Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Richard Smallfield <r.smallfield@...> wrote:
>
> Hi,
> a quick question: my i1 Match software recommends luminance of 120 for LCD and 90 for laptop. Seeing they're both LCD, I'm curious to know the reason for this. Is it merely to save power for battery operation?
> 
> thanks,
> Richard

My approach has always been to work backwards, starting with approximate print viewing conditions (framed and mounted on the wall), then step back to the viewing lights, and finally back to monitor luminance.  This assumes a color managed approach, good custom print profiles and industry standard viewing lights.  To me, it makes no sense to view a print under a super bright inspection light (except for critical evaluation of details) for monitor to print match, then display the final print in a much darker environment.  

Often, when people complain about their prints looking dark, muddy, losing shadow detail, etc., it can be attributed to a monitor with a luminance that is set too high.  Of course, ambient lighting also affects the equation, and a monitor hood is always a good idea.  I know this is the "Old" graphic arts standard, but I really do find 85-90 cd/m2 to be just about perfect for my work (including my press proofing simulations and comparing to proofs I get back from capable color managed commercial printers.  This is on an LCD in a moderately dim work space (not a black cave).  This seems to work beautifully for me for prints displayed under what I would call normal lighting conditions (typical home, office, etc).  If prints are displayed under bright lights, outdoors, with intense individual print lights, etc, a slightly higher luminance may make perfect sense.  

I have spent years tweaking my monitor parameters with different software products and I always come back to the same settings.  They work for me.  

I can't really explain their settings, especially the 140 cd/m2 recommended by some vendors.  YMMV.

Lou