24 inch Adobe 98 monitor

Started 3 months ago | Questions thread
Sasquatchian Regular Member • Posts: 175
Re: 24 inch Adobe 98 monitor

Macro guy wrote:

Sasquatchian wrote:

Macro guy wrote:

Sasquatchian wrote:

Macro guy wrote:

mrdale wrote:

I'm curious. Why do you want an Adobe RGB monitor ?

dale

So that I could edit in wider gamut to print on a wide gamut printer.

There's nothing that stops you from editing in Adobe RGB, DonRGB, ProPhotoRGB or whatever on ANY monitor. Many of us successfully edited on our sRGB gamut PressViews, Barcos and Sony Artisans and output successfully on all sorts of devices. Never stopped anyone from getting great prints. In fact, when there were *surprises*, they were almost all welcome ones.

That being said, any $200 display you get will be crap for digital photography, and the aforementioned BenQ's are really the very bottom of the barrel of what's barely acceptable. I would re-calibrate (pun intended) your budget. It's only a couple of bills difference and you'll be so much happier in the long run.

How do you edit in Adobe RGB if you can't see what you're doing?
What's going to be different with a different, more expensive monitor? The BenQ is a true 8 bit, no FRC, it has an internal LUT, etc, etc. What else is there?

How? You just do it. I did it for nearly twenty years before I got my Eizo, but you also learn how to use, read, and interpret your Info Palette, which I'm sure you keep open all the time anyway. Well, if you don't, you should. And the simple fact is, is that most images are well contained within the sRGB color space with maybe a few excursions outside that for the most part are inconsequential. As I said before, and Bruce Fraser (co-author of the Real World Photoshop series) before me, almost uniformly, most color surprises you get on output turn out to be welcome surprises. Is it great to have a good wide gamut monitor? Of course. But that doesn't mean you can't do top quality work without one.

As to the differences between a cheap BenQ vs. an Eizo. Well, there are many. The quality of the built-in colorimeters on the Eizo's are as good as they get. The software is more comprehensive. The biggest difference is that Eizo cherry picks only the best of the best screens from LG. They have MUCH better uniformity, better separation of each pixel level, virtually no deal pixels, better internal electronics, far better technical support and on and on and on. I mean, you could buy a Honda Civic with four wheels and a five-speed and rack and pinion steering, all of which my old 911 has. One is going to be clearly better than the other where the rubber meets the road - quite literally.

While you *might* get a decent BenQ if you're lucky, there are just way too many reports of actual users getting crappy examples with poor uniformity and/or dropped pixels. Now, which would you rather have - extremely good uniformity or trying to decide whether it's your image that has a bad gradation or if it's actually in your monitor. The number of substandard Eizo's delivered, while not zero, is very very small. Don't believe me, then go and call the good folks at Chromix up in Seattle. They are probably the leading experts in the country on this very subject, and digital color in general. I usually chat with Pat Herold there, but anyone who answers the phone will do.

Hi,
I'm trying to wrap my head around this and I'm having a bit of difficulty. I don't quite understand why one should go through the trouble of proper color management if one is going to be surprised by the output (pleasantly or otherwise). I thought the whole point of color management was so that there would be no surprises. How do you edit for surprises?

Additionally, I'm also having difficulty understanding why it's more important to have X to the nTH power precision in the monitor versus having a monitor that properly displays the color gamut. If you're going to get surprised, why is having that level of precision important?

What am I missing?

You're missing a freaking lot. But go and buy your cheap  monitor and spend more that the whole thing on a Calibrate colorimeter and be happy. You're like the guy who only reads the specs and thinks he already knows everything. I've given some fairly detailed responses but I fear they're not landing within your field of view. Maybe think about the fact that these are all issues we learned how to deal with over a quarter century ago. You should listen and learn from people who have literally decades of experience in this. And if you don't believe me, by all means, I encourage you to call Chromix and ask them the very same questions. And then do report back here what they told you.

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