QTR-Quadtone RIP

It’s also important to not view your prints under dim light (especially next to your monitor). This mistake is all-too-often made.

I always put my prints on a well-lit viewing wall at least 90 degrees from the monitor and ideally a few feet away. This forces me to stand up and walk over to the print. The mental lag between looking at the monitor light and looking at the print reflected light allows for a proper internal adjustment of expectation and a closer working relationship between monitor and print tones.

Best regards,
Walker


> On Nov 20, 2018, at 5:31 PM, brian_downunda@yahoo.com [QuadtoneRIP] <QuadtoneRIP@yahoogroups.com> wrote:
> 
> 
> I agree with the general thrust of the comments.  I use settings similar to Jeff.
> 
> To answer your question about whether there's a simple way to switch back and forth between settings, I suspect that many people who talk about these sort of monitor settings are using either Eizo Coloredge or NEC Colorsync monitors, and on these hardware calibrateable monitors there is.  I know for a fact that there is on Eizo and I believe that there is on NEC.  I suspect that you may struggle to dial in exactly the sort of settings that we're talking about without monitors like these.  They are much more expensive than your typical monitor, esp Eizo, but if you can manage to justify one you won't regret it.
> 
> The other point I'd make is that you want to match your editing set-up to your typical viewing conditions.  Rob made reference to ISO standards, and given the country he is in that suggests that he's quoting the views of Les Walkling.  This is something that Les emphasises a lot in his teaching, based around the ISO standards.  IIRC one standard is for viewing and one for print proofing and you switch between them.
> 
> I don't follow those standards blindly, but bright viewing conditions and dark viewing conditions will change the way a print looks and you need to allow for that.  Purists will recommend a D50 viewing booth, and while that plus the right monitor will make exact screen-to-print matching easy, that's not how my prints are viewed.  A D50 viewing booth is a bit artificial, even if it is a reference standard.  If you're editing at 120cd/m2 then you're going to need a very bright room to match that.
> 
> 
> 
> ---In QuadtoneRIP@yahoogroups.com <mailto:QuadtoneRIP@yahoogroups.com>, <per@...> wrote :
> 
> I have tried lowering the settings for my display calibration to d65 90cd/m2 (which requires me to set my monitor brightness to 5 out of 100), and viewing the image in lightroom on a white background. This improves things, but it is still not a close match (the screen is whiter than the print).
> 
> Given that I have printed a stepwedge through qtr with a confirmed linear profile, what route do I have to make sure that the screen brightness matches the print? I am using Canson Baryta Prestige paper which is very white. However, holding up the print to the screen, the print white is definitely not as bright as the screen.
> 
> Should I suspect my color profiler? I am using a colormunki display for the profiling.
> 
> 



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