246's color temp

[leica1215]

Advertisement (gone after registration)

I use spyder 4 to adjust screen to 6100k, but check the 246's color temp should be at 5400k.

What are u guys doing on set color temp ?

Advise is appreciated ...

 

 

Sent from my iPhone using Tapatalk

[pop]

Waht, exactly, is color temperature supposed to do in a monochrome camera?

[Advertisement]

The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[Akaki]

thank you for this question!

[menos I M6]

I use spyder 4 to adjust screen to 6100k, but check the 246's color temp should be at 5400k.

What are u guys doing on set color temp ?

Advise is appreciated ...

 

 

Sent from my iPhone using Tapatalk

 

If this post was not a joke, yes, that new Leica MM2's LCD screen does have a different color temperature and will display the files with a color cast (compared to the old Leica MM). This is normal and comes with the new screen.

Apart from that, you can (when shooting JPG) alter the files in camera with a toning - please check if you may have this toning enabled in the camera's menu.

 

Normally when shooting DNG files or native monochrome JPGs without toning applied, the actual files of coarse are free of any color and display temperature should not play a role.

Just make sure your computer's screen is properly calibrated regarding your workflow and all will be fine.

[leica1215]

Thanks, OP is my question, I'm new to monochrome, thanks for rely

 

 

Sent from my iPhone using Tapatalk

[Akaki]

And what about computer screen temperature for monochrome 246 files? For exsample with 6000 you can see more details but its becomes a yellow dominate for all other software. 

[menos I M6]

Advertisement (gone after registration)

It would be impractical to reset the monitor's color calibration each time to work on Monochrom files and reset it secoback once you want to work on other things.

The reason why you seem to see more details in another color temperature setting with the monitor is a technical limitation of the monitor.

 

The best advice I can give here would be to look into getting one of the modern wide gamut monitors, specifically designed to do critical color work with still photography.

The wider gamut, these monitors are able to reliably display and their ability to be regularly calibrated with ease do help a lot with displaying Leica MM files correctly as well.

[Akaki]

It would be impractical to reset the monitor's color calibration each time to work on Monochrom files and reset it secoback once you want to work on other things.

The reason why you seem to see more details in another color temperature setting with the monitor is a technical limitation of the monitor.

 

The best advice I can give here would be to look into getting one of the modern wide gamut monitors, specifically designed to do critical color work with still photography.

The wider gamut, these monitors are able to reliably display and their ability to be regularly calibrated with ease do help a lot with displaying Leica MM files correctly as well.

 

Thank you. You mean  http://www.amazon.de/Eizo-CG277-BK-Monitor-Reaktionszeit-schwarz/dp/B00GJ5DB9M/ref=sr_1_6?ie=UTF8&qid=1460475983&sr=8-6&keywords=wide+gamut+monitor

Eizo.? That is a good one for sure. 

[menos I M6]

Yes, these are nice, but Eizo is not the only one making them.

Eizo just has been top of the game in professional monitors for a long, long time.

 

When I bought mine, I considered also a NEC wide gamut model, but I simply found a better local deal on an Eizo here in Shanghai and couldn't be happier.

 

Advice when really looking into these types of monitors: get one that has integrated color calibration and has a software provided for Windows and Mac.

This really does take all the manual work of calibration away from you and you can just mind the work instead of worrying about calibration.

 

The Eizo models with integrated calibration device will act autonomous and recalibrate in automatic intervals - the monitor even will do these re-calibrations when it senses that you are not using the monitor to not interrupt your work.

The color profiles you create can also be stored and switched with their software at the click of a button as you need it - makes color workflow a breeze (for example can you work your office spread sheets, then change the color profile to work in Lightroom/ photoshop, then change the profile to soft proof your photos for print and a certain paper/printer combination you use, …)

 

The Eizo software also supports externally operated color and print proofing devices, …

[Akaki]

Thank you, Yes this is great one, my printer using Eizo, I always print with him. But at home-studio it becomes a problem also with retina. 

[Akaki]

Yes, these are nice, but Eizo is not the only one making them.

Eizo just has been top of the game in professional monitors for a long, long time.

 

When I bought mine, I considered also a NEC wide gamut model, but I simply found a better local deal on an Eizo here in Shanghai and couldn't be happier.

 

Advice when really looking into these types of monitors: get one that has integrated color calibration and has a software provided for Windows and Mac.

This really does take all the manual work of calibration away from you and you can just mind the work instead of worrying about calibration.

 

The Eizo models with integrated calibration device will act autonomous and recalibrate in automatic intervals - the monitor even will do these re-calibrations when it senses that you are not using the monitor to not interrupt your work.

The color profiles you create can also be stored and switched with their software at the click of a button as you need it - makes color workflow a breeze (for example can you work your office spread sheets, then change the color profile to work in Lightroom/ photoshop, then change the profile to soft proof your photos for print and a certain paper/printer combination you use, …)

 

The Eizo software also supports externally operated color and print proofing devices, …

Thank you, Yes this is great one, my printer using Eizo, I always print with him. But at home-studio it becomes a problem also with retina. I have to get one for my studio work.

[menos I M6]

I used to do all my critical processing work on the cramped 15" screen of my Retina MBP and do all other work on larger external displays.

When I wanted to upgrade the two large external displays in the office, I found out that Eizo just has introduced their first new model of a wide gamut 4K screen, so I went for that large screen instead.

 

Since I use that screen, the MBP Retina screen is relegated to exclusively do travel tasks. At the office the computer is shut and I do everything on the large Eizo instead (which I share with a MacPro as well).

Q3 is in the planning to add a second one of these puppies - I would never go for another screen anymore since having experienced this.

 

The difference in color space between the 15" Retina and the Eizo is drastic - you can see especially shadow detail on the Eizo with the B&W files I process, that are simply cut off with a calibrated Retina screen (this is not a question of age of display, as both my old 2012 MBP Retina and the one I got earlier this year are about the same in what they are able to display, compared to the Eizo). The net gain from this is that you can process shadows and highlights with more precision and less guess work (I find myself re-processing a lot of older files due to this).

 

The second big difference you will see immediately is that the Eizo has an evenness to the illumination from corner to corner even the brand-new 2015 MBP 15" couldn't manage to show. Yes the Retina screens do look incredible with their high resolution and glossy look, but they don't compare to the precision of a good quality wide gamut display.