Buyer's Guide: 10 Essential Color Management Devices

As the range of devices for capturing, editing and reproducing images has expanded over the years, the issue of color management has gained significance. A basic knowledge of color management is vital so you understand what’s going on as an image passes from one device to another, as this will help you understand where things can go wrong (and therefore where you may need to intervene).

The following 3-page guide lists ten devices, each of which play an important role in different aspects of color management. They range from cheap, portable gadgets that can help out as you’re shooting, to all-encompassing suites that can quickly deal with a number of devices in an imaging chain. As with my previous buying guides this is not intended to be a test or review of any kind, nor is it intended to be comprehensive. This is purely intended as an introduction: a concise roundup of some of the most useful color management products currently on the market. As always, for most of the products I've selected here, alternatives are available. If you think I've missed something, feel free to leave a comment!

All prices given in this article are representative of typical 'street' pricing and please note that unless otherwise indicated, the 'check price / buy now' links will take you to a product page on Amazon.com. 

Here's the selection:

Digital Image Flow DGK Color Tools Premium White Balance Card Set with Premium Lanyard (set of 3 cards)

The DigitalGreyKard is available with a premium woven lanyard (pictured), or slightly cheaper with a more standard alternative

The abundance of grey cards on the market which all serve the same essential purpose means manufacturers must take the concept further if they are to get their products noticed. The DigitalGreyKard is one product that succeeds in doing so. For a start, it comprises three separate cards – grey, black and white – each of which can be used as a reference for exposure adjustment in post-processing. They’re also sized to be roughly the same size as a credit card for wallet storage, and come complete with a detachable lanyard so they can be carried around conveniently while shooting.

The product’s manufacturer, Digital Image Flow, also makes a number of claims as to their accuracy. Spectrophotometric measurements, for example, are said to confirm the cards’ spectral neutrality, meaning that they reflect different wavelengths of light equally to ensure no color casts. This is said to ensure they perform to the same standard as more expensive grey cards.

Furthermore, being constructed from a waterproof PVC allows them to be gently washed so that their accuracy is retained, as over time there’s a good chance of them building up minor scuffs and being dirtied. A marginally cheaper version with a standard lanyard is also available, as is a larger version of the standard grey card should you decide you don’t need the other two. I haven't been able to find a distributor for this accessory in the EU, but European readers might be interested in the very similar set of 3 gray cards by Photocritic.

Datacolor DC SC100 Spyder Cube

The Spyder Cube includes a black trap towards the base and a ball for catch
lights, plus white and gray faces for complete control over exposure and WB.

The Datacolor Spyder Cube takes the principle of a grey card reference image and expands it further for the benefit of raw processing. It is designed with a chrome ball and a black trap to measure catch lights and absolute black respectively, in addition to black and white faces which define shadows and highlights in relation to the former two measurements. The fifth element is the two grey faces at the top of the tiny 2.5in cube, which serve as both white balance and mid-tone reference points.

A reference image taken with the Spyder Cube in place is used to set the correct white balance, as well as to define the white, black and mid-tone points by measurements based on the white, black and gray faces respectively. This in turn identifies any clipping, where areas in the image fall between the black face and the black trap, or between the white face and the chrome ball. Once this has been set, these adjustments can then be applied to all subsequent images captured in similar lighting conditions, regardless of whether its for raw processing or for a batch of JPEGs or TIFFs.

Unashamedly a calibration device for control freaks, the Spyder Cube is neat, portable, and its innovative design means it can be hung, stood or tripod mounted, depending on the demands of the scene. Its obvious advantage is for awkward mixed lighting situations, such as when shooting indoors with both artificial lighting and illumination coming from a window, but it's also useful for scenes which may not otherwise contain all the suitable reference points that the SpyderCube provides. 

ExpoDisc Neutral Professional Digital White Balance Filter (58mm)

The ExpoDisc is available in a number of sizes from 52mm to 82mm, and can be used with filters in place

Although much can be done in post production with even basic software, getting white balance right from the start saves time and effort, and means you can instantly see images close to how you will want to finally output them. The ExpoDisc allows you to do exactly that. The ExpoDisc takes the form of a small filter which slips onto the front of your lens, and essentially converts your camera into an incident, rather than reflective color meter.

Once a custom white balance has been created with the ExpoDisc mounted, assuming that the lighting doesn't change, all subsequent images taken with that white balance setting will be correctly balanced. A far more convenient method than reference adjustments in post processing. As it doesn’t actually screw into a lens’s filter thread, but merely sits over the rim of the barrel, the ExpoDisc can be quickly mounted, used and dismounted, and so any filters you may have already screwed into your lens’s thread can remain in place as this process is carried out.  

Given its suitability to mixed and difficult lighting environments, those frequently shooting under a mixture of lights, or photographers constantly working in different conditions, are likely to benefit the most from the ExpoDisc. Portrait photographers, however, may be interested to learn that a portrait version of the ExpoDisc is also available, which retains exactly the same principle as the version covered here, save for a slight bias towards warmer, more flattering tones.   

X-Rite ColorChecker Passport

The X-Rite Colorchecker Passport's fold out design allows it to stand upright with no additional supports

Based on the industry-standard Colorchecker chart, but expanded and presented in a more practical format, the pocket-sized (3.5 x 5 inches when folded) X-Rite Colorchecker Passport can used for both custom DNG profiling and as a conventional reference tool for white balance and exposure.
 
The device incorporates three targets: a miniaturized version of the standard 24-patch Colorchecker target; a neutral patch for setting custom white balance, and a Creative Enhancement target. The first target is used for DNG profiling, as well as standard color measurement. The neutral patch, meanwhile, may be used to set custom white balance and as a reference mid-tone for exposure, while the Creative Enhancement target contains warming and cooling patches for minor white balance adjustments, as well as rows of neutral and colored targets which can be used to check clipping and color shifting respectively.
 
The passport’s book-like design combines the three targets into the area of a just one, and allows the target to stand without any further support, when all three sides are pulled away from each other. The targets are well protected by the rugged plastic casing too, should you want to throw it in your camera bag or keep it in a pocket, while the supplied lanyard allows you to carry it around your neck as you shoot. Bundled software (the snappily-named ColorChecker Passport Camera Calibration Application) allows you to create custom DNG profiles quickly and easily, and can work either as a standalone program or as a plugin for Adobe Photoshop Lightroom.

Click here to go to page 2 of our 3-page roundup of essential color management devices...

The views and opinions expressed in this article are those of the author and do not necessarily reflect the views and opinions held by dpreview.com or any affiliated companies.

Comments

Total comments: 57
syakirzainol
By syakirzainol (Dec 6, 2011)

Can anyone advise me why when color calibrating a monitor (in my case, Spyder3 Express) the screen becomes warmer and yellowish?

0 upvotes
Sagar Dutta
By Sagar Dutta (Dec 6, 2011)

This is bcuz ur monitor was set to 9300K which is cooler ( blue ). when u do calibration it calibrates to 6500K which is warmer

0 upvotes
AbrasiveReducer
By AbrasiveReducer (Dec 5, 2011)

I'm getting the Spyder Cube because even if it doesn't work I can use it as a tree ornament. I think it's a very clever idea but I still don't see how any of these things address the problem of mixed lighting, other than to let you know the color varies throughout the scene. So, whereas calibrating and profiling monitors and printers can have a big payoff, in a scene with mixed light all you can do is average the colors, or pick one area that you want to be accurate color, at the expense of the rest of the scene.

I think I saw some software that does attempt to tweak different colors of light within a scene to a realistic overall balance; sort of HDR for color temperature.

1 upvote
Marc Longwood
By Marc Longwood (Dec 5, 2011)

Rant...

Awhille back, I purchased a package suite from ColorVision, now Data Color, that included the SpyderPro 2 and the printer calibrator. While the monitor calibrator worked well, the printer calibrator never worked. During the couple of months of calls to customer support, off and on, they had come out with a new print calibrator. By this time, customer support told me they no longer support the old one and they had no solution for me. In other words, bug off.

I suggested they owed me a solution and should send me the new one, which they declined. I had spent a couple of hundred dollars on something that never worked and they could care less. I felt like smashing the thing into pieces and sending it directly to their company president but ended up just throwing it in the trash. Why waste any more money on postage?

My advice... Perhaps Data Color has new management, but beware of their customer support just the same.

Cheers

2 upvotes
BJN
By BJN (Dec 5, 2011)

Getting a "neutral" white balance is important if you're shooting products or artwork and need the color rendition to be true to a particular daylight color balance. But for the vast majority of images, you don't want to neutralize color to render a neutral gray. Warm or cold ambient lighting is often what makes an image work. Most photographers shouldn't bother with color targets and white balance lens caps. They're specialty tools and if you don't know that you need them for you probably don't need them at all.

1 upvote
Iliah Borg
By Iliah Borg (Dec 5, 2011)

Yes and no. Most of raw converters use colour profiles that assume neutral white balance; and often it is better to start with a neutral image and add the feel of light at a later stage, in a controllable manner.

1 upvote
T3
By T3 (Dec 5, 2011)

You may not realize this, but people do shoot indoors, where ambient lighting can cause an ugly color cast. Since when is shooting indoors a "specialty" type of photography? Heck, sometimes shooting in deep shade can result in a less-than-pleasing blue/cold color cast. Is shooting in shade a "specialty" photography? I don't think wanting natural, neutral color balance is a "specialty" just for niche photographers. Also, don't forget that you can *start* with a neutralized image using one of these tools, then add a touch of warmth for a much better image than one where you simply rely on the hit-or-miss auto WB that a camera produces.

1 upvote
DiverMark
By DiverMark (Dec 5, 2011)

The point of color management is to make sure that what you see on your monitor is what you get from the printer (or on somebody else's monitor, assuming it is also calibrated).

While you are correct that shooting a reference is most important for products, artwork, or natural history, having a known reference can make post processing adjustments a lot easier.

1 upvote
graybalanced
By graybalanced (Dec 6, 2011)

The original point misses the point. The point of getting neutral white balance is /not/ to /force/ neutral white balance. The point is to know where neutral is, precisely, so that when you warm it up, you know exactly how much you're warming it up.

If you do not establish what neutral white balance is, how do you know you are looking at a reliable starting point to make your warming shift?

1 upvote
Gerard Hoffnung
By Gerard Hoffnung (Dec 4, 2011)

Something for those who are new to color management to consider. You can never get print output to match the display. The color gamut (range) of CMYK printers is smaller than RGB monitors so your image editing software will map unprintable colors down into the printable range depending on it's color settings. Calibration software allows you to get consistent, repeatable results and of course you can edit your images to get the results you want from there. I run a dual monitor setup, and a Datacolor Spyder Pro gets them very close but even with that my eye can detect slight differences. The human eye is remarkably perceptive and has a much wider gamut than either RGB or CMYK and ultimately, the goal is to get the results YOU want every time.

1 upvote
Rickard Hansson
By Rickard Hansson (Dec 4, 2011)

i1 Pro should definitively be on the list.

0 upvotes
Louie Aguinaldo
By Louie Aguinaldo (Dec 4, 2011)

they should have included DATACOLOR DC SCK100 SPYDERCHECKR which is far superiror in terms of accuracy to X-Rite's Color Checker Passport. I first bought the Color Checker Passport but noticed that certain colors, specially the reddish tones were oversaturated. I did several tests and the results were the same. Worried that there might have been something wrong with the color checker card, I used 2 different color checkers by x-rite and the results were the same. Since I shoot a lot of products for some cosmetics companies, getting accurate colors is essential. I ended up trying Datacolor's SpyderCheckr and the color rendition was clearly more accurate. I even did a side by side test. I took photos of a pink sponge. Using x-Rite's color checker, the pink was so saturated that it blew out the details in the sponge. Using Datacolor's Spyderchecker, the image was very accurate.
Added to this, X-Rite's customer service never replied to my online queries regarding this problem

1 upvote
Iliah Borg
By Iliah Borg (Dec 4, 2011)

IMHO Mr. Sharma's book together with Mr. Rodney's "Color Management for Photographers: Hands on Techniques for Photoshop Users" deserve the first place; while ColorThink Pro should be the second most important tool, as some profile analysis, quality control, and comparison are very obviously needed. BabelColor and basICColor are very worth a special mention.

0 upvotes
bfarwell
By bfarwell (Dec 4, 2011)

On the wbal disc - correct me if I'm wrong, but it only corrects the general overall color; if you have multiple lightsources and are primarily concerned about one particular area (say you have a person standing under one light and a big background that is lit by another color entirely) you're going to get a wbal that's somewhere between the two, while a grey card could give you a reading for one or the other.

Also, wouldn't it be reading to the color of whatever light is falling on it (eg where you're standing) in addition to whatever is off in front if it where your shot is?

Comment edited 30 seconds after posting
0 upvotes
john
By john (Dec 4, 2011)

color management are only good for publishing, like matching a pantone color, they produce flat boring color in photography, because color in real life are nt that vivid and saturated

2 upvotes
bfarwell
By bfarwell (Dec 4, 2011)

That's possibly the most ridiculous thing I've ever heard.

10 upvotes
shaocaholica
By shaocaholica (Dec 4, 2011)

Color management isn't supposed to make your images 'exciting, vivid and saturated'. You're supposed to do that yourself.

2 upvotes
pdcm
By pdcm (Dec 4, 2011)

I suggest you take up a different hobby; photography isn't for you.

3 upvotes
MaikeruN
By MaikeruN (Dec 4, 2011)

lol thats so funny

0 upvotes
f8pc
By f8pc (Dec 5, 2011)

Color management isn't always about matching your images to the real world color. Most of the time, it is about matching what you see on your monitor to what you get from a print.

5 upvotes
BJN
By BJN (Dec 5, 2011)

If you mean that shooting color charts and/or using lens caps to neutralize everything to a standard daylight color temperature produces boring results, I agree that's possible. But color management is essential if you want to have any idea what you're getting and control what you and others see with any consistency.

1 upvote
T3
By T3 (Dec 5, 2011)

That's a really ridiculous statement. Please ignore this person.

0 upvotes
tlinn
By tlinn (Dec 4, 2011)

Monitor calibration is the foundation of color management on the computer. Having accurate color profiles for your printer w/o a calibrated monitor won't do much good if the goal is to get prints to appear reasonably close to what you see on screen. That said, an accurately profiled ink/paper combo will look better whether or not it matches your monitor. (I use the term "match" loosely.)

For me white balance is more of an aesthetic choice but if you're doing studio product shots, for example, then an accurate white balance has to be the first step in the color workflow. Fortunately, achieving that is not an expensive proposition.

Comment edited 2 times, last edit 10 minutes after posting
0 upvotes
Sdaniella
By Sdaniella (Dec 4, 2011)

hmmm... pixiq looks like their examples were reverse doctored (start with a balanced image, then shift the WB off severely (unrecoverable imho) as a 'fake' starting image, there are too many telltale signs the initial image never existed that badly white imbalanced)... it is a terrible 'simulated' example to use to promote their product.

Comment edited 1 minute after posting
1 upvote
ClickJohnClick
By ClickJohnClick (Dec 4, 2011)

Good article thanks. Do you think there's a hierarchy when it comes to color management? For example, if you had to choose just one part of your workflow to calibrate, would it be WB, monitor or print?

0 upvotes
Amadou Diallo
By Amadou Diallo (Dec 4, 2011)

ClickJohnClick,
Successful color management requires an end to end characterization of devices, ie they're all important. BUT, calibrating and profiling your display is huge. You can't edit what you can't see.

2 upvotes
Matthew Miller
By Matthew Miller (Dec 3, 2011)

A new alternative for the adventurous, especially for those of you who value openness: http://www.hughski.com/

2 upvotes
Iliah Borg
By Iliah Borg (Dec 4, 2011)

Based on TCS3200?

0 upvotes
Tord S Eriksson
By Tord S Eriksson (Dec 3, 2011)

To get the same colours on your prints as those you percieved when you took it is impossible, but gadgets like these goes a long way!

Most of us percieve three basic colours (most of us do - some have difficulties differentiating between green and red, some see only B&W, and some have even four basic colour receptors - a very rare condition indeed)!

But displays have come a long way since the age of CRTs (a few exceptions were even then amazing), and no doubt will progress continue, for sensors and displays, and, not least, printers!

Comment edited 24 seconds after posting
0 upvotes
tlinn
By tlinn (Dec 3, 2011)

Dry Creek Photo performed an excellent and comprehensive review on a number of monitor calibration devices (http://www.drycreekphoto.com/Learn/Calibration/MonitorCalibrationHardware.html). IIRC, at least 10 samples of each device were used in most tests. The ColorMunki "Design" and "Photo" were not recommended because there was so much sample variation between units that the calibration was unreliable. The new ColorMunki "Display" was a completely different story and an excellent unit.

Comment edited 2 times, last edit 2 minutes after posting
2 upvotes
Peter Nelson
By Peter Nelson (Dec 3, 2011)

Control of colors is ok with me, just remember that outside in the real environment lighting changes frequently and that means colors do as well. So it's best not to spend too much money on these things as even if you got the color correct at the moment of capture, many times mother nature has already changed this color an instant later. So what's the point of spending a lot of money on this? Good enough is good enough and what we are already seeing is good enough.

2 upvotes
McCool69
By McCool69 (Dec 3, 2011)

>> Good enough is good enough and what we are already seeing is good enough.

Maybe for you. A lot of us like the result coming out of the printer or on print in magazines being reasonably close to what you see on screen. Without proper calibration that rarely happens.

You don't have to spend a ton of money on this though; even the cheaper alternatives are 100x better than not calibrating at all.

Comment edited 1 minute after posting
4 upvotes
T3
By T3 (Dec 3, 2011)

Well, you forget that a lot of photos are taken inside, where artificial lighting, or even just shade, can cause less-than-pleasing color casts. Furthermore, you entirely miss the point that color control tools like these can neutralize and equalize changes in lighting color. For example, if I'm taking some photos outdoors where the light changes over a half hour interval but I want the color of the lighting to look consistent in all the images, if I took a color target image at the beginning, middle, and end of that half hour period it allows me to equalize and neutralize that unwanted color change.

0 upvotes
shaocaholica
By shaocaholica (Dec 3, 2011)

This goes against everyone that likes to say 'I like the colors of camera X over camera Y'.

0 upvotes
Steve Bingham
By Steve Bingham (Dec 3, 2011)

Nice article.

I can't imagine being without my i1 monitor calibrator and Passport. They pretty much keep me straight - - - that and the color profiles for the paper I use on my Epson 3880. Serious photography requires serious tools. :)

1 upvote
Jman13
By Jman13 (Dec 3, 2011)

The color checker passport is, I feel, one of the most essential pieces of photography kit one can buy. It took my GH2 profiles from being a little bit green tinted to being dead on perfect, with rich, accurate color and is well worth the money.

0 upvotes
photonius
By photonius (Dec 3, 2011)

Yes, I can see this one as more useful, to get the color balance right. (not just warm or cool), and if you print, you can compare to your print output

0 upvotes
ClickJohnClick
By ClickJohnClick (Dec 4, 2011)

Agreed, this is a very useful piece of gear, with the very great advantage of coming self-contained in in a close-able case to protect the color swatches and gray card from light (fading) and dirt etc. I have never seen the point of gray cards on a lanyard e.g. DigitalGrayKard, that are a dangling nuisance and must get dirty. Pity its LR plugin is a bit clunky.

0 upvotes
Guidenet
By Guidenet (Dec 3, 2011)

Great article for people new to callibration. I think a lot of photographers ignore it all together.

However, I think white balance disks are a waste of time for many. It says that it might save time for RAW shooters, but I'm not sure how. No White Balance information has been done to the RAW file and most don't accept the default editor settings which might be the camera settings, so why bother? Moreover, Jpeg shooters might want warmer or cooler temps than absolute perfect WB settings. There's a white duck there. Move the slider until the duck is white. I don't know what can be easier unless I'm missing something.

Great job though on a good selection representing what's out there.

0 upvotes
Graystar
By Graystar (Dec 3, 2011)

You're missing something. You're missing the fact that humans can't calibrate colors by eye because the brain's interpretation of color changes based on lighting, surrounding colors, and the brain's own interpretation of what it thinks it's looking at. There are plenty of optical illusions on the web proving it. If people could correct the colors of an image by eye, then they wouldn't need any calibration tools, as they would be able to calibrate monitors and printers by eye...but they can’t.

If there's something neutral in the image then WB can be set from it, usually with an eyedropper tool...no sliders needed. Otherwise, it's practically impossible to set white balance correctly. As for wanting a warmer or cooler look...that's pretty much a myth. The best look is always achieved with correct white balance. The only time this isn't so is when the light itself is the star of the show, as with sunsets or colored spotlights.

Custom white balance is the way to go.

0 upvotes
T3
By T3 (Dec 3, 2011)

You're missing the point. These WB tools give a neutral reference point to click on, then applied to all other images shot in the same light. For example, if you take a shot of a Spydercube under yellow tungsten light, you can later use the WB Dropper in your RAW editing software to correct for that colorcast, then apply this "White Balance information" to all the other images shot under that same nasty tungsten light. This saves a HUGE amount of time. You can do the same with the Expdisc, by shooting a "grey frame" with it pointed at the offending light source. Just open up that "grey frame" in your RAW editor, click the WB Dropper on it, get a "WB corrected" image, then copy that "WB information" to all your other images that need it. And you get TRUE neutral corrections with just a click, which you can then fine tune to your particular taste. That's the key: these are accurate, truly neutral WB targets, unlike your "white duck" that may not exist, or not be true neutral.

Comment edited 7 minutes after posting
1 upvote
Amadou Diallo
By Amadou Diallo (Dec 3, 2011)

Guidenet,
ACR and Lightroom, to name two, have an 'As Shot' option for WB. So if you do a custom WB with an expo disc this option saves you from making manual adjustments if, I repeat if, your goal is a Lab neutral color balance. Many times our goal is simply for pleasing, not necessarily accurate color balance. But if you're doing product shots in controlled studio lighting, this kind of tool can save time.

Comment edited 3 minutes after posting
0 upvotes
graybalanced
By graybalanced (Dec 6, 2011)

"There's a white duck there. Move the slider until the duck is white. I don't know what can be easier unless I'm missing something."

In many situations, there is nothing reliably neutral/white in the scene. Like a landscape of trees, water, and blue sky. Or autumn leaves on green grass. Or a person standing in front of a red barn wall.

When there is nothing neutral in the scene, a white balance target is something you can put into the scene to establish what neutral was supposed to be. From there, you can shift warm if you want.

But let's face it, a white duck is simply not present in 99.999% of the photographs ever taken.

0 upvotes
Photog74
By Photog74 (Dec 3, 2011)

Do you know of any monitor/screen calibration device that can be used in a Linux environment? My understanding is that the software that comes with these gadgets works on Macs and Windows PCs only. I have read that the old Spyder 2 could apparently be used under Linux too, but I guess it is out of production.

0 upvotes
dgrif
By dgrif (Dec 3, 2011)

Not released yet, but should be soon:

http://www.hughsie.com/

1 upvote
jquagga
By jquagga (Dec 3, 2011)

See what ArgyllCMS supports. I use a a USB powered huey. Gnome also has a front end which will run Argyll to generate the profiles. Note that not all apps in Linux support profiles and you generally have to manually load them for each one. I never could get it quite perfect but I could get screens much better than stock.

1 upvote
ClickJohnClick
By ClickJohnClick (Dec 4, 2011)

hughski.com

0 upvotes
photonius
By photonius (Dec 3, 2011)

I wonder about this white balance approach with cards/cubes during capture. During film days, you never could adjust the white balance of a slide film. Yes, one had daylight and tungsten film, or one could put on filters to adjust color temperature. But overall, the human mind adjusts color balance, and white during a sun-set should just be more red than in white in the shade at high noon. I presume Pros still use a Color Meter to record the actual Kelvin when the picture is taken, but simply using a white/grey card, to set a scene shot at noon to the same white point on a computer screen as a scene shot in the evening seems wrong.

0 upvotes
T3
By T3 (Dec 3, 2011)

No, I don't think there are many pros who still use a color meter these days. Too tedious and cumbersome. As for using a white balance tool during times when it "seems wrong", just like ANY tool you own, you also have to know how and WHEN to use it to get the look and results you want. Obviously, there are plenty of times when you DON'T want to correct the existing color of light.

1 upvote
bfarwell
By bfarwell (Dec 4, 2011)

Still-life folks still use colormeters to make sure that they're getting their light sources to be all exactly the same- that the head you're shooting through a softbox and the head you've shooting through the plexi table and head with the grid on it all end up dropping the same color light on your object - because if your light sources are different, wb is going to be nearly impossible.

0 upvotes
_P
By _P (Dec 3, 2011)

... which bring us to the following: please post an article on third pary inks! Please!

0 upvotes
AshMills
By AshMills (Dec 3, 2011)

And great we can buy them straight from Amazon without having to compare to pesky other vendors. ;-) ( such as cancomuk.com who are a good deal cheaper)

Comment edited 4 minutes after posting
0 upvotes
Debankur Mukherjee
By Debankur Mukherjee (Dec 3, 2011)

Nice Writing.......

0 upvotes
NetMage
By NetMage (Dec 3, 2011)

Nice list, though some redundancy on the Spyder 3 stuff, I didn't know about the Print - looks like the cheapest print calibration.

I think I would have mentioned the whibal as an alternative gray card as well.

Comment edited 27 seconds after posting
1 upvote
xrdbear
By xrdbear (Dec 3, 2011)

I've been using Spyderprint for 5years or so and it does a good job. Northlight seems to think so too. I don't think it's cheap but I do think some of the alternatives are overpriced.

0 upvotes
Amadou Diallo
By Amadou Diallo (Dec 3, 2011)

WhiBal is a good product. With an international audience we try whenever possible to list products that can be ordered for direct shipment in a wide range of countries.

0 upvotes
Zoran K
By Zoran K (Dec 4, 2011)

I am happy with ExpoDisc Neutral Professional Digital White Balance Filter. It is really very easy to set white balance and exposure with this gadget. I can do it in 5 seconds!

Comment edited 33 seconds after posting
0 upvotes
Total comments: 57