Design insights & tutorials.

Color Management: Calibration and Profiling

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Introduction

Welcome to the second post in our color management series. Be sure to check out Part One if you haven’t already done so. Today we’re going to talk about the importance of calibrating and profiling your input & output devices in your color management workflow. This is probably the most important step in the color management process, especially calibrating and profiling your monitor display because you need to trust that the color you see on your monitor is true and correct in order for you to be able to make color and luminosity decisions.

Profiling the display

When we’re looking at a photo, or anything for that matter, on our monitor display, we’re basically looking at a huge number of pixels, each of which displays a certain color. Monitors (or those pixels to be more precise) don’t always display the color they are supposed to display correctly because there are usually some modifications occurring between what color info the program (let’s say Adobe Photoshop or Illustrator) is sending out to the monitor to display and what the monitor does actually display.

Furthermore, the monitor display changes the way it interprets color information overtime, so you need to constantly tune your monitor to display color correctly, and this is when calibration and profiling of the monitor display comes into place.

Profiling the display has two parts to it. First of all, you have to have what is called a profiling software. The profiling software takes color information from your computer and sends it off to your monitor display. Second, you have to have a spectrophotometer (also called a colorimeter). The spectrophotometer is a device that is attached to your CRT monitor screen using rubber suckers, or hung over the edge of your LCD screen resting delicately against the surface of the screen.

What the spectrophotometer does is that it reads the color info that is actually being displayed on the monitor screen, and sends that info back to the profiling software so that the profiling software can make its measurements and map the color your monitor displays to the color info your computer sends for it to actually display, insuring that what you see on your screen is the color you’re actually intended to see, instead of the color your monitor thinks you should see.

This being said, this process is creating a profile for your monitor that will always work as a link between your computer and your display to make sure the screen is displaying the right color it’s being told by your computer to display.

A calibration/profiling package I am familiar with is the Gretag Macbeth that comes with the X-Rite Eye-One Match 3 profiling software, but I’ve also heard of other monitor profiling packages such as the basICColor Display and Squid combination, the Monaco Optix XR system, and the ColorVision Monitor Spyder and Spyder2Pro Studio.

When you get the Gretag Macbeth package, you simply install the software that comes on a CD with it first. You then start the X-Rite Eye-One profiling software and follow the wizard. It will first ask you to hook up the calibrating device to your computer through a USB port. After you do that the wizard will ask you what device you wish to profile since this system can offer profiling of a monitor display, a projector, a scanner, a printer, and a digital camera with its accompanying spectrophotometer.

After you choose to profile a monitor display, you will have to specify what type of monitor it is. An LCD, a CRT, or a laptop monitor.

The wizard will then ask you to hang the spectrophotometer over the edge of your screen resting it nicely up against the display using a counter weight.

You will then sit back until the profiling software does its thing. It will show you the progress through a progress bar, and when done it’ll ask you when you want it to remind you to run the calibration and profiling process again. I prefer you choose to be reminded once every 4 weeks to ensure your monitor profile stays fine-tuned and up-to-date. The process is so easy and straight forward so don’t panic if you haven’t done this before, the wizard is explanatory and will guide you through every step of the way (and I’ve already done so above anyway).

Please note that if you get the X-Rite Eye-One Match 2, you will only be able to profile your monitor since it doesn’t offer profiling of the other 4 devices that the X-Rite Eye-One Match 3 software does. Another note is, always use a calibration device that hangs over the edge of your screen if you’re calibrating an LCD monitor because the rubber suckers might damage the delicate surface of your LCD screen.

Profiling the input

In the profiling input process you can choose to profile your digital camera and/or your scanner. Profiling the camera input is a tricky process since light conditions can vary from time to time and from one place to another, so unless it is fatally critical that your whole workflow is profiled from start to finish, you need not bother about profiling your camera input.  Unless you do all your shooting in let’s say a studio with one specific lighting system that never changes at any given time, you will need to photograph a color checker chart, and take measurements off of it every time light conditions changes so as to keep your digital camera correctly profiled.

Above is how one picture can look under 3 different light conditions. As you can see, the camera’s sensor responds differently to colors and white balance changes drastically from one light condition to another. So I wouldn’t stress on profiling your digital camera’s input. The most important thing for you to be able to trust what you see on your computer screen.

As far as scanner profiling goes, you will need to scan a film or print target similar to the one in the image below, and then use a profile creation software such as the Gretag MacBeth Profile Maker to read the data, make measurements, and build a custom profile of your scanner based on the readings taken from the scanned target. You can then incorporate your scanner characteristics into Adobe Photoshop by selecting the profile made of your scanner once you open a scanned image in Photoshop.

Profiling the output

For achieving the best printout results, you need to set up a separate profile for your printer along with each media paper type you intend to use it with in your work. When you purchase a printer and install the driver that comes on a CD along with it, the installation process creates a number of profiles for your printer and a few brand media paper combinations. This will be OK for a start, but I do prefer you run a custom profiling process for your printer along with each media paper type using the Gretag MacBeth Eye-One spectrophotometer.

To do that you will need to make a print of a test target like the one previously shown above, and you need to do this with each paper type you intend to use with your printer. You will do this print test without color managing your printer. Let the printouts settle till the next day, and then use every test target print to make a custom profile for each media paper/printer combination.

Conclusion

In digital imaging, color management is the controlled conversion of color representation between the various digital devices involved in a workflow. This includes digital cameras, computer monitor screens, scanners, printers… etc. The goal is to measure and adjust those devices in a way that insures they represent colors in the same way and that they represent them right.

By now you should be familiar with the basics of color management. Next, we’re going to walk you through the process of configuring Adobe Photoshop color settings for various Photoshop workflows. Stay tuned…

About the Author, Diana Eftaiha

My name is Diana Eftaiha. I'm a photographer, web developer, and founder of The D-Photo | Photography inspiration & articles, Camera gear, post processing . you can follow me on twitter @graceofrox, or drop me an email to say hi at diana@thedphoto.com =)
Discover More by Diana Eftaiha

Discussion

We want to hear what you have to say. Do you agree? Do you have a better way to approach the topic? Let the community know by joining the discussion.

  • decoycollective

    thanx fot this tutorial!
    we have some of the new 27 inch imacs in our office and i've heard that some profiling systems are not usable with the apple's new LED-backlit glossy TFTs. does anybody know something about that?

  • Wisam Al taher

    thank you for this tutorial. i was having a problem between the way my images look on screen and how they look on print. very useful info :)

  • http://twitter.com/atolados Luan Machado

    Very USEFUL this tutorial. Thanks for sharing!! ;D

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  • dianaeftaiha

    youre welcome Luan. im glad you like =)

  • dianaeftaiha

    i hope they look the same now ;)

  • dianaeftaiha

    just subscribe to the entries RSS Sam =)

  • noellehines

    Thanks for taking the time to share – extremely detailed AND understandable.
    I spend (too much) time explaining this process to clients. I think that the number of every-day-Joes who will be seeking this info is on the rise as well.

    Just today I spoke with a woman who wanted to know why her print looked so different from her original. She'd photographed an oil painting, uploaded her image file, and just assumed it would be a color match. Did I mention she had no idea what calibration was much less color profiles.
    After numerous attempts explaining myself – I finally stated, “You can actually view your image file on someone else's computer and have the same problem. We offer extensive support, resources, tutorials, and of course our icc profiles – unfortunately, we can't control your computer and your monitor's colors.” I think that finally made sense to her. But my point was that the average consumers are getting their hands dirty, now. My favorite complaint – “I don't see anywhere on your website where it says I have to have cc proflowers before I can have something printed.”

    Noelle Hines
    —————
    http://finerworks.com

  • http://www.searchengineoptimization.co.uk Mike

    Thanks for the nice tutorial which helps to set correct colors for desktop printing purpose with input and output devices, but in online web, how can you do that

  • Lewis Wright

    One of the most frustrating things I've run into is Color Management so I'm like a sponge with the articles directly related to the topic. Information is scattered, at best, on the web so I appreciate the cohesive, thorough approach GoMedia is taking. Thanks!

  • dianaeftaiha

    hello lewis. im glad i could help and if you wanna know more about color management theres still much more to come on the topic and how to manage your images for the web and printout. just stay tuned to the rest of the series =)

  • dianaeftaiha

    hi mike theres still much more to come on the topic and how to manage your images for the web and printout. just stay tuned to the rest of the series =)

  • anxf

    thanx fot this tutorial!
    dizi izle

  • anxf

    thanx fot this tutorial!
    dizi izle

  • anxf

    thanx fot this tutorial!
    dizi izle

  • anxf

    thanx fot this tutorial!
    dizi izle

  • Matt

    Thanks for this nice work!
    dizi izle

  • dianaeftaiha

    youre welcome natt. im glad you like

  • dianaeftaiha

    thanks anxf im glad you like =)

  • http://www.seoconsult.co.uk Jack

    Instead reading article on different blogs, i also like it to be single source and this is good article

  • http://www.crearedesign.co.uk/ Richard Ball

    I’m with Lewis on colour management being by far the most frustrating side to design and wish it were simple. CMYK is generally controlled and managed to a given set of setting. The biggest problem is RGB and anticipating how colours will appear on separate monitors, browsers and portable devices, its nearly impossible.

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    Great article on colour management. It's so frustrating, i need all the info I can get.

    Thanks for the helpful post.

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    Awesome. When will the next part be up?

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  • Brad

    In digital imaging systems, color management is the controlled conversion between the color representations of various devices, such as image scanners, digital cameras, monitors, TV screens, film printers, computer printers, offset presses, and corresponding media.

    The primary goal of color management is to obtain a good match across color devices

  • David

    If you simply cannot locate a monitor profile, all you can do is disable monitor color management and hope that the manufacturer designed the monitor to …

  • Vjeetn

    Very nice tutorial indeed.
    Unfortunatly I don’t own a calibration/profiling package so I can’t really get it right. I’m using a Samsung monitor with sRGB profile but in Illustrator my white looks grey :s As a matter of fact all my colors don’t look good :(
    This is a dissaster as I need to make a portfolio for print.

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    This guide definitely helps me on having troubles in color management.

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    anyway every monitor (crt, lcd or led) has different brightness, contrast and other equipment for making different end result in the screen, is there any database about most used monitor? thanks.

  • sharma sharma

    What does it mean when the “use color management” option causes my photos to look yellow-brown on my monitor?

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    thank you for this tutorial. i was having a problem between the way my
    images look on screen and how they look on print. very useful info