Monitors are Superior to Prints

Checked EIZO at work, real contrast ratio is approx 1000:1

Reflective prints cant really do that, as the real dMax of a reflective surface is limited by physics, the glossiest surface gets about 2.4 I think I've seen, but dMin isn't 0 and you need a density range of 3 to get 1000:1

You can get that on back lit display materials though. Some hit 4.
 
RichC said:
:rolleyes: Why create a fauxtograph as iffy as polyester masquerading as silk...?! Let different mediums be themselves!

Play to a medium's strengths, such as light and luminosity for the monitor, and texture and objecthood for the paper print.
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:) Agree 100%, but I love the texture feeling I get from special fiber papers in hand. I am not saying that this is good and that is bad, rather than I like both but that paper makes me feel more.
 
Monitors display colors in the very limited SRGB color space. A print done on, say, Canson Platine using Epson Ultrachrome K3 inks, will exhibit a gamut several orders of magnitude richer than you'll see on even a professionally calibrated monitor. The same will be true of black and white prints made using Piezography inks.

Apple monitors are amongst the worst on the market. Only certain NEC and Eizo monitors should be used for critical color work, including pre-print.

Monitors are most certainly not superior to prints when it comes to critical work and extended gamut.
 
Agreed: You can't beat a slide rule for ratio calculations. I keep one of mine in the darkroom for enlarging calculations. When I already have the right exposure for a 5 X 7, and I want to go to something larger, I can do that quickly on the slipstick.
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I've been rediscovering slide rules. If you're sensible, it's possible to pick up even the most sought after (read "overpriced") models for a few pounds. The most I've spent is £20, on a Faber Castell 2/83.

What it's brought home to me, is how much the electronic calculator and its descendants has done for number crunching. A bit like electronic cameras and image making.
 
johnny scarecrow said:
Monitors display colors in the very limited SRGB color space. A print done on, say, Canson Platine using Epson Ultrachrome K3 inks, will exhibit a gamut several orders of magnitude richer than you'll see on even a professionally calibrated monitor. The same will be true of black and white prints made using Piezography inks.

Apple monitors are amongst the worst on the market. Only certain NEC and Eizo monitors should be used for critical color work, including pre-print.

Monitors are most certainly not superior to prints when it comes to critical work and extended gamut.
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My understanding is that monitors such as NEC and Eizo display at the higher Adobe srgb colour space, but this misses the point somewhat. It's the light emitting quality that differentiates it from a print, much as slide film on a lightbox or projector does. It's particularly apparent on images that contain a light source within the image, a reflective print can't replicate that in the same way.
I would agree that a technically strong B&W print is a different animal altogether.
 
bobbyrab said:
My understanding is that monitors such as NEC and Eizo display at the higher Adobe srgb colour space, but this misses the point somewhat. It's the light emitting quality that differentiates it from a print, much as slide film on a lightbox or projector does. It's particularly apparent on images that contain a light source within the image, a reflective print can't replicate that in the same way.
I would agree that a technically strong B&W print is a different animal altogether.
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... yep reflective and projected are perceived quite differently ... but of course they all get reprocessed by our brains before that anyway
 
Sparrow said:
... yep reflective and projected are perceived quite differently ... but of course they all get reprocessed by our brains before that anyway
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I thought from your avatar you had the new cranial superhub. vision direct, otherwise known as iEye.
 
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