Printer Calibration

7/29/2019 Printer Calibration

1/12

Making fine prints in your digital darkroom

Printer calibrationby Norman Koren

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Table ofcontents

for the Making

FinePrints series

Getting started | Light & color

Pixels, images, & files | Scanners

Digital cameras | Printers | Papers and

inks

Monitor calibration and gamma

Background to monitor calibration

Printer calibration

Monitor setup | Test print |

Printer

Printer settings

Scanning| Basic image editing

Black & White | Matting and framing

Tonal quality and dynamic range in digital

cameras

Color Management: Introduction |Implementation

Profiles with MonacoEZcolor | Evaluating

profiles

for Image editing with

Picture Window Pro

Introduction | Making masks

Contrast masking

Tinting and hand coloring B&W images

Example: Sunset, Providence, Rhode Island

In this page we discuss the second step in matching monitor images with prints:printer calibration. The first step was

Monitor calibration.

We present two approaches.

Using printer driver adjustments (Color Controls).This approach is simple in principle but can be somewhat

cumbersome in practice. You may have to do quite a bit of trial-and-error to get a good match.

Using ICC profiles-- files that characterize the behavior of printer/ink/paper combinations. An increasing

number of profiles are available; several are listed in Papers and inks. They allow you to use a variety of papers,

including several brands of 100% rag (archival) fine art paper. ICC profiles are a key feature ofcolor

management. If you have a well-calibrated monitor and high-quality profiles, your prints should match your

er calibration http://www.normankoren.com/printer_calibra

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monitor image with little effort on your part. This approach is simple in practice, but error-prone unless you

know what you're doing. The Epson 2200 printer driver v. 5.40 (labeled v5.4aA on the Epson USA download

site) supposedly has the capability of applying ICC profiles, but it was somewhat buggy the last time I looked. If

it worked properly (it might; it's now up to 5.50) you wouldn't need an image editor that supports color

management.

Color management is a set of tools and techniques intended to maintain reasonably consistent and predictable color

appearance in images captured or displayed on devices with different color responses, orgamuts. With properly-

implemented color management you can achieve optimum monitor/print matching and make prints with nonstandardinks and papers. Although it takes some effort to learn, it's simple to use once you've mastered it. I now use a fully

color-managed workflow.

Related pages: Monitor calibration | Printers | Papers and inks | Color management

Test images

A good test image is useful for evaluating your monitor's quality and

calibration as well as the match between the monitor and printer. I found

a nice image on The Digital Dog's website. Go to

http://www.digitaldog.net/tips/index.shtml and shift-click or right-click

on Printer Test File. Winzip (or a similar utility) must be installed on

your system to turn this file, whose default name is Printer Test

file.jpg.zip, into a JPEG. The 1600x2000 pixel image, shown greatly

reduced on the right, includes a portrait with good skin tones, color and

grayscale step charts, and the Gretag Macbeth ColorChecker color

rendition chart. (Bruce Lindbloom hasColorChecker RGB values for

various color spaces-- sRGB, Adobe 1998, etc.; Babelcolor (Danny

Pascale) has an outstanding description of the ColorChecker.) While

you're at Digital Dog's site, check out his many excellent articles and

tutorials.

[Color management information: The file has an embedded ICC profile tag for Apple

ColorMatch color space (gamma = 1.8). In non-ICC aware applications, or in ICC-aware

applications with color management turned off, this tag is simply ignored. No problem.

But if you are using color management you must be aware of it. You should use an ICC

printer profile rather than Color Controls settings, as described below. Why? Because

when color management is enabled, there is a translation between the file color space and

the monitor (display) color space. Other files, without profiles or with different profiles,

translate differently. The Color Controls settings ignore the profiles-- no translation takes

place; the relationship between print and monitor appearance won't be consistent. But all

will be well if you use an ICC printer profile (that's what they're for). I don't recommend

converting to another color space, though simply removing the profile tag doesn't do

much damage (the Gretag Macbeth Colorcheker displays slightly dark).]

.


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Another standard test image (below, right) originated with PhotoDisc,

Inc., which has been absorbed into Getty Images (no connection with the

Getty Museum). They have a nice page ofarticles on color theory and

management. A 10 MB (large) high quality JPEG of this image can be

downloaded from Inkjetart.com-- one of my favorite sources of printing

materials. The image size is 3225x5055 pixels. The colors are

unsaturated (far from Velvia), apparently because the file data is for the

Adobe RGB 1998 color space (see Color management for an explanation

of color spaces), but the file contains no embedded Adobe RGB 1998profile. (Also, most web browsers do not recognize profiles-- they

assume all images are in the default sRGB color space.)

[Color management information: The file (PDI-Target.jpg) has no embedded ICC

profile tag. The file data is apparently for Adobe RGB 1998. That's why colors appear

unsaturated in web browsers and image editors that assume sRGB file data. To get proper

appearance-- correct saturation-- in a color managed workflow, you must add an ICC

profile tag without changing the image data. In Picture Window Pro, you do this by

clicking Transformation , Color, Change Color Profile..., then setting New Color

Profile: to SMPTE-240M (or Adobe RGB, which is identical) and Change: to Profile

Setting Only (not the default).]

The same Inkjetart.com page has a very nice 2.6 MB 1080x1680 pixelTIFF test image. A 686x539 pixel test image which can be downloaded

from Robyn Color Labs is shown below.

These test images are sharp-- they should give you a good idea of what to expect from an excellent digitized image

printed at a pixel per inch magnification of your choice. Color balance and tonalities should look good if your monitor

is properly calibrated.

View image galleries

How to purchase prints.

.

.

An excellent opportunity to collect high quality photographic

prints and support this website

.

Printer driver adjustments (Color Controls)


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This is the first of the two approaches to matching

monitor images with prints. It gives you the flexibility

of making fine adjustments on the print appearance--

color, brightness, and contrast. But it's limited to

standard Epson papers (which are excellent and

reasonably priced); you won't be able to use custom

inks or fine art papers. This approach does not use

color management.

Turn your printer on, load it with paper and find the

dialog box that allows you to adjust the print color,

brightness, contrast and other settings. We use the

Epson 1270 as an example. Other Epson printers (the

1280/1290 and 2200) have similar dialog boxes, with

small variations. You'll need to calibrate each paper

type individually.

With a test print displayed in your image editing

program, click on File, Print... Make sure the correct

printer is selected. Then click on Properties. The screen

on the right should appear.

A chip on the ink cartridge enables the ink levels to be

displayed. If you are using a paper size other than Letter

(8 x11 inches), click on the Paper tab to select the

appropriate size. (I typically cut letter paper in half for

test prints-- 5x8 inches-- and set Paper Size to Half

Letter.)

To maximize control over the final

print, I use Custom mode. When you

click on Custom, a selection box appears

just below it. The initial (default)

contents is "Custom Settings." The screen

above shows "Matte Hvy 061500," the

name I gave my (old) settings for Matte

Heavyweight paper. I selected it from a

list that appears when you click on the

down arrow to the right of the box. To

see the actual settings, click on

Advanced... , and the screen to the left

appears. If you leave the box at "Custom

Settings," you get the default settings(Gamma = 1.8, Mode = Automatic, and all

six sliders on the lower right set to +0

for the 1270; Photo Enhance 4 for the

2200).

Select Media Type and other settings as

appropriate. (1440 dpi is usually the

best choice for Print Quality; there is little

improvement with 2880 dpi.).You can

adjust the settings that control the


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appearance of the print-- Gamma(D),

Brightness, Contrast, Saturation, Cyan,

Magenta and Yellow-- when Color

Management is set to Color Controls.

To make the print, clickOK, three times.

In Picture Window Pro a Print dialog

box appears. Make sure paper size and

other settings are correct. Then clickOK.

Keep making prints until you get a good subjective match between your monitor and your test prints. You can never get

aperfect match because screen phosphors don't perfectly match printer dyes or pigments-- they have a differentcolor

gamut. Pay attention to skin tones, saturation and contrast. And pay special attention to gray tones, for the example the

image of the dog in the center of Digital Dog's test image. It should appear neutral gray on the print as well as the

monitor.

I suggest that you make your first print with the default settings, except for Gamma(D), which should be set to 2.2 on a

PC (keep it at 1.8 for Macintosh)-- it should be consistent with your monitor calibration. Then adjust each of the

settings in the direction you think it should go. You may change one or several at a time, as you please. Record the

settings on each test print with a ballpoint pen. Learn what they do, and don't be afraid to make several prints! What

you learn now will pay off later.

I view prints under a SoLux 4700K desk lamp, which has a color temperature close to daylight, and also under

halogen desk lamp, which has a slightly higher color temperature than standard incandescent light, making it

representative of a wide range of indoor illumination. Inkjet prints, especially Black & White prints, have a

degree of viewing-illuminant sensitivity (also known as metamerism)-- their appearance can change subtly

under different light sources.

The table below illustrates the appearance of small color errors (in the amounts CC10, generated by the Picture

Window Filter transformation, with white point restored using the Levels and Colors transformation and clicking on

Full Range in HSL color space). This image has been used courtesy ofRobyn Color Labs in Sunnyvale, California. It

was designed for calibrating files to be sent out for Lightjet printing-- an excellent way of obtaining prints larger thanyou can make on home printers (typically 13 inches wide maximum). It can be downloaded as a 686x539 pixel TIFF

file.

Too red.Increase C or decrease Y and M.

Too yellow.Increase C and M or decrease Y.

Too green.Increase M or decrease C and Y.


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Above: Too R, Y and G.

Color errors: what they look like and how to correctthem in the Epson printer control window.

Image courtesy of Robyn Color Labs. (www.robyncolor.com)

(Left) The correct image: should look properly balanced (neutral) on

your monitor.

Below: Too C, B and M.

Too cyan.Increase Y and M or decrease C.

Too blue.Increase Y or decrease C and M.

Too magenta.Increase C and Y or decrease M.

Tips:Be sure to select the correct Media Type. If you check the High Speed box, printing will be bidirectional. Check it

for test prints. It doesn't make much difference in my 1270, but I leave the box unchecked when I want maximum print

quality. Gamma(D) only affects midtones. If it's set too low midtones will appear too light; if it's set too high midtones

will appear too dark. You can learn more about gamma below. The Epson software allows you to select Gammas of 1.5,

1.8 (the default; appropriate for Macintosh), and 2.2 (appropriate for Windows). My current settings are shown in the

table below.

If you are using Picture Window Pro, you never need to resize the image for printing. PW Pro

automatically rescales it using bicubic resampling and sends the image data directly to the printer at

1:1 (720 dpi for Epson printers). Prints are optimally sharp.

Once you are pleased with the results-- you print has the same look and feel as the image on your screen, click on Save

Settings... Give the setting a name that indicates the paper type. You will have to repeat this process for different paper

types, but it will be much easier after the first time. [For the 1270, the settings are stored in Program Files\EPSON\Epson Stylus Photo1270\E_DD01KE.UCF. You may want to save it if you're reinstalling a driver or operating system.]

I strongly recommend that you perform an

occasional nozzle check, which prints out the

pattern shown on the right. If any of the six

colors fail the test, run the Head Cleaning

cycle. I've had occasional nozzle clogs where

one or two colors disappear entirely. The test

doesn't take much time or ink and you can use

scratch paper. You access it through the Utility

tab in the printer Properties window.

You will need to select the correct printer setting for the first print you make each time you load your image editor.


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When you are ready to make a print, click on File, Print... Choose the correct printer, then click on Properties, Custom .

Click on the down arrow to the right of the box and select the appropriate setting. Make sure the paper size is correct.

Here are my settings for the Epson 1270 and 2200. They work for me, but I can't promise they'll work for anyone

else. The 1270 settings may not work on the 1280/1290. Treat them as starting points for finding your own settings

(to match your monitor). All the usual disclaimers apply. In all cases I used Ink = Color, Mode = Custom. In the

"Advanced..." box, Halftoning = High Quality Halftoning (not High Speed), Print Quality = 1440 dpi, Color

Management = Color Controls, Gamma = 2.2 (for Windows), and Mode = Photo-realistic.

Paper Settings (Please note the disclaimer above.)

1270

Matte

Heavyweight

(color prints)

Media type = Matte Paper- Heavyweight, Brightness = +3, Contrast = +6, Saturation = +2

Cyan = +4, Magenta = -3, Yellow = +4. (June 2002)

1270

ColorLife

(color prints)

Media type = Photo Quality Glossy Film

Brightness = +1, Contrast = +4, Saturation = +0, Cyan = +0, Magenta = -17, Yellow = +5

Beautiful full-toned prints! Careful handling is required to protect against moisture. Appears to use

less ink than Matte Heavyweight. Epson recommends Br +0, Contr +0, Sat +0, C -7, M -12, Y -7.

Works very well for B&W. Epson supplies ICC profiles for the 1270 and 1280 . Click here for other

printers. (June 2002)

2200

Premium Luster

(Photo Black ink)

Media type = Premium Luster

Brightness = -5, Contrast = +0, Saturation = +2

Cyan = +2, Magenta = +0, Yellow = +4. (Sept. 2002)

1270 Matte

Heavyweight (B&W

prints)

OBSOLETE

Media type = Matte Paper- Heavyweight , Brightness = +1, Contrast = +6, Saturation = +0, Cyan = +1, Magenta = -5, Yellow = 0

I tried unseccessfully to duplicate the warmish tone of Agfa Portriga Rapid, selenium toned. See my new B&W workflow.

1270 Premium Glossy

(color prints)

Not up-to-date

Media type = Premium Glossy, Brightness = -2, Contrast = +12, Saturation = +0, Cyan = +10, Magenta = -2, Yellow = +0.

Paper and ink formulations have changed since I determined these settings.

1270 Premium

Semigloss (color

prints)

(Luster is probablysimilar.)

Not up-to-date

Media type = Premium Semigloss (Permium Luster is probably similar.)

Brightness = -2, Contrast = +12, Saturation = +0, Cyan = +8, Magenta = -1, Yellow = +0.

Paper and ink formulations have changed since I determined these settings.

The settings for Premium Glossy, Semigloss and Luster papers are out-of-date. Both paper and ink formulations have

changed slighty. I stopped using them with the 1270 because, even in their latest versions with anti-oxidants, their

longevity (10 years with a prayer) is not up to my standards; when the anti-oxidants are exhausted they are still subject

to disastrous red shift fading. ColorLife has superior longevity. I no longer have the 1270.

Color management "Lite" and ICC profiles

Color management is a set of tools and techniques intended to maintain reasonably consistent and predictable colorappearance in images captured or displayed on devices with different color responses, orgamuts. Monitors and

printers, for example, have different gamuts-- not surprising because monitors use additive RGB color while printers

use subtractive color-- CYMK and more. But when color management is properly implemented, monitor colors will

resemble print colors to a reasonable degree; you can't expect a perfect match. We present a brief introduction here--

just enough to enable you to print usingICC profiles-- files that characterize the color response of a device or image.

ICC printer profiles can expand your horizons; many are now available for fine art papers and specialized ink sets.


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Simplified color management diagram from Jonathan Sachs' Color Management tutorial.

Programs that utilize color management are called "ICM-aware," where ICM stands for Image Color Management.ICM standards are maintained by the International Color Consortium.

Device color response and color spaces are characterized byICC profiles, files that relate numeric image data, for

example RGB (222,34,12), to colors expressed in a device-independent color space called aProfile Connection Space

(PCS), either CIE-XYZ or CIELAB. Depending on the type of profile, the colors may represent a physical device-- a

scanner, monitor, or printer-- or acolor space, which is a mapping between numbers in an image file and the colors

they represent. sRGB and Adobe RGB (1998) are the best-known color spaces, but there many more. Color space

profiles have the same format as monitor profiles.

ICC profiles have the extension, ".icm." Profiles can also be embedded astags within image files in the following

formats: TIFF, JPEG, PNG, and BMP. Every image file has a color space associated with it, resulting from either an

embeddedprofile or an impliedprofile, which assigned by the image editor or the operating system. The Windows

default profile is sRGB, which has gamma = 2.2 and a color gamut comparable to a typical CRT monitor. Embedded

profiles usually represent standard color spaces. But scanner, camera, or printer profiles can also be embedded in image

files, sometimes by accident. These profiles can cause trouble during editing because they may not be perceptually

uniform and gray balanced, i.e., a value with R = G = B may not represent neutral gray.

ICC Profiles Profiles may contain additional data, such as a preferred rendering intent, gamma, and instructions for

loading video card lookup tables (monitor profiles only).

The heart of color management is the translation or gamut mapping between devices with different color gamuts and

files with different color spaces. Gamut mapping is performed with one of the fourrendering intents (gamut mapping

algorithms) recognized by the ICC standard. The rendering intent determines how colors are handled that are present inthe source but out of gamut in the destination. Since there are several nomenclatures for gamut mapping, I use a color

code to distinguish the sources: ICC, Windows ICM 2.0, Picture Window Pro. Two of the four rendering intents are

of interest to photographers.

Perceptual, also called Picture or

Maintain Full Gamut. Generally

recommended for photographic images. The

color gamut is expanded or compressed

when moving between color spaces to

maintain consistent overall appearance. Low

1.


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saturation colors are changed very little.

More saturated colors within the gamuts of

both spaces may be altered to differentiate

them from saturated colors outside the

smaller gamut space. In the diagram on the

right, the left and right of the color space

blocks represents saturated colors; the

middle represents neutral gray. Perceptual

rendering applies the same gamut compression to all images, even when the image contains no significantout-of-gamut colors. Bruce Fraser points out that for an image with unsaturated colors, e.g., with pastels, Relative

Colorimetric rendering may produce a slightly more accurate result. Perceptual gamut mapping is mostly

reversible; it is most accurate in 48-bit color. None of the other rendering intents is reversible.

.

Relative Colorimetric, also called Proofor Preserve Identical Color and White Point. Reproduces in-gamut

colors exactly and clips out-of-gamut colors to the nearest reproducible hue. Not reversible. See diagram. Bruce

Fraser says, "Look at the relative gamuts of your source and destination: The same image may need different renderingintents for different output process. For example, an image might benefit from perceptual rendering when printed to an inkjet

printer, but when the same image is going out to the much larger gamut of a film recorder, relative colorimetric rendering might

work much better. If an image doesn't contain any important strongly saturated colors, you'll probably get a better result using

relative colorimetric rendering than you would using perceptual."

2.

When you print using ICC profiles you are mapping the color space of the image (sRGB is usually implied if no profile

is embedded) into that of the printer/ink/paper combination. Profiles can vary in quality-- too big a topic to discuss in

this brief introduction. I encourage you to study color management in more depth when you have the time.

Using ICC profiles

ICC profiles are available for a variety of papers and inks, including several brands of 100% rag (archival) fine art

paper. Sources are listed in Papers and inks and Obtaining ICC Profiles.... When you download them you should place

them in the Windows ICC profile directory:

Windows 98, ME Windows\System\color

Windows 2000 WinNT\System32\Spool\Drivers\Color

Windows XP WINDOWS\system32\spool\drivers\color

ICC profiles can be applied in the image editing program or (supposedly) in the printer driver. They should never be

applied in both-- you'd get double profiling with undesirable results.

Applying ICC profiles in the image editor

This approach works well, but you need a reasonable grasp ofColor Management to avoid pitfalls. I'll be brief here.

For Picture Window Pro I describe the workflow in Color Management Part 2. Once color management preferences

are set up, the profile is selected in the Print dialog box. The prefiously-used profile is remembered.

For Photoshop 6 or 7 Epson Australia has some valuable guides. The Epson Australia RGB Print Guide PS7

(Windows version) and Mac version cover printing with Photoshop 7. The earlier Epson Australia RGB Printing

Guide (Windows version) and Mac version cover printing with Photoshop 6. I've also posted John Fellers'

Photoshop 7 workflow. Photoshop has the habit of changing procedures with each new release. Hopefully CS is

similar to 7.

In the Printing Preferences dialog box (above), click on ICM, ICC Profile: No Color Adjustment. Media Type and other


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settings should be identical to those used to create the profile, typically Photo-1440 dpi, High Speed unchecked. If you

have a good printer profile and your monitor is properly calibrated and profiled, the match between your monitor and

print should be excellent.

Applying ICC profiles in the printer driver

(doesn't function properly)

This feature is supposedly implemented in

Epson 2200 Printer Driver v5.40 (labeled

v5.4aA in the Epson USA driver download

site), but it has BUGS!I'll leave the text

in gray until it works.

I hope it works in a future release. It would

be nice because it enables you to use

profiles without an ICC-aware image editor.

But applying profiles in an editor is

preferable because it gives better control.

Even if this approach worked, it wouldn't

be my first choice.

Epson USA suggests that you look at the

Printer Basics (PDF) manual in the

Manuals & Documents section of their

website. It seems to correspond the the

latest version (v5.40) of the printer driver,

but it says nothing about "ICC Profile Applied

by Printer Software."

But it's in the Printing Preferences

dialog box on the right. The problem is in

the choice of profiles; many are missing.


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You can install profiles for the Epson 2200 by

clicking on Control Panel, double-clicking on Printers

and Faxes, right-clicking on Epson Stylus Photo 2200,

selecting Properties (not to be confused with

Preferences), then clicking on the Color Management

tab. The Properties dialog box is shown on the

right.

When you click on Add you see a list of all theprofiles in the Windows ICC profile directory. You

can add or remove profiles as you please. EE321_1 is

the "stealth" profile, used by the 2200 when ICM

Color Management is not selected.

The profiles you add should be listed in the Printing

Preferences dialog box, above.But many are

missing. I can only get a few-- and not necessarily

the ones I want. This is a bug, and I won't bother

with this approach again until Epson releases a new

version of the printer driver (or someone tells me

what I've done wrong.)

This has been an exercise in frustration. But it has

increased my appreciation of well-writen software,

like Picture Window Pro, Capture One, and Neat

Image. You can't take good software for granted.

This isn't the first time a manufacturer of excellent

hardware has lagged with software. Canon's digital

SLRs get an "A" but their File Viewer Utility rates

"C-" at best.

.

A few words on Color Management

You'll need to learn how to usecolor management

if you want the best possible match between your monitor and printer,

if you want to print with unusual combinations of inks and art papers (Inkjetart.com is a good source of

these),

if you send out digital files to be printed and you require precise color control.

If you've calibrated you monitor and printer and you're happy with their performance, you probably don't need

it. But now that I've taken the trouble to learn how to use it, I wouldn't want to work without it: it requires no

extra effort once you've figured it out.

Even if you send out a digital file to be printed (you'll probably need to if you want prints wider than 13

inches-- the maximum for affordable consumer printers) you may not need color management. Amaranth

Photo Imaging (here in Boulder) can make large LightJet prints from an image file on a CD resized to 305 dpi

(easy with most image editors) if you include a print of your own making for guidance.

Nevertheless there is a growing incentive to use color management. Calypso Imaging offers a significant

discount for files submitted with color management profiles set up according to their instructions. This

enables them to print without any intervention on their part, and they pass along the savings.


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The need for color management arose because different devices have different color gamuts-- ranges of colors

they respond to (scanners) or can reproduce (monitors and printers). Color gamuts are limited because the

building blocks of color images-- sensors, phosphors, dyes and pigements-- are imperfect. Their spectral

response doesn't exactly match the eye due to unavoidable tradeoffs: cost, lightfastness, chemical stability and

toxcity. There are numerous color spaces (mappings between pixel levels and colors), each with its own

unique gamut. When moving an image from one device to another (e.g., monitor to printer) with a different

gamut (they're all different), the image must be transformed according to a rendering intent-- there are several

to choose from (try to keep colors exactly the same and clip if needed, expand or compress to fit the gamut,etc.). If that isn't confusing enough, Photoshop 5, 5.5 and 6 handle color management differently; Windows

prior to 2000 and 98 handles it poorly if at all. Macintosh is another world entirely, also confusing. (Older

Macintosh systems used the same gamma setting (1.8) as prepress applications, but I believe 2.2 is now

standard.) The default color space used by Windows and the Web, sRGB, has a gamut comparable to typical

CRT monitors.

I've written an introduction to color management to help get you started.

You can learn more about color management in excellent articles from Andrew Rodney (The Digital Dog),

John Cone (Inkjetmall.com), Bruce Fraser (Creativepro.com), Jonathan Sachs (for Picture Window Pro ), M.

David Stone (Extremetech), Color Remedies (for Macintosh), Raph Levien, Getty Images or from the sourceitself. for serious researchers, efg has a massive bibliography of color information. You may also wish to

examine products from Monaco (EZcolor), Praxisoft (WiziWYG), ColorVision (Spyder Photo Suite, etc.) and

Digital Domain Inc. (Profile Prism-- the lowest cost profiling software I know of). Ian Lyons has some useful

reviews. Companies that make large prints-- primarily LightJet 5000 -- such as Calypso Imaging (Santa Clara,

CA), NancyScans (Chatham, NY), Robyn Color (San Francisco, CA) and West Coast Imaging (Oakhurst,

CA-- near Yosemite) have specific instructions on how to prepare files.

.

Monitor calibration and gamma | Background to monitor calibration

.

Images and text copyright 2000-2012 by Norman Koren.

Norman Koren lives in Boulder, Colorado, founded Imatest LLC in 2004, previously worked

on magnetic recording technology. He has been involved with photography since 1964.
