In Focus Vol. 3 No. 11

Monitoring Monitors

Detailing the importance of the monitor in the color management process, the specifications to look for to find the perfect match, plus the latest game-changing monitor technology.

By Tom Hauenstein

Since I’m currently engulfed in the second Great Output Seminar tour, the amount of face time I get with professional photographers and fine art reproducers has increased exponentially. I find this time to be extremely valuable because it helps me to better understand the day-to-day operations of these types of businesses. I learn what is working for them, and conversely, what problems they experience.

While I'm on the road I am often asked which monitors I recommend. I respond to this question with two questions of my own.

First I ask, “What is the ratio of the amount of time spent behind the camera compared to the amount of time spent behind the monitor?” The most conservative answer so far has been 60 percent behind the monitor and 40 percent behind the camera. More commonly, however, photographers are responding that the split is closer to 15 percent behind camera and 85 percent behind monitor.

The next question I ask is, “How much money did you spend on your camera and lenses compared to how much have you spent on your monitor?” The ratio here is inversely proportionate! Photographers are very likely to spend anywhere from $3,000-$40,000 on their camera equipment, but usually will only spend around $500 on their monitor.

There are two major reasons they should invest more in the monitor. First, it is where they are spending the majority of their time. Second, the monitor is the tool they use to view and edit their files.

So What Makes a Good Monitor?

There are three major factors that a photographer or fine art reproducer should consider when selecting a monitor. They are color gamut, bit depth, and calibration ability. There are other things to consider as well, such as viewing angle, contrast range, refresh rate (if doing video work), and others, depending on your business model.

Color Gamut: The rule of thumb when it comes to color gamut is that bigger is better. You can find this information by checking the spec sheet of the monitor. It should provide you with percentage of sRGB, Adobe 1998, or NTSC (similar to Adobe 1998).

If you are a photographer whose workflow only exists in sRGB, then a monitor that hits 100% of this color gamut is the best. If you primarily work in Adobe 1998, then a monitor that displays 100% of this color space is recommended. If you are using ProPhoto as your color space, then the largest color gamut technology allows is your best option.

Bit Depth: The more bit depth a monitor has, the more accurate it will render your 16-bit files. A 10-bit monitor is the bare minimum with today’s technology, with 12 being a better option. Higher bit depth improves smoothness in transitions and gradients, whereas a lower bit depth might make them appear banded. You can also find this information in the spec sheet of a monitor.

Calibration Ability: It is imperative that you can adjust three parts of a monitor’s appearance.

The first of these is brightness. You should be able to adjust how bright a monitor is according to the ambient light of your studio. 120 candelas per meter squared is a good LCD starting point.

The second of these is contrast. This helps the monitor achieve a desired gamma setting. Today’s standard is Gamma 2.2, and I recommend this setting.

The final calibration is white point. You must be able to adjust the individual red, green, and blue channels to create custom white points. A pre-set white point of 6500K may, in fact, be 6300K or 6800k. You cannot trust these preset options because they may not be accurate to begin with, and may shift over time.

Recommended Manufacturers: There are only two monitor manufacturers I recommend, Eizo and LaCie. Everything else, including Apple Cinema Displays, lack certain properties that make them unsuitable for the true imaging professional. I understand that these are not inexpensive options, but since a large portion of your work is performed on the monitor it is a sound investment.

Also, a typical monitor will last three to five years, sometimes longer, so it will not require constant upgrading. Prices range from $950-$5,000 depending on size and model.

What’s New? LaCie just announced an exciting new series of monitors called the 700 series. It uses new technology called RGB-LED – Backlit. Because it is RGB-LED, it can achieve significantly larger color gamuts than any other monitor available.

The 720 (20 in.) can achieve 114% of Adobe 1998 and the 724 (24 in.) and 730 (30 in.) can achieve 123% of Adobe 1998. Also, the bit depth is now 14 bit, which is larger than any other monitor out there. This is the best option today for the Adobe 1998 and ProPhoto color space user. Without a colorimeter for calibration (assuming you already have one) the price of the 20”, 24” and 30” versions of the LaCie 700 series are $1599, $2299, and $4599 respectively.

If you are interested in getting a new monitor, please feel free to contact me or a LexJet account specialist at 800-453-9538 and we can figure out the best solution for your needs.

Tom Hauenstein is LexJet’s technical director. Tom will be rolling into a city near you when the second Great Output Seminar Tour hits the road in September. The seminar is designed to arm photographers with the tools and information needed to build an efficient and profitable in-house printing workflow. For more information, contact a LexJet account specialist at 800-453-9538. Details will also be available in upcoming issues of In Focus and at greatoutput.com.