X-Rite’s new ColorMunki Display and i1Display Pro make major leaps forward in color managing displays.
Technologically Advanced Hardware
Both ColorMunki Display and i1Display Pro devices feature an advanced, high-end, optical system with custom-designed filters that provide a near perfect match to the color perception of the human visual system, delivering superior color measurement results. Both devices fully support all modern display technologies, including LED backlight and wide gamut displays. Both devices are spectrally calibrated, making them fully field upgradeable to support future display technologies.
The ergonomic all-in-one design combines three important functions …
Ambient Light Measurement – an integrated ambient measurement diffuser allows you to to take ambient light measurements of your work environment.
Display Profiling – rotate the ambient diffuser arm and adjust integrated counterweight, with push button action, along the USB cord for display profiling ease.
Projector Profiling – rotate the ambient diffuser arm to use as a tabletop stand for device positioning, or use the built-in threaded tripod mount for larger venues.
Next Generation Profiling Software
Ambient Light Measurement – automatically determine the optimum display luminance for comparing prints to your display, based on a measurement of the lighting conditions where prints will be viewed.
Ambient Light Smart Control – the intensity or amount of ambient light surrounding your workspace affects the way you perceive colors on your display. These solutions can compensate for this effect and provide the option to automatically adjust your profile or simply notify you as ambient light conditions change.
Flare Correct™ measures and adjusts your display profile for reduced contrast ratios caused by flare light (or glare) falling on surface of display. By accurately measuring your effective display contrast ratio, you’ll have an even more accurate display profile.
Intelligent Iterative Profiling, an adaptive technology that produces optimized results for maximum color accuracy on each unique display every time you profile.
Automatic Display Control (ADC) technology automates the adjustment of your display’s hardware (brightness/backlight, contrast, and color temperature) to speed up the profiling process and eliminate manual adjustments to ensure highest quality results.
“The long awaited day is here! X-Rite i1 Professional solutions, which includes the new i1Photo Pro, are now available. Each solution features the all-new i1Profiler software application designed to delivers superior color results! i1Profiler is driven by a new color engine, sports a dual mode interface (basic and advanced) and new quality assurance features, plus so much more. The new i1Photo Pro was designed specifically for discerning photographers to attain the highest quality color results and color control throughout your complex digital photo workflow, at a very attractive price.
The new portfolio is comprised of three software/hardware/target bundles – i1Basic Pro, i1Photo Pro, i1Publish Pro – and i1Publish, a software/target solution. All four feature groundbreaking new i1Profiler software technology designed to accommodate all levels of proficiency and expertise, and provide the power and control needed to create the highest quality color profiles. The new PANTONE Color Manager color swatch bridging software, ColorChecker Proof, a new ColorChecker target for direct viewing analysis against a printed target and ColorChecker camera calibration system are also featured.
Upgrade packages are available for those who have i1Pro devices as well as MonacoPROFILER 4 and ProfileMaker 5 users. Read more about the upgrade opportunities and review the features of i1Profiler software at www.xritephoto.com.”
The advances in software make every function more precise.
Printer profiling takes a major leap forward with easy to make light temperature and image specific profiles.
If you haven’t invested in X-Rite technology do it now.
If you have, upgrade now.
This is a major upgrade that all users should seriously consider.
Epson recently announced a new addition to it’s line of photo printers.
It’s a smaller version of the Epson R3880.
Epson Ultrachrome K3 with Vivid Magenta Ink Technology
It lists for $849.99.
Find it at B&H for $834.95 here.
Industry-leading pigment ink technology
Epson UltraChrome K3 with Vivid Magenta Ink Technology for stunning color and black-and-white prints with intense blues and violets and improved skin tones
Individual high-capacity ink cartridges
Change cartridges less often with nine 25.9 ml individual ink cartridges
Advanced Media Handling
Offers consistent, reliable performance with front-in, front-out paper path; accommodates cut-sheet and roll paper in sizes up to 13″ wide; supports photographic and fine art paper, canvas, art boards and CD/DVDs
Hi-Speed USB 2.0, wireless 802.11n and 100 Mbit Ethernet support
Auto-switching Black inks
achieve the highest black density and superior contrast on glossy, matte or fine art papers from either Matte or Photo Black ink
Leading-edge image-quality architecture
Smoother color transitions and outstanding highlight and shadow detail with AccuPhoto™ HD2 imaging technology
Precision 9-color, 8-channel print head technology
Innovative MicroPiezo® AMC™, one-inch wide print head with ink-repelling coating for more accurate dot placement and reduced maintenance
Advanced Black-and-White Photo Mode to easily create neutral or toned black-and-white prints from color or monochrome images
The first step is to use an ounce of prevention. Minimize your equipment’s exposure to dust during storage and use, as much as practical. (I store and transport all my gear in Ziploc plastic bags.)
The second step is to remove dust from your camera’s sensor.
To protect themselves against carelessness of a minority of their clients, camera manufacturers claim to void warranties if you use third party cleaning solutions and recommend instead that you send the camera to them to be professionally cleaned. Even if you are not on a tight deadline or traveling in remote locations, this is often impractical. Initially, I was concerned about my ability to clean my camera’s sensor without damaging it. Then I found that cleaning your camera’s sensor is surprisingly easy and that you have to go to some length to actually damage a sensor. A little care and forethought is all that’s required. (See cleaningdigitalcameras.com for more information.)
Visible Dust’s (visibledust.com) Arctic Butterfly is my preferred sensor cleaning solution. Unlike many other solutions the Arctic Butterfly doesn’t use fluids that may produce streaking on your sensor; instead, they use static electricity to attract the dust. Visible Dust has been making electrostatically charged brushes that won’t damage your camera’s sensor when you use them. The first brush solutions from Visible Dust used compressed air to create a static charge, which could be difficult to store and transport (impossible on airlines). The Artic Butterfly uses motion to create a static charge; the brush rotates at high speed. (The new units and their cases are far more durable than previous models.)
How easy is it to use? Extremely. Simply remove the top of the Arctic Butterfly and press the button to spin the brush. Turn your camera (without a lens) to sensor clean mode. Sweep the sensor a few times. Turn the camera off and put a lens back on it. Done! It takes less than a minute. It will save you hours of retouching. I recommend making this a regular practice whenever you change lenses – the time when most dust enters and moves.
Keep the brush clean; free of dust and oil (typically picked up from your hands or the chamber of your camera). If a brush becomes soiled, you can replace the ferules instead of the entire unit.
For difficult to remove dirt on sensors that can’t be swept away, Visible Dust’s Sensor Cleaning Swabs may be your final solution. Swabs and Sensor Clean or Vdust Plus liquid can be used to remove water and oil stains, providing even coverage without streaking and creating a light static barrier to help repel dust.
Optionally, a Sensor Loupe can be used to view the sensor under illumination at high magnification to ensure that the sensor is clean.
Whenever practical, confirm that your camera’s sensor has been successfully cleaned, by making an exposure of a flat field of color (such as a sky) at a small aperture (to better resolve the dust). Thoroughly check the file in Photoshop (or the image editor of your choice) at 100% magnification.
The Visible Dust sensor cleaning system hasn’t failed me yet. It goes everywhere I go. It’s easy to store, transport, and use. It’s saved me countless hours of time in image processing. It will save you valuable time too.
Arctic Butterfly SL700 ($70.95)
Sensor Loupe ($79.95)
Ultra MXD-100 Sensor Cleaning Swab ($37.95)
Sensor Clean ($35.90) and VDust Plus ($19.95)
This one filter performs the function of many. Reduce the amount of light coming through your lens by 2 to 8 stops. Simply rotate the filter to increase or decrease the effect.
Frame and focus with the filter on at minimum density. Rotate the filter to intensify the effect. It can get so dark you can hardly see through it.
Because the Vari-ND is so easy to use, it encourages experimentation with a wide range of exposures and effects.
Make long exposures.
Make selective focus easier.
Enhance close-up flash control.
Exaggerate the effects of panning during exposure.
As you test your Vari-ND Filter, you’ll find the effects will vary with focal length, direction and speed of motion (your subject’s or your own or both), and of course duration of exposure.
Use the preview on your DSLR to confirm your results instantly. Monitor your histogram after exposure to confirm proper exposure.
The Vari-ND comes in 77 and 82 mm sizes. Adaptors for other sizes are available.
The Vari-ND can be used with most other Sing-Ray filters, except Polarizers. You can amplify the effect of the Vari-ND by stacking it with the Mor-Slo 5 Stop Solid ND Filter.
Singh-Ray filters are legendary for their optical quality.
The VariND filter is one of the few filters I use.
For more information visit www.singh-ray.com.
Quickly cure curl in prints made from roll papers with D-Roller.
This device is extraordinarily simple and effective.
You might wonder why a simple plastic tube with an attached sheet of plastic costs as much as it does – 24” $259.99, 36” $279.95, and 50” $299.99. When you see how effective, easy, and fast it is to use you’ll realize it’s money well spent.
Here’s how easy it is.
1 Place a print on the white carrier film near the tube.
2 Roll the tube away from you, wrapping the print between the tube and the film.
3 Hold for a few seconds.
4 Unroll the tube
5 Turn the print 180 degrees and repeat.
6 Remove the flattened print.
Here are a couple of tips for using it.
The longer you hold the paper rolled up the more curl you take out; you can actually reverse the curl if you hold the paper too long.
Paper coming off the outside of the roll requires less derolling than paper coming of closer to the core.
Low humidity requires more derolling.
Non-rag papers require more derolling.
Though the very smooth plastic won’t damage print surfaces, you can include a cover sheet in the derolling process for exceptionally delicate materials.
Special rollers can be custom ordered for very long prints.
Is it really that simple? Yes!
Does it really work? Yes!
Interested in printing on exotic substrates? Consider InkAID (inkaid.com). InkAID is a liquid coating that prepares surfaces for inkjet printing. Coating an exotic substrate’s surface will do several things. It will reduce dot gain, allowing the print to hold more detail. It will increase gamut, providing greater saturation. It will increase dmax, yielding a better black.
Artists are experimenting with many types of exotic substrates from aluminum, to acrylic sheets, to wood, to uncoated fine art and handmade papers. Basically, if you can get it through the printer and you can get the ink to stick you can print on it. InkAID helps the ink stick.
InkAid is easy to use. Stir it. Brush it on. Let it dry. Print.
There are currently five InkAid products. White Matte Precoat creates a white matte coat on any surface. Clear Semi-Gloss Precoat creates a transparent semi-gloss finish on any surface. InkAID Adhesive and Clear Gloss Precoat create a transparent glossy surface with two coats. Clear Gloss Precoat II creates a transparent glossy surface with one coat. When using clear coats, you can choose to let the coloration of the base surface show through (the material itself or a surface with an image) or you can coat it first with White Matte Precoat.
ping and handling.
Surfaces are water resistant and can be reworked with subsequent printings, over painting, or distressing.
You may be able to use ICC profiles for similar inkjet surfaces (if you get lucky), but it’s more likely that you will have to create new ICC profiles specifically for this surface to achieve the optimum results, especially if the final state of the coated substrate is not white.
InkAID is acid free and contains no optical brighteners. Nonstandard tests (hang samples in a window in direct sunlight next to other prints and compare) indicate longevity is roughly on par with similar inkjet prints. Longevity ratings obtained from standardized tests are not available as the variety of substrates being used today is so vast.
A liter costs $25. A gallon costs $65. A sample set (5 ounces of five products) is available for $21 plus ship
InkAID.com has a useful FAQ section answering many common questions about it’s use. The book Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials by Bonnie Lhotka, Karen Schminke, and Dorothy Simpson Krause is another source of useful information.
There’s a print spray that anyone making inkjet prints needs to know about – Premier Art’s Print Shield. It’s a UV water resistant lacquer that comes in a variety of finishes – matte, semi-gloss, and glossy. It offers protection from light, water, moisture, airborne contaminants, and fingerprints. It doesn’t produce any visible changes in the print, either in color or density or surface. It dries fast and doesn’t have a strong odor. It reduces burnishing and scuffing somewhat. Most importantly, it greatly increases longevity, in some cases by as much as 200%
Each $15 400ml can covers approximately 75 8×10” prints.
Henry Wilhelm has tested prints sprayed with Print Shield. Visit wilhelm_research.com for his most current data on longevity.
I spray all of my prints with Print Shield now.
Just like spraying a pastel, apply the fixative carefully. If the substrate gets soaked the surface may darken permanently. Instead of spraying the print directly, spray the air above the print and let the mist fall onto the print surface. Let the print dry for a few minutes. Then reapply.
January 18, 2011 | Leave a Comment
Russell Brown innovates again!
The WVIL concept camera. Part smartphone and part 32 MP full-frame CMOS digital camera. The lens detaches from the camera but still works and can be remotely triggered and then the files can be instantly uploaded to the web.keep looking »
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