Professional photographer and printmaker Renée Besta is back this week to talk about getting accurate color out of your prints, as well as why prints can come out darker than they look on the monitor. She also covers more on black and white printing with Epson’s ABW mode – a topic first introduced on Episode 15 of #AskBC.
- Is it possible to match color between two different printers?
- Soft proofing as a last ditch effort to match color
- Which method is better: using ICC profiles, or using Epson’s Advanced Black and White mode?
- Third party tools that improve color workflow
- Avoiding “double color management”
- Doing heavy color management on a Mac? You might not want to update your Epson drivers…
- Mac vs. Windows when it comes to color management
- Printing black and white – better to shoot in color or grayscale?
- Prints that come out too dark: what’s the deal?
- Don’t cheap out on your display
- Much, much more!
Listen in to learn about color accuracy and why prints come out dark
- For more from Renée, check out her website at RenMarPhoto.com, as well as her written articles for the Breathing Color Blog such as How to Configure Printer Settings for Third Party Papers.
- Listeners featured in this episode include Norm at BSL Digital Imaging, Yoram Gelman at Yoram Gelman Photography, and Tom.
- Third party plugins mentioned by Renée in Question #2: Nik, Silver Efex Pro, onOne Software, and Topaz Labs.
- For more on prints turning out too dark, check out this article from Northlight Images with links to download various test targets. Renée also prefers to use this printer evaluation image when testing print accuracy.
- Renée mention Kevin O’Connors Guide to the Perfect Color Workflow series. Check it out for more info on optimizing your display.
- Love the show? Have some feedback for us? Leave us a review on iTunes.
Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below:
Or, to view a web version of the transcript:
Announcer 1: You are listening to the AskBC podcast – your printmaking questions, answered by the experts!
Justin: Hey guys, it’s host Justin, today we talk about dumbing down color, Epson’s ABW mode, and why prints come out dark.[Music Ends]
Welcome to Episode 16 of the AskBC podcast. Today we have back with us a special guest: Renée Besta is joining us again, and we’re excited to get her input on today’s listener questions. Be sure to check out episode 11 and 15 where she joined us, if you haven’t already.
Hey Renée, how are ya?
Renée: I’m great Justin, how are you?
Justin: I’m doing very well, thanks for coming back and being on this episode. I’m gonna jump right into the questions if you are ready.
Renée: I’m ready, thank you![Music break]
Announcer 2: Norm at BSL Digital Imaging asks, “I have two Epson printers – an Epson 9600 and a 9890. For printing, I’m using ICC profiles, but the color is different across the different printer models. How can I use an ICC profile for your Elegance Velvet paper and the 9890 to match the prints to the ones done on the Epson 9600?”
Renée: Okay, the short answer is that it really cannot be done, and I hate to say that but the greater question sort of is, “Why does this person want to do that?”
Normally you would try to do the opposite – take the older 9600 and try and get, you know, maybe more gamut – something better – to match the 9890, which also really can’t be done. You simply cannot match the color gamut as well as the newer print head and screening technology of the old 9600 with a new, highly improved 9890.
Not only are those ink sets vastly different – for instance, the 9600 just has 2 levels of black ink – you know, photo black or matte black- and the light black. The 9890 has three levels, or shades. And also, what people also don’t consider is that the print head technology itself keeps improving over time, so that’s how the accuracy of laying down those ink drops is what they call the screening algorithm, and how those are laid down in proximity to one another to simulate a particular tone. So you’re not gonna be really be able to match them.
I mean, the 9600 was released way back in 2002, so it’s rather old. So I mean, I wish in this case I had more information from the listener as to the reasons he or she would want to do this, and I would invite them to write back and kind of explain why. Are they in a big production environment where they need two 44-inch printers, but can only afford at that time, to upgrade one?
The only other thing I can really think of is do they have a repeat customer who is used to the old color gamut of a 9600, and let’s just say you’ve photographed someone’s artwork for reproduction and there’s a particular image or image of an oil painting, an acrylic, whatever, that was output on the old 9600 but now it just looks too different for that particular customer’s taste on the newer 9890 – maybe there’s a certain color that just jumps out. I am only guessing, I have no idea, but you know, customer education would be key if that’s the case.
If you’re going to upgrade, you should do it probably more often, because this is a pretty huge leap in technology with the printers, so, you know, I’ve photographed artists’ work myself, and printed so-called giclee reproductions, and if I had donea lot of printing on a much older printer for an artist and they were reordering those same prints because they were going out and selling them in the gallery or arts and crafts festivals during, you know, exhibits or whatever, and then I, meanwhile, upgraded to a much newer printer, they would look quite substantially different and especially with certain colors.
So, that’s going to be pretty drastic, and I would educate the customer – explain the benefits of the newer technology, but maybe that’s not the reason. I really don’t know. One thing I do want to mention is that, with the older 9600, I notice that Breathing Color actually has two different profiles available for Elegance Velvet. One is for using it with photo black ink, and the other for matte black ink. Obviously, you’re supposed to be using matte black ink with a cotton or alpha cellulose paper, so I don’t know, hopefully the person is using the MK profile. It’s very easy to not read those abbreviations correctly.
The only thing a person could possibly do, and I am not actually recommending this – let’s say you took your old print you’re trying to match on the 9600 on Elegance Velvet, you – I guess – could potentially use that to soft proof against the newer 9890 profile by holding that print up to your monitor and soft proofing it using adjustment layers in Photoshop like we do, or saving a virtual copy in Lightroom and making adjustments such that if there’s some particularly vivid color or something that offends that customer (and I know how particular certain customers can be), you could try to pull that back by soft proofing – if you have a good monitor, a wide gamut RGB and it’s properly calibrated and profiled, but it would be a huge pain and again I can’t recommend it.
The only other thing a person could do is actually photograph that print made on the 9600 and use that file to print on the 9890. Because, the print already has that more limited gamut, if that makes sense. And I’m not saying I recommend that or that would work perfectly, but I’m just saying – the only reason I could think of that someone would want to do that is they have a repeat customer that’s used to the look of the 96, and, you know, they have artwork or an image, and they want to keep it looking the same.
So, you know, in the show notes, I have some profile plots for both those printers on Elegance Velvet and you can really see how the 9890 pretty much swallows up the 9600.
Justin: [laughs] Yeah.
Renée: I mean can you think of a reason, I mean, I just can’t – this was an interesting question.
Justin: Yeah it was an odd one, I thought. I was reading it before the show, and I kind of, you know, my line of thought is kind of along the same as yours, and I would assume it’s for a repeat customer. I think the biggest thing you said, and probably the way I would handle it personally, is the customer education piece, right? I mean, they have to understand that as printer technology evolves, they’re going to be able to get more out of the original – whatever the original is that they’re submitting – which should be a good thing, you know? You shouldn’t have to dumb down the file to make it worse.
Renée: Absolutely, absolutely.
Justin: Well cool. I would be curious, maybe the listener could follow up in the comments on the show notes page and kind of tell us exactly what the situation is, maybe we can provide some more insight.
Renée: Yeah that would be awesome.
Justin: But it’s an interesting scenario.
Renée: That would be awesome, and I would encourage people when thye’re writing in, to anyone with a question, provide as many details as possible. Some of them are very brief and you’re sort of guessing, “Well, why is someone wanting to do that? What’s the situation? What is their setup?” and it’s harder to specifically address that without having that knowledge.
Justin: All the facts, yeah, definitely.[Music break] [07:30]
Announcer 2: Yoram Gelman at Yoram Gelman Photography asks, “Which method is better: using ICC profiles, or using Epson’s Advanced Black and White mode?”
Renée: Okay great. On the last podcast, we were talking about the ABW mode with the Epson printer. I discussed Jon Cone’s Piezography ink set, Roy Harrington’s QuadTone RIP, what are the better methods for black and white printing, and of course, we went through that funnel going from the best to the least optimal. And I said I was gonna address this question in the next podcast.
You know, as a general rule, it is best to print using Epson’s Advanced Black and White mode. But, like with everything else, with that said, you might get good results, or better results, using a standard ICC color profile – depending on if your image is still in RGB mode, or is it in grayscale mode where the color has been tossed out. And, do you have a toning applied to it?
In other words, there are many third party plugin software programs such as Nik, which is now Google’s, Silver Efex Pro, onOne Software, Topaz labs – it’s just endless. There’re nearly as many ways to print a black and white image as there are ways to create them in Photoshop, Lightroom, or this plug in software. Now with those, they have a lot of presets where you can add classic darkroom toning – anything from cool to warm to sepia, selenium toning, ambrotypes, it’s just endless. So if you have, I mean, there’s even one that adds a classic Holga camera effect to it, which is very heavy, dark, warm color.
So if your image is still in RGB mode and has very, very heavy toning applied, it may well print as good, you know, equally as good, or maybe even better, using a good, standard ICC profile. But first I kind of want to back up for Canon users and mention, as people may know that own Canon printers, that they do have a similar monochrome driver called the Canon Monochrome Photo Mode, and I don’t use Canon printers, so I can’t comment on that, but, from my understanding, it works similar to Epson’s ABW Mode.
So, you know, like all prints, the results are dependent on the quality of your image and how it was processed, I mean, hopefully there’s good tonal separation. The characterizes of the paper you’re printing on, that paper’s white point…I mean the paper itself can add a color cast – there is very warm tone papers, look at the metallic papers, they kind of give off colors.
Whether you’re printing with photo black ink on photo papers or matte black ink on matte papers, then you’re gonna get deeper blacks with the PK inks on photo papers. The quality of the profile you’re using, and of course your printer model, ink set, and a lot of other factors.
So, really, do you want to print a neutral black and white image or a toned image? Is your image, again, in RGB or grayscale? So, let me just kind of summarize by listing some advantages of using Epson’s Advanced Black and White – the ABW mode.
Number one, the blacks are going to be deeper when printing with the ABW driver compared to the standard RGB driver. Number two, you’ll probably get more shadow detail using the ABW mode. Number three, the prints made with the ABW driver will have fewer classic issues that we’ve had in the past like bronzing, metamerism, and gloss differential, then you will with the RGB driver.
Now a lot of people are familiar with bronzing, and that’s caused primarily by the black inks on photo papers, that means using the PK inks. It will give off a color cast that looks kind of bronze-ish, or something almost like an oil sheen on top of water, and now that we have better ink sets, a lot of that has gone away, but it can particularly rear its head when you’re trying to do black and white printing.
And also, the prints made with the ABW driver, as I mentioned on the last podcast, they have superior longevity because of the fact there’s less yellow ink. And I don’t understand the physics of that. All I know from everything I’ve read and been told by color experts, that yellow ink tends to be the culprit when you’re looking at longevity issues. And so the reason for this, as I’ve mentioned before, is that when you’re in the ABW mode, that is sort of a sub-driver, if you want to look at it that way, it’s gonna emphasize the use of the shades of the black inks – in other words photo or matte black, light black, light light black – it doesn’t use cyan or magenta or vivid magenta, only light cyan, light magenta, or light vivid magenta, and a tad of yellow. So, again, there’s less yellow.
So that’s the reason for its being able to accomplish more neutral prints, but, you know, I’ve seen some measurement data, LAB data, where people have compared the neutrality of an ICC profile versus the ABW mode, and you know the results can actually be surprising depending on the paper that you’re printing on. So with that said, and I hate always having to have caveats – I think its important to mention that results can vary – basically, if my image was completely in grayscale mode, where I had completely discarded all the color, I’m gonna use Epson’s ABW mode, or, actually I’d use QuadToneRIP, or something like that, but if this is what you’re doing, you print through that instead of using a standard ICC color profile, that’ll give you the most neutral print, and it will increase the longevity of your print due to the less yellow ink. Okay?
Now if you’re printing an image that’s still in RGB mode, that’s been processed in a program to look like a neutral black and white image where you don’t have a lot of heavy color toning, again, you use the ABW mode, it’s gonna be usually preferable to printing with an ICC color profile. Now, again, that said, sometimes I do take some of my images that I’ve, quote, “converted to black and white,” sometimes they’re grayscale, a lot of times they’re in RGB because I’m using third party plugin software, and they have very heavy toning.
Maybe again, like I said, that Holga, or an ambrotype, there’re so many variations that you can do, and if you’ve got a lot of color like that that’s still in there, I don’t know that that’s a real advantage. Some people may argue that point, maybe they’ve run tests, all I can say is that I print using both and compare them to my eyes. But if it’s got a lot of heavy toning, you may well get good results if you have a great ICC color profile, and a modern printer, okay, not an old printer, with a good ink set, and you have a really good paper like a nice Baryta.
So, you can, you know, sometimes they’re equivalent, and sometimes one or the other is better. Again, it depends on the image, the colors, how much tone you’ve applied to it. So, one thing I do want to mention is that with Epson’s ABW mode, there is a way you can, quote, “tone” the image, going from cool to warm, to sort of sepia toned.
If you’ve already added toning, andy ou’re still in RGB mode, be careful that you select that neutral option and not add more toning. Sometimes people don’t look at that, there’s a lot of radial buttons and different advanced options you can select, and unfortunately there’s a proxy image that’s in the dialogue box, so you can’t really soft proof and take a look at, “Well, gee, if I add this tone now is it gonna change it?” And I don’t remember what photographer’s image is in the dialogue box, and you can see the tone change, but it’s really tiny on the screen, and you can’t really see what’s happening, but I’ve seen people, sort of like it’s double color management, where they’ve already added a tone – its in RGB, and then they pick another tone in the ABW and it comes off rather awful.
Justin: A little too strong, yeah.
Renée: right, and you know, for me personally, I don’t like the toning options in the ABW mode because they don’t look very much like standard dark room based toners. I think the sepia kind of looks orangish-brown or a copper colored, and the cool tone looks way too blue. There’s no way to emulate the classic dark room selenium toner whatsoever. So QuadToneRIP would do a much, much better job with the toning when you’re printing with Epson UltraChrome color inks, and, like I said before, with QuadToneRIP you can do split toning so you can not only add the tones to shadows versus midtones versus highlights, you can add multiple tones – and you do that by picking, you can pick three curves – a cool, a warm, you know, warmer, whatever you want to do – and apply it only to that area of the image, so it’s an awesome advantage.
And on the other hand, you may be using a paper that’s not profiled for QuadToneRIP – there’s just a limit to the selection, and if you want a particular paper, you’re going to have to make your own curve for that.
And getting back to something I did want to mention, I added a comment to my last podcast, because I did discuss the availability of Eric Chan’s ABW ICC profiles, there was a good reason for that, but there wasn’t enough time to provide a huge amount of details. But I do want to add a caveat, as I said in the comments, those profiles may or may not work for you, depending on whether you’re on Mac or Windows and which version of the Epson printer driver you currently have installed in your system.
Apple keeps changing things up in terms of their color management color sync, and it’s been distressing to myself and a lot of other people. They decided in their infinite wisdom that, “Hey! We’re gonna start disabling the option to have no color management with color sync.” And then Adobe kind of followed suit, and as you probably know, I think it was Photoshop 5 starting, at that point, you could not select or turn off color management – it was either Photoshop manages colors or the printer manages colors. That was your choice. And to get around that, Epson released a, what was called a color printer utility, so that people, obviously, people need to print targets to make profiles – how the heck did they think that was gonna happen? – to address that issue.
But at any rate, Epson eventually sort of kowtowed to Apple and said, “Okay, we’ll change our driver to match that.” So what’s happened, what you used to do with Eric Chan’s profiles, is pick “Photoshop manages colors” and then you would pick the ABW profile for the paper you wanted, and then do the normal type of process, but you were still able to select “ABW Mode” with the Epson printer driver, and you can’t do that anymore with the more recent Epson driver versions.
So of course, that’s gonna depend on what Epson printer you have – have you even updated your driver? A lot of people just stick with the one that came on the CD. Also, this does not apply to Windows. If you’re on Windows you can do this.
Justin: So what does it do exactly? So when you select Photoshop manages color, and then you select the ICC profile, it just greys out your ability to change the printer color management, yeah?
Renée: Now what happens is, you go in, once you get into the Epson printer driver, it’s greyed out. And I think, was it Kevin O’Connor – did a podcast, and also I think it was in his article, or someone left a comment and I think that was a comment on his three part series he wrote on the printing workflow, it’s just like this major pain because with Windows, you still, if you pick a profile – this is standard RGB color management, standard ICC profile – you pick Photoshop or Lightroom manages colors, and you’re off and into the printer driver. In Windows, you still have to disable color management and select “No color management,” that’s an option.
So that was the classic problem from years ago, is that people would do double color management by forgetting to turn that off and then the printer is trying to manage the colors as well as the application. So then you’d get terrible results, so that was like the number one mistake most beginning – like me, when I first started out, you know, they don’t necessarily explain these things, so you’re doing double color management.
So in Windows you have to say, “Turn it off, I don’t want color management – Lightroom is doing it, or Photoshop.” And it’s different on the Mac. That is automatically greyed out, you can’t even select it. So you can’t select ABW, you know, you can’t do it.
Justin: So it’s generally fine, if you’re using an ICC profile, printing normally. But not so good if you’re trying to use ABW with a profile.
Renée: So you’ll use it, again, depending on if you’re on Windows you can use them, if you’re on an early version of the Epson driver with the Mac you can use them, and that’s the reason I mentioned them – a lot of people are on Windows. The other thing is, it’s got some fantastic third party papers profiled, and if you’re gonna use Epson’s ABW, normally, and you’re just starting out, you’re gonna use Epson papers, but when you start experimenting and when you want, you know, this or that cool paper that you really love, well, as you know, that’s something completely different where you have to change a lot of those driver settings to accommodate that paper, so he’s got good profiles, like, for one on the baryta papers and some others, so that may be useful to others, but there’s always a caveat.
Justin: Of course, of course.[Music break] [21:38]
Announcer 2: Tom asks, “My prints come out much darker than they appear on my screen. Images shown on my 27” Samsung look okay though.”
Renée: Okay, this is a classic, classic issue, and I would, first of all, encourage people to look at prior articles on your blog – I wrote a series in late 2011, kind of start out talking about HDR photography and printing, but then it sort of – you can’t talk about that without backing up and discussing Photoshop color settings, and whether you’re using ProPhoto RGB, Adobe RGB, calibrating your monitor – and I know Kevin just did a series, Kevin O’Connor, his three-part series, which was superb, but anywhere you read anything about digital imaging, what do they always say? “Well, you have to start with a good monitor that’s been properly, not only calibrated, but profiled.”
So first of all, I would say to that person, what do you mean, “it seems okay?” How are you determining that it seems okay? You can’t profile something or characterize it visually with your eyes; we have to have a scientific instrument to do that. The number one reason that peoples’ prints turn out too dark is that their monitor are too bright. Absolutely. You have to understand, if you’ve ever gone in to Best Buy and looked at all the television sets out there, every one renders color differently, and they all have different brightness levels.
But basically, and I don’t know what model of Samsung this is, I’m presuming this is not a wide gamut RGB display, it’s probably an sRGB display – which is not good for doing your editing to begin with – but most monitors, they are consumer monitors meant for video gaming, watching movies, or browsing the web, whatever you’re doing. And that’s fine. Like Apple, it’s been a huge disappointment; you know, what’s happened – everything’s going towards the consumer end and away from the creative professionals.
Renée: Even the great thirty-inch cinema display that everybody thought was so great is basically an sRGB monitor and it costs $2,000. So, they’re set too bright at the factory, and that’s for people, that’s what they like when they’re looking at the screen – they’re playing videogames, watching movies, whatever, they want ‘em really bright, and with a great degree of contrast. So if you don’t go in and lower the luminance setting on those and properly calibrate them you don’t have a chance. Your prints, what you’re gonna do, is make your editing decision based on the brightness. And when it looks really bright, you make a print, of course it’ll come out too dark because you’re not really seeing it as it is, so what I would say is you must buy an instrument and both calibrate and profile.
And again those are two completely different things, and people always use that term – it drives me kind of crazy because they’ll say, “I calibrated!” “Well did you profile?” “What’s that?” It’s insane, you’re setting the hardware to run optimally with a monitor. In other words, you’re gonna set the white point which is the color of white. You’re going to set the luminance, in candelas, that’s how they’re measured, in candelas per square meter. Normally, and I know there’s a little, I wouldn’t say controversy, everyone has a preference for that, I’ve seen some people that’ll have that set as low as 80 to 85 – too low for me. Some people up to 120. I keep mine at around 100 to 105, that works for my viewing environment.
With these monitors that you just buy off a shelf, they’re way, way too bright. So, you need to take care of that, set your white point and set the brightness of the monitor, and then you have to profile it – which is characterizing how is it displaying colors. So, that’s a software package that you buy that comes with a measuring device, [unintelligible], and I don’t want to get into that, but it will flash a series of color swatches on the screen, take measurements, compare that to a reference target, and look at the difference. “This is the way it should display; this is the way it is displaying,” and then there’s a correct applied so that it’s showing proper color based on numerical data.
So, again, the reason is, his monitor is probably too bright.
Justin: Yeah, I see that time and time again, even people that say, “Oh, my monitor is profiled.” But they didn’t touch necessarily the brightness or anything, so it’s not like an automatic setting that’s done through profiling, right? So, it’s still way too bright.
Renée: It’s always way too bright. I mean, there’s really, as far as I know, there’s only two brands of good wide gamut RGB monitors on the market today, and that’s the high end Eizo – they’re extremely expensive, but they have higher bit depth, there’s other things that it enables you to do. I can’t afford one, it’s out of my price range, and I don’t think it’s gonna help my situation necessarily.
But, I use an NECPA series with [unintelligible] software – they’re fantastic, especially for the price point. Now [unintelligible] used to make excellent wide gamut RGB monitors, I don’t think those are manufactured any longer, so it’s basically Eizo or NEC. If anybody knows of anything else, you’re welcome to write in and argue that point, and tell me about it. But the NEC – I have a 27” PA271 with the specterview software, and it’s just absolutely fabulous. There’s other issues, it’s color fidelity, is it even across the screen, there’s just so many things and that would be like subject for another podcast or article.
But you really have to start with wide gamut. In other words, if your display can show sRGB which is a very small gamut, and your image is in ProPhoto or Adobe RGB, now of course the standard for camera RAW in Lightroom is ProPhoto – there’s a reason for that. Printers can print some colors in ProPhoto, even the old – my old Epson 2200, there was a plot that I saw, and I think at one time by Jeff Schewe, that compared ProPhoto RGB, Adobe RGB, and sRGB.
And then a plot on Mac paper with an old Epson 2200, and even on that old printer with those old ink sets and old technology, there was a portion that protruded in a certain area, beyond Adobe RGB. So even that could go outside that. So how are you going to edit? I mean nobody is ever going to have a monitor that’s going to show all ProPhoto RGB, obviously.
Justin: Sure, try to see as much as you can.
Renée: And you really need a wide gamut, something that covers close to 100%, which my monitor does, of Adobe RGB, and do your editing from that because the basic consumer monitor – I mean, it’s amazing to me how much money people spend on camera equipment, and their tripod, and their ballheads, and their computer, and video cards, and everything else, and the lenses, but yet when it comes to a monitor they just think, “I’ll just pick up something for a couple hundred bucks at Best Buy, or wherever” and it’s just not going to cut the mustard, as they say.
So it’s really, really critical if you care about color, if you care about your prints, and you want good prints that match what you see on the screen as closely as possible, that’s what you have to do. And of course – there’s always colors that can be displayed on your monitor that the printer cannot print, and vice versa. Some things on the printer the colors that come out that can be printed may not be able to be displayed, it’s not a one-on-one match, but you’ve got to start with a wide gamut display – even if that means a smaller size monitor, if that’s what’s in your budget. I would rather have a 21” monitor that was accurate than a 27” consumer monitor. Start with that, get a good instrument, and profiling software, make sure it’s calibrated and profiled – the brightness is appropriate. Again, I wouldn’t go over 120 candelas. Again, I know people that stay at 80 or 85.
Justin: Yeah, so let’s jump back to that actually, so let’s just assume this guy is using one of these consumer-grade monitors, which I’m sure he is, it being Samsung, and, you know, he hasn’t spent the 100+ dollars to get the calibration instrument. What is kind of his best next step, aside from purchasing a new monitor, purchasing a device, how should he best achieve a good brightness level or a good white point? I’ve seen people recommend like literally holding up a piece of white paper next to the monitor and trying to just manually, with brightness, match that white. Do you have any other suggestions or ideas?
Renée: I just can’t even begin to recommend that. There is no way that your eyes are going to be able to compete with – it’s like, there’s science, and we go by numbers and scientific data, not what our eyes show. And, you know, everybody sees color differently – men and women see color differently. You can’t possibly…I mean you could try just cranking down the brightness, I don’t know that that monitor even gives him the capability of showing how many candelas there are per square meter, so how would you know?
You can dim it, but that’s just fudging and it’s just a guess, just dim it, probably half of what it is, and he’ll probably say, “Oh my gosh, I can’t see anything.” But I don’t know. There’s just no way around making an investment. And again, if all you can do is afford a smaller size monitor, that is wide gamut, I would rather purchase that than a 27” or 30” that was just an sRGB monitor.
And I’m not trying to be snobby about it, or, you know, real exacting. It’s just the way it is. There’s just not a way I know of around it, and you have to buy a profiling instrument to do the calibration and profiling.
Justin: Fair enough. Awesome. Well that’s actually the, that’s the last question I have for you today, but I certainly look forward to you coming back and joining us in the future, and you know I always appreciate you taking the time to come on, so thank you for being here with us today and we look forward to next time.
Renée: Well thanks, it’s my pleasure. Thanks for having me.
Justin: No problem, thanks Renée.
Well guys, that’s it for today’s episode. I want to say thank you so much for hanging around to listen. For the show notes for today’s episode, you can visit ask-bc.com/episode16. Remember, this is where we will include a graphic of one of today’s questions where we will compare the gamut or the color range between the Epson 9600 and the 9890, I’m also gonna put a link in there to X-Rite’s color quiz, so you can kind of test how accurate your monitor is, which also ties back to one of today’s questions, and just see how good of an eye you have to color accuracy. So be sure to check that out.
Thanks again for all of your questions and for being a part of the conversation. I will send out a free Breathing Color t-shirt to each one of you whose questions we selected on today’s show. And if you would like to ask a question for the show, just visit ask-bc.com, and if we choose your question, we’ll feature your business name right in the episode, and we will send you a free Breathing Color t-shirt.
Thanks for listening! For more free episodes of #AskBC, check out the full archive!
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