HP LP2475w calibration from scratch

[digitaldog]

I'm measuring it with my EyeOne display2 in Eye-One match.

Try i1 Share (free). You can see the spectral curve which is quite interesting.

I'm a little bit "white point" confused.
So i don't need to worry about the white point of working spaces, and it's allowed to have a white point more close to that of my ambient light/ottlight.
But then i don't meet the ISO3664...

Those white points are separate from themselves. As is the "gamma" (TRC or Tone Response Curve). They don't have to match.

Your question about the spectrum of the 6500K, did you mean the the spectrum of the white point of my monitor after calibrating towards 6500K?

Lots of colors correlate to 6500K. 6500K is not an exact color. The display is not really producing 6500K (or it would melt on your desktop). As to spectrum, the one that's interesting to look at is the one for viewing the print. I suspect despite the claims of "full spectrum", if you look at the plot of the OTTLight in i1 Share, you'll see some nasty spikes.

[Tim Lookingbill]

trinityss,

The reason your display gray looks red after viewing your prints under the OttLight is because this light has a blue green spike your eyes can't detect because your eye can't see color tint in the brightest whites on a print due to adaptation kicking in staring at bright white. Same thing happens on your display. It looks neutral but it's really not. It still doesn't affect your edits which is what's important.

I get the same thing on my calibrated iMac. This is the nature of all artificial lighting. Your eye constantly color corrects. You can try matching your display's white point color tint to a white piece of paper viewed under your OttLight, but like I said it can be very hard to see this because by the time you do make out the actual tint of paper white the eye is already adjusting. You'll be quite frustrated trying to achieve this level of perfection.

In addition to this different papers reflect different color casts under different brands of lights even though the lights look neutral.

This can be seen in the shot posted below between the spectrally flat 4700K Solux lamp which prints may at one point be viewed under like at a gallery and the 5500K OttLite CFL that I have and the one you may be using. I don't have your model. Mine is the new 100watt output OttLite HD Natural Lighting CFL.

I have yet to know what the color tint of D50 or D65 looks like since no one has made this clear to me.

[attachment=10850:SoluxVSo...ik_LL_Lg.jpg]

[digitaldog]

trinityss,

The reason your display gray looks red after viewing your prints under the OttLight is because this light has a blue green spike your eyes can't detect because your eye can't see color tint in the brightest whites on a print due to adaptation kicking in staring at bright white.

That and the possible effects of OB's and that spike can really make some papers look way, way off.

[Tim Lookingbill]

Yeah, I started noticing the Solux light brings out all of these spectral differences in papers over the other lights I tried out. I included lazer printer paper with optical brighteners in the shot and as you can see the Solux shows it and the Ottlight doesn't. That Solux is one mysterious light.

[trinityss]

Try i1 Share (free). You can see the spectral curve which is quite interesting.

Those white points are separate from themselves. As is the "gamma" (TRC or Tone Response Curve). They don't have to match.

Lots of colors correlate to 6500K. 6500K is not an exact color. The display is not really producing 6500K (or it would melt on your desktop). As to spectrum, the one that's interesting to look at is the one for viewing the print. I suspect despite the claims of "full spectrum", if you look at the plot of the OTTLight in i1 Share, you'll see some nasty spikes.

The EyeOne display isn't supported in i1 share, i'll try with an EyeOne pro and will post the spectrum...

I've recalibrated my display with the following settings 5600 / 1.8 / 120 cd m² and may match is much better, but there is still a red cast.
Taking into account that there always be a red cast (due to the spikes in my OttLite, any recommendations on how to minimize further the red cast?
Can i manually play with my rgb controls, or should i just try to find a better color temperature?

Thx!

[trinityss]

trinityss,

The reason your display gray looks red after viewing your prints under the OttLight is because this light has a blue green spike your eyes can't detect because your eye can't see color tint in the brightest whites on a print due to adaptation kicking in staring at bright white. Same thing happens on your display. It looks neutral but it's really not. It still doesn't affect your edits which is what's important.

I get the same thing on my calibrated iMac. This is the nature of all artificial lighting. Your eye constantly color corrects. You can try matching your display's white point color tint to a white piece of paper viewed under your OttLight, but like I said it can be very hard to see this because by the time you do make out the actual tint of paper white the eye is already adjusting. You'll be quite frustrated trying to achieve this level of perfection.

In addition to this different papers reflect different color casts under different brands of lights even though the lights look neutral.

This can be seen in the shot posted below between the spectrally flat 4700K Solux lamp which prints may at one point be viewed under like at a gallery and the 5500K OttLite CFL that I have and the one you may be using. I don't have your model. Mine is the new 100watt output OttLite HD Natural Lighting CFL.

I have yet to know what the color tint of D50 or D65 looks like since no one has made this clear to me.

[attachment=10850:SoluxVSo...ik_LL_Lg.jpg]

Hi tlooknbill,

That is interesting info you write...

I have this model:
http://shop.colourconfidence.com/product.php?xProd=2248

What is your personal experience with the solux, do you reach a better macht compared with the OttLite?
Is the gray more neutral? Has the Solux less spikes?

Do you know if there is a kind of a recommended way of comparing between hard and soft copy?
Some procedure that tells you to wait 3 seconds and look inbetween to a black or white solid?

Kr,

[Tim Lookingbill]

I find the Solux and the GE Sunshine fluorescent T8 tube provide the best appearance of neutrality of B&W prints as long as it's printed with black ink only. The printed grayramps that appear in the side by side comparison shot of the two lights I posted were printed with black ink only from my Epson 1270 on Epson's matte paper. B&W prints using all inks will give off different color casts among all the lights. The Solux will be a bit on the brownish red side, GE Sunshine will appear a tad on the olive green and the OttLight will appear dull blue with a bit of olive green. Some of this may be due to the printer profile used combined with adaptation.

These are all subtle differences.

I just conducted an adaptation test on the Solux by staring for about 2 minutes at the scene depicted in the previous posted image with only Solux on and all ambient light turned off while at night and then looked back at my iMac and found no noticeable red cast in my gray desktop. It retained neutrality. The GE Sunshines do cause a slight maroon-ish red, but the OttLights create a stronger more noticeable brownish red.

I don't know how red your display is with your print viewing lights. If you have concerns about the cause, calibrate your display at night with all lights off and see if your gray's on your display look neutral. And if you want to neutralize your eyes with the lights on I'ld suggest closing your eyes and cover them completely with a dark cloth that blocks all light. Even when you shut your eyes you can still see reddish orange from your eyelids and this does affect adaptation as well, but this is really splitting hairs on this.

I only use soft proofing for controlling gamut clipping. I find using Relative Colorimetric with Black Point Compensation on and leaving Ink Black and Paper White off is all I need with my current setup which is currently using several GE Sunshine T8's one on each side of my display and another under the table for more focused light.

[Mikko S]

sorry .... wrong button

[Mikko S]

Hi, I am trying to calibrate the LP2475 and came up with a problem which is very strange. The red shades are far too strong, i.e medium red and even orange-red areas turn to far too red (darker skin tones as well) . I have used three calibrating devices trying to calibrate it: ProfileMaker 5 with EyeOnePro photo spectrometer, MonacoOPTI(xr) and ColorMunki Design. All ending up at more or less same results, I have also tried different color temperatures from 5000 to 6500K, etc, no effect on red boost. I know that reds are too boosted as I have a test sheet that I print to a color calibrated Epson 4880 that I use as a test sheet for prepress work and my primary monitor is (calibrated) 24" iMac that gives perfect visual match with the Epson Color proofs (same good results on another iMac). My intention was to use the lp2475 as secondary monitor for the iMac but as such it can not be used for color accurate photo or prepress work. Is there something in this LCD monitor technology that it can not be calibrated (easily) for color accurate work? or is there a problem in my unit. For normal office work it is probably perfect. I feel that the profile should be edited to compensate the red boost and the ProofMaster 5 bundle has the ProfileEditor module that could probably do it but I have never used it (as never needed before with any other monitor), the user guide is useless for a beginner. Anyone knows a good reference for instructions how to use the ProfileEdtor to fine tune the profile. Thanks in advance.  (PS this is my second unit of LP2475 as the first one had so strong horizontal color shift from green to red that I asked replacement right away)

[neil snape]

I have the Dream Color 2480 which may be similar. What I saw withit as if I used say i1MAtch the reds were richer than they should be compared to a proof as you also saw. The only thing I found to work , and work well is to calibrate with Color Eyes, an i1 Pro, and let the monitor run to it's maximum gamut.

What also works of course is use HP monitor APS with it's specific i1 colorimeter. The results were more accurate with Color Eyes, but APS is overall quite good now too.

I also saw a rapid change in the first weeks, but now after 6 months colors are very stable and reliable for all color managed apps.

[Mikko S]

Hi thanks a lot, the ColorEyes really did the trick just with the default settings, hope I had known that from very beginning as none of the other SW could do that and I spent days with them, I used the MonacoOPTIX XR calibrator with ColoEyes. The nice thing is also that ColorEyes can set the iMac screen (which I use as a primary monitor) which is far too bright even when the brightness is set to lowest level, none of the other calibration systems could set that as well to target level.  Thanks again.

[Mikko S]

Hi thanks a lot, the ColorEyes really did the trick just with the default settings, hope I had known that from very beginning as none of the other SW could do that and I spent days with them, I used the MonacoOPTIX XR calibrator with ColoEyes. The nice thing is also that ColorEyes can set the iMac screen (which I use as a primary monitor) which is far too bright even when the brightness is set to lowest level, none of the other calibration systems could set that as well to target level.  Thanks again.

One more thing I noticed, as I am using the LP2475 as a secondary monitor for 24" iMac and just updated to PhotoShop CS4. You have to turn the Enable Open GL OFF from the preferences >performance settings of CS4 or it will not apply the profile correctly to the external monitor, took me another couple of days to figure this out. Everything looked ok with CS3 on all other settings were similar. This open GL support is new in CS4 but does not work properly with dual monitor setting in iMac.

[IanWorthington]

Hi.  

Thanks to all for the invaluable information in this thread.  Whilst in the UK last month I bought one of these: they're not available in Colombia where I currently live (and if they were they'd no doubt be twice the price due to supply chain issues here).

It survived it's exposure to airline baggage handling unscathed, and is currently sitting next to me, earning me jealous looks from my teenage sister-in-law. (That's got to be a good thing, right?) My next problem is how to profile it.  I have a Monaco Optix XR DTP95 (iirc), but it's in storage up in DC, and it will be another 6 months before I'm back there (and then there appears to be mixed opinions on if that colorimeter can cope with the extended gamut of this screen).

Are there any techniques that might get me most of the way to a usable set up I can use in the mean time? Or if I begged a profile off of another user, along with their panel settings for it, is there sufficient tightness in manufacturing that that might work? (I'm happy to supply my profiler serial number as proof that I really do own one of these).

Any advice happily received.

i