Clothing Designer
GRMACK
Posts: 5436
Bakersfield, California, US
Have a i1 PhotoPro2 setup. I used it and made a profile for a Bright White Canvas. Print looked okay. I also have a Breathing Color Silverado Metallic Canvas that is an off white color, sort of a buff yellow. Profiled that too, made a print, and "Yuck!" Problem is the skin tone on the Siverado canvas is very yellow/green as are grays, etc. For whatever reason, the i1 PhotoPro 2 generated a warm profile or perhaps the paper base isn't being read right for the whites due to the creamy yellow metallic (It's not a metallic like normal aluminum looking metallic papers.). I can't find a secondary "Edit" part in the X-rite software to tune the print to remove the yellow/green cast. Is this possible somewhere in the X-rite software to tune the profile a bit, or is it pot-luck with a filter in PS? However, I did find one can maybe generate a paper color match to the Eizo screen color setup using their Eizo Color Navigator 6 software and edit the color, saturation, hue "visibly" without the X-rite hardware, but seems a long ways to go if I cannot do the profiles with the X-rite and need to make the profiles visibly and manually on the Eizo. Guy shows the means to do it in the second video on this review of the Eizo 31" CG monitor: https://luminous-landscape.com/eizo-cg3 … -displays/ Not sure if my eyebaling a print to screen match would be any better than the hardware, but something in X-rite hardware land isn't working right with this canvas with my X-rite profile or their factory supplied one that is also too warm. Tia.
Retoucher
Pictus
Posts: 1380
Teresópolis, Rio de Janeiro, Brazil
Clothing Designer
GRMACK
Posts: 5436
Bakersfield, California, US
Pictus wrote:
With Argyll you can do a much better profile...
Anyway, I would ask this at http://forum.luminous-landscape.com/ind … board=45.0 Can't use Argyll, and LuLa requires paid membership now?
Anyway, I tried the guy's plan in the video above and it worked! Actually far better than I had expected too. Pretty much a spot-on "Monitor-to-Print" match with that cream-colored metallic canvas.
I bought a Fillex color adjustable LED table lamp from B&H Photo. Set it at 5,000K and lit up the blank canvas. Turned on the Eizo's Color Navigator 6 and moved the paper tint spot around until it matched the cream-colored canvas in tint, and then the brightness visually.
Loaded a X-rite/MacBeth Color Chart in Photoshop on the Eizo, and slid the color sliders around in the Color Navigator until they matched the print made with the factory profile for that canvas. The red and green had to be pulled back in saturation quite a bit and a minor brightness change to them too (The monitor reds and greens were almost neon!). Named this new monitor profile and saved it to use as a new PS monitor profile for that weird colored canvas.
Loaded the new screen profile I made. Found the image needed some tweaks and made those in PS. Printed via Qimage Ultimate. FANTASTIC!!!
I've always had some red/green/yellow issues with final prints made with the i1 PhotoPro 2 or the ColorMunki Photo profiles. I don't know why they never matched well and I had to fight with more prints and tweaking of the colors, maybe optical brightners or something. This seems to be a way to tune what should be the final image profile a bit better, although it is an eyeball match instead of the hardware.
Process seemed very odd initially with CN6 and its sliders seemed to be going the opposite way than I thought they should (Like Lightroom's Kelvin setting seems counter-intuitive at times.), but it turned out right.
Photographer
Bernard Wolf
Posts: 62
Santa Monica, California, US
GRMACK wrote:
Can't use Argyll, and LuLa requires paid membership now?
Anyway, I tried the guy's plan in the video above and it worked! Actually far better than I had expected too. Pretty much a spot-on "Monitor-to-Print" match with that cream-colored metallic canvas.
I bought a Fillex color adjustable LED table lamp from B&H Photo. Set it at 5,000K and lit up the blank canvas. Turned on the Eizo's Color Navigator 6 and moved the paper tint spot around until it matched the cream-colored canvas in tint, and then the brightness visually.
Loaded a X-rite/MacBeth Color Chart in Photoshop on the Eizo, and slid the color sliders around in the Color Navigator until they matched the print made with the factory profile for that canvas. The red and green had to be pulled back in saturation quite a bit and a minor brightness change to them too (The monitor reds and greens were almost neon!). Named this new monitor profile and saved it to use as a new PS monitor profile for that weird colored canvas.
Loaded the new screen profile I made. Found the image needed some tweaks and made those in PS. Printed via Qimage Ultimate. FANTASTIC!!!
I've always had some red/green/yellow issues with final prints made with the i1 PhotoPro 2 or the ColorMunki Photo profiles. I don't know why they never matched well and I had to fight with more prints and tweaking of the colors, maybe optical brightners or something. This seems to be a way to tune what should be the final image profile a bit better, although it is an eyeball match instead of the hardware.
Process seemed very odd initially with CN6 and its sliders seemed to be going the opposite way than I thought they should (Like Lightroom's Kelvin setting seems counter-intuitive at times.), but it turned out right.
Photographer
Bernard Wolf
Posts: 62
Santa Monica, California, US
I believe the forum part of Luminous Landscape is free......it's $12./year for the rest.
Retoucher
Pictus
Posts: 1380
Teresópolis, Rio de Janeiro, Brazil
Photographer
Zack Zoll
Posts: 6895
Glens Falls, New York, US
GRMACK wrote:
Can't use Argyll, and LuLa requires paid membership now?
Anyway, I tried the guy's plan in the video above and it worked! Actually far better than I had expected too. Pretty much a spot-on "Monitor-to-Print" match with that cream-colored metallic canvas.
I bought a Fillex color adjustable LED table lamp from B&H Photo. Set it at 5,000K and lit up the blank canvas. Turned on the Eizo's Color Navigator 6 and moved the paper tint spot around until it matched the cream-colored canvas in tint, and then the brightness visually.
Loaded a X-rite/MacBeth Color Chart in Photoshop on the Eizo, and slid the color sliders around in the Color Navigator until they matched the print made with the factory profile for that canvas. The red and green had to be pulled back in saturation quite a bit and a minor brightness change to them too (The monitor reds and greens were almost neon!). Named this new monitor profile and saved it to use as a new PS monitor profile for that weird colored canvas.
Loaded the new screen profile I made. Found the image needed some tweaks and made those in PS. Printed via Qimage Ultimate. FANTASTIC!!!
I've always had some red/green/yellow issues with final prints made with the i1 PhotoPro 2 or the ColorMunki Photo profiles. I don't know why they never matched well and I had to fight with more prints and tweaking of the colors, maybe optical brightners or something. This seems to be a way to tune what should be the final image profile a bit better, although it is an eyeball match instead of the hardware.
Process seemed very odd initially with CN6 and its sliders seemed to be going the opposite way than I thought they should (Like Lightroom's Kelvin setting seems counter-intuitive at times.), but it turned out right. I just want to point out that since yellow and blue are opposite each other, that means you you've had troubles with ALL colours.
You may not be using the unit right. Or perhaps you are, but you don't have the experience with colour to do the final tweaks that most cost-effective units require. Or maybe it's neither of those things, and you got a lemon.
Metallic canvas is tricky business. Subjectively, I hate it because it doesn't look like anything that exists in the real world. I've never seen anything that looks like a digital print on metallic canvas that wasn't a digital print on metallic canvas; and to me, the whole reason for printing on canvas is to make it look like a painting.
Objectively, I hate it because you have the canvas base, which has one colour tint, and the metallic coating, which has a different tint. That means that every time you click print, there is a huge 'shit happens' element.
And I hate expensive surprises.
Photographer
Giacomo Cirrincioni
Posts: 22234
Stamford, Connecticut, US
How are your other prints on regular photo paper? Are they "ok" or are the dead on?
I've had this conversation with many folks, including some industry folks (instructors) who think I'm nuts - but every prepress or printer I know agrees with me, so take it for what it's worth, try it or don't.
I started having printing problems after apple adopted the windows gamma of 2.2. Everyone (outside of prepress) says it doesn't matter and to just stick with 2.2 because it's easier. I was never, after a year of trying, able to get a truly accurate print, despite countless hours and thousands of dollars.
I finally added a second monitor and my working monitor is set to a gamma of 1.8, same as every pre-press monitor always was (and usually still is). Ran through the profiling process again for both monitor and paper and done - accurate prints. Now I do all my image work on that monitor. When I need a web file, I apply an action to convert to 2.2, drag the image over to my second monitor (calibrated to a gamma of 2.2) and make sure it looks good there, tweak if necessary and save the .jpg. Since I've taken this step, not only are my prints that I do here perfect, but so are prints that I send out, such as for postcards for promos, etc.
I don't know if this will fix your issue or not, but if you can't find another cure, you may want to give it a shot.
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