On 25 Nov 2003, at 23:41, Ricardo Vieira wrote:
I've recently spoke to one (of many) world wide professional graphics and fashion photographer, with over fourteen years in the reprographics industry, mastering the delicacies of high resolution scanning and colour correction, as well as embracing the complexities and change of the digital revolution... - that simply asked me this: Are you one of those who still bother with screen calibration?
Unfortunately , a good question often answered badly by those who should know better.With the DIG AoP hat on we've had the pleasure of dealing with many many world 'wide professional graphics' people who are still living in the dark ages of colour management. We've also fortunately come across many who are massively sophisticated and have given us the benefit of their wisdom and foresight.With our smudgers hat on , we;ve not only met the above , we've also come across a few who are fully CM savvy , but find that there's more cash to be made in several iterations of proofing and 'colour correction ' than getting it right first time (see below).
So his comment was: I gave up many years ago what's the point?
The point is that your monitor becomes your lightbox. You can make qualified judgements on density/dynamic range/colour and softproof on the fly. You can get your proofs right first time.
Every time you move you mac or you change the light conditions you work with, you have to calibrate it again... so what's the point?
Why would you move your Mac or change lighting conditions when doing final editing ?
As long you have your proofs colour correct, it doesn't matter what it looks on the screen, he says!
And how many proofs do you have to run before you get one right ? Wearing our third hat as consultants (running out of hats !), we' ve convinced enough clients ( including prepress/press ) that a robustly colour managed workflow is well worth the effort. And monitor profiling is one of the bedrocks of this workflow.
Regards,
Bob Marchant.
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