Please recommend a calibration system

[dritz]

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For Macintosh, 2 monitors, Epson 4880. This is for Lightroom 5 and PS.

 

I wish to calibrate my monitors and my printer output for a specific paper.

 

Any suggested equipment for achieving this... or suggestions for avoiding the necessity of purchasing a printer profiler?

 

Thanks.

Dean

[LocalHero1953]

I can't answer for your particular set up.

I have a Dell 2713 monitor, and use a X-Rite profiler to profile the monitor.

I use a paper supplier to calibrate my printer, an Epson R3000 with a CIS: print a calibration sheet on my paper of choice, post it to my supplier, and get the profile emailed back in 2 days or less.

Here in the UK Permajet profile their own papers for free, and charge about £6 for third party papers. I've used them to profile Canson papers.

Both calibration methods are painless.

I use Windows, and LR, not PS, but I doubt this makes a difference.

FWIW, after calibrating both monitor and printer/paper, I can now get a print that closely approximates what I see on screen, which I could no way do before calibration.

Edited April 22, 2014 by LocalHero1953

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[jaapv]

Look at the XRite site.

[algrove]

Which 2 monitors do you have?

 

X-rite for monitor. I use the paper companies' profiles which are free and they should know more than anybody else about their own papers.

 

Since in LR or PS you take control of the printer through LR or PS, you only need to profile monitor and paper FWIW. Then as usual soft proofing will help nailing it down from monitor (back lit) to print (front lit). I have macs but do not use their monitors since I hear profiling them is a pain.

 

Did you check "Search" above to get previous LUF comments which should go back many years on this subject.

[Bill W]

I use the X-Rite colormunki to calibrate my display. My display is a Mac. I use the paper profiles that come with the papers and print through PS.

[Jeff S]

I use the paper companies' profiles which are free and they should know more than anybody else about their own papers.

 

But they don't know more than anyone else about the rest of your gear or workflow. A custom profile can be tailored to specific needs.

 

I use either a friend's Eye One system, or else the custom valet pro service from Chromix, which provides unlimited profiles for just over a hundred bucks, and they use a higher end Eye One profiler.

 

Jeff

[tobey bilek]

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Calibration & profiles are two different things.

 

Monitor calibration allows you to see what the image looks like. Color Monkey- Eye One are two.

 

A profile adjusts the file so the printer makes the image as you see it on the monitor. Make a test print, allow to dry, "eyeball the color balance" in the proper light, adjust color in the advanced mode and keep trying until you get it close. Save that "correction" and use with every print from that printer, ink set, and paper.

 

Back when I was cheap, I used to gang up 4 prints in small size on an 8x10 and use as a test print for larger sizes. The printer does not know how large you are printing and makes all sizes the same.

 

Then I went thru a few printers and clogged nozzles due to low amateur volume, out dated ink, etc, and never liked the prints anyway. I now have a nice calibrated Eizo monitor, profile furnished by lab, soft proof to change the file, and send it to the lab.

 

I get beautiful real color prints on Kodak paper at a fraction of what I spent before on ink and paper. I do all the proofing and order economy prints which they print as received. They are as nice or nicer that what I could do in my color darkroom years ago. Profile is on the website under downloads. Remove the profile from the soft proof and send the ugly file so you do not double profile.

 

Advanced Imaging.com in Lisle, Illinois.

 

If you thought digital was cheap, it is not. However results are far better that any 35 mm film and and still better than long discontinued Ektar 25, the best color film ever made.

 

Don`t cheap out on the monitor. Eizo Color Edge.

 

If you already spent on Leica, keep the image chain strong.

 

What I miss is the quiet time in the dark and knowing I crafted the product from beginning to end.

[Jeff S]

 

Then I went thru a few printers and clogged nozzles due to low amateur volume, out dated ink, etc, and never liked the prints anyway….

 

...What I miss is the quiet time in the dark and knowing I crafted the product from beginning to end.

 

Opposite approach here….still do everything from beginning to end (including matting and framing), only now in light instead of dark…and without the mess.

 

Not sure what printers you used, or how often you printed, but the modern Epsons (except the 4900 which has clog issues) generally run fine without clogs and, even if one doesn't print every week, running a simple test print now and then keeps things running smoothly. Never once had inks dry out…dates don't mean much with good inks…and a shake now then doesn't hurt.

 

There's really no reason, except for huge prints (which I don't make) to ever use an outside lab. Just as in the darkroom days, it takes time and a learning curve to optimize a workflow, but there really are no barriers anymore, at least not equipment and material- wise…printers, inks, papers, profiles, etc…to make gorgeous prints at home…in b/w or color.

 

I spend less now than I ever did in the film-world, all things considered...not to mention the far greater processing efficiencies afforded by digital. YMMV.

 

Jeff

[Jeff S]

A quick check on the OP's profile shows that this isn't the first…or second…time asking a question, or starting a thread, without ever posting back or thanking after.

 

Hope others benefit from the discussion nonetheless.

 

Jeff

[ruben_c]

Hasn't to be too expensive.

 

I use a Spyder4 to calibrate my screens and the paper manufacturers profile for my Epson printer.

 

Using the original inks, this combination works well, colors are accurate when I compare with SoftProof on my screen.