Eizo CG 241W

Started Oct 13, 2007 | Discussions thread
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Phil Tower Regular Member • Posts: 223
Re: Eizo CG 241W

HAE wrote:

I have one more question and I am referring here to the commonly
quoted post by Karl Lang on wide-gamut LCDs. Is it possible to make
subtle color adjustments when image editing? The thing is that PCs so
far output 8-bit color and I have not seen an LCD spec claiming more
than 8-bit accuracy (except for the NEC reference model with LED
backlight, which, according to Karl Lang, will accept 10 bit input
but he does not say whether the LCD panel itself is that accurate or
not). So the same 255 steps allowed by the 8-bits and used for making
color changes in the sRGB colorspace get distributed over a larger
colorspace in a wide gamut LCD making each adjustment step correspond
to a larger change in color.

I have driven myself nuts reading all the pro and con discussions that Karl Lang's now famous post has generated. The opinions seem to spawn a wide "gamut" (so to speak - sorry about that). Your framing of the question, BTW, seems to be about as succinct and straight-forward as any I have seen.

All I can say is that I have not experienced problems with color adjustments. However, I'm far from a professional. I would need to leave others to answer your question (which I assume would apply equally to any wide gamut monitor).

I will say that Chris Orwig in his CS2 DVD (lynda.com) strongly recommends working with aRGB. As I recall he said it actually improves the control one has over color. However, he didn't mention wide gamut monitors and I must confess I never fully understood his point.

Intuitively, it seems to me that with a wide gamut monitor you will probably produce a better product because you are not driving "blind" with as many colors as you are with an sRGB-limited monitor (assuming you will be using a printer that can print colors beyond sRGB or you are using the end product in a color managed application). I think the trade off between access to more colors on the screen vs the limit of 8-bit output may be worth it. At least a lot of professionals seem to think so (assuming I have properly stated the trade-off) because a lot of them are using wide gamut monitors.

Not to beat a dead horse, but the issue that seems to draw the most ink on the Internet in dealing with wide gamut monitors is how they deal with non-color managed applications. I am a lawyer and photography is a hobby. I use the same computer and monitors for my law work as I do for photography. As I spend a lot of time in Office and other non-color-managed applications, I could not tolerate a monitor that caused me problems in those applications. The CG241W clearly does not cause me any such problem.

As to your follow-up post about the accuracy of sRGB on the CG241W in a color-managed application such as Firefox, I will have to leave that to someone who is much more knowledgeable than I about that stuff. I understand that when Firefox 3 is in it (non-default) color managed mode, it will default to sRGB for any non-tabbed (I think that's the correct term) image. I would think that when the CG241W is in calibration mode, it would properly display sRGB, but perhaps not. I understand your point of the application not knowing how the monitor is calibrated internally and I don't have an answer to that.

I guess it boils down to the question of whether a calibrated wide gamut monitor will handle aRGB properly in a color-managed application but not sRGB. It seems to me it should handle both properly as sRGB is simply fewer colors and I'm not sure why those colors would be handled differently than corresponding colors in aRGB. And keep in mind that the CG241W is not really full aRGB, so it seems to me the distinction between sRGB and aRGB is merely a question of the monitor's ability to strech to reproduce as much of the color information that is available from the image file it is attempting to reproduce.

But I'm rambling and doing nothing more than "displaying" (sorry I can't help it - it's Sunday morning) my ignorance for all to see.
--
Phil Tower

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