Set Up Color Calibration Setting For Color Management

1. System Optimisation and Profile Selection
2. Monitor Profiling
3. Setting Options in your Operating System, in Print Drivers and application software, usually Photoshop
4. Benchmarking Your Colour

The emphasis here is part 2, tuning a colour critical monitor so that it give the best window on your work possible. I will be hardware calibrating a BenQ SW320 using a X-rite i1 Display Pro /Calibrite ColorChecker Display Pro.

Please take heed of the following: ‘Make your monitor look like a print. Do not try to make a print look like your monitor.’

A factory–fresh monitor will probably be set with a high contrast ratio. Meaning the tonal range of a display would be vast, with the brightest whites looking very bright. Our aim is to make the brightest white of your monitor mimic the whiteness of generic paper. Using a monitor that can be hardware calibrated means that white and black can be set accurately, furthermore all the greys in-between can be mapped properly. Tone comes before colour, so one the tone range is set, the colours can be tuned-up.

Before launching the BenQ Palette Master Element software I make sure my SW320 has been up and running for several minutes before I connect it to my computer using a USB cable, and that my calibrator is plugged into my display; extra guidance on how to connect can be found in your monitor’s instructions. I tilt my monitor backwards so that my calibrator will sit firmly on the surface of the screen.

One final step before launching the Palette Master Element software is to make sure any energy and screen savers are disabled. You do not want your monitor to dim or screen savers to engage during the calibration process.

The Palette Master Element software then runs through cycles of configuring Look Up Tables (LUTs). As long as energy and screen savers are disabled the software will quietly do its work. Take care not to knock your monitor as the calibrator has to remain in contact with the screen throughout this process.

You can now close the Palette Master Element software.

To conclude here are some important truths about monitor calibration

In 1996 I touched all four corners of the Photoshop universe, since then the application has grown exponentially. Many of Photoshop’s darkest places are rarely visited, here we will shine a light on Color Settings In Adobe Photoshop. The tutorial will require patience and careful reading. I repeat, this stuff is rather mundane as such it is rarely covered in magazines who prefer sassier subjects. If you feel unsure about doing the practical element of this tutorial please just read through it, and perhaps take a few Photoshop classes.

1. An image on a monitor, will never truly match its print, but often very close on-screen simulations can be achieved using Soft Proofing.
2. In setting up a colour management workflow there will always be some trial and error, but the greater the investment in equipment and learning the easier the process becomes.
3. The monitor used is very important, this topic was covered in my 2016 article,‘Don't Get Fooled Again (Why Monitors Matter)'; it is easy to find via an internet search. Your monitor is the window on your digital images. As such it is vital that it can be set to display the colours and tones of your photographs properly. A cheap monitor is not going to match the colour range and fidelity of a high quality colour critical BenQ monitor.
4. The lighting conditions by which an image is viewed effect the perception of tone and colour. Working and viewing conditions have to be considered. The position of a monitor, and the colour and intensity of the ambient light have an effect on colour perception.