                                             calibrated from time to time    the manufacturer’s website.
 ngth of                                                                                           to take account of the tiny        These days most professional photographers create
m on a                                                                                             drifts in colour that occur     individual profiles for their own printer and papers.
mera with                                                                                          over time in the course         This guarantees a closer match between what is seen
                                                                                                   of regular usage. Most          on theIr monitor and the printed output. It’s a huge
                                                                                                   devices provide recalibration   time-saver for anybody who makes large volumes of
                                                                                                   reminders that can be set up    prints and valuable for photographers who may receive
                                                                                                   to meet users’ needs.           orders for reprints months – or even years – after
                                                                                                      In demanding                 pictures were taken.


                                                                            Monitor Buying Guide    www.photoreview.com.au                                                                 5
How the Professionals Do It
Few landscape photographers are as successful as
Australian photographer, Ken Duncan OAM, who
runs one of the country’s most successful imaging
businesses. Internationally recognised for his
pioneering panoramic landscape photography and
limited edition photographic prints, he is both prolific
and multi-talented.
   His photographs appear in calendars, cards and
jigsaw puzzles and large ‘limited edition’ prints.
The latter are showcased in his own galleries and
many grace the walls of businesses all round the
world. Currently there are five Ken Duncan galleries
in Australia displaying and selling Duncan’s work to
tourists and corporate enterprises.
   In addition to the shopfront galleries in Erina,
Sydney, Melbourne, the Hunter Valley and Cairns, Ken
has an active online gallery at www.kenduncan.com.
He also runs a busy book publishing enterprise which,     images. Five workstations are arranged around the            The studio takes full advantage of the built-in
since 1992, has produced more than 30 books under         room, each with one or two Eizo monitors.                  ColorNavigator software to save different calibration
the Ken Duncan Panographs trademark.                         Although initially sceptical about the importance of    profiles for each colour workflow. This software, says
   Faithful reproduction of the colourful and dramatic    monitors in his colour workflow, Ken Duncan became          Glenn McKimmin, the manager of CFL Print Studio,
images he captures is critical to every aspect of Ken     an instant convert once he saw what the Eizo monitors      has been a wonderful time-saver. It has also reduced
Duncan’s business. Consequently, a great deal of time     could do. “Seeing is believing’, he explains. “Before      the number of times images are printed as proofs.
and research has been devoted to creating the colour-     [we acquired our Eizos], we had to make mental             According to McKimmin, the additional features in
accurate workflows that underpin his success. At each      colour corrections to the images on the screen and         ColorNavigator have significantly improved the way the
stage of the process from capture to output, he has       often had to produce several proof prints to be sure the   monitors are calibrated.
invested in state-of-the-art equipment.                   colours were accurate. But now the prints coming out
   For shooting his photographs, Ken swaps between        of the printer look like what you’re looking at on the
film and digital, depending on the nature of the subject   screen.”
and how the image will be utilised.
   Regardless of how the images have been recorded,       Dual Workflows
when they come to the CFL (Created for Life) Print        Because the studio produces both prints and books,
Studio in Erina on the NSW Central Coast for printing,    it has to be capable of handling both RGB and CYMK
additional post-capture editing is required to ensure     workflows. Staff members often need to swap between
they reproduce satisfactorily. The studio’s editing       profiles at short notice, depending on whether the
area has been specially designed with neutral grey        output will be CMYK page proofs or RBG ‘limited
walls and subdued lighting to minimise reflections         edition’ prints. The Eizo monitors have made this
and provide the best environment for working on the       process fast and easy.

                                                                                                                     ColorNavigator software makes it easy to calibrate
                                                                                                                     monitors accurately.

                                                                                                                         “The beauty of working with the Eizo monitors”,
                                                                                                                     he adds, “is that we’re now able to produce profiles
                                                                                                                     for both workflows with just one monitor using
                                                                                                                     ColorNavigator. The profiles are so accurate we can
                                                                                                                     switch between CYMK and RGB workflows at any time
                                                                                                                     and be sure output colours won’t be changed.
                                                                                                                         “The Eizo monitors have revolutionised the lab
                                                                                                                     from a colour workflow point of view. Before, we were
                                                                                                                     working ‘blind’, getting proofs that didn’t look like the
                                                                                                                     images on-screen. Now what we see is what we get.
                                                                                                                     Ken can come in and sit behind us and, if there’s any
                                                                                                                     adjustment required, it’s all done on the screen.”
                                                                                                                        Once the images meet the high demands of Ken
                                                                                                                     Duncan and the CFL Print Studio team, they pass to
                                                                                                                     one of two printers – both state-of-the-art machines.
                                                                                                                     An Epson Stylus Pro 9900 is used for all pre-
                                                                                                                     press work, such as books, calendars, postcards.
                                                                                                                     Limited-edition prints for display in the galleries are
                                                                                                                     produced on a Durst Lambda large-format digital
The entrance to the Ken Duncan gallery in Erina on the NSW Central Coast.                                            laser printer.


6                                                              Monitor Buying Guide   www.photoreview.com.au
Printing without Proofs
Currently, Ken is working with the studio team on a
book involving hundreds of photographs submitted
by a large number of photographers from all
over Australia. It’s a challenging job because the
photographs are all very different in content and
quality.
   In addition, although most are raw files (which have
to be converted into the editable TIFF format), they
have been taken with different cameras under different
lighting conditions. The collection also contains a small
number of JPEG images from which the maximum
amount of detail and colour must be extracted.
   It’s a situation where consistent colour reproduction
from capture to output is essential to the success of
the project. But due to very tight deadlines, traditional
proofing is impossible and the team has to depend
on their monitor images to make all adjustments. It’s
critical to be able to see images on-screen as they will
appear in print.




                                                            How a colour-managed workflow integrates equipment to produce consistent colour reproduction.

                                                            colours between on-screen images and printed output.       a cheap monitor”, he adds. “But in the end they’re
                                                               “The book we’re working on currently is the first        not. Ink, time and papers are not cheap. In this
                                                            one where we haven’t produced inline proofs”,              business you have to embrace technology. It’s all about
   “Because we don’t have time to do the standard           Glenn McKimmin adds. “Because we’re not printing           time versus money and your biggest expense in any
proofing”, Ken Duncan explains, “we have to get it           out pages to match to final page proofs, all colour         industry is labour. If you can minimise your wastage
right first up. We don’t have the chance to go to proof;     matching is being done on-screen. That’s where Eizo        factors, that’s where your profit is.”
we have to go straight to press. In that situation, [a      monitors have made it easier for us to be confident the
colour-accurate workflow] is critical.”                      colours we see will be reflected in the printed pages.”     Useful URLs
   Having to dispense with printed proofs has delivered        For anyone who is involved with colour reproduction,    www.normankoren.com
some unexpected benefits for CFL Print Studio. The           Ken Duncan’s advice is straightforward and succinct.       www.computer-darkroom.com
Eizo monitors have increased the studio’s efficiency         “If you’re not getting the colour right you’re wasting a   www.digitaldog.net
and productivity while also reducing labour costs           lot of money – and a lot of time.”                         www.eizo.com.au
because much less time is required for matching                “People might think they’re saving money by having      www.photoreview.com.au/tips




Ken Duncan and Glenn McKimmin discuss one of the images for the book they’re             The interior of the Ken Duncan Gallery in Erina.
working on in the CFL Print Studio editing room.


                                                                 Monitor Buying Guide   www.photoreview.com.au                                                              7
Eizo monitors
Advanced LCD colour management made easy.


Flexscan Software Calibration Range              ColorEdge Hardware Calibration Range

Affordable accuracy & reliability for the        Eizo’s world class professional range with leading

serious hobbyist & starting professional.        edge technology for accurate print simulation.




                                                                “I am now seeing colour as it should be.”
                                                                                                      Ken Duncan OAM




                   EIZO Oceania       Tel (02) 9462 7500   info@eizo.com.au      www.eizo.com.au

								
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